January 4, 2016, 10:27 am
Mavi Boncuk |
Goad map 1906 | Moda.
Map of St.Joseph and the site east of it that became Kadikoy Maarif Koleji.
Goad maps a.k.a. Goad plans or Goad atlases incorporate detailed street maps including individual buildings and their uses. The maps are named for Charles E. Goad who first produced such things for Fire Insurance companies.Charles Goad was a Civil Engineer who practised in Toronto, Ontario and London, and elsewhere. His major business was the creation of detailed street maps for the inner areas of industrial cities, often as a client of insurance companies. He also produced other larger-area maps e.g. for Ontario.
The Plan d'Assurance de Constantinople (Insurance Plan of Constantinople), issued by Charles E. Goad, a London-based civil engineer, in three volumes between 1904-1906. The fire insurance maps show building footprints, usages, and materials in the city of Istanbul.
Volume I, Stamboul, was published in September 1904. It included sheets 1-20 at 1/600 scale, with a key map, index sheet, and "Explanation of Signs" sheet.
Volume II, Pera & Galata, was published in December 1905. It included sheets 24-30 & 35-45 at 1/600 scale, with a key map and two index sheets.
Volume III, Kadi-Keui, was published in April 1906. It included sheets 51-64 at a 1/1,200 scale, with a key map and index sheet.
Goad maps did not cover Turkish Neighborhoods of Pera.
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Mavi Boncuk | Gilchrist Walker was a shipping agent company of Galata. This map appears to have been given as a keep-sake to help advertise the activities of the company, but also lists the names of the directors: mostly members of the Whittall family.
Goad map showing Gilchrist oil Warehouse (top left) at Cibali by the Golden Horn (Halic).
Parliamentary Papers: 1850-1908, Volume 10 By Great Britain. Parliament. House of Commons. H.M. Stationery Office, 1884 - Great Britain
"on the conditions of unfit mules shipped from Smyrna to port Said."ons
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Mavi Boncuk | Cabinet group photo Jewish family Turkey Foto-Venus 1930s
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January 8, 2016, 11:25 am
Mavi Boncuk | Van der Vin’s book[1] also contains a rather useful map of Constantinople.
1. Wall of Theodosius II 2. Golden Gate 3. Pege Gate (Selymbria Gate) 4. Hagia Sophia 5. Hagii Apostoli 6. Monastery of St. John in Stoudion 7. Church of Mary Peribleptos 8. Monastery of St. Andrew in Krisei 9. Church of Mary of Blachernae 10. Monastery of St. John in Petra 11. Monastery of Pantocrator 12. Church of St. Stephen in Dafne 13. Church of Mary Hodegetria 14. Monastery of St. George of the Mangana 15. Column of Justinian I (Augusteion) 16. Column of Constantine (Forum of Constantine) 17. Column of Theodosius I (Forum Tauri) 18. Column of Arcadius (Forum of Arcadius) 19. Column of Michael VIII 20. Imperial Palace 21. Bucoleon palace 22. Blachernae palace 23. Hippodrome 24. Obelisk 25. Cistern of Philoxenos 26. Aqueduct of Valens 27. Forum Amastrianum 28. Forum of the Bous 29. Lycus Valley 30. Mese
[1] J.P.A. van der Vin – Travellers to Greece and Constantinople. Ancient Monuments and Old Traditions in Medieval Travellers’ Tales (PIHANS 49), 1980. [27 cm, softcover; IX, 751]. ISBN: 90-6258-049-1. Online at the Nederlands Instituut voor het Nabije Oosten – Netherlands Institute for the Near East site
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January 11, 2016, 12:30 pm
Mavi Boncuk |
Federal[1] devlet/ üniter[2] devlet[3].
Devlet: state[3] EN fromAR dawla(t) دولة 1. döngü, deveran, 2. kısmet, talih, baht, 3. servet, 4. iktidar, egemenlik AR dāla دَالَ döndü, dolandı (özellikle felek, kısmet)from Akkadian dālu dönmek; to turn EN
[1] Federal (adj.) 1640s, as a theological term (in reference to "covenants" between God and man), from French fédéral, an adjective formed from Latin foedus (genitive foederis) "covenant, league, treaty, alliance," from PIE *bhoid-es-, from root *bheidh- "to trust" (which also is the source of Latin fides "faith;" see faith).
Secular meaning "pertaining to a covenant or treaty" (1650s) led to political sense of "formed by agreement among independent states" (1707), from use of the word in federal union "union based on a treaty" (popularized during formation of U.S.A. 1776-1787) and like phrases. Also from this period in U.S. history comes the sense "favoring the central government" (1788) and the especial use of the word (as opposed to confederate) to mean a state in which the federal authority is independent of the component parts within its legitimate sphere of action. Used from 1861 in reference to the Northern forces in the American Civil War.
Federation (n.) 1721, "union by agreement," from French fédération, from Late Latin foederationem (nominative foederatio), noun of action from Latin foederare "league together," from foedus "covenant, league" (see federal).
Confederation (n.) early 15c., "act of confederating," from Middle French confédération, from Old French confederacion (14c.), from Late Latin confoederationem (nominative confoederatio), noun of action from confoederare (see confederate). Meaning "states or persons united by a league" is from 1620s.
[2] Unite (v.) early 15c. (transitive), from Late Latin unitus, past participle of unire "to unite, make into one" (transitive), from Latin unus "one" (see one). Intransitive sense from 1610s. Related: United; uniting.
[3] State (n.) : "political organization of a country, supreme civil power, government," c. 1300, from special use of state (n.1); this sense grew out of the meaning "condition of a country" with regard to government, prosperity, etc. (late 13c.), from Latin phrases such as status rei publicæ "condition (or existence) of the republic." c. 1200, "circumstances, position in society, temporary attributes of a person or thing, conditions," from Old French estat "position, condition; status, stature, station," and directly from Latin status "a station, position, place; way of standing, posture; order, arrangement, condition," figuratively "standing, rank; public order, community organization," noun of action from past participle stem of stare "to stand" from PIE root *sta- "to stand" (see stet). Some Middle English senses are via Old French estat (French état; see estate). The Latin word was adopted into other modern Germanic languages (German, Dutch staat) but chiefly in the political senses only. Meaning "physical condition as regards form or structure" is attested from late 13c. Meaning "mental or emotional condition" is attested from 1530s (phrase state of mind first attested 1749); colloquial sense of "agitated or perturbed state" is from 1837.
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January 15, 2016, 7:00 am
Foreign Language Film nominations[*] for 2015 are being determined in two phases.
The Phase I committee, consisting of several hundred Los Angeles-based Academy members, screened the original submissions in the category between mid-October and December 14. The group’s top six choices, augmented by three additional selections voted by the Academy’s Foreign Language Film Award Executive Committee, constitute the shortlist. Although a Los Angeles theatrical release is not required for eligibility for the Best Foreign Language Film Award itself, it is a prerequisite for consideration for Academy Awards in other categories.
The shortlist will be winnowed down to the category’s five nominees by specially invited committees in New York, Los Angeles and London. They will spend Friday, January 8, through Sunday, January 10, viewing three films each day and then casting their ballots.
The 88th Academy Awards nominations will be announced live on Thursday, January 14, 2016, at 5:30 a.m. PT at the Academy’s Samuel Goldwyn Theater in Beverly Hills.Mavi Boncuk |
France, "Mustang,"[1] Deniz Gamze Ergüven, director;Colombia, "Embrace of the Serpent," Ciro Guerra, director;Denmark, "A War," Tobias Lindholm, director;Hungary, "Son of Saul," László Nemes, director;Jordan, "Theeb," Naji Abu Nowar, director.
[1] Mustang Directed by Deniz Gamze Ergüven (PG)
Five young sisters living in a coastal Turkish village on the Black Sea are placed under the tyrannical regime of traditional morality by their guardians, in the poignant, award-winning first feature by Turkish director Deniz Gamze Ergüven.
The feature debut of Turkish filmmaker Deniz Gamze Ergüven is a sensitive and powerful portrait of sisterhood and burgeoning sexuality. In a remote Turkish coastal village on the Black Sea, five young sisters live under the guardianship of their grandmother and uncle after the deaths of their parents. When a neighbour witnesses the girls innocently playing on the beach, she reports this "scandalous" behaviour to their guardians, who institute a tyrannical regime of both physical and emotional imprisonment. All "instruments of corruption" and pop-culture artifacts are removed from the house, girly outfits are replaced with formless brown dresses, and, following a brief escape to an all-female soccer match, bars are installed on the windows and gates erected at the home's entrance. As the eldest sisters are subjected to virginity tests and married off one by one, the younger sisters look on in fear and resolve not to succumb to the same fate. Co-written by Ergüven and noted writer-director Alice Winocour (Disorder), Mustang is "[a] beautifully mounted debut … the director proves especially skilled with her cast of newcomers[,] whose powerful individualism as well as their vibrant bond together are perfect vessels for the script's message" (Variety).
CreditsDirector(s):Deniz Gamze ErgüvenRating:PGLanguage:TurkishYear:2015Country:Turkey/France/Germany/QatarRuntime:94 minutes
[*] The Academy Award for Best Foreign Language Film is one of the Academy Awards of Merit, or Oscars, handed out annually by the U.S.-based Academy of Motion Picture Arts and Sciences (AMPAS). It is given to a feature-length motion picture produced outside the United States of America with a predominantly non-English dialogue track.
When the first Academy Awards ceremony was held on May 16, 1929 to honor films released in 1927/28, there was no separate category for foreign language films. Between 1947 and 1955, the Academy presented Special/Honorary Awards to the best foreign language films released in the United States. These Awards, however, were not handed out on a regular basis (no Award was given in 1953), and were not competitive since there were no nominees but simply one winning film per year. For the 1956 (29th) Academy Awards, a competitive Academy Award of Merit, known as the Best Foreign Language Film Award, was created for non-English speaking films, and has been given annually since then.
Unlike other Academy Awards, the Best Foreign Language Film Award is not presented to a specific individual. It is accepted by the winning film's director, but is considered an award for the submitting country as a whole. Over the years, the Best Foreign Language Film Award and its predecessors have been given almost exclusively to European films: out of the 67 Awards handed out by the Academy since 1947 to foreign language films, fifty-five have gone to European films,[2] six to Asian films,[3] three to African films and three to films from the Americas.
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January 15, 2016, 12:53 pm
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IRANICA LINKAkhtar : A Persian Language Newspaper Published in Istanbul and the Iranian Community of the Ottoman Empire in the Late Nineteenth Century by Lawrence, Tanya E [1]Libra Kitap, Istanbul, 2015.
ISBN 10: 6059022189 ISBN 13: 9786059022187
By the second half of the nineteenth century Istanbul had become an important social and political environment for many Iranian activists and politicians who had been exiled from Iran. This community formed a highly active opposition base involved in Iranian politics from abroad. Although a certain amount of background material can be found in the literature concerning this community, no significant work has yet been carried out on its impact on political, social and literary reform in Iran. The publication of Akhtar from Istanbul is but one of the many agents of change that was a product of the Iranian colony in Istanbul. The present work is a preliminary investigation of the Iranian community of Istanbul in the late nineteenth century as studied through the lens of the offices of Persian-language newspaper Akhtar.
Mavi Boncuk |
Sample Article
AḴTAR newspapera Persian newspaper published in Istanbul, 1876 to 1895-96.
AḴTAR, a Persian newspaper published in Istanbul by Āqā Moḥammad-Ṭāher Qarāǰadāgī (or Tabrīzī) beginning on 16 Ḏu’l-ḥeǰǰa 1292/13 January 1876. For many years Aḵtar appeared weekly, and from time to time even more frequently. The first Persian newspaper to be published outside Iran, it was also one of the few to be printed with movable type, and soon acquired a wide reputation as a well-written periodical of moderate views. Among its well-known contributors were Mīrzā Āqā Khan Kermānī, Shaikh Aḥmad Rūḥī, and Mīrzā Mahdī Tabrīzī. E. G. Browne, writing in 1888, described it as “the only Persian newspaper worth reading.” Its main field of interest was politics and social conditions, and in spite of its moderate tone and the fact that Āqā Moḥammad-Ṭāher had originally started it at the suggestion of an Iranian diplomat in Istanbul, Mīrzā Naǰaf-qolī Khan, it soon attracted unfavorable notice in government circles in Tehran and came under attack by government-sponsored newspapers there. In 1313/1895-96, doubtless as a result of diplomatic representations, it was suppressed by the Ottoman government, and did not reappear. According to E. G. Browne, Āqā Moḥammad-Ṭāher was still living in 1914.
Bibliography:M. S. Hāšemī, Tārīḵ-eǰarāyed va maǰallāt-e Īrān I, pp. 63-65.E. G. Browne, Press and Poetry, pp. 17-18, 36-37.(L. P. Elwell-Sutton)Originally Published: December 15, 1984Last Updated: July 29, 2011This article is available in print.Vol. I, Fasc. 7, p. 730Cite this entry:L. P. Elwell-Sutton, “Aktar newspaper,” Encyclopædia Iranica, I/7, p. 730; an updated version is available online at http://www.iranicaonline.org/articles/aktar-2-persian-newspaper (accessed on 13 May 2014).
See also: ĀQĀ KHAN KERMĀNĪ(1854-55 to 1896), Iranian writer and intellectual, and an outstanding example of a first-generation secular nationalist. His main goal seems to have been the upholding of reason and modern science, both of which he viewed as directly and unavoidably opposed to religion. His lifetime struggle was in the name of Iran rather than Islam, which he came to blame for the political downfall and cultural decline of the Iranians.
[1] I graduated from Jesus College, Oxford in 2009 where I read Persian with Islamic Studies. During the course of my undergraduate degree, I spent eighteen months in Iran studying Persian language and literature. I obtained my M.A. in History from Boğaziçi University, Istanbul and wrote my dissertation on the late nineteenth century Persian language newspaper Akhtar which was published by the Iranian community in Istanbul. I will be spending the 2014-2015 academic year in Istanbul and Tehran carrying out archival research towards my dissertation.
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January 19, 2016, 10:39 am
FORUM 2016: MAKING EXPERIENCE TANGIBLE
The 46th Berlinale Forum will show a total of 44 films in its main programme, of which 34 are world premieres and nine international premieres. This year’s Special Screenings will be announced in an additional press release.
One regional focus of this year’s programme is the Arab region. Films shot by often young directors from an area that stretches between Egypt and Saudi Arabia explore both the past and present of their homelands.
Mavi Boncuk |Toz bezi (Dust Cloth) by Ahu Öztürk, Turkey / Germany – IPturkey 2014, 35mm, 100’, colour
director Ahu Öztürk script Ahu Öztürk production Ret Film, Çiğdem Mater, Nesra Gürbüz, Sofyalı Sok. Hamson Apt. 20/7 Asmalımescit Beyoğlu 34430 Istanbul T +90 532 291 1211 cigdemmater@gmail.com
Producers Nesra Gürbüz[1], Çiğdem Mater[2] (Ret Film), Co- producers Marie Gutmann (Meroe Film), Stefan Gieren (Storybay)
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Nesrin (30) and Hatun (37) lead very similar lives, shuttling back and forth between Istanbul’s slums and the bright lights of the city. Both are cleaning women whose daily routine takes them out of their own homes to the private space of another and back again. Nesrin lives in a one-room home the floor below Hatun. While trying to find her husband who has left her, she dreams of a better life for her daughter, Asmin (5). As for Hatun, she finds escape from her obligatory marriage to waiter Şero (45) and their unpromising son, Oktay (13), in Asmin, the daughter she never had. She also dreams of buying a house like the ones she cleans and, with no security or benefits in her job, saves obsessively to this end. Trailing between their own impoverished world and that of the middle or upper-class, Hatun and Nesrin are confronted with many crucial issues from identity to class and being a woman to perceptions of good and bad - but they give little thought to them.
Ahu Öztürk (Istanbul, 1976) studied philosophy and cinema. In 2004, she directed her first documentary, Chest. In 2009, she took part in the Festival on Wheels inspired ‘Tales from Kars’ project, directing the short film, Open Wound. This film has since been shown at numerous international film festivals, among them Rotterdam, Istanbul, Jerusalem, Sarajevo and Beirut. Her first feature film project Dust Cloth has been selected to Istanbul Film Festival, Meetings on the Bridge, and won the CNC award. It also received the EAVE Producers’ award at the Sarajevo Film Festival, CineLink. Dust Cloth was one of the three projects that have been selected to Holland Film Meeting. It also received the Ministry of Culture Production support in November 2012.
Nesrin (30) and Hatun’s (37) lives are like a railcar wagon riding between poor ghettos of Istanbul and the glamour of the city. These two cleaning ladies’ routine consists of leaving their homes to go to somebody else’s house, cleaning its intimate area and coming back home again. Nesrin lives with her daughter Asmin (5) in a house of only one room on the ground floor of Hatun’s flat, trying to find her run-away husband and dreaming of a better life for her daughter. Asmin is like an escapeway –a daughter that she never had– for Hatun, to get away from her marriage with waiter Şero (45) she feels she is obliged to continue and her notso-promising son Oktay (13)-. And she dreams of buying a house like the one she works in. Working without social security assurance, Hatun is obsessed with saving money. While working in middle to upper-middle class houses, they witness many vital issues but they don’t think much on them. One day, money left under the carpet for testing her annoys Nesrin, another day Hatun, feeling no offence wears her poor clothes in combination with the old clothes given by the hostess. Asmin witnesses a remote life in the houses she goes with her mother. Although they make fun, with a slight touch of grudge, of the middle-class arrogance made evident to them even in the houses they are treated well, Hatun and Nesrin don’t care for moving to a higher class. Except for Hatun’s dreams of buying a house. The relationship between Hatun and Nesrin is more of sisterhood rather than being merely neighbours, though their friendship involves a hierarchy within the same social class they belong to. While Hatun abstains from loaning money to Nesrin, Nesrin becomes more frustrated with life, and one day, with a bold decision she makes, she goes away and leaves Asmin behind. Time passes by and no news come from Nesrin or Cefo. Hatun includes Asmin into her family until theday Nesrin’s sister comes and takes her away. After a while, Hatun desperately goes to Nesrin’s sister and says that she wants Asmin to live with Şero, Oktay and herself. Nesrin’s sister accepts this request in silence. Now in the absence of Nesrin, life for these four persons continues same as before and all over again.
DIRECTOR’S NOTE
It was one of the clearest memories of my childhood. We came to Istanbul to visit our relatives. First stop was my aunt and, one day, she and I made a long journey through the city from her one-roomed flat to a three-roomed one. This was the first time that I became acquainted with the intimate areas of the middle class. As my aunt was cleaning the house, I touched the objects I had never seen before; I was astonished. We were alone; I felt that I was so close to everything, I could even lie on the bed, but there was an imaginary wall which prevented me from doing this. It represented a distance I knew intuitively from my indigent life. Being annoyed of this distance, my mom gave me a secret when we were back home. The secret was that my aunt was a cleaning lady and I should not tell this to anyone. Following my leftist college years, the first indication of carrying that secret was my class resentment. Afterwards, when I started working, conversations of my colleagues about their problems with their cleaning ladies reminded me of this feeling again. They hired a cleaning lady because they saw this as a symbol of the class that they wish to belong and these long conversations were the highlights of this mentality.
So, where was I? Two years ago, when another cleaning lady relative of us came to visit us and said that she is a Circassian, I was shocked. I knew that this woman whose mother had died without speaking any language other than Kurdish, was staying in front of me like a surreal character without being defeated to any rational explanation. This helped me understand that the Kurdish identity can be experienced very differently in Turkey and the point that we can touch upon reality is hidden in this heterogeneity. I thought a lot about my desire to narrate this story of my aunt. First, I made sentences from its cultural, political, ethical points of view. After all of these, what I reached deep down was shame. I was not ashamed of these women of my family; I was ashamed of the feeling of shame.
So I decided to write the story, knowing that it is the only way of recovery. I tried to build my characters from within the heterogeneity of categories like gender, ethnicity and poverty, because I believe that these belongings and pieces of identities cannot refer to a homogenous category. Generally, the film’s dramatic flow will proceed in parallel with these two women’s ambiguous and contradictional struggle to impose a meaning to their lives and their subaltern situations. Their struggle to hold and scrabble with open wounds, their controversies with the society and with themselves and their confrontations / non-confrontations settled on the main axis of the film. The cyclical existence of subalternity finds its place in the hierarchy between Nesrin and Hatun. As such, the borders between Nesrin’s strategy of life – which is on the edge of the edge – and that of Hatun’s, as well as the borders between them and their higher class fellows, became clear. I will use hand-held camera to show our characters’ poor, ambiguous and sometimes suffocating worlds and a fixed camera in the houses they go cleaning, which will be like a furniture recording from the place it stands.
I believe that this technique can help visualization of the distance the film tries to narrate. Scenes will be short sequences and cuts in order to show the rush of everyday life. The glamour of the houses they go for cleaning will contradict with the matchless darkness and stuffiness of their shanty houses. Ultimately, I want to make this film in order to get over my burden of shame and attempt at bringing into view poverty, which I do not belong to anymore, and subalterns, who are literally invisible.
[1] Nesra Gürbüz studied international relations and cultural studies. Between 2010-11, she was the production coordinator of Armenia Turkey Cinema Platform’s “Films Beyond Borders”. She worked as executive producer of the 3 films made within the scope of the Platform. She works in Anadolu Kültür as project coordinator.
[2] Çiğdem Mater studied film and media sociology. She worked for the international media including ABC News, ARTE and Los Angeles Times. She was the program coordinator for Anadolu Kultur. She was the associate producer of ‘Majority’ by Seren Yüce. Mater is the coordinator of Armenia Turkey Cinema Platform since 2009.
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January 19, 2016, 2:48 pm
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January 20, 2016, 10:26 am
Mavi Boncuk |
Zibidi: fancy[1], artsy (fine, elegant, ornamental[2]) EN fromFA zībīdī زيبيدى süslü, yakışıklı zībīdan زيبيدن süslemek, yakışmak Persian:zīb زيب süs, güzellik TR; bautify with ornamentation EN.eccentric (adj.)[3]
[1] fancy (n.) mid-15c., fantsy "inclination, liking," contraction of fantasy. It took the older and longer word's sense of "inclination, whim, desire." Meaning "the productive imagination" is from 1580s. That of "a fanciful image or conception" is from 1660s. Meaning "fans of an amusement or sport, collectively" is attested by 1735, especially (though not originally) of the prize ring. The adjective is recorded from 1751 in the sense "fine, elegant, ornamental" (opposed to plain); later as "involving fancy, of a fanciful nature" (1800). Fancy man attested by 1811.
[2] ornamental (adj.) 1640s, partly formed in English from ornament (n.) + -al (1); partly from Latin ornamentalis, from ornamentum.
ornament (n.) early 13c., "an accessory," from Old French ornement "ornament, decoration," and directly from Latin ornamentum "apparatus, equipment, trappings; embellishment, decoration, trinket," from ornare "equip, adorn" (see ornate). Meaning "decoration, embellishment" in English is attested from late 14c. (also a secondary sense in classical Latin). Figurative use from 1550s.
ornate (adj.) early 15c., from Latin ornatus "fitted out, furnished, supplied; adorned, decorated, embellished," past participle of ornare "adorn, fit out," from stem of ordo "order" (see order (n.)). Earliest reference is to literary style. Related: Ornately; ornateness.
[3] eccentric (adj.) 1550s, from Middle French eccentrique and directly from Medieval Latin eccentricus (noun and adjective; see eccentric (n.)). Of persons, figurative sense of "odd, whimsical" first recorded 1620s. "Eccentric is applied to acts which are the effects of tastes, prejudices, judgments, etc., not merely different from those of ordinary people, but largely unaccountable and often irregular ..." [Century Dictionary].
eccentric (n.) early 15c., "eccentric circle or orbit," originally a term in Ptolemaic astronomy, "circle or orbit not having the Earth precisely at its center," from Middle French eccentrique and directly from Medieval Latin eccentricus (noun and adjective), from Greek ekkentros "out of the center" (as opposed to concentric), from ek "out" (see ex-) + kentron "center" . Meaning "odd or whimsical person" is attested by 1817 (S.W. Ryley, "The Itinerant, or Memoirs of an Actor"). June 4 [1800].--Died in the streets in Newcastle, William Barron, an eccentric, well known for many years by the name of Billy Pea-pudding. [John Sykes, "Local Records, or Historical Register of Remarkable Events which have Occurred Exclusively in the Counties of Durham and Northumberland, Town and County of Newcastle Upon Tyne, and Berwick Upon Tweed," Newcastle, 1824]
eccentricity (n.) 1540s, of planetary orbits; 1650s, of persons (an instance of eccentricity); 1794, of persons (a quality of eccentricity); from eccentric (adj.) + -ity or from Modern Latin eccentricitatem, from eccentricus. Related: Eccentricities.
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January 21, 2016, 5:50 am
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Mustafa Vehbi Koc, chairman of Turkey’s biggest group of companies, died[1] at a hospital in Istanbul on Thursday after a heart attack. He was 55. Koç Holding said in a statement that funeral prayers for Koç would be performed at Teşvikiye Mosque on Jan. 24 and that he would be laid to rest in the family grave at Zincirlikuyu Cemetery.
He is survived by his wife Caroline and two daughters. He has two brothers, Ali and Omer.
The condolences would be accepted at Divan Hotel in Istanbul’s Taksim neighborhood for a week between 4 p.m. and 7 p.m.
Mavi Boncuk |In Memoriam | Mustafa Vehbi Koç (b. 1960 istanbul - d. January 21, 2016 istanbul)
President Erdoğan had hosted Mustafa Koç and Ali Koç at the presidential palace in Ankara on Jan. 20, according to presidential sources. Koç was planning on the afternoon of Jan. 21 to fly to Zurich and Davos, where he was due to speak at the HeForShe event calling for gender equality.
Koc, the eldest grandson of Koc Holding AS[2] founder Vehbi Koç[3], has been the chairman of the group, whose 2014 sales of $31.3 billion accounted for about five percent of Turkey’s gross domestic product, since 2003, when he took the post from his father Rahmi Koc.
[1] Mustafa Koç, the chairman of Turkey's largest conglomerate, died of a heart attack on Jan. 21, the Vehbi Koç Foundation American Hospital in Istanbul has announced. He had been brought to Istanbul’s Beykoz State Hospital on the morning of Jan. 21. Koç was later transferred to the Vehbi Koç Foundation American Hospital (Amerikan Hastanesi), which his family owns, by helicopter. The Beykoz State Hospital had said Koç suffered a heart attack while exercising. First aid was provided by his bodyguard and exercise coach and he had been resuscitated at the hospital, it added. Mustafa Koç recently underwent weight loss surgery, and also had a history of heart problems. He underwent heart surgery in 2002, when three veins leading to his heart were opened with stents. The condition was noticed during a medical examination in the United States.
[2] Mustafa Koc’s term as chairman saw several landmark deals to expand the group’s business. They included the takeover of 51 percent of Tupras Turkiye Petrol Rafinerileri AS, the country’s sole crude oil refiner, from the government for $4.1 billion in 2005, and the purchase of 57 percent of lender Yapi Kredi Bankasi AS from Cukurova Holding AS for $1.5 billion, a deal it undertook in partnership with Italy’s Unicredit SpA in 2004.
The Istanbul-based conglomerate, founded in 1926 in Ankara, also has joint ventures with Fiat SpA in auto producer Tofas, and with Ford Motor Co. in Ford Otomotiv Sanayi AS. The group owns dozens of other companies including Turkey’s biggest home appliances maker Arcelik AS, heavy and military vehicles manufacturer Otokar Otomotiv ve Savunma Sanayi AS, liquefied gas producer Aygaz AS, and food producer Tat Gida Sanayi AS. Koç Holding made around 45 percent of Turkey’s car production and 43 percent of the country’s total car exports. Its share in the country’s total exports is around 10 percent. January/21/2016
Mustafa Koc completed his high school at the Lyceum Alpinum Zuoz in Switzerland. He graduated from the business school at George Washington University in Washington D.C. in 1984. He worked at several Koc Holding companies including Tofas and Ram Foreign Trade before joining the holding company. [3] Vehbi Koç was born on July 20, 1901, in Ankara and died on February 25, 1996, in İstanbul. In 1926, he married Sadberk, the daughter of his aunt on his mother's side. Starting in trade at a very young age, he built up a broad net of companies, and founded Koç Holding in 1963. He became the richest person in Turkey. His son Rahmi Mustafa and his three daughters, Semahat, Sevgi and Suna, succeeded him.
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January 21, 2016, 9:07 am
World Premiere of AUF EINMAL, Asli Özge's first German language feature film, at Berlinale Panorama[1] Special.
Mavi Boncuk |
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Auf Einmal | All of a Sudden, 2015, German FeatureProduction: (Fabian Massah) EEE FILM (DE), HAUT ET COURT (FR), TOPKAPI FILMS (NL)info@topkapifilms.nl | 0031 (0)20 303 2494 Directed by: Asli Özge[1]; Screenplay by: Asli Özge; Cinematography by: Emre Erkmen; Sound design by: Jan Schermer
Cast: Sebastian HülkKarstenJulia JentschLauraHanns ZischlerKlausSascha Alexander GeršakAndrejLuise HeyerJudithLea DraegerCaroNatalia BelitskiAnnaChristoph GawendaStephanAtef VogelAnwaltSimon EckertFlorian
StorylineDue to the immense profound effects of an accidental event, Karsten gets confronted with his own weaknesses and fears and starts to question his presumably stable life. Sebastian Hülk ("The White Ribbon", "October November"), Julia Jentsch ("The Chosen", "Sophie Scholl"), Hanns Zischler ("Munich") and Sascha Gersak ("Five Years life ") in the leading roles.
Emre Erkmen, Julia Jentsch, Regisseurin Asli Özge, Sebastian Hülk, Produzent Fabian Massah.
[1] Artistic vision versus commercial interests? The Panorama defines its mission as building bridges. Here, the target audience explicitly includes film buyers.
In the Panorama programme one finds new films by renowned directors, debut films and new discoveries. The selection of films provides insight on new directions in art house cinema. Traditionally, Auteur Films – movies with an individual signature – form the heart of the programme.
All films in Panorama celebrate their world or European premiere. At press conferences and audience discussions after the screenings, journalists and moviegoers get a chance to exchange views and discuss the films with directors, producers and actors.
[2] Born in Istanbul in Turkey in 1975, Asli Özge has lived in Berlin since 2000. Her feature debut MEN ON THE BRIDGE screened in Locarno and Toronto and won Best Film awards at festivals in Istanbul, Adana, Ankara and London. It screened at around 40 festivals across the world and secured an international cinema release. LIFELONG is her second feature film. FILMOGRAFIE 2000 Capital C, short · 2003 Little bit of April · 2005 Hesperos’ Apprentices, documentary · 2009 Men on the Bridge · feature film2013 Hayatboyu · feature film2015 Auf Einmal | All of a Sudden · feature film
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January 21, 2016, 9:33 am
Kosmos
Mavi Boncuk | Best 10 Turkish Films of the Decade selected by Filmloverss.None being box office hits. Winter Sleep by Ceylan (135 prints for 304 000 tickets) Did you see any.
1- Kosmos Directed by: Reha Erdem2- Kış Uykusu Directed by: Nuri Bilge Ceylan3- Jin Directed by: Reha Erdem4- Bir Zamanlar Anadolu'da Directed by: Nuri Bilge Ceylan5- Sen Aydınlatırsın Geceyi Directed by: Onur Ünlü6- Nar Directed by: Ümit Ünal7- Gözetleme Kulesi Directed by: Pelin Esmer8- Babam ve Oğlum Directed by: Çağan Irmak9- Takva Directed by: Özer Kızıltan10- Kusursuzlar Directed by: Ramin Matin
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January 21, 2016, 9:49 am
Mavi Boncuk | YEARNING | HASRET | Director: Ben Hopkins[1] / Screenwriter: Ben Hopkins, Ceylan Ünal Hopkins / DOP: Jörg Gruber / Editor: Levent Çelebi / Original Music: Efe Akmen / Cast: İsa Çelik, Serhat Murat Saymadı, Bilge Güler, Ben Hopkins / Producer: Mustafa Dok, Hans Geissendörfer, Marsel Kalvo / Production Co.: Bredok Film Production, Geissendörfer Film- Und Fernsehproduktion Kg (Gff), Mars Production, Zeytin Film / World Sales: Bredok Film Production / Turkey, Germany / 2015 / DCP / Colour and B&W / 82´ / Turkish, German, English; English s.t.
A small film crew arrives in Istanbul from Germany. They have been commissioned to make a film about the city for a small TV channel. One day, in the cutting room, spooling through the footage, the director notices that some shapes and figures are there which he had not seen on the actual day of filming–it seems that his camera had picked up the presence of ghosts. Obsessed about capturing these ghosts, the director passes through this journey from daylight to darkness, from the living city to the city of the past, many aspects of life in Istanbul are touched upon: the destruction and renovation of old neighbourhoods, immigrant workers, resistance to the government, the many diverse religions and communities living in the city, the peculiarly melancholy essence of Istanbul. “There are millions of Istanbuls. Everyone living there has their own version of the city; every visitor finds their own Istanbul. And then, there are the Istanbuls of the past, of the dead. The Istanbul of ghosts. The Istanbul of memory. This is a film that begins as a record of modern, present-day Istanbul.” – Ben Hopkins
[1] Ben Hopkins (born 1969) is a British film director and screenwriter. His 1999 film Simon Magus was entered into the 49th Berlin International Film Festival. His 2008 film, The Market: A Tale of Trade (Turkish: Pazar: Bir Ticaret Masalı) won awards at film festivals in Locarno, Ghent and Antalya, where it was the first film directed by a foreigner to win an award in the national competition.
Selected filmographySimon Magus (1999)the Nine Lives of Tomas Katz (1999)The Market: A Tale of Trade (2008)
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January 22, 2016, 7:14 am
Syriac today is the liturgical language of a few Christian communities, belonging to various churches. The churches of the Syriac tradition are: The Syriac Orthodox Church, The Assyrian Church of the East, The Maronite Syriac Church, The Chaldean Catholic Church, The Syriac Catholic Church, and the various churches of the St. Thomas Christians in India.
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Syriac, the slightly archaizing Eastern Aramaic dialect of the city of Edessa (Orhāy, ar-Ruhā, Urfa), is the most important Aramaic dialect used by Christians. It is the earliest and basic language of Oriental Christianity and was spoken by the large number of Christians living under Sasanian rule. The literature written in Syriac is by far the largest and most varied in any Aramaic dialect. Most of it deals with theology, liturgy, and related matters, but it has also produced a substantial number of secular works on subjects such as history, philosophy, and science. Its religious poetry is distinguished by true artistic feeling and great emotional impact. The physicians of the medical academy in Gondēšāpūr (Jondīsābūr) wrote their works in Syriac. Their Syriac translations of Greek medical works, and many other Syriac translations from Greek literature and scholarship served frequently as intermediaries in the Greco-Arabic translation movement of the 8th and 9th centuries. Thus Syriac served as an important contributor to the mainstream of medieval Islamic and Western European civilization.
Source Iranica
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January 25, 2016, 10:22 am
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January 25, 2016, 10:35 am
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Kamer Genç, outspoken and colorful muckraker[1], the former deputy from the main opposition Republican People’s Party (CHP) who had been battling with cancer, died on Friday at the age of 76.
Mavi Boncuk |
Kamer Genç (February 23, 1940 – January 22, 2016) was a Turkish politician of Zaza origin. He was elected a member of parliament for the Republican People's Party in the 1987 and 1991 elections, for the True Path Party in the 1995 and 1999 elections, as an independent candidate in the 2007 elections, returning to the Republican People's Party on 1 June 2010, for which he was reelected in the 2011 elections.
[1] The term muckraker was used in the Progressive Era to characterize reform-minded American journalists who wrote largely for all popular magazines. The modern term is investigative journalism, and investigative journalists today are often informally called "muckrakers."
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January 25, 2016, 10:41 am
Mavi Boncuk |
By Soner Cagaptay
Hurriyet Daily News
January 23, 2016
Soner Cagaptay is the Beyer Family Fellow and director of the Turkish Research Program at The Washington Institute.
Although Ankara is seemingly responding to westward-oriented pressures at home and abroad, it could still swing Turkey back to the right if it continues to pursue the politics of religion, especially while the Islamic State looms on its borders.
MORE
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January 26, 2016, 11:06 am
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Mavi Boncuk |Movie Quotes from the Cinema of Ernst Lubitsch
Trouble in Paradise (1932)[1]
The Baron/Gaston Monescu (Herbert Marshall): Do you remember the man who walked into the Bank of Constantinople[2], and walked out with the Bank of Constantinople?
[1] Trouble in Paradise (1932) is generally considered producer/director Ernst Lubitsch's greatest film - and his own personal favorite of all his works.
Trouble in Paradise is a 1932 American Pre-Code romantic comedy film directed by Ernst Lubitsch, starring Miriam Hopkins, Kay Francis, and Herbert Marshall and featuring Charles Ruggles and Edward Everett Horton. Based on the 1931 play The Honest Finder (A Becsületes Megtaláló) by Hungarian playwright László Aladár, the film is about a gentleman thief and a lady pickpocket who join forces to con a beautiful perfume company owner.
In 1991, Trouble in Paradise was selected for preservation by the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
[2] In 1872-3 the number of Société Anonyme banks in Constantinople rose from six to over sixteen. Among the most important new establishments were the Banque Austro-Ottomane and the Banque Austro-Turque –both of which reflected the attempt of Austrian capital, in the aftermath of the Franco-Prussian War to ‘usurp’ the power of the French in Constantinople.
The two Société Anonyme banks of the newcomer Greeks (which replaced their smaller in size financial brokerage houses in 1872) were the Banque de Constantinople founded by Syngros, Skouloudes, and Vlastos and the Société Ottoman de Change et de Valeurs set up by G.Koronios;. P.M. Klados; and P. Kamaras (who merged with the Anglo-Levantine A. J.F. Barker and the financial brokerage firm ‘Eugenide et Cie’.) It is known that from the inner core bankers Zarifis participated in the Banque de Constantinople, but it is not mentioned whether the other (inner core) limited liability partners of the two old financial brokerage houses participated in either of the two Société Anonyme banks of the newcomers .
Twenty percent of the shares of the Banque de Constantinople were privately placed in Constantinople through the Banque Impériale Ottomane (BIO); and slightly less than half of the total were offered for public subscription in London through Bischoffsheim and Goldschmidt.
The Banque de Constantinople soon outdistanced its rival and became the ‘favori’ of the BIO, which in 1874 placed it as an intermediary in all of its dealings with the Ottoman Treasury. Also, shortly after it was founded, the Bank of Constantinople, through Zarifis and Zografos participated in the Tobacco Monopoly Concession of the Ottoman state. It was also among the founders of the Compagnie des Eaux de Constantinople along with the Comptoir National d’Escompte, the Société Générale de l’Empire Ottoman, the BIO, Zarifis, Camondo and others.Source
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January 27, 2016, 11:18 am
Mavi Boncuk |
Turkey’s Russian community settled in Turkey after having fled from the Bolshevik regime in 1921. While some of them migrated to various Western countries, a considerable number of them stayed in Istanbul. According to data by the PAE Fukaraperver Association, which represents the Russian émigrés, the total number of Russians in Turkey is about 100,000. Russians own three churches and a monk’s house, which is currently used as a commercial building in Istanbul. Hagia Elia Church is situated on the roof of a structure where monks used to reside, a style of architecture rarely seen in Anatolia.
The Elias chapel is the oldest of the three Rus-chapels Istanbul. It was built 135 years ago in the typical style of the 19th Century. As the Rossikon, the Russian monastery on Mount Athos of monastic Russian refugees was founded after the Mongol invasion, was the Elias chapel after the October Revolution of 1917 the spiritual center of the Russian exiles in the city.
Russian Elias chapel in the attic of a former monastery, which is now availed business. The chapel houses frescoes, icons, traditional iconostasis, but the damage from moisture and lack of maintenance. The frescoes are largely lost. Preserved is a crucifix and a depiction of Christ near the altar. For the restoration 100,000 Turkish liras are estimated according Kazmir Pamir, spokesman for the Belarusian Association, PAE Fukaraperver Association.
The PAE Fukaraperver Association’s deputy head, Kazmir Pamir, said the three churches and the monk’s house belonged to the Russian Monastery at Ayanaroz Monastery Complex in Greece, adding that they were only representing the church and the Fener Greek Patriarchate was the one in charge of the churches.
In Istanbul there are three Rus Churches (Kiliseleri) associated along ethnic lines. All three belong to the small Belarusian community on the Bosporus. And all three are in the possession of the monastery of St. Panteleimon on Mount Athos, better known as Rossikon. However, they are administered by the Ecumenical Patriarchate of Constantinople.
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