Quantcast
Channel: Mavi Boncuk
Viewing all 3529 articles
Browse latest View live

Orhan Pamuk's New Book and Wordsworth

$
0
0
Orhan Pamuk's New Book "Kafamda Bir Tuhaflik" has a quotation from Wordsworth's Prelude, shown in italics below that also gives the book it's name, A Strangeness in my Mind. An extended extract could possibly give more meaning to it. It is also interesting if we look into the life of the poet and the period it represents.

Mavi Boncuk |

That even so early, from the first crude days
Of settling-time in this my new abode,
Not seldom I had melancholy thoughts
From personal and family regards,
Wishing to hope without a hope—some fears
About my future worldly maintenance,
And, more than all, a strangeness in my mind,
A feeling that I was not for that hour 
Nor for that place. But wherefore be cast down,
Why should I grieve?—I was a chosen son.

Towers Move Again

$
0
0
The ever moving towers strike again.

Mavi Boncuk | 

The ability of the supporters of the city silhouette to see the Zeytinburnu Towers is in question again. The opposition must agree at what location they must patch the towers in these crude photoshopped views.

Zeytinburnu Towers and the Silhouette of Istanbul. We must ask ourselves. Why, who and for what aim millions are following fake news and assumptions instead of using science and common sense. If towers have to be adjusted. What about Taksim hotels. The Marmara destroys the historic first glimpse of travelers arriving to Istanbul.

Mavi Boncuk | 
click on the image to see in full size


More Silhouette[1] Mayhem...More lies...Turkish media can not see the silhouette above Dolmabahce palace. Yet promotes a lie.
Mavi Boncuk |

This time from the air with a telephoto lens. This is no silhouette. This is a lie.

Lie 1 http://maviboncuk.blogspot.com/2014/03/zeytinburnu-towers-and-silhouette-of.html\


[1] 1798, from French silhouette, in reference to Étienne de Silhouette (1709-1767), French minister of finance in 1759. Usually said to be so called because it was an inexpensive way of making a likeness of someone, a derisive reference to Silhouette's petty economies to finance the Seven Years' War, which were unpopular among the nobility. But other theories are that it refers to his brief tenure in office, or the story that he decorated his chateau with such portraits. Silhouette portraits were so called simply because they came into fashion in the year (1759) in which M. de Silhouette was minister. [A. Brachet, "An Etymological Dictionary of the French Language," transl. G.W. Kitchin, 1882] Used of any sort of dark outline or shadow in profile from 1843. The verb is recorded from 1876, from the noun. The family name is a Frenchified form of a Basque surname; Arnaud de Silhouette, the finance minister's father, was from Biarritz in the French Basque country; the southern Basque form of the name would be Zuloeta or Zulueta, which contains the suffix -eta "abundance of" and zulo "hole" (possibly here meaning "cave").

Turkish PM on Dink

$
0
0
Mavi Boncuk |
Turkish Prime Minister Ahmet Davutoğlu issued a statement in eight different languages including Armenian, three days after President Sargsyan’s letter to president Erdoğan, on the remembrance of Hrant Dink, an eminent Armenian-Turkish journalist and the founder of the Armenian-Turkish bilingual weekly Agos, who was assassinated eight years ago in İstanbul on January 19th. This statement is the most recent one in the chain that displays Turkey’s approach to the ‘Armenian question’.
Prime Minister Davutoğlu underlines the “800 years-old common history” of Armenians and Turks. He expresses the determination of Turkey to “press ahead with resolve to give due recognition to the Armenian cultural heritage in Turkey and to those Armenian personalities who made inestimable contributions to Ottoman/Turkish culture”. Prime Minister Davutoğlu salutes Dink for striving “mind, heart and soul, to shed light on one of the major issues that the Ottoman Empire passed down to the Republic of Turkey”. He states:
Having already underscored the inhumane consequences of the relocation policies essentially enforced under wartime circumstances, including that of 1915, Turkey shares the suffering of Armenians…
These statements are of crucial importance for demonstrating where Turkey stands vis-à-vis the ‘Armenian question’.
One of the main features of the widespread Armenian political discourse is the claim that Turkey seeks to erase traces of the Armenians in Anatolia and Ottoman-Turkish history as the final stage of the “genocide”. The above mentioned statements that were made by the Prime Minister of Turkey are the most powerful refutation of such accusations. Prime Minister Davutoğlu not only acknowledges the presence of Armenians in Anatolia throughout the history but appreciates contributions of the Armenians to the cultural richness of Turkey. 
While the widespread Armenian political discourse propagates that Turkey refuses even to publicly acknowledge that there are issues to be solved between Armenia and Turkey and Turkey is indifferent to the sufferings of the Armenians during the World War I, Prime Minister Davutoğlu not only openly acknowledges the problems between the two nations, he, in the official website of the Prime Ministry of the Republic of Turkey, declares Turkey’s regret of the deep-rooted sufferings of the Armenians in the World War. Prime Minister Davutoğlu highlights the omni-importance of “human interaction” and dialogue to foster “a sense of mutual trust and cooperation”. He invites Armenians to pay visits to Turkey that would help to erase stereotypes and prejudices. 
Juxtaposing the two recent statements of President Sargsyan and Prime Minister Davutoğlu, we would like to draw attention to the radically different approach and rhetoric of the two. Whereas, President Sargsyan shows no indication of a willingness to revise the decades old approach of the Armenians which since long ago proved to be ineffectual, Prime Minister Davutoğlu, even with some self-criticism, declares Turkey’s willingness for new and mutually worthwhile approach. Whereas, President Sargsyan employs a sarcastic rhetoric to make insinuation and utilizes manipulative arguments, Prime Minister Davutoğlu’s statement is lenient and intimate.
Given those two statements, it is on individual Armenians and Turks and any other concerned parties to judge where the obstacles and opportunities for the reconciliation between the two nations lie. 

Turks Mexx Out | Turkse holding neemt Mexx over

$
0
0
Mavi Boncuk | Eroğlu Holding (Loft and Colin´s)  is the new owner of Mexx[1].

Bankrupted Dutch fashion company Mexx is facing important days as its Dutch guardian has stated he feels a relaunch is imminent. Mexx was declared to be bankrupt in December, creating a domino effect starting with the Dutch company, followed by the Belgian and German branches.

The potential buyer announced as Eroğlu Holding wants to keep large parts of the company active, with plenty of stores and a majority of the staff - both in Belgium and the Netherlands. Globally, the group has some 1,500 employees.

[1] In the 1970s, fashion designer Rattan Chadha and his business partners PK Sen Sharma, Adu Advaney, Suveer Arora, Ronny Lemmens, Horatio Ho and Arun Mehta (known as the Founders of the company) supplied clothes for department and wholesale stores in the Netherlands, which were specifically designed and labelled for the stores. Revamping the business in 1980, they created two popular clothing brands—"Moustache" for men and "Emanuelle" for women. Both labels had coordinated collections focused on lifestyle and youth fashion. In 1986, the two brand names were merged to form: M (from Moustache) + E (from Emanuelle) + XX (an abbreviation for "kiss kiss") to create MEXX.

Over time, Mexx has grown to become an international brand with over 800 stores in 55 countries and more than 10,000 point of sales. It has grown rapidly and is now an internationally prominent company, employing over 6,000 people worldwide.

In 2001, Mexx was bought by the U.S. fashion company Liz Claiborne for $264 million and an Earn out which amounted to another $275 Million.Thus, for many years it belonged to the Liz Claiborne group—a multi-brand business listed on the New York stock exchange that markets fashion, design, accessories and perfume internationally. In 2011, Liz Claiborne, as part of a restructuring, sold Mexx to private equity firm The Gores Group at a loss but retained a minority interest in the Mexx chain of stores.

On December 4, 2014, three holding companies of Mexx were declared bankrupt by the district court of Amsterdam. On December 5, 2014, a judge in the Netherlands declared 315 Mexx stores, which serves worldwide including 95 Locations in Canada, bankrupt. The stores are expected to remain open while the chain sells off merchandise.

Ceylan Makes the List of César Awards | Liste Officielle des Nominations

$
0
0
Ceylan Makes the List  of César Awards according to the Official List of Nominations | Liste Officielle des Nominations.

Mavi Boncuk |

César[1] Awards[2]
Best Foreign Film | Meilleur Film Étranger

12 YEARS A SLAVE | Steve McQueen
distribution France MARS DISTRIBUTION

BOYHOOD | Richard Linklater
distribution France DIAPHANA DISTRIBUTION

DEUX JOURS, UNE NUIT | Jean-Pierre Dardenne, Luc Dardenne
coproduction France ARCHIPEL 35 (Denis Freyd)

IDA | Pawel Pawlikowski
distribution France MEMENTO FILMS DISTRIBUTION

MOMMY | Xavier Dolan
distribution France DIAPHANA DISTRIBUTION

THE GRAND BUDAPEST HOTEL |  Wes Anderson
distribution France TWENTIETH CENTURY FOX

WINTER SLEEP | Nuri Bilge Ceylan
coproduction France MEMENTO FILMS PRODUCTION (Alexandre Mallet-Guy)


[1] The name of the award comes from the sculptor César, designer of the trophy awarded to the winners in each category. It is also an homage to the Raimu, the great French actor and performer of Marseille trilogy of Marcel Pagnol, in which Raimu played the character of César. 


[2]The César Award is considered the highest film honor in France, the French film industry's equivalent to the Molière Award for theatre, and the Victoires de la Musique for music. In cinema, it is the French equivalent of the Academy Award in the United States.

The Césars are awarded once a year, at the end of the first quarter, following voting by members of the Academy on films released between January 1st and December 31st of the previous year, and on artists and technicians who worked on those films. On or more Honorary Césars can also be awarded each year to internationally known film actors for their whole body of work. The results are revealed and the Trophies are given to the winners at an evening called the the "César Ceremony", placed under the chairmanship of an eminent film personality, and which takes place in one of the capital’s most prestigious venues (Theatre de l'Empire, Salle Pleyel, Palais des Congrès, Theatre des Champs-Elysées and such like). Since 2002, the Ceremony has taken place in the Theatre du Châtelet.

The French Academy of Cinema Arts and Techniques is the institution that is dedicated to films and those who make them and that organises this third route to recognition in France.

Created in 1974, at the initiative of Georges Cravenne, the Académie des Arts et Techniques du Cinéma ("the Academy") is made up of professionals of the film industry and personalities who have come together to reminds us of the eminently collective character of filmmaking, and draw the public’s attention to these professionals whose passion and meticulous skills combine to make cinema so special. It is to serve this aim that each year they reward the artists, technicians and films which seem to them the most outstanding, by awarding a trophy called the "César" (a personalised reproduction of the work specially created for the purpose by the sculptor César when the Academy was founded). 

Profile | Eli Smith (1801-1857)

$
0
0
Mavi Boncuk |
Smith, Eli (1801-1857)

American missionary and orientalist

SmithEli2Smith was born in Northford, Connecticut, and graduated from Yale with a B.A. in 1821. In 1826 he graduated from Andover Theological Seminary, was ordained, and was sent by the American Board of Commissioners for Foreign Missions (ABCFM) to superintend the ABCFM printing press at Malta. Already competent in Greek, Latin, and Hebrew, and having some knowledge of French, German, and Italian, he later learned Turkish and Armenian. Determined to master Arabic, he went to Beirut for language study, returning to Malta in 1827. In 1829 he accompanied Rufus Anderson in exploring mission possibilities in Greece, and in 1830, accompanied by H. G. O. Dwight, he began a 16-month journey of exploration reported in Researches of the Rev. E. Smith and Rev. H. G. O. Dwight in Armenia: Including a Journey through Asia Minor and into Georgia and Persia, with a Visit to the Nestorian and Chaldean Christians of Oormiah and Salmas, 2 vols. (1833). 

While in the United States (1832-1833) he married Sarah L. Huntington, returning with her to Beirut in 1834. Equipped with a new press, Smith quickly began to produce materials in Arabic, including schoolbooks, Scripture portions, a hymnbook, catechisms, translations of religious classics, and his own and other missionaries’ writings. He also published classics of Arabic literature, thereby contributing significantly to the renaissance of Arab culture. Intent on producing works of the highest quality, Smith designed a new typeface which became known as American Arabic. He shared actively in all the business of the mission, preached daily, and made a journey of exploration to Hauran in 1834 and undertook other journeys in 1838 and 1852 with Edward Robinson, who published Biblical Researches in Palestine…, 3 vols. (1841). 

Smith devoted his last ten years to the translation of the Bible into Arabic, a project completed after his death by C. V. A. Van Dyke. Smith lost his first wife in 1836; in 1841 he married Maria Chapin, who died within a year. He then married Henrietta Butler in 1846 and with her had three daughters and two sons. He died in Beirut.

David M. Stowe, “Smith, Levi,” in Biographical Dictionary of Christian Missions, ed. Gerald H. Anderson (New York: Macmillan Reference USA, 1998), 626.

This article is reprinted from Biographical Dictionary of Christian Missions, Macmillan Reference USA, copyright © 1998 Gerald H. Anderson, by permission of Macmillan Reference USA, New York, NY. All rights reserved.

Bibliography

DIGITAL TEXTS

Smith, Eli and Edward Robinson. Biblical Researches in Palestine, and Adjacent Regions. Vol. 1. Boston: Crocker & Brewster, 1841.

_____. Biblical Researches in Palestine, Mount Sinai and Arabia Petraea. Vol. 2. Boston: Crocker & Brewster, 1841.

_____. Later Biblical Researches in Palestine, and in the Adjacent Regions. Vol. 3. Boston: Crocker & Brewster, 1841.

Smith, Eli and H. G. O. Dwight. Researches of the Rev. E. Smith and Rev. H. G. O. Dwight in Armenia. Vol. 1 and 2. Boston: Crocker and Brewster, 1833.

PRIMARY

Smith, Eli. Missionary Sermons and Addresses. Boston: Perkins, 1833.

SECONDARY

Leavy, Margaret R. Eli Smith and the Arabic Bible. New Haven, CT: Yale Divinity School Library, 1993.

_____. “Looking for the Armenians: Eli Smith’s Missionary Adventure, 1830-1831.” Transactions of the Connecticut Academy of Arts and Sciences 50 (1992): 189-275 [contains a useful bibliography].

Missionary Herald 53 (1857): 123-125, 224-229.

PORTRAIT

“Eli and Sarah L. Huntington Smith,” Courtesy, Andover Newton Theological Seminary, Newton Center, MA. All rights reserved.

1915 Maps of Ottoman Empire Era

$
0
0
1915 Ottoman Empire Era maps (in Latin alphabet as sampled in the Mamuret-ul Aziz map) provided to help research for the Atrocities of 1915. Many place names have changed and Ottoman script is sometimes prohibitive.

Mavi Boncuk | Link to Maps PDF

Ottoman Medals Decorations and Ribbons

$
0
0
Mavi Boncuk | 

The service ribbon for a specific medal is usually identical to the suspension ribbon on the medal.



(click on image to view in full size)

The distinction between decorations and orders is somewhat vague, except that most orders imply a membership into a group.  In the case of most Ottoman orders, as with many European orders, that membership was limited in number.  Decorations have no such limitations, and are awarded purely to recognize the merit or accomplishments of the recipient.

Ottoman decorations, like the campaign medals, often came in multiple classes.  In theory, the higher classes represented additional recognition after earning the lower classes.  Unlike the campaign medals, the higher classes were not restricted for officers and high ranking civilians, but in practice the awards of gold Liyakat, Imtiyaz and Sanayi medals was extremely limited.  They would not have been conferred on anyone of lower status without that person simultaneously being given a higher station.  The military medals - the Liyakat and Imtiyaz medals, were awarded in a specific order of precedence.  The lowest was the silver Liyakat, followed by the silver Imtiyaz, then the gold Liyakat and gold Imtiyaz.  The War Medal of 1915 ranked below the silver Liyakat.

Statute ribbons for all of the Ottoman decorations are well documented, but it is not uncommon to find examples where the ribbons have been replaced.  There also appears to have been some substitution during World War I, with the Sanayi medal being awarded in place of the Liyakat.  German medal bars  have been seen with the Sanayi medal planchet suspended on a Liyakat ribbon, with the crossed sabers device of the Liyakat medal attached to the ribbon.

The George Grantham Bain Collection | Orphans of 1915

$
0
0
Mavi Boncuk |
The George Grantham Bain Collection represents the photographic files of one of America's earliest news picture agencies. The collection richly documents sports events, theater, celebrities, crime, strikes, disasters, political activities including the woman suffrage campaign, conventions and public celebrations. The photographs Bain produced and gathered for distribution through his news service were worldwide in their coverage, but there was a special emphasis on life in New York City. The bulk of the collection dates from the 1900s to the mid-1920s, but scattered images can be found as early as the 1860s and as late as the 1930s.
Available online are 39,744 glass negatives and a selection of about 1,600 photographic prints for which copy negatives exist. This represents all of the glass plate negatives the Library holds and a small proportion of the 50,000 photographic prints in the collection. The Library purchased the collection in 1948 from D.J. Culver. (Bain also deposited photographs for copyright during his career; photographs clearly acquired by the Library of Congress through copyright deposit are generally considered outside the scope of the George Grantham Bain Collection.)



Near East relief: Armenian orphans being enloaded in barges from Constantinople, bound for Greece [between 1915 and 1916]

Reproduction Number: LC-USZ62-88620 (b&w film copy neg.)



Like little French soldiers. Some of the children being moved from Turkey to Greece to the American Near East Relief Date Created/Published: [1915 or 1916]

Reproduction Number: LC-USZ62-95909 (b&w film copy neg.)

Two orphans with Near East Relief workers and sailors on board the U.S. cruiser Pittsburgh as guests of the officers for a Christmas party in the Bosporus

Reproduction Number: LC-USZ62-95908 (b&w film copy neg.)

Orphans from the interior of Asia brought to Marathon in Greece by the Near East Relief looking in wonder at the mountains and the sea, as it is the first time they have seen either. [1915 or 1916] 

Reproduction Number: LC-USZ62-95910 (b&w film copy neg.)



Recommended | meagre Turkish, broken English

$
0
0
Link to Blog 
meagre Turkish | broken English A blog about Zeki Müren, the legend of Turkish music.

Sample Blog: Arabesk and Baudrillard- or rather on Zeki Müren and Bülent Ersoy by Oxfordian ethnomusicologist Martin Stokes.[1]

Some quotes: Zeki Müren's Turkish was of an elevated quality, of a kind that has no counterpart in spoken Turkish except in poetic recitation, marked by slight swells and tremors (marking heightened emotion), particular attention to consonants normally swallowed or elided in spoken Turkish, and a tendency to exaggerate the distinction between 'back' and 'front' vowels. Words can indeed be clearly heard throughout Zeki Müren's songs; when they are blurred or violated, this has a clear expressive and dramatic purpose. Here's an interesting draft paper on "Mediterraneanism, Realism and Hypergender"-

Mavi Boncuk |

Martin Stokes[1]

Mediterraneanism, Realism and Hypergender  (Draft)

Is it still possible to talk about gender in Mediterraneanist anthropology and ethnomusicology? Mediterranean gender studies remain closely connected with Oxford social anthropologists' efforts to wrestle with structuralism in the 1950s and 60s, a process that gender in terms of region-wide moral/cosmological binarisms, subsequently characterized as the 'honour and shame complex'. A decade later, this theoretical tradition came under sustained fire from within the British Social Anthropological tradition (structuralism 'colonized' the Mediterranean, reified problematic distinctions between 'public' and 'domestic' across an enormous area, dehistoricized, ignored the performative and material 'work' involved in creating gendered and sexual difference, and occluded women's worlds); not much can be said to be left of it. Rephrased to incorporate sexuality, but not fundamentally reconceptualized, many aspects of this binary thinking have been recycled as hegemony/counter-hegemony or power/resistance, routed through what Marshall Sahlins characterizes, in an acerbic critique, as 'the current Foucauldian-Gramscian-Nietzschean obsession with power ... the latest incarnation of anthropology's incurable functionalism' (1996: 16).

If these two critiques are brought to bear on the discussion of music, gender and sexuality, a number of familiar lines of though become hard to pursue. Arguments about the ways in which music and dance simply reproduce gendered and sexual identities are problematized, since we are confronted with a familiar tautology between representation and social fact which fails to grasp the messy and often inconclusive dynamics of lived cultural experience (c.f. Sugarman 1987). The task of discussing the ways in which musicians negotiate more or less 'honorable' social positions is also considerably complicated. Just how much explanatory significance are we to attribute to moral schemes that we recognize, at some level, as being opaque and performative rather than transparent and descriptive? Do professional entertainers, often stigmatized as moral outsiders in many parts of the Mediterranean world, actually achieve the respectability they apparently cherish, or is this little more than self-delusion, a post-facto effort to rationalize social insignificance and marginality (c.f. Van Nieuwkerk 1995)?

LINK for more...

[1] Martin Stokes is King Edward Professor of Music at the King's College London in the United Kingdom. He has special research interests in ethnomusicology and anthropology, as well as Middle Eastern popular music.

Dr Stokes obtained his DPhil (Ph.D.) from the University of Oxford (1989). He currently studies music and music theory with a particular emphasis on the contemporary Middle East. He returned to Oxford in 2007, having been at the University of Chicago, where he achieved the rank of Associate Professor of Ethnomusicology in the Department of Music,[1] since 1997 and previously at Queen's University Belfast in Northern Ireland. He served as the Administrative Director of the Middle East Ensemble, Javanese Gamelan and the World Music Concert series during his tenure at the University of Chicago. He also filled the role of Director of the Center for Middle Eastern Studies at the University of Chicago from 2003-2007.

Published works

The Republic of Love: Cultural Intimacy in Turkish Popular Music (University of Chicago Press 2010).
The Arabesk Debate: Music and Musicians in Modern Turkey (1992).
Ethnicity, Identity and Music: The Musical Construction of Place (1997) editor.
Nationalism, Minorities and Diasporas: Identities and Rights in the Middle East (1996) co-editor.
"Music and the Global Order" (2004).
"Musical Cosmopolitanism" (2007).

U.S. Scholars Rank the top 2 5International Relations Programs

$
0
0
U.S. scholars rank the top 25 IR programs for undergraduates, master's, and Ph.D.s.
By Daniel Maliniak, Susan Peterson, Ryan Powers, and Michael J. Tierney

RANKINGS NOTES FROM THE IVORY TOWER SURVEY DEMOGRAPHICS

The road to Washington is paved with elite educations. Indeed, for young people hoping to secure jobs in Foggy Bottom, on Pennsylvania Avenue, and elsewhere in the foreign-policy establishment, a key ingredient to success is often a diploma in international relations (IR) from one of America’s top universities. There are debates to be had about this model—how the pipeline can become more affordable, for instance, to ensure greater diversity among government hires. Scholars and policymakers alike rightly agree, however, that language skills, expertise about regions of the world, and other knowledge gleaned in the classroom make for a stronger, more effective corps of foreign-policy wonks. So which schools prepare students best?

The results of the 2014 Ivory Tower survey—a collaboration between FOREIGN POLICYand the Teaching, Research, and International Policy (TRIP) project at the College of William & Mary—provide an insider’s guide. Responses from 1,615 IR scholars drawn from 1,375 U.S. colleges and universities determined rankings for the leading Ph.D., terminal master’s, and undergraduate programs in IR. (The scholars were asked to list the top five institutions in each category.) The survey also quizzed respondents about recent historical events and future policy challenges: Just how plausible is a U.S. war with China, for example, and who was the most effective secretary of state over the past 50 years? (Hint: Neither Condoleezza Rice nor John Kerry.)
All told, the Ivory Tower survey offers a window into how America’s top IR scholars see the world today—and which institutions are effectively nurturing future generations of thinkers and policymakers.

Mavi Boncuk |

Top U.S. Undergraduate Institutions to Study International Relations

  • 1.Harvard University 46.20%
  • 2.Princeton University 39.14%
  • 3.Stanford University 33.02%
  • 4.Georgetown University 28.06%
  • 5.Columbia University 24.37%
  • 6.University of Chicago 19.62%
  • 7.Yale University  18.67%
  • 8.George Washington University 11.39%
  • 9.American University 9.92%
  • 10.University of Michigan 9.49%
  • 11.University of California—Berkele  8.54%
  • 12.Dartmouth College 8.23%
  • 13.University of California—San Diego 7.70%
  • 14.Tufts University 7.07%
  • 15.Cornell University 6.43%
  • 16.Johns Hopkins University 6.12%
  • 17.Massachusetts Institute of Technology 5.06%
  • 18.College of William & Mary 4.54%
  • 19.Swarthmore College 3.48%
  • 20.Williams College 2.95%
  • 21.University of California—Los Angeles 2.85%
  • 22.Brown University 2.74%
  • 22.University of Virginia 2.74%
  • 24.Ohio State University 2.64%
  • 25.Duke University 2.22%

  • Top Master's Programs for Policy Career in International Relations
  • 1.Georgetown University 58.61%
  • 2.Johns Hopkins University 47.76%
  • 3.Harvard University 46.31%
  • 4.Princeton University 33.33%
  • 5.Columbia University 31.21%
  • 6.Tufts University 29.08%
  • 7.George Washington University 26.06%
  • 8.American University 17.11%
  • 9.London School of Economics 13.42%
  • 10.Stanford University 5.37%
  • 11.University of Denver 5.15%
  • 12.University of Chicago 5.03%
  • 13.University of California—San Diego 4.70%
  • 14.University of Oxford 4.47%
  • 15.Yale University 3.91%
  • 16.Syracuse University 3.13%
  • 17.University of California—Berkeley 2.57%
  • 18.University of Cambridge 2.35%
  • 19.University of Pittsburgh 1.79%
  • 20.Massachusetts Institute of Technology 1.68%
  • 21.Monterey Institute of Int’l Studies 1.45%

  • 21.Sciences Po—Paris 1.45%
  • 21.University of Michigan 1.45%
  • 24.Graduate Inst. of Int’l and Dev. Studies 1.12%
  • 24.New York University 1.12%
  • 24.Texas A&M University 1.12%

  • Top Ph.D. Programs for Academic Career in International Relations
  • 1.Harvard University 62.51%
  • 2.Princeton University 53.17%
  • 3.Stanford University 48.76%
  • 4.Columbia University 32.44%
  • 5.Yale University 21.80%
  • 6.University of Chicago 21.37%
  • 7.University of California—San Diego 16.00%
  • 8.University of Michigan 15.68%
  • 9.Massachusetts Institute of Technology 13.43%
  • 10.University of California—Berkeley 12.03%
  • 11.University of Oxford 8.59%
  • 12.Cornell University 7.30%
  • 13.London School of Economics 6.66%
  • 14.Ohio State University 5.48%
  • 15.Georgetown University 5.37%
  • 16.University of Cambridge 4.51%
  • 17.Johns Hopkins University 4.08%
  • 18.George Washington University 3.22%
  • 19.New York University 2.69%
  • 19.University of Wisconsin—Madison 2.69%
  • 21.University of Minnesota 2.26%
  • 22.American University 2.15%
  • 22.Duke University 2.15%
  • 22.University of Rochester 2.15%
  • 25.University of California—Los Angeles 2.04%

In Memoriam | Müzeyyen Senar ( 1918-2015)

$
0
0


On September 26, 2006 it was reported that she suffered a cerebral infarction at her home in İzmir, which paralyzed her left side. In February 2008 it was reported that she had lost her voice.As of 2013, Senar was living with her daughter Feraye Işıl in Bodrum.

Müzeyyen Senar died early in the morning on February 8, 2015. She was hospitalized due to pneumonia prognosis into Ege University Hospital in Izmir. The same day, her body was transferred to Istanbul for funeral service and burial.


She was called "The Diva of Republic". However in 1998 Senar was awarded the "State Artist" Award, which she declined to accept. 


With the initiative of her student, renowned Turkish classical music singer, Bülent Ersoy, an exhibition of photographs of her entitled "Cumhuriyetin Divası: Müzeyyen Senar" ("Müzeyyen Senar, the Diva of the Republic") was held in Ankara on October 29, 2009, the Republic Day of Turkey.



Mavi Boncuk | 

Müzeyyen Senar (July 16, 1918 – February 8, 2015) was a Turkish classical music performer.

Senar was born on July 16, 1918 in the village of Gököz in the Keles district of Bursa Province, in the then Ottoman Empire. She had two elder brothers İsmet and Hilmi. Her mother Zehra had a nice voice and used to sing Senar to sleep. At her age of five, she developed a stutter after returning from a wedding ceremony, perhaps the result of fear, as she recalled. Her speech disorder lasted until adulthood, though, as is usually the case with performers, it did not affect her singing voice. At six years old, knowing most of the popular folk songs by heart, she sang at family gatherings and wedding ceremonies, to which her mother took her. In her early childhood, she ran away from her father's home in Bursa to Istanbul, where her mother lived. Her father had left his wife after a marriage of 25 years.

Senar began her musical career in 1931 by entering the "Anadolu Musiki Cemiyeti" (Anatolia Musical Association) in Üsküdar, where she was educated by kemenche virtuoso Kemal Niyazi Seyhun and oud player Hayriye. The young girl with a voluminous voice attracted the attention of renowned musicians of the era, such as Selahattin Pınar, Sadettin Kaynak, Yesari Asım Arsoy, Lemi Atlı, Şükrü Tunar, Osman Nihat, Sadi Hoşses, Baki Duyarlar, and Suphi Ziya Özbekkan, who gave her their compositions to sing.

After starting to perform at Radio Istanbul of TRT, Senar became well known. In 1933 she debuted on stage in a summer talent show at one of the most important music halls in Istanbul. Later, Senar continued her performances at other renowned music halls. Also in 1933, at the age of sixteen, she sang her first song on 78 rpm record released by (His Master's Voice). More recordings followed later on Odeon Records and other labels. Her singing was also much admired by the founder of the Turkish Republic, Mustafa Kemal Atatürk (1881-1938). On several occasions she gave special concerts in his audience.

Following an offer of Mesut Cemil in 1938, she went to Ankara to perform at the newly established state-owned local radio station. In 1941 she returned to Istanbul to give concerts at various well-known night clubs. In 1947, Senar gave her first concert abroad in Paris, France at Le Lido. With her voice and style, she opened a new era of Turkish classical music. Senar retired from active singing in 1983, appearing in her final show in a popular music hall in Bebek, Istanbul.

In the 1940s Senar played the leading role in the movie Kerem ile Aslı. In the 1960s she was featured in the movies Ana Yüreği and Sevgili Hocam. Her 1976 film, Analar Ölmez is autobiographical. She dubbed Egyptian singer Umm Kulthum's songs in imported Arabic movies with songs specially composed for Turkish release

Berlinale 2015 | Kar Korsanları | Snow Pirates

$
0
0
Mavi Boncuk |  Berlinale 2015 | Films from Turkey


Generation Kplus 
Kar Korsanları | Snow Pirates | Schneepiraten
Turkey 2014, 83 min, Turkish, Kurdish
DIRECTOR: Faruk Hacıhafızoğlu CAST: Taha Tegin Özdemir, Yakup Özgür Kurtaal, Ömer Uluç, Yücel Can, Isa Mastar, Ilker Sır, Oğuzhan Ulukaya, Arda Ilkin Parlak, Figen Oral Cebel, Süreyya Koca, Zeki Aktaş
Winters are hard in eastern Turkey. There is snow, as far as the eye can see and barely a lump of coal to be found for heating, but plenty of soldiers on every corner. It is the 1980s and the effects of the military dictatorship are to be felt everywhere here. But Serhat, Gurbuz and Ibrahim do not seem to be bothered about any of that. During the school holidays they set off with their little wooden sleds through the cold to collect bits of coal from ash heaps for their scattered families. Left to themselves, they somehow get by and pass the time recounting again and again the plots of the few films they know. The authoritarian conditions in their country are as much a part of their existence as are the tricks they employ to survive each day.

Faruk Hacıhafızoğlu’s cinematic debut is a stylistically rigorous portrait of the time of the military dictatorship, seen through the eyes of these boys. Told in static shots and with a sparing use of music he describes his young protagonists’ unswerving sense of optimism. Their inseparable friendship and their courage are stronger than the cold and oppression.


Faruk Hacıhafızoğlu 
Born in Kars, Turkey in 1965, he graduated in agricultural sciences at Akdeniz University in Antalya, Turkey in 1991 and then completed a BA in contemporary media practice at Westminster University in London in 2002. He has worked as a journalist, photographer, producer and director. KAR KORSANLARI is his first film. 

Filmograpy 2014 Kar Korsanları

Türkei 2014 83 Min. · DCP · Farbe 
Regie, Buch: Faruk Hacıhafızoğlu Kamera: M. Türksoy Gölebeyi Schnitt: Orhan Örsman, Ayhan Ergürsel Musik: Mehmet Ünal Sound Design: SertaçToksöz, Yalın Özgencil Ton: Mustafa Bölükbaşı Production Design: Ayla Kanbur Kostüm: Filiz Karaldi Maske: Hülya Karakaş Casting: Aslı Yazır Regieassistenz: Yücel Can, Armağan Lale Produktionsleitung: Halil Erdoğdu Produzent: Faruk Hacıhafızoğlu Ausführender Produzent: Zafer Hacıhafızoğlu 

Darsteller: Taha Tegin Özdemir (Serhat) Yakup Özgür Kurtaal (Gürbüz) Ömer Uluç (İbo) Yücel Can (Deli Durdağı) Isa Mastar (Cesur Cello) Ilker Sır (Yeke Cello) Oğuzhan Ulukaya (Mökgem Cello) Arda Ilkin Parlak (Vedat Abi) Figen Oral Cebel (Serhats Mutter) Süreyya Koca (Vedats Mutter) Zeki Aktaş (Efendi Dede) 

Produktion Kars Film Istanbul, Türkei +90 536 8990747 karsfilm@gmail.com

Berlinale 2015 | Nefesim kesilene kadar | Until I Lose My Breath

$
0
0
Mavi Boncuk | 

Forum
Nefesim kesilene kadar | Until I Lose My Breath

Turkey / Germany 2015, 94 min | Turkish
DIRECTOR: Emine Emel Balcı
CAST: Esme Madra, Rıza Akın, Sema Keçik, Gizem Denizci, Ece Yüksel, Uğur Uzunel, Yavuz Pekman, Pinar Gök, Yavuz Özata.

Serap, a young woman whose mother is no longer around, works in a textile factory in Istanbul. She longs for her father, a lorry driver, to finally make good on his promise and rent a flat for the two of them. In the meantime, she lives with her sister and her husband. She does everything she can to make sure her wish comes true, saving her wages for her father and allowing herself nothing. Her stubborn perseverance almost reverses the standard parent-child relationship. The daughter is the one who cares and provides, looking after her father and giving him money. She chooses to ignore the fact that he always comes up with new excuses and lies and rejects the more realistic picture that her sister paints of him. Although the camera is always with Serap, we only get to know her and her life gradually, as well as how far she is prepared to go for her wish. This piercing tale of a father and daughter is also about the mixed set of feelings that flow together in existential human relationships – longing, neediness, lies, disappointment, illusion and anger – a mix described frequently, yet almost deceptively as love.



Emine Emel Balcı 
Born in 1984 in Turkey. She studied Film and Television at the Mimar Sinan Fine Arts University in Istanbul. After working as an assistant director and screenwriter, she made her first short documentary in 2007. In 2011, Emine Emel Balcı took part in the Berlinale Talent Campus. NEFESIM KESILENE KADAR is her first feature film.

Filmograpy: 
2007 Gölün Kadinlari (Women
of the Lake); 24 Min. 
2008 Bekleyis (The
Waiting); 13 Min. 
2012 Ich liebe Dich; 90 Min.
2015 Nefesim kesilene kadar (Until I Lose My Breath)

Türkei/Deutschland 2015 94 Min. · DCP, 1:1.85 · Farbe Regie, Buch: Emine Emel Balcı Kamera: Murat Tunçel Schnitt: Dora Vajda Ton: Jörg Kidrowski Production Design: Meral Efe Yurtseven, Yunus Emre Yurtseven Kostüm: Manfred Schneider Maske: Nimet Inkaya Produzenten: Nadir Öperli, Prolog Film, Titus Kreyenberg, Unafilm 
Darsteller: Esme Madra (Serap) Rıza Akın (Vater) Sema Keçik (Sultan) Gizem Denizci (Dilber) Ece Yüksel (Funda) Uğur Uzunel (Yusuf) Yavuz Pekman (Schwager) Pinar Gök (Schwester) Yavuz Özata (Ibrahim) 
Produktion:


Prolog Film Istanbul, Türkei +90 533 6617737 nadiroperli@gmail.com 
Unafilm Köln, Deutschland +49 2221 3480280 office@unafilm.de




Berlinale 2015 | Remake, Remix, Rip-Off

$
0
0
Remake, Remix, Rip-Off is on the shortlist of the German Film Awards. The nominations will be announced in May 2015. With the pre-nomination the film is going to be shown at the 65th International Film Festival Berlin’s Lola@Berlinale section.

Mavi Boncuk | LOLA at Berlinale


Remake, Remix, Rip-Off
Germany / Turkey 2014, 96 min, Turkish
Script, Direction; Editing Cem Kaya 
Producer Jochen Laube 
Photography Meryem Yavuz Tan Kurttekin 
Additional Photography Gökhan Bulut Erdal Bilici Aytunç Akad Emrah Yıldırım Christian Coslar Cem Kaya 
Sound Gözen Atila Özkan Coşgun Emrah Yıldırım Gökhan Kırtaş Orçin İnceoğlu 
Assistant Director Gökhan Bulut 
Production Management Istanbul Zümrüt Burul Reşat Fuat Çam Erdal Bilici Cem Öztüfekçi Altan Sebüktekin 
Transcription Sinan Bali Film Research & Assistant Editor Gözen Atila 
Editorial Department ZDF Frank Seyberth Claudia Tronnier 
UFA FICTION Post Production Supervisor Stephan Gehrke Legal Affairs Sascha Gottschalck 
Producer Arda Erkman Assistant Producer Dilay Çakmak 
İstanbul Işık Archive Alican Sekmeç Music ANADOL "Gurbet Bekçisi", 2010 
Produced by UFA Fiction in Co Production with ZDF, Das kleine Fernsehspiel Sommerhaus Filmproduktionen Otomat Cine+ Funded by MFG Filmförderung Baden-Württemberg

In the 60s and 70s Turkey was home to one of the world`s biggest film industries, even though it wasn´t prepared for it. Soon the filmmakers ran out of topics and they began copying scripts and movies from all over the world. Name any Western hit film, there`s a Turkish version to it, be it Tarzan, The Wizard of Oz, The Exorcist, Rambo, Superman or Star Wars. These quickly and low-budget produced look-alike movies were adapted to the taste of local audiences with huge success in the rural Anatolian hinterland. What they lacked in equipment and budget they compensated through excessive use of manpower both behind and in front of the camera: If Luke Skywalker hits one time, Turkish action hero Cüneyt Arkın hits a hundred times – and we know, he means it! 

Cem Kaya grew up with Yeşilçam movies from Turkish video stores in Germany. His documentary illustrates the origin of copy culture of Turkish filmmakers, starting with Yeşilçam until todays television series. Because the Turkish television series market is one of the world's biggest. In Istanbul he met with directing legends, producers, actors and film scientists to capture a glance of the country's tumultuous history of movie making. Remake, Remix, Rip-Off took 7 years in making in which Kaya watched thousands of movies and conducted about a hundred interviews. 

Interview partners Memduh Ün; Kunt Tulgar; Giovanni Scognamillo; Murat Özcan; Yılmaz Atadeniz; Birsen Kaya; Gülçin Uçer; Savaş Arslan; Sabri Demirdöğen; Melih Gülgen; İzzet Günay; Süheyl Eğriboz; İhsan Gedik; Hüseyin Zan; Cüneyt Arkın; Kayhan Yıldızoğlu; Sırrı Elitaş; Erdoğan Kapısız; Nilüfer Aydan; Fikret Hakan; Duygu Sağıroğlu; Aydemir Akbaş; Temel Gürsu; Nuri Alço; Rekin Teksoy; Gökay Gelgeç; Halit Refiğ; Yılmaz Köksal; Canan Perver; Altan Günbay; Süleyman Turan; Çetin İnanç; Fatma Girik; Türkân Şoray; Hülya Koçyiğit; Erol Batıbeki; Çetin Tunca; Metin Erksan; İrfan Atasoy; Selahattin Geçgel; Serhat Köksal; Ezel Akay; Banu Yeğin; Gülizar Çevik; Gülperi Ok; Hakan Gürtop; Ercan Yıldız; Hüseyin Kuzu; Oğuz Gözen; Mehmet Güler; Burçak Evren; Şeref Gür; Mehmet Çelik; Mehmet Çiçekci; Eşref Kolçak; Erdal Bilici; Metin Demirhan. 



INDIEWIRE REVIEW: There's a strong temptation in writing about "Remake, Remix, Rip-Off," considering it's playing at the Göteborg International Film Festival in Sweden, to forge some labored pun about "sweding," a more systematized version of which is essentially what the indigenous Turkish film industry thrived on from the mid-1940s to the late '80s. But Cem Kaya's raucous, heartfelt documentary quickly renders that comparison irrelevant — this is not the ironic recreation of Hollywood classics for consumption by a bunch of hipster kids temporarily embracing a lo-fi approach to mass culture. It's the ethos that was embraced for roughly four decades by what was at one point the fifth largest national film industry in the world that reached untold millions in viewership both at home and through the Turkish diaspora. Still today it exerts a powerful influence in the remaining film and TV infrastructure, and in the nostalgia felt by a new generation of commentators and critics, but perhaps most lasting of all, is its legacy in shaping the storytelling style and tastes of a nation.

It may not have been an ironic movement, but that's not to say there's no irony employed here — devotees of the kitsch, the campy, and the so-bad-it's-insanely-good will find much to tickle them, especially in the witty, lightning-edited compilations of clips from the old films in question. Whether used to illustrate the cheapie approach to location scouting (a compilation of scenes from different films all unfolding against the same waterfall backdrop had our audience howling), or to dubbing (ditto the moment in the crap dubbing montage in which a dog barks a clearly human "woof woof!"), or to soundtracking (the theme tune to "The Godfather" appears to score about 95% of the films), these compilations are an absolute joy.


Even in their stupidest, crassest moments — like the car chase in which we cut from anguished actor to a tiny toy car turning over, or "The Exorcist" rehash, or the sweded "Superman," which begins with a shot of planets that are clearly Christmas tree baubles — they are presented with very endearing sense of affection and creeping admiration. Well-crafted for maximum entertainment value, it's like Kaya's aware that any one of these films might, absent the sheen of nostalgia that one who had grown up with them might have, be just too tedious to sit through for any length of time. So these digestible glimpses give us a frenetic flavor without filling us up, and remain among the freshest, funniest film clip compilations we've seen in ages.


But it's not all just clips — the film also includes substantial interview footage with the directors and actors of the time, which is seldom less than riotously entertaining in its own right. The level of self-awareness the participants have is remarkable and unaffected: the actors shrug off doing their own stunts, recycling their own costumes, and appearing, as one claims, in anywhere from 500-1000 films, while the directors and producers are occasionally more defensive (or even sometimes rueful), but mainly because they're totally aware of their place in the artistic pecking order. Mostly they emerge as roguish self-professed Robin Hoods, stealing from the rich (Hollywood) to give to the less fortunate (rural Turks, themselves). But the unapologetic, mischievous glee with which they recount their extraordinary tales of making-do-and-mending (a diverting sequence showing how to construct a makeshift dolly by nailing bars of soap to the legs of a table and wetting the "tracks" on which it slides, is a masterclass in homespun, practical genius) gives a joyous kind of nobility to their unmistakable rip-offs.

Unmistakable they are, from the story lines to the soundtracks to, occasionally, actual footage, all proudly lifted and mixed and matched from big international imports, with the kind of insouciance that only a culture of non-existent copyright law can breed. In fact, as a couple of critics and bloggers argue persuasively, the very shoddiness of the productions forced their own kind of gonzo creativity, with occasionally quite hypnotic and/or hilarious results, as in the superhero "The Iron Fist," who wears The Phantom's mask but has the Superman logo emblazoned across his chest and the Batman insignia on his belt.

Edited down from the 110-minute cut shown in Locarno, even the film's newly trim 96 minutes does flag in the final section when, after the brimming wit and brio of its first hour plus, the focus shifts and the momentum slows. But it's hard to hold the slackening of pace against Kaya when his intentions are this good, and the results valuable, if not as electric as before. After all the stories of seat-of-the-pants, fly-by-night productions and splicing together photo negatives to make film reels, he finally brings the story of Yeşilçam (the street on which the production houses were located, which therefore gives its name to the whole industry of the period) right up to date. Necessarily more somber, as it approaches events in Taksim Square in 2013, the film traces the end of the Yeşilçam era signaled first by the encroaching competition from adult movies and TV, then by the tentative introduction of copyright regulations, before it's finally given a symbolic full-stop with the sad demolition of the spectacular movie palace that was the Emek cinema.


Kaya spent seven years making his film, and the breadth of his knowledge of his subject (he is the son of Turkish immigrant parents who grew up watching these films as VHS bootlegs that found a huge expat audience in Germany) and his affection for its excesses is palpable. Despite all the illegality, Yeşilçam embodied a kind of innocence that is pretty much gone from this changing world, but "Remake, Remix, Rip Off," while it may bite off a little more than it can comfortably chew, stands a wonderfully fond, funny memorial to a lovably outlaw national film industry and the cowboys, pirates, and celluloid bandits who populated it. [B+]




Word origin | Palto, Kaban, Ceket, Cübbe, Atkı, Kaşkol

$
0
0
A cold spell is all over Tuekey. It is time make a new entry for words that relate to outer wear in Turkish. The question now is...Gogol's  Shinel "Coat" or "Overcoat" sometimes translated as "The Cloak"[*] 

Mavi Boncuk |

Palto: coat EN[1] from FR paletot (plural paletots); oldEN paltock of uncertain origin. A loose outer jacket, cloak, coat, overcoat, greatcoat, three-quarter coat. TR bir tür kısa palto.

Source: [Vartan Paşa, Akabi Hikâyesi, 1851] setrinin üzerinden palto-sako giymiş, pantalon epeyi kısa.

Kaban: kaban [ Meydan-Larousse, 1969]
from FR caban gemici paltosu ~ İt (Sic) cabano/gabbano Arabic ḳabāˀ قباء   önü açık ve çoğu zaman külahlı yün cübbe from Aramaic ḳbāyā קביא.

Persian kabā/ḳabā, Armenian kapa/kapani from gaba կապա/կապանի, IT gabano from Arabic. 7th century oldLatin capa[2] is also Semitic Arabic ˁabā and cubba. 

Ceket: Jacket EN [3] from FR jaquette [dimunitive] kısa ceket from FR jaque bir tür köylü ceketi +ette(= İsp jaco)  IT giacca[*] and giacchetta from Arabic şakk شكّ örme beden zırhı, cevşen Hebrew/ Aramaic şaḳḳ שַׁקּ çuval, çul. jaket "Avrupai cepken" 
Source: [Ahmet Mithat, Paris'te Bir Türk (roman), 1877] Yolda kısa jaket ژاكت insanı yormaz ki? 

[*] La giacca è un indumento tipicamente maschile, che si indossa sopra la camicia (o maglietta) e sotto il cappotto, il giubbotto o l'impermeabile. The jacket is a garment typically male , which is worn over the shirt ( or T shirt) and under his coat , jacket or raincoat .

Cübbe:  from Arabic cubba ͭ جبّة  külahlı entari; from Aramaic gəbāy/ḳəbāy גבי/קבי. [Dede Korkut Kitabı, 400] samur cübbesin egnine aldı

Atkı: scarf EN [4], TTR: atkı "boyuna sarılan kumaş, kaşkol" 
Source:[Mehmet Bahaettin, Yeni Türkçe Lugat, 1924] TR at- +gU. 
Shuttle thread in narrow woven fabric. TTü: atkı "dokuma tezgâhında mekikle enine atılan iplik".
Source:[Ahmet Vefik Paşa, Lugat-ı Osmani, 1876]

Kaşkol: from FR cache-col boyunluk FR cache hide; sakla TR + FR col neck; boyun TR. kaşkol [ Ahmet Rasim, Şehir Mektupları, 1900]


Kepenek: from Mongolian kebenek kalın yünden üstlük. possibly from oldPersian kapā üst giysi, cübbe felt overcoat used by shepherds EN; oldTR: kepenek "aba üstlük, çoban keçesi" [ İbni Mühenna, Lugat, 1300] Source: kepenek [ Dede Korkut Kitabı, 1400] Oğlana kara kepenek geydürmişleridi. Hungarian Szur[5]. Translations into Crimean Turkish:sançmaq



[*] cloak (noun) late 13c., "long, loose outer garment," from Old North French cloque (Old French cloche, cloke) "travelling cloak," from Medieval Latin clocca "travelers' cape," literally "a bell," so called from the garment's bell-like shape (the word is thus a doublet of clock ). An article of everyday wear in England through 16c., somewhat revived 19c. as a fashion garment. Cloak-and-dagger (adj.) attested from 1848, said to be ultimately translating French de cape et d'épée, suggestive of stealthy violence and intrigue.

[1] Coat (noun): early 14c., "outer garment," from Old French cote "coat, robe, tunic, overgarment," from Frankish *kotta "coarse cloth" or some other Germanic source (compare Old Saxon kot "woolen mantle," Old High German chozza "cloak of coarse wool," German Kotze "a coarse coat"), of unknown origin. Transferred to animal's natural covering late 14c. Extended 1660s to a layer of any substance covering any surface. Spanish, Portuguese cota, Italian cotta are Germanic loan-words.

coat (verb): late 14c., "to provide with a coat," from coat (n.). Meaning "to cover with a substance" is from 1753. Related: Coated; coating.

[2] Cape: garment, late Old English capa, cæppe, from Late Latin cappa "hooded cloak" (see cap (n.)). The modern word and meaning ("sleeveless cloak") are a mid-16c. re borrowing from French cape, from Spanish, in reference to a Spanish style.

[3] Jacket (noun): mid-15c., "short garment for men," from Middle French jaquet "short coat with sleeves," diminutive of Old French jaque, a kind of tunic, probably from Jacque, the male proper name, also the generic name of a French peasant (see jacquerie), but possibly associated with jaque (de mailles) "short, tight-fitting coat," originally "coat of mail," from Spanish jaco, from Arabic shakk "breastplate." Iakke "a short, close-fitting stuffed or quilted tunic, often serving as a defensive garment" is attested in English from late 14c., and by c.1400 was being used for "woman's short tunic." Meaning "paper wrapper of a book" is first attested 1894.

[4] Scarf: also known as a Kremer, muffler or neck-wrap, is a piece of fabric worn around the neck, or near the head or around the waist for warmth, cleanliness, fashion or for religious reasons.  Ancient Rome is one of the first origins of the scarf, where the garment was used to keep clean rather than warm. It was called the sudarium, which translates from Latin to English as "sweat cloth", and was used to wipe the sweat from the neck and face in hot weather. They were originally worn by men around their neck or tied to their belt. Soon women started using the scarves, which were made of cloth and not made of wool, pashmina, or silk, and ever since the scarf has been fashionable among women.


[5] Hungarian Szur:The most widespread form of coat-like outer wear is the szűr mantle. Although it has sleeves, in most places the sleeves are not used as such but are sewn up one end so that small utensils may be kept in them (cf. Ill. 37). In some places (Transdanubia), the sleeves became shorter until they atrophied completely. The word szűr itself probably originated from the first syllable of the word szürke (gray), which refers to its earliest colour. The mantle was sewn out of rectangular pieces, further proof of the great antiquity of this article of clothing. The szűr was not worn in Székelyland; instead garments called cedele (Kászon), zeke (Udvarhely), or bámbán (Csíkszék and Háromszék) were worn. These were also made from broadcloth and belong to an ancient type of clothing from south-eastern Europe. 

"...Hungarian sources also refer to Turkish shirts, blouses and chemises. An inventory of 1598 mentions a Turkish shirt among the possessions of a citizen from northern Hungary. Belts of coins were popular with Hungarian nobility in the 17th century. By the late 17th century, the Turkish fashions were giving way to those of western Europe. Still, oriental elements remained until the 18th century in Transylvania. After that, only the Hungarian festival costume retained the Turkish elements. But echos of it can be seen in things like the over sized sleeves of the szur. 
Turkish fashions lasted until the 18th and 19th centuries in the Balkans. "
Source:  RUSSIAN HISTORICAL COSTUMING

Read: The Hungarian Szur | An Archaic Mantle of Eurasian Origin by Veronika Gervers-Molnar (Full Text)

Ali and Nino A Love Story by Kurban Said | Redux

$
0
0
Ali va Nino (Ali and Nino) Azeri (Latin script) 2004
Author listed as Y.V. Chamanzaminli, not Kurban Said
Introduction: Panah Khalilov |Publisher: Sada | Baku| 235 pages| ISBN: 5868742044


Mavi Boncuk | Ali and Nino 

Controversy Notes (Download PDF)

Ali and Nino A Love Story by Kurban Said
IBN 0-385-72040-8


FIRST published in Vienna in 1937, and now back in print after nearly six decades, "Ali and Nino" is a timeless classic of love in the face of war. Kurban Said’s masterpiece is a captivating novel as evocative of the exotic desert landscape as it is of the passion between its two central characters, Ali and Nino. This relatively short book with an epic sweep has been hailed as one of the enduring romantic novels of the century. Often compared to Romeo and Juliet, "Gone with the Wind", "Dr Zhivago" and the story of Laila and Majnu — it is as much a story of love as it is a portrait of two exotic cultures.

Needless to say it is a book that quite like all great literature has a timeless appeal.Set in the years of the Russian Revolution and the rise of the Soviet Union, Said’s tale of an Azerbaijani Muslim boy in love with a Georgian Christian girl is both tender and disturbing.

The novel, begins as Ali Khan Shirvanshir is finishing his last year of high school: "We were a very mixed lot, we forty schoolboys who were having a geography lesson one hot afternoon in the Imperial Russian Humanistic High School of Baku, Transcaucasia: thirty Mohammedans, four Armenians, two Poles, three Sectarians, and one Russian." His beloved Nino, however, is "a Christian, who eats with knife and fork, has laughing eyes and wears filmy silk stockings"— in short she epitomises the best of the West.But in the far away West, there are rumblings of war. When the Russian Revolution begins, Ali Khan chooses not to fight. The Czar’s fate is of little interest to a Muslim living in far away Transcaucasia. But the young man senses that another, greater danger is gathering on his country’s borders. It is that of an "invisible hand" trying to force his world into new ways — the ways of the West. He assures his worried father that, like his ancestors, he is willing to die in battle, but at a time of his own choosing. In the meantime, he courts Nino and eventually marries despite the growing scandal and opposition to the match.
There are cautionary moments in this little chronicle of cultures colliding and a way of life brutally destroyed. But in the end, however, it is not historical accuracy, rather the charm and passion of the title characters that lifts Said’s only novel into literature’s highest ranks.

Standing at the crossroads of Asia and Europe, Baku brings together the East and the West, Muslim and Christian, tradition and modernity — Ali and Nino. Forces more destructive than harsh conventions are gathering on the horizon, and when World War I breaks out, the tranquil oasis of Baku is drawn into a series of events it cannot predict or control. Ali decides not to join his friends in fighting against the Germans for the Czar nor in fighting with the Turks against the Czar. When the Red Army marches into Baku, Ali is forced to choose between his love for his country and his love for Nino, a choice that sets the stage for the novel’s heroic and heartrending conclusion.

In this city where Orient and Occident collide, they are inevitably caught up in the events of World War I and the Russian Revolution. And both must confront the divided world that surrounds them as well as their own deepest needs. With the funamentalist backdrop of recent years and the ethnic and social complexities that have accompanied the collapse of the Soviet Union, "Ali and Nino" has gained an unexpected and echoing topicality, making its remarkable story especially vivid today.

At once an unforgettable tale of love, adventure and personal heroism, "Ali and Nino" has persisted in readers’ memories just as the strange background of its author’s life has continued to perplex all who look into it. While Ali and Nino’s passionate love is at the centre of the book’s events, this novel is more than just a love story. The story takes the readers on a fascinating and remarkably insightful journey to Baku, Tbilisi, the Karabakh, Tehran and the mountains of Dagestan.

The union of Ali and Nino is not just a union of Europe and Asia, as an outsider may rush to conclude, but a union of two of the many distinct and yet related cultures of the Caucasus.

It gives its reader a full picture: of love and passion, of war and revolution, of honour and disgrace and of mountains and deserts. There is the cosmopolitan Baku, the bustling streets of Tbilisi and ailing Tehran; Islam, Christianity, and newly born Bahaism.

Most strikingly, describing Ali’s thoughts, Said speaks of his love for his land — even if that happens to be the dry land around Baku. The attention to detail is stunning and remarkable.

Said reminds his reader about this time and again. Nino is horrified in Tehran, whereas Ali feels out-of-place at a party for the British at his new Baku home and refuses to go to Paris. He tells Nino: "I’d be just as unhappy in Paris as you were in Persia. Let us stay in Baku where Europe and Asia meet."

Laden with symbolism, it talks of tolerance for people, their beliefs and their cultures. It raises questions that we raise as we attempt to define our ever-evolving identity. It is also about the choices we all make as we build our new countries. The events described in this book strangely resemble our own day. The ending is hauntingly tragic, but one that lasts forever: Ali, dies on a bridge in Ganja, a city in northern Azerbaijan, just as his ancestors from the House of Shirvanshir did defending this land. Unlike them, though, Ali dies not fighting in an army of someone else’s empire — but in the ranks of his new country, the first Republic of Azerbaijan.

The book ends with a note written by Ali’s friend Iljas Begh: "Ali Khan Shirvanshir fell at quarter past five on the bridge of Ganja behind his machine gun... The life of our Republic has come to an end, as has the life of Ali Khan Shirvanshir."

About Kurban Said

The life of Kurban Said is surrounded by mystery and is by all accounts a story as exotic as "his" novel.
The authorship of "Ali and Nino" has been the subject of speculation and controversy. What little evidence exists is ambiguous and partially obscured by the Nazi repression surrounding the book’s publication in 1937.

Its mysterious author was recently the subject of a feature in The New Yorker, which has inspired a forthcoming biography. Some believe Kurban Said was the pen name of Essad Bey, which is actually the assumed name of Lev Nussimbaum. Still others argue the book was written by Bey and the Baroness Elfriede Ehrenfels.

Elfriede Ehrenfels was born in 1894 into an illustrious Austrian family. She published one other novel, "The Girl from the Golden Horn," as well as articles, short stories and philosophic works on Plato. Lev Nussimbaum was born in Baku in 1905, the son of a Jewish businessman. He later converted to Islam, reinventing himself as a man of the desert and changing his name to Essad Bey.

Its not clear if the mystery of Said’s true identity will ever be proven. But this amazing book truly belongs to a man named Said — a man who truly knew about love. And whatever Said’s antecedents, "Ali & Nino" will live on in the annals of literature.

"Golden Precipice" (Gizil Uchurum) by Fikrat Aliyev (1980), is a love story set at the same time as the novel, "Ali and Nino".
Азербайджанские фильмы

 
GOLDEN PRECIPICE (Gizil uchurum) Director: Fikret Aliyev. Screenwriter: M.Mirmovsumov. Director of photography: V.Karimov, K.Mammadov. Art director: K.Najafzadeh, A.Abdurakhmanov. Composer: J.Jahangirov. Cast: A.Gadirov, H.Omarova, H.Khanyzadeh, Y.Gabets, M.Sheykhzamanov,H.Turabov, S.Huseynov, Sh.Suleymanov, K.Maharramov, E.Zeynalov, M.Maniyev, M.Avsharov. After the story of the same name of I.Musabayov. The film's about Baku's "Golden century". "Golden Precipice" was produced as a melodrama and has its hero entriced into the realm of big money, only to be battered into becoming a money toy in the hands of fane.One sympartizes with the hero, overpowered by this world of "big oil". 





Chamanzaminli or Nussimbaum

$
0
0
Re posted from 5/1/10

A Mavi Boncuk reader has left a new comment on my seven year old post "About the Life and Works of Essed Bey" which prompted me to give it a new spin. Blog and Learn they say. So true.

Mavi Boncuk |

Ali and Nino: A Love Story is an adventure romance published under the pseudonym Kurban Said. In Azerbaijan this novel has been attributed to Yusif Vazir Chamanzaminli[1], prominent Azeri writer and public figure whose works and life parallel the issues in the novel. The book was first published [2]in German in Vienna in 1937, by E.P. Tal Verlag. An Italian edition, Ali Khan, appeared in 1944 under the name Essad Bey, Nussimbaum's pen name. Strangely, in this edition, Nino is called "Erika," the name of Lev's wife who had ran off with Essad Bey's colleague, Rene Fülöp-Miller, in a scandalous divorce (1935).
This Italian edition was published posthumously under suspicious conditions by Essad Bey's drug dealer Vacca Bello who called himself "Ahmed Giamil Vacca-Mazzara" and tried to prove that he was Essad Bey's only living descendent, and therefore, inheritor of his royalties.

[1] Yusif Vazir Chamanzaminli (12 September 1887, Shusha – 3 January 1943, near Gorky), was an Azerbaijani writer and political figure. After Sovietization, Chamanzaminli left for France where his younger brother Mir Abdulla was studying at the Institut d'Études Politiques de Paris. After Mir Abdulla's sudden death, Chamanzaminli applied for a permission to return to Azerbaijan SSR, and was granted it in 1926. Upon his return, he taught languages at Azerbaijani colleges and translated works of Russian writers into Azeri. He took part in the compiling of the 1934 edition of the Russian-Azeri Dictionary. In 1937 he was laid off for unclear reasons and arrested in 1940. Condemned on fabricated charges, he was exiled to the prisoners camp in the Sukhobezvodnaya station, Nizhny Novgorod Oblast, Russia, where he died three years later.


[2] Azerbaijan International Editor Betty Blair's Note: Since 2004 more research has been carried that shows that Essad Bey (Lev Nussimbaum) did not know a lot about the Caucasus. He invariably copied other people's work or enhanced other people's manuscripts. Ali and Nino is such a book as well. Research shows that the original ideas belong to Azerbaijani writer Yusif Vazir Chamanzaminli and that Essad Bey enhanced passages, particularly sections related to folklore.

Essad Bey is not the core writer of the novel Ali and Nino. The paper trail leads to Chamanzaminli. 


See research to support these statements in Azerbaijan International 15.2-15.4: "Ali and Nino: The Business of Literature. Who Wrote Azerbaijan's Most Famous Novel?"


New Book | Order and Compromise: Government Practices in Turkey from the Late Ottoman Empire to the Early 21st Century

$
0
0
New book for all interested in the history and politics of modern Turkey, including scholars and graduate students in Middle East Studies and historical sociology, as well as policymakers dealing with the region.

ISBN13: 9789004289796 
Expected Date: March 2015 
Illustr.: approx. 410 pp. (with 11 tables) 
Imprint: BRILL 
Main Series: Social, Economic and Political Studies of the Middle East and Asia 


Mavi Boncuk |

Order and Compromise: Government Practices in Turkey from the Late Ottoman Empire to the Early 21st Century

Edited by Marc Aymes, CNRS/CETOBaC, Benjamin Gourisse, Paris-Dauphine University, IRISSO and Élise Massicard, CNRS/CERI



Order and Compromise questions the historicity of government practices in Turkey from the late Ottoman Empire up to the present day. It explores how political and administrative institutions, as well as institutionalised skills deployed by non-institutional characters, are being framed by constant interactions with various social realms. Inasmuch as they order and ordain, state authorities interact and compromise, something which has hitherto been little studied in concrete terms. Thus this work draws on in-depth case studies to analyse state-society relations as a complex and shifting system of positions. Thanks to a synthetic and interdisciplinary conceptual framework, it helps apprehend the morphology and dynamics of public action in Turkey from the late 19th through the early 21st century.

Contributors are: Marc Aymes, Olivier Bouquet, Nicolas Camelio, Nathalie Clayer, Anouck Gabriela Corte-Real Pinto, Berna Ekal, Benoît Fliche, Muriel Girard, Benjamin Gourisse, Sümbül Kaya, Noémi Lévy Aksu, Élise Massicard, Jean-François Pérouse, Clémence Scalbert Yücel, Emmanuel Szurek and Claire Visier.

Biographical note
Marc Aymes[1], PhD (2005), Aix-Marseille 1 University, is a permanent research fellow at the Centre National de la Recherche Scientifique in Paris. His works focus on Mediterranean provincials and forging Ottomans. He currently serves as an editor of the European Journal of Turkish Studies and of the journal Labyrinthe: Atelier interdisciplinaire. His most recent publications include A Provincial History of the Ottoman Empire: Cyprus and the Eastern Mediterranean in the Nineteenth Century (Routledge, 2014).

Benjamin Gourisse, PhD (2010), is an associate professor of political science at Paris-Dauphine University. He is the autor of La Violence politique en Turquie, l’État en jeu (1975-1980) (Karthala, 2014). 

Élise Massicard, PhD (2002), Institut d’Études Politiques (Paris), is a permanent research fellow at the Centre National de la Recherche Scientifique in Paris. Her works focus on the political sociology of contemporary Turkey. She has authored The Alevis in Turkey and Europe (Routledge, 2012) and co-edited Negotiating Political Power in Turkey: Breaking up the Party (Routledge, 2013).


Table of contents

List of Tables and Figures
List of Abbreviations
List of Contributors
Introductory Note
1. Order and Compromise: The Concrete Realities of Public Action in Turkey and the Ottoman Empire, Benjamin Gourisse
2. Defective Agency, Marc Aymes
3. Is it Time to Stop Speaking about Ottoman Modernisation?, Olivier Bouquet
4. The Linguist and the Politician: The Türk Dil Kurumu and the Field of Power in the 1930-40s, Emmanuel Szurek
5. An Imposed or a Negotiated Laiklik? The Administration of the Teaching of Islam in Single-Party Turkey, Nathalie Clayer
6. “The Military Seize the Law”: The Drafting of the 1961 Constitution, Nicolas Camelio
7. Institutional Cooperation and Substitution: the Ottoman Police and Justice System at the Turn of the 19th and 20th Centuries, Noémi Lévy Aksu
8. The State without the Public: Some Conjectures about the Administration for Collective Housing (TOKİ), Jean-François Pérouse
9. Heritage as a Category of Public Policy in the Southeastern Anatolia Region, Muriel Girard, Clémence Scalbert Yücel
10. European Policies to Support “Civil Society”: Embodying a Form of Public Action, Claire Visier
11. The Incomplete Civil Servant? The Figure of the Neighbourhood Headman (Muhtar), Élise Massicard
12. Military Domination by Donations, Anouck Gabriela Corte-Real Pinto
13. Women’s Shelters as State Institutions, Berna Ekal
14. The Socialisation of Those Called up for “Training in the Love of the Motherland” as Part of Military Service in Turkey, Sümbül Kaya
15. Officialdom and the Woman Who Was 'Meant to Be Dead': The Ethnography of an Exfoliation, Benoît Fliche
16. Deceptive Agency, Marc Aymes
Bibliography
Index

[1] asee also: A Provincial History of the Ottoman Empire: Cyprus and the Eastern Mediterranean in the Nineteenth Century by Marc Aymes Routledge, Aug 15, 2013 - History - 240 pages Provincializing the history of the Ottoman Empire, this book provides a critical approach to the projects of ‘modernity’ that took place in the Eastern Mediterranean over the past two centuries. Leaving their mark on this period are; the turmoil of insurgency in Greece and Egypt, a growing intervention of European Powers in Eastern Mediterranean politics, and the unfolding of large reform projects within the administration of the Ottoman Empire. Whilst these developments have prompted enduring debates over Middle Eastern paths of transformation, the case of Cyprus has remained isolated from these discussions, something this book seeks to address. One of the first research monographs to appear in English on Cyprus during the eventful times of the Ottoman ‘long’ 19th century, this book consistently seeks to provide a dialogue between source analyses and theoretical frameworks. Exploring the myriad relationships between this singular locality and the regional – not to say global – dynamics of empire, trade and social change at that time, A Provincial History of the Ottoman Empire will be of interest to students and scholars with an interest in the Middle East and Modern History.

MIT Fall 2007 Course | How to Stage A Revolution

$
0
0
MIT Fall 2007 Course | How to Stage A Revolution

Mavi Boncuk |
 “A revolution is a rapid, fundamental, and violent domestic change in the dominant values and myths of a society, in its political institutions, social structure, leadership and government activity, and policies.” --Samuel Huntington


LINK
Viewing all 3529 articles
Browse latest View live