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Rauf nominated for the EFA Young Audience Award

March 15, 2016, 10:55 am
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Mavi Boncuk |

Turkish film Rauf nominated for the EFA Young Audience Award

The European Film Academy has announced the three nominees for the EFA Young Audience Award 2016: Turkish film "Rauf", directed by Baris Kaya and Soner Caner, Swedish film "Girls Lost", directed by Alexandra-Therese Keining and French film "Miss Impossible", directed by Emilie Deleuze.  

The nominations were chosen by an international committee consisting of Melinda Boros (Clorofilm/Romania), Marjo Kovanen (Koulukino/Finland), Beata Marciniak (New Horizons Association/Poland), Marta Nieto Postigo (Drac Màgic/Spain) and Jakub Viktorin (Visegrad Film Forum/Slovakia).
On Young Audience Film Day on 8 May, the three nominated films will be screened to audiences of 12 – 14 year-olds in 30 countries across Europe. And it is the young audience that will act as a jury and vote for the winner right after the screenings. Jury speakers will then transmit the national results live via video conference to Erfurt (Germany) where the winner will be announced in an award ceremony streamed live on yaa.europeanfilmawards.eu, a special website that offers further information about the nominated films and the participating cities.
Lastly, as a response to the current situation in Europe and a contribution to integration, this year’s fifth edition of the EFA Young Audience Award also specifically includes refugee kids. It is the first time that Berlin participates in the initiative and it is here that the European Film Academy and Berlin’s Akademie der Künste will bring together Berlin pupils and “welcome classes”for refugee children. Together they will watch the nominated films, discuss them with each other, and, as members of the pan-European jury, vote for the winner.
Source: Cineuropa 
 
Rauf 
Barış Kaya, Soner Caner

Regie Barış Kaya, Soner Caner Türkei 2016 Produktion Selman Kızılaslan, Kazım Uğur Kızılaslan, Burak Ozan Buch Soner Caner Kamera Vedat Özdemir Schnitt Ali Emre Uzsuz, Ahmet Boyacıoğlu Musik Ayşe Önder, Ümit Önder, Kemal Sahir Gürel, Kayhan Kalhor mit Alen Hüseyin Gürsoy,Yavuz Gürbüz, Şeyda Sözüer, Veli Ubic, Muhammed Ubic Türkisch/Kurdisch dt. Einsprache · engl. UT · 94 Min

First love is often painful. Still, that’s not going to stop Rauf from showing Zana how much he fancies her. Alas, the eleven-year-old’s advances only elicit amused smiles from the young woman. Fortunately, Rauf has a couple of loyal friends at his side that he can count on for advice and perspective. Undeterred by the tragic consequences of war, or the fact that he’s already dropped out of school to apprentice as a carpenter, the boy holds on to his one hope: Rauf sets off on a quest to find the special colour that symbolizes his love. This turns out to be no trivial undertaking in his snowy little isolated corner of Anatolia. When he finally happens upon the object of his quest, as winter snow gives way to the early flowers of spring, Rauf isn’t a little boy anymore.

Barış Kaya
A graduate of the Anadolu University in Eskişehir, he has worked for film production companies and directed numerous television commercials. 

Soner Caner 
He worked in the areas of production design, art direction and special effects make-up. Won the award for Best Art Director at the Altin Koza Film Festival in 2009.

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Where Are We | maviboncuk.blogspot.com/

March 15, 2016, 1:41 pm
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Mavi Boncuk | http://maviboncuk.blogspot.com/

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Profile | Ara Güler

March 16, 2016, 8:17 am
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Ara Güler, by Dr Süleyman Gündüz

Mavi Boncuk | SOURCE

Born August 16, 1928 in Beyoğlu, Istanbul, Turkey, Ara Güler is a Turkish photojournalist, also known as Istanbul's Eye. He studied at Getronagan Armenian High School. His father owned a pharmacy, but had many friends that belonged to the world of art. Ara came into contact with these people and they inspired him to opt for a career in films/cinema. He worked in film studios and joined courses of drama under Muhsin Ertuğrul. However, his thirst for journalism urged him to abandon cinema and theatre. Later, he leaned towards journalism and abandoned cinema. In 1950 he joined Yeni Istanbul, a Turkish newspaper, as a photojournalist. During the same time, he studied economics from University of Istanbul. Then he started working for Hürriyet.

In 1958 when Time-Life, an American publication opened its Turkey branch, Ara Güler became its initial correspondent. Soon enough he started to get commissioned by other international magazines, such as Stern, Paris Match, and Sunday Times, London. In 1961, he was hired by Hayat magazine as the chief photographer.

Soon, he met Master Henri-Cartier-Bresson who later invited him to join Magnum Photos. During this time, he met Marc Riboud and Henri Cartier-Bresson, at Magnum Photos. Ara was presented in 1961 British Photography Yearbook. In the same year, the American Society of Magazine Photographers made him the first Turkish photographer to become the member of this organization.

In 1960s, Ara's work was used in books by notable authors as a means of illustration and were shown at different exhibitions around the world. In 1968, his work was displayed at the Museum of Modern Art in New York in a show called, Ten Masters of Color Photography. Moreover, his photographs were also shown in Cologne's fair, Photokina in Germany. Two years later,Türkei, his photography album was published. His images related to art and its history were featured in magazines, like Horizon, Life, Time, and Newsweek.

Ara traveled for photography assignments to countries, such as Kenya, Borneo, New Guinea, India, Pakistan, Afghanistan, Kazakhstan, Iran and other cities of Turkey. In 1970s, he also took photography interviews with noteworthy artists and politicians, like Salvador Dalí, Marc Chagall, Ansel Adams, Alfred Hitchcock, Imogen Cunningham, Willy Brandt,John Berger,Maria Callas, Bertrand Russell, Pablo Picasso, Indira Gandhi, and Winston Churchill.

In addition, Ara also directed The End of the Hero, a 1975 documentary based on fiction on a World War I battle cruiser.

Ara's work is included in the collections of institutions worldwide, such as Paris's National Library of France; New York's George Eastman Museum; Das imaginäre Photo-Museum; Museum Ludwig Köln; and Sheldon Memorial Art Gallery.


Foto Muhabiri, a book by Nezih Tavlas recounts the life of Ara in a chronological method and the book also highlights 80 years history of Turkey.[1]

Ara's philosophy on photography is that he attaches great importance to the presence of humans in photography and considers himself as a visual historian. According to him, photography should provide people with memory of their suffering and their life. He feels that art can lie but photography only reflects the reality. He does not value art in photography so he prefers photojournalism.

He has won several awards for his work, including Turkey's Photographer of the Century, 1999; Master of Leica, 1962; France's Légion d'honneur; Lifetime Achievement Lucie Award, 2009; and Turkey's Grand Prize of Culture and Arts, 2005. In 2004, he was give honorary fellowship by Istanbul's Yıldız Technical University.

Ara also published his photographic books, such as Living in Turkey; Sinan: Architect of Süleyman the Magnificent; Ara Güler's Creative Americans; Ara Güler's Movie Directors; and Ara Güler: Photographs.

Not only Istanbul, but also some of the most important landmarks of Turkey have been brought to the world’s attention through Ara Guler’s photographs, including the ancient city of Aphrodisias, legend of Noah’s Ark on Mount Ararat and others. Until 1962, nobody knew that the city of Aphrodisias existed until Ara Guler discovered it.” 

Reportedly, when Guler accidentally found himself there, villagers were sitting not on normal chairs but some ancient columns turned upside down. When the photographer asked them where they had taken them from, they took him to the place – an ancient city beneath the ground, which soon, through his photos, became an attractive destination for archeologists.

Ara Guler, the most important living representative of creative photography in Turkey today, has a well-established international reputation. He became a photo-journalist for Paris Match and Stern in 1958. In the British Journal of Photography Year Book published in the UK in 1961, Guler was named one of the seven best photographers of the world. In the same year, he was accepted as a member of ASMP (American Society of Media Photographers) and was its only Turkish member. In 1962, he received the Master of Leica award in Germany. In 1974, he was invited to the US where he photographed a number of famous Americans, photos that were later exhibited under the title “Creative Americans” in many cities around the world.

Ara Guler, an Armenian-Turkish photo journalist from Istanbul, was born in　August 16, 1928. He started his career as a photo journalist and worked in several leading newspapers in Turkey. Although he always presented himself as a photo journalist or even a “visual historian”, capturing historical　events with his camera,　his photographs are among the best artistic images of Istanbul and Turkey. What’s more, his portrait photographs of some of the most famous personalities of the 20th　century with whom he made interviews are also among the best examples of the combination of photography and journalism. He was awarded by various countries for his lifetime achievements and outstanding services in the field of photography including　Legion d’Honneur Officier des Arts et des Lettres.

When Orhan Pamuk, Nobel Prize laureate and best-selling Turkish writer, was working on his book “Istanbul: Memories and the City’” he did it in the archives of Ara Guler. Pamuk himself confessed that he always perceived the Istanbul of his childhood as a black-and-white photograph. “In Ara Guler’s photographs Istanbul appears like a melancholic city, reflected also on its dwellers’ faces, in an environment where poverty and modesty merge, under the aging sounds of the old and new,” said Pamuk in one of his interviews.

[1] Foto Muhabiri Ara Güler's Biography | Published 2009 by Fotografevi in Istanbul . Written in Turkish. Paperback | 343 pages ISBN 9789944720144

Nezih Tavlaş has written a 343-paged chronologic narration about incidents Ara Güler witnessed throughout his decades-spanning life and career. With his characteristically sympathetic, somewhat cranky manner, he always remarks “I’m a photojournalist, not a photographer; I’m not definitely an artist. I shoot what I see. I don’t do arts. I deliver the things that I see to other people. This is what we call photojournalism.” Despite the years that have passed by, he is always productive. His latest book ‘Photo Journalist’ was published on 15 August on his 81st birthday. 
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Book | The Light of Istanbul

March 16, 2016, 8:36 am
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Mavi Boncuk |
The Light of Istanbul by Jean-Michel Berts[1]

Following the success of The Light of Paris, The Light of New York, and The Light of Tokyo, lensman Jean-Michel Berts turns his masterful eye to the ancient city of Istanbul. This exotic destination is revealed in Berts’s otherworldly black-and-white photographs, taken at dawn, when the deserted streets and waterways are wrapped in a mystery all their own. The city’s renowned landmarks and hidden corners are captured as never before, framed by Berts’s camera obscura. With an evocative text by Alessandra Ricci, The Light of Istanbul is a spectacular volume on this enchanting city.

Hardcover: 132 pages
Publisher: Assouline Publishing (January 3, 2012)
Language: English
ISBN-10: 1614280304
ISBN-13: 978-1614280309

[1] A photographer since age sixteen, Jean-Michel Berts has acquired an outstanding international reputation by showcasing his work at Art Brussel's Fair, London, Saint-Tropez, Berlin, and Hambourg. He has also done successful advertising campains for luxury brands such as Lancome, Dior, and Cacharel.

A writer and journalist, Pierre Assouline has published some twenty books. Editor-in-chief of Lire magazine for twenty years, he is now a columnist for Le Monde 2 and Le Nouvel Observateur.

Despite a promising scientific career, Jean-Michel Berts chose a different path - to become a photographer. 
With his first Rolleiflex, he became sensitive to the effects of light.
Since the eighties he has worked as a still life photographer for several well-known cosmetics and perfume brands. While involved in this field, he pursued a body of work with a more personal focus, called City Portrait. To achieve this unique rendering, it took him more than one year of work and research.

Jean-Michel Berts collects the essence of cities. This glance is there to remind us of the grandeur of civilizations. The abstraction of characters makes it possible to move human construction forward and thus reanimate its timelessness. From Paris to New York or Venice to Berlin and Casablanca, through his eyes these sublimated cities take a poetic, ethereal and dreamlike value. As he likes to say, "Architectural construction is the cultural reflection of a civilization."
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TİİKP | Revolutionary Workers and Peasants Party of Turkey

March 17, 2016, 12:24 pm
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In memoriam | Ömer Özerturgut (1944-2016)

68 generation of revolutionaries and Aydınlık cadre member Ömer Özerturgut (72), died after a long self imposed exile in Cologne, Germany from a heart attack. Özerturgut, will be buried after a ceremony  held in Germany.

Born in 1944 in Manisa Turgutlu, Özerturgut,  after primary, middle and high school education attended the Ankara University Faculty of Science. Here Özerturgut joined the revolutionary organization, the Revolutionary Proletarian Aydınlık magazine and took an active part in the establishment of the Workers and Peasants newspaper. Özerturgut May 21, 1969 founded the Revolutionary Workers and Peasants Party of Turkey (TİİKP) was the founder of staff. He took part in the first Central Committee. until the first congress held in 1977, he was appointed the Vice President. After the congress, he was brought to the Foreign Office.

After the coup of 12 March 1971 and being on the wanted list because he was forced to go abroad. Bora Gözenwas located in the Palestinian camps in Lebanon for a while Özerturgut, then went to Germany. Operating his bookstore for 30 years in Cologne Özerturgut Turkey,  continued to serve as the propagandist and promoter of Aydınlık. daily after it’s establishment in 2011.. He was in everyone's hearts with the strict model of organizing. Özerturgut had two children.

Mavi Boncuk |

Revolutionary Workers and Peasants Party of Turkey (Turkish: Türkiye İhtilâlci İşçi Köylü Partisi, TİİKP) was a Maoist communist party in Turkey. TİİKP was founded in 1971 by the Proleter Devrimci Aydınlık ("Proletarian Revolutionary Enlightenment") group that had broken away from DEV-GENÇ ("Revolutionary Youth"). The chairman of TİİKP was Doğu Perinçek. TİİKP was an illegal party.

The central publications of the party were Proleter Devrimci Aydınlık and Şafak ("Dawn").

In 1972, İbrahim Kaypakkaya and others broke with TİİKP and formed Türkiye Komünist Partisi/Marksist-Leninist ("Communist Party of Turkey (Marxist-Leninist)").

In 1974, TİİKP was succeeded by Türkiye İşçi Köylü Partisi ("Workers' and Peasants' Party of Turkey" or TİKP). TİKP later became a legal party and became Socialist Party Sosyalist Partisi (SP). 

In 1992, İşçi Partisi ("Workers' Party") was formed as a continuation of TİKP and SP. In 2015 Workers' Party changed its name to Patriotic Party | Vatan Partisi.
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IIFF 2016 | Golden Tulip Competition Films+Eurimages Audentia Award

March 17, 2016, 12:30 pm
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The International Istanbul Film Festival was first presented as a film week in the summer of 1982, within the framework of the International Istanbul Festival. In 1983, under the title “International Istanbul Film Days”, 36 films were shown in one month. 

 Mavi Boncuk |




Altın Lale | Golden Tulip Competition Films  | 7-17 April 2016

• Sütak / Sutak / Heavenly nomadic / Mirlan Abdykalykov / Kırgızistan
• Eva’ya Huzur Yok / Eva Doesn’t Sleep / Pablo Agüero / Arjantin 
• Bize Rüyalarımızda Huzur Ver / Peace to Us in Our Dreams / Sharunas Bartas / Litvanya
• Bir Liderin Çocukluğu / The Childhood of a Leader / Brady Corbet / İngiltere 
• Kor / Zeki Demirkubuz / Türkiye
• Şeytanlar / The Demons / Philippe Lesage / Kanada
• Son / The End / Guillaume Nicloux / Fransa
• Bin Başlı Canavar / A Monster With Thousand Heads / Rodrigo Pla / Meksika 
• Susuzluk / Thirst / Svetla Tsotsorkova / Bulgaristan 
• Belgica / Felix Van Groeningen / Belçika
• Aşk Birleşik Devletleri / United States of Love / Tomasz Wasilewski / Polonya
• Ara / Interruption / Yorgos Zois / Yunanistan 
• Bir Nefes / One Breath / Christian Zübert / Almanya
• Bir Aile Filmi / Family Film / Olmo Omerzu / Çek Cumhuriyeti
• Ansızın / All of A Sudden / Aslı Özge / Almanya

Eurimages Audentia Award will be presented for the first time in Istanbul International Film Festival

Eurimages, the Council of Europe co-production fund, took a step towards greater gender equality by deciding to offer an award worth €30,000 to a female director to use on her next project. 15 films from the festival programme will be assessed for the Audentia Award, which is to be given for the first time at Istanbul Film Festival.

Audentia signifies courage and bravery in Latin and these are two qualities which are vital for any woman who intends to pursue a career in film directing. With the Audentia Award, Eurimages intends to celebrate women who have had the courage to make that choice, by giving greater visibility to their work and inspiring other women to follow in their footsteps. With this in mind, our patroness for the first edition of the prize has been chosen for her outstanding courage and commitment to advancing the cause of gender equality in the film industry. Anna Serner (CEO of the Swedish Film Institute) is a pioneer who has rendered visible the invisible, drawn attention to under-representation and inspired new interest in finding a just balance. Under her leadership, the Swedish Film Institute is currently the only European film fund to have achieved gender equality in the allocation of public funding.

The jury for the first Audentia Award consists of director Yeşim Ustaoğlu, director Angelos Frantzis, and Sanja Ravlic from the Eurimages.

Here are the films that will be evaluated for the Audentia Award:

Det vita folket White People - Lisa Aschan
À peine j’ouvre les yeux As I Open My Eyes - Leyla Bouzid
La montagne magique The Magic Mountain - Anca Damian
Evolution - Lucile Hadzihalilovic
Ha’har Mountain - Yaelle Kayam
Wild - Nicolette Krebitz
3000 Layla 3000 Nights - Mai Masri
Pesn pesney Song of Songs - Eva Neymann
Auf Einmal All of A Sudden - Aslı Ozge
Toz Bezi Dust Cloth - Ahu Ozturk
Kasap Havası Wedding Dance - Çiğdem Sezgin
Chevalier - Athina Rachel Tsangari
Jajda Thirst - Svetla Tsotsorkova
Ana Yurdu Motherland - Senem Tuzen

Yemekteydim ve Karar Verdim We Were Dining and I Decided - Görkem Yeltan
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USS Saratoga's Incident with TCG Muavenet

March 17, 2016, 2:48 pm
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On 2th October 1992, 11 minutes past midnight, during the NATO’s Display Determination ’92 naval exercise, two Sea Sparrow surface to air missiles fired accidentally from the aircraft carrier CV-60 USS Saratoga, hit the bridge of the Turkish destroyer DM-357 TCG Muavenet. 5 sailors[1] including the commander of the ship were killed instantly and 15 badly hurt. A fire broke out on board. At the time of the incident two ships were 3 miles apart and were streaming north in the Aegean. The damage to the old ship was extensive. She was not useable anymore therefore she was decommissioned right away. Later US gave Knox class FFG-1093 USS Capodanno as compensation. 



After this article was published at mavi Boncuk two US Sailors add comments. 

"I was a sailor on BNS Westdiep in 1992 and on duty on the night the Muavenet got hit by the Sea Sparrows. As a signalman I was assigned to the rescue-party. We set out in a RIB to Muavenet with three people: the doctor, the boatsman of the RIB and myself. We were the first to reach Muavenet, way before the Americans. The doc and myself got on the rear deck of Muavenet and were astounded by the sight of things. We transported one hurt Turkish sailor to our ship (WESTDIEP) from where he was transported to the Saratoga for further care. I will never forget what happened that night. We were on duty on the bridge when we heard two loud bangs and saw two missiles light up the sky. I remember our CO cursing. I hope the wounded sailors were able to recover." 

"I was stationed on the USS Saratoga in Va-35 and was standing on the flight deck that night when the missiles were fired. It's still seems ridiculous that it was even possible.Horrible tragedy." 

[1] Commander Kudret Güngör, Ensign Alertunga Akan, Petty Officer 3th Class Serkan Aktepe, Sergant Mustafa Kılınç, Private Recep Akan. 

See also: Lest We Forget: DM-357 TCG Muavenet

 Mavi Boncuk | TCG Muavenet Incident


During the fall of 1992, the United States, Turkey, and several other NATO members participated in "Exercise Display Determination 1992," a combined forces naval exercise under the overall command of Admiral Jeremy Michael Boorda of the United States Navy. The forces of participating nations were assigned to either of two multinational teams. Vice Admiral T. Joseph Lopez of the United States Navy led the "Brown Forces," which included Saratoga. The opposing "Green Forces," including the Turkish destroyer minelayer TCG Muavenet (DM-357), former USS Gwin (DM-33), were under the direct control of Admiral Kroon of the Netherlands.

During the "enhanced tactical" phase of the training exercises, the Brown Forces were to attempt an amphibious landing at Saros Bay in the Aegean Sea against the resistance offered by the Green Forces. Admiral Boorda ordered the units comprising each force to actively seek and "destroy" each other. Both task force commanders had full authority to engage the enemy when and where they deemed appropriate and to use all warfare assets at their disposal to achieve victory. Needless to say, all confrontations were intended to be simulated attacks.

On 1 October 1992 the Combat Direction Center Officer aboard Saratoga decided to launch a simulated attack on nearby opposition forces utilizing the Sea Sparrow missile system. After securing the approval of Saratoga's Commanding Officer and the Battle Group Commander, Rear Admiral Philip Dur, the Combat Direction Center Officer implemented the simulated assault plan. Without providing prior notice, officers on Saratoga woke the enlisted Sea Sparrow missile team and directed them to conduct the simulated attack. Certain members of the missile firing team were not told that the exercise was a drill, rather than an actual event.

As the drill progressed, the missile system operator used language to indicate he was preparing to fire a live missile, but due to the absence of standard terminology, the responsible officers failed to appreciate the significance of the terms used and the requests made. Specifically, the Target Acquisition System operator issued the command "arm and tune," terminology the console operators understood to require arming of the missiles in preparation for actual firing. The officers supervising the drill did not realize that "arm and tune" signified a live firing. As a result, shortly after midnight on the morning of 2 October, Saratoga fired two live Sea Sparrow missiles at Muavenet. The missiles struck Muavenet in the bridge, destroying it and the Combat Information Center, killing and injuring most of the Turkish ship's officers and scrapped. Navy officials have recommended that the captain of the aircraft carrier Saratoga and seven other officers and sailors be disciplined for the missile firing that killed five Turkish sailors.

Three other ships of the Türk Deniz Kuvvetleri (the Turkish Navy) have been named TCG Muavenet. The name means "support"; the later ships were named in honor of the first.

* The first Muavenet was an Ottoman torpedo boat that sank the pre-dreadnought battleship HMS Goliath during the Battle of Çanakkale of World War I.
* The second Muavenet was previously HMS Inconstant (H49), a destroyer ordered by Turkey to be built in England, but delayed in delivery by World War II.
* The most recent Muavenet (F-250) was previously USS Capodanno (FFG-1093), and was given to Turkey by the United States Navy as restitution for wrecking the previous Muavenet.
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Gallipoli Concordance 1915-2016

March 18, 2016, 7:42 am
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Mavi Boncuk |

Esat Pasha, the commander of the 3rd Turkish Corps and some of his officers SOURCE

Esat Pasha, the commander of the 3rd Turkish Corps, responsible for the northern area of the Gallipoli campaign which included the Anzac area, sitting at a table surrounded by some of his officers. The Allied commanders, to their cost, greatly underestimated the qualities of both ordinary Turkish soldiers and their leaders in 1915. 

Hans Kannengiesser, a German officer who served with the German Military Mission at Gallipoli, wrote of Esat: "...I always had complete confidence … in his sustained and real kindness, his quick grasp of proposals, which, after calm, careful consideration, resulted in clear decisions..."
[Hans Kannengiesser, The Campaign in Gallipoli, London, no date, p 85] 

This expression was picked up by the expeditionary forces during their training in Egypt.
Abdul The Turk, as drawn by Ted Colles for The Anzac Book, 1915.

Written and illustrated in Gallipoli by the men of Anzac
For the benefit of Patriotic Funds connected with A & N.Z.A.C.

Cassell and Company, Ltd; London, New York, Toronto and Melbourne 1916
Price: two shillings and sixpence (twenty five cents)


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Jewish Typography at the Ottoman Lands | Redux

March 18, 2016, 11:45 am
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Re-issued from earlier Mavi Boncuk posting with Soncino additions and new images.

A superb copy of the first book printed by the most famous of early early Hebrew printers, Gershom Soncino[1]. (Rare book and Special Collections Division, Jefferson Library, Library of Congress Photo) Gershon b. Moses Soncino (in Italian works, Jeronimo Girolima Soncino; in Latin works, Hieronymus Soncino): The most important member of the family; born probably at Soncino; died at Constantinople 1533.

  Although Hebrew presses operated in Spain and Portugal during the 15th century, due to persecutions and expulsions many incunables printed there did not survive in more than one copy or in complete copies; of those that did, fragments are extremely rare or unique (and it is assumed that some Iberian Hebrew incunables have been lost altogether). Printing was introduced to the Ottoman Empire and North Africa by Jewish refugees from Spain and Portugal, and in the subsequent centuries books in Hebrew and other languages were printed throughout the "Sephardic diaspora," in Turkey, Greece, North Africa, the Orient, Western Europe (Italy, Holland, Germany), and elsewhere. The geographic range of the Sephardic world is manifest in that a third of the surviving books in any exhibited collection of early Jewish printing are Sephardic works by Sephardic Jewish authors.

Mavi Boncuk |

(1500-42): This period is distinguished by the spread of Jewish presses to the Turkish and Holy Roman empires. In Constantinople, Hebrew printing was introduced by David Naḥmias and his son Samuel about 1503; and they were joined in the year 1530 by Gershon Soncino[1], whose work was taken up after his death by his son Eleazar. . Gershon Soncino put into type the first Karaite work printed (Bashyaẓi's "Adderet Eliyahu.") in 1531. In Salonica, Don Judah Gedaliah printed about 30 Hebrew works from 1500 onward, mainly Bibles, and Gershon Soncino, the Wandering Jew of early Hebrew typography, joined his kinsman Moses Soncino, who had already produced 3 works there (1526-27); Gershon printed the Aragon Maḥzor (1529) and Ḳimḥi's "Shorashim" (1533). The prints of both these Turkish cities were not of a very high order. The works selected, however, were important for their rarity and literary character. The type of Salonica imitates the Spanish Rashi type.

Unlike other editions, the text in this polyglot Pentateuch is set entirely in Hebrew characters. While Diaspora Jews were generally fluent in the vernaculars of their host nations, they often chose to write those languages using the Hebrew alphabet, with which they were most adept. The original Hebrew text of the Pentateuch is at the center, flanked by the Judeo-Persian and Aramaic versions on the right and left, respectively. The Judeo-Arabic translation appears above, and the commentary of Rashi is below.

Constantinople (Istanbul), as capital of the Ottoman Empire and a refuge for Jews expelled from Western Europe, supported a linguistically diverse Jewish community. Another polyglot edition was printed there the following year, with Judeo-Greek replacing the Judeo-Persian.

Library Catalog Record | Hamishah Humshei Torah [Pentateuch, with translations in Aramaic, Judeo-Arabic, Judeo-Persian, and the Commentary of Rashi]. Constantinople: Eliezer Soncino, AM 5306 (1546 CE). NYPL, Dorot Jewish Division.

The idea of representing the title-page of a book as a door with portals appears to have attracted Jewish as well as other printers. The fashion appears to have been started at Venice about 1521, whence it spread to Constantinople. Information is often given in these colophons as to the size of the office and the number of persons engaged therein and the character of their work. The master printer was occasionally assisted by a manager or factor ("miẓib 'al hadefus"). Besides these there was a compositor ("meẓaref" or "mesadder"), first mentioned in the "Leshon Limmudim" of Constantinople (1542). Many of these compositors were Christians, as in the workshop of Juan di Gara, or at Frankfort-on-the-Main, or sometimes even proselytes to Judaism

Toward the end of the sixteenth century Donna Reyna Mendesia founded what might be called a private printing-press at Belvedere or Kuru Chesme (1593). The next century the Franco family, probably from Venice, also established a printing-press there, and was followed by Joseph b. Jacob of Solowitz (near Lemberg), who established at Constantinople in 1717 a press which existed to the end of the century. He was followed by a Jewish printer from Venice, Isaac de Castro (1764-1845), who settled at Constantinople in 1806; his press is carried on by his son Elia de Castro, who is still the official printer of the Ottoman empire. Both the English and the Scotch missions to the Jews published Hebrew works at Constantinople.

Together with Constantinople should be mentioned Salonica, where Judah Gedaliah began printing in 1512, and was followed by Solomon Jabez (1516) and Abraham Bat-Sheba (1592). Hebrew printing was also conducted here by a convert, Abraham ha-Ger. In the eighteenth century the firms of Naḥman (1709-89), Miranda (1730), Falcon (1735), and Ḳala'i (1764) supplied the Orient with ritual and halakic works. But all these firms were outlived by an Amsterdam printer, Bezaleel ha-Levi, who settled at Salonica in 1741, and in whose name the publication of Hebrew and Ladino books and periodicals still continues. The Jabez family printed at Adrianople before establishing its press at Salonica; the Hebrew printing annals of this town had a lapse until 1888, when a literary society entitled Doreshe Haskalah published some Hebrew pamphlets, and the official printing-press of the vilayet printed some Hebrew books.

From Salonica printing passed to Safed in Palestine, where Abraham Ashkenazi established in 1588 a branch of his brother Eleazar's Salonica house. According to some, the Shulḥan 'Aruk was first printed there. In the nineteenth century a member of the Bak family printed at Safed (1831-41), and from 1864 to 1884 Israel Dob Beer also printed there. So too at Damascus one of the Bat-Shebas brought a press from Constantinople in 1706 and printed for a time. In Smyrna Hebrew printing began in 1660 with Abraham b. Jedidiah Gabbai; and no less than thirteen other establishments have from time to time been founded. One of them, that of Jonah Ashkenazi, lasted from 1731 to 1863. E. Griffith, the printer of the English Mission, and B. Tatiḳian, an Armenian, also printed Hebrew works at Smyrna. A single work was printed at Cairo in 1740. Hebrew printing has also been undertaken at Alexandria since 1875 by one Faraj Ḥayyim Mizraḥi.

Israel Bak, who had reestablished the Safed Hebrew press, and was probably connected with the Bak family of Prague, moved to Jerusalem in 1841 and printed there for nearly forty years, up to 1878.

One of the Jerusalem printers, Elijah Sassoon, moved his establishment to Aleppo in 1866. About the same time printing began in Bagdad under Mordecai & Co., who recently have had the competition of Judah Moses Joshua and Solomon Bekor Ḥussain. At Beirut the firm of Selim Mann started printing in 1902. Reverting to the countries formerly under Turkish rule, it may be mentioned that Hebrew and Ladino books have been printed at Belgrade since 1814 at the national printing establishment by members of the Alḳala'i family. Later Jewish printing-houses are those of Eleazar Rakowitz and Samuel Horowitz (1881). In Sarajevo Hebrew printing began in 1875; and another firm, that of Daniel Kashon, started in 1898. At Sofia there have been no less than four printing-presses since 1893, the last that of Joseph Pason (1901), probably from Constantinople. Also at Rustchuk, since 1894, members of the Alḳala'i family have printed, while at Philippopolis the Pardo Brothers started their press in 1898 before moving it to Safed. Altogether in the Levant about eighteen cities have had 121 Hebrew printing establishments between 1504 and 1905. Their productions have been mainly rituals, responsa of local rabbis, and Cabala; the type has been mostly Rashi, and the result has not been very artistic.

[1] More than one-third of the one hundred and sixty or so Hebrew incunabula which have survived were products of the Soncino family. The Soncino family (Hebrew: משפחת שונצינו) was an Italian Ashkenazic Jewish family of printers, deriving its name from the town of Soncino in the duchy of Milan. It traces its descent through a Moses of Fürth, who is mentioned in 1455, back to a certain Moses of Speyer, of the middle of the 14th century. The first of the family engaged in printing was Israel Nathan b. Samuel, the father of Joshua Moses and the grandfather of Gershon. He set up his Hebrew printing-press in Soncino in the year 1483, and published his first work, the tractate Berakot, February 2, 1484. The press was moved about considerably during its existence. It can be traced at Soncino in 1483-86; Casal Maggiore, 1486; Soncino again, 1488–90; Naples, 1490–92; Brescia, 1491–1494; Barco, 1494–97; Fano, 1503-6; Pesaro, 1507–20 (with intervals at Fano, 1516, and Ortona, 1519); Rimini, 1521–26. Members of the family were at Constantinople between 1530 and 1533, and had a branch establishment at Salonica in 1532–33. Their printers' mark was a tower, probably connected in some way with Casal Maggiore. The last of the Soncinos was Eleazar b. Gershon, who worked at Constantinople from 1534 to 1547. 

It is obvious that the mere transfer of their workshop must have had a good deal to do with the development of the printing art among the Jews, both in Italy and in Turkey. While they devoted their main attention to Hebrew books, they published also a considerable number of works in general literature, and even religious works with Christian symbols. The Soncino prints, though not the earliest, excelled all the others in their perfection of type and their correctness. 

The Soncino house is distinguished also by the fact that the first Hebrew Bible was printed there. An allusion to the forthcoming publication of this edition was made by the type-setter of the "Sefer ha-Ikkarim" (1485), who, on page 45, parodied Isa. ii. 3 thus: "Out of Zion shall go forth the Law, and the word of the Lord from Soncino" (). Abraham b. Hayyim's name appears in the Bible edition as type-setter, and the correctors included Solomon b. Perez Bonfoi ("Mibhar ha-Peninim"), Gabriel Strassburg (Berakot), David b. Elijah Levi and Mordecai b. Reuben Baselea (Hullin), and Eliezer b. Samuel ("Yad"). 

Eleazar b. Gershon Soncino: Printer between 1534 and 1547. He completed "Miklol" (finished in 1534), the publication of which had been begun by his father, and published "Meleket ha-Mispar," in 1547; and Isaac b. Sheshet's responsa, likewise in 1547. 

Moses Soncino: Printer at Salonica in 1526 and 1527; assisted in the printing of the Catalonian Mahzor and of the first part of the Yalkut.
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Orientalism | Tadeusz Ajdukiewicz (1852 – 1916)

March 18, 2016, 12:27 pm
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Mavi Boncuk | Tadeusz Ajdukiewicz, "Na targu wschodnim", 1900, źródło: National Museum, Warsaw | Muzeum Narodowe w Warszawie. 

 Tadeusz Ajdukiewicz (1852 – January 9, 1916) was a Polish realist painter from around the turn-of-the-century, best known for his battle-scenes, portraits, landscapes and paintings of horses. He was educated in Kraków in the Austrian sector of the Partitioned Poland. Ajdukiewicz was born in Wieliczka. From 1868 to 1873, he studied under Władysław Łuszczkiewicz in the School of Fine Arts in Kraków. Later, he travelled to Vienna and Munich on a scholarship along with Wojciech Kossak and studied in Józef Brandt's atelier among other places. In 1877, Ajdukiewicz travelled to Paris and the Near East with Count Władysław Branicki. In 1882, he lived in Vienna, where he worked on commissions for the aristocracy. 

Ajdukiewicz travelled to Constantinople in 1884, and was a guest of Sultan Abdul Hamid II. Subsequently, he worked in Sofia, Saint Petersburg and Bucharest. He joined the 1st Brigade of the Polish Legions in 1914 created by Józef Piłsudski, and died in battle around Kraków on January 9, 1916 during World War I.



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Antoine Vitré (1595–1674) and Eastern Interest

March 18, 2016, 2:08 pm
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Interest in Arabic not only stemmed from a desire to gain access to Arabic scholarship but also was linked with increasing trade with the Middle East. Using the Arabic fonts crafted by Erpenius, the Leiden press produced many books. But France was also emerging as an incubator of Orientalist studies.


Arabic fonts and a french interest in Middle East. 

 Mavi Boncuk | 

Antoine Vitré (1595–1674) was a French printer of the 17th century. He was the King's printer for Oriental languages (Linguarum Orientalium Regis Typographus). Antoine Vitré printed several works with Arabic font types, using the fonts developed by François Savary de Brèves. From 1625, Antoine Vitré used these types to print the Paris Polyglot Bible printed by Antoine Vitré and edited by Guy Michel Le Jay in 1645, which embraces the first printed texts of the Syriac Old Testament edited by Gabriel Sionita, the Book of Ruth by Abraham Ecchellensis, also a Maronite, the Samaritan Pentateuch and a version by Jean Morin (Morinus). 



Latin-Syriac psalter by Gabriel Sionita, 1625, printed by Antoine Vitré with the fonts of François Savary de Brèves.
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Article | Us-Turkey Relations At A Breaking Point Over The Kurds

March 21, 2016, 6:20 am
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Article | Us-Turkey Relations At A Breaking Point Over The Kurds

Article link to Mavi Boncuk Archives.

Tolga Tanış is the Washington correspondent for Hürriyet newspaper. 

from Turkey's Kurdish Conundrum Vol. 14 No. 4 - Winter 2016[1] 

Mavi Boncuk |

[1] Source: Turkish Policy Quarterly | Kadir Has Universitesi Cibali Kampüsü Sosyal Sorumluluk Binası (Beyaz Ev) No:14 Kat.1 No.9 Fatih- İstanbul Phone: +90 212 621 4442 / +90 212 621 9258 | Fax: +90 212 531 8718 |E-mail: info@turkishpolicy.com

VOL. 14 NO. 4 - WINTER 2016


From the Desk of the Editor

In this issue of Turkish Policy Quarterly (TPQ), our authors carefully consider the vortex of catalysts that have inflamed the Kurdish issue – the Syrian quagmire, ISIL terrorism, political polarization in Turkey – and their wider implications for both regional stability and the trajectory of the current conflict in Syria. Our authors underscore the need to revive the Turkey-PKK peace process, which will prevent further setbacks to a coordinated fight against ISIL, as well as...
Süreya Martha Köprülü | 07 March 2016

Inclusive Ways to Peace and Democracy in Turkey

Renewed fighting between the the Turkish state and the Kurdistan Workers’ Party (PKK) in southeastern Turkey, has flung the peace process in this 30-year conflict into doubt and highlighted the urgency of initiating an inclusive political-led process to solve the Kurdish issue. In this article, the author frames her analysis of the current situation around four dimensions: the political terrain in Turkey after two consecutive general elections, the challenges of the problem, a civic...
Gülseren Onanç | 07 March 2016

Syria’s Dark Shadow over US-Turkey Relations

Like all conflicts, the Syrian civil war has given rise to its share of unintended consequences. Among them are the emergence of the Syrian Kurds as a force to contend with and the resulting discord between Turkey and the US. Bashar al-Assad’s resilience has frustrated Turkey while the rise of ISIL as a global jihadi threat, has caused the US to re-evaluate its priorities. Turkey remains focused on Assad and preventing the consolidation of the Syrian Kurds whereas the US has allied itself...
Henri J. Barkey | 07 March 2016

Decentralization for Peace in Turkey, Iraq & Syria

Decentralization discussions in Turkey date back to the late 19th century, well before the republican era. However, an objective analysis of the topic remains elusive due to the Turkish state’s fears of partition. In analyzing Turkey’s Kurdish policies particularly since the outbreak of the Arab Spring, the author highlights a critical structural contradiction: while Ankara appears to encourage further autonomy of the Kurdistan Region of Iraq (KRI), it continues to view Kurdish...
Aydın Selcen | 07 March 2016

Ankara vs. the PKK: Old War, New Strategies

Since the end of July 2015, Turkey has been mired in a spiral of violence. The escalating clashes between Ankara and the Kurdistan Workers’ Party (PKK) have shifted to urban settlements. Some suggest that Turkey is moving towards civil war while others assert that all these clashes can still be understood within the terror/counter-terror paradigm. When analyzing the space of clashes, the actors involved, the level of popular support, and some certain thresholds of violence, the author...
Metin Gürcan | 07 March 2016

New Turkey-PKK Peace Talks: An Inevitability Postponed

Since the breakdown of the reconciliation process between the Turkish state and the Kurdistan Workers’ Party (PKK) in the summer of 2015, the resumption of violence in the southeast has escalated to an alarming degree, threatening to exacerbate both regional instability as well as political polarization within Turkey. Currently, the PKK feels emboldened by its affiliate PYD’s perceived strategic importance to the US owing in large part to its role in the fight against ISIL in Syria....

US-Turkey Relations at a Breaking Point over the Kurds

Diverging priorities in overlapping regional conflicts – the Syria crisis, the expansion of the Islamic State of Iraq and the Levant (ISIL), and the role of the Kurds – have been a source of friction in US-Turkey relations. The author highlights the siege of Kobani in 2014 as a breaking point in relations; Turkey’s refusal to join the global coalition against ISIL prompted the US to directly lend support to the Kurdish forces in Kobani. According to the author, there were two...
Tolga Tanış | 07 March 2016

The Kurdish Issue in Turkey: Back to Square One?

The collapse of the Turkish-Kurdish peace process and renewed fighting has not pushed the situation back to square one because the Kurdish issue has been institutionalized within Turkish domestic politics as well as regionalized and internationalized by the earlier official governmental talks with Öcalan, other PKK members, and the HDP. Factors that influence the possibility of renewing the peace process include the Syrian civil war, ISIL, Rojava, the United States, Syrian refugees, and the...
Michael M. Gunter | 07 March 2016

How ISIL Advanced Kurdish Nationalism

While the media reporting of Syria and Iraq has over the past two years been focusing on the brutality of the terrorist group known as the Islamic State of Iraq and the Levant (ISIL), there is a much less reported story that may change the course of history: the rise of Kurdish nationalism. The Kurds, believed to be the world’s largest ethno-national group without their own independent nation-state, have noticed that ISIL may be more than just a curse taking thousands of lives. As an...
Namo Abdulla | 07 March 2016

The Tyranny of the Nation-State

In the discipline of international relations, the balance which was expected to be established in the 21st century between the hegemony of the state and social forces has failed to materialize, and the hegemonic structure of the state continues to maintain its supremacy. In nation-states unable to reconcile the conceptual principles of hegemony and the rule of law, the effects of this issue continue to increase and this is the most important reason political and social issues are unsolvable. In...
Süha Atatüre | 07 March 2016

Odd Bedfellows: Turkey and Iran

As the two major non-Arab powers of the Middle East, Turkey and Iran have, for a long time, walked the fine line between cooperation and rivalry while competing for regional primacy. In this article, the author argues that recent developments have added new layers of complexity to bilateral relations and that the current nature of the Turkey-Iran relationship can be primarily characterized as interactions, contradictions, and their unintended consequences that revolve around three major...
Majid Rafizadeh | 07 March 2016

Turkish Business in the Kurdistan Region of Iraq

In the Kurdistan Region of Iraq (KRI), economic development and infrastructure recovery expanded at a monumental pace over the last decade. However, the economic boom also had negative aftershocks, including a significant rise in housing costs, local workers struggling to find employment with foreign companies, and the difficulties faced by the local private sector trying to operate in an emerging economy dominated by the public and oil sectors. In this article, the author argues that ensuring...
Christina Bache Fidan | 07 March 2016

Turkey Caught in the Maelstrom of Syria

The recent escalation of armed clashes in southeastern Turkey between Turkish security forces and Kurdish militants is indicative of the new, turbulent phase the Kurdish problem has entered. This paper will analyze Turkish foreign policy in Syria with regards to the Kurdish issue; Ankara’s efforts to constrain Kurdish activities in Syria will also be examined. Moreover, further analysis will reveal the ways in which the escalation of Turkish military operations against the PKK is connected...
Pantelis Touloumakos | 07 March 2016
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AVİM Report | Projections for the Future of Turkish-Armenian Relations

March 21, 2016, 6:51 am
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Mavi Boncuk |

Projections for the Future of Turkish-Armenian Relations 
AVİM (Center for Eurasian Studies) Conference Book No: 18
December 2015 Ankara

Contents
Foreword....5
OPENING REMARKS
Dr. Colin DÜRKOP....7
Ambassador (R) Alev KILIÇ....9
PANEL I -
FUTURE OF TURKISH–ARMENIAN BILATERAL RELATIONS....13
Moderator: Richard GIRAGOSIAN ....14
Prof. Dr. Kemal ÇİÇEK ....15
Styopa SAFARYAN....19
Dr. Aybars GÖRGÜLÜ....23
Ruben MEHRABYAN....27
Mehmet Oğuzhan TULUN....31
PANEL II -
FUTURE OF TURKISH–ARMENIAN RELATIONS
IN THE CONTEXT OF REGIONAL DEVELOPMENTS....36
Moderator: Ömer Engin LÜTEM ....37
Assist. Prof. Dr. Serdar PALABIYIK ....39
Richard GIRAGOSIAN....45
Dr. Alexander ISKANDARYAN....49
Dr. Turgut Kerem TUNCEL ....53
Aslan Yavuz ŞİR ....59
PANEL III -
OPEN DISCUSSION ON THE FUTURE OF
TURKISH–ARMENIAN RELATIONS....64
Moderator: Alev KILIÇ ....65

Executive Summary ....88
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Film | Köpek by Esen Isik

March 24, 2016, 8:33 am
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The moving debut feature film of Turkish-Swiss director Esen Isik had its world premiere at this year’s Zurich Film Festival. Esen Isik, who already won the prestigious “Quartz” in 2012 for Du&Ich, presented her debut feature film, Köpek[1], a glimpse at an Istanbul held prisoner by its own contradictions, at this year’s Zurich Film Festival. By portraying the everyday lives of three ‘marginal’ characters who fight to find love (or simply a glimmer of humanity) in a city that rejects them, Esen Isik paints us a portrait of an entire society that wants to be modern in spite of the preconceptions that risk choking it. 

Mavi Boncuk |

Video 1
Video 2


original title: Köpek
Switzerland,Turkey | 2015 | fiction | 98'
directed | screenplay: Esen Isik
cast:Salih Bademci, Cemal Toktas, Hakan Karsak, Baris Atay
cinematography by: Gabriel Sandru
film editing: Aurora Vögeli
art director: Veli Kahraman
costumes designer: Melis Gamsizoglu
music: Marcel Vaid
producer:Brigitte Hofer, Cornelia Seitler
production: maximage GmbH
distributor: Cineworx Gmbh


[1] Review | Köpek condenses three people’s destinies into just one day: there’s Cemo, a ten-year-old boy who sells tissues on the streets of the capital to help his family, Hayat, who’s married to an overly possessive man she feels no passion for, and Ebru, a Junoesque transsexual prostitute who is desired by all but abandoned by the only man she loves. Three ‘atypical’ characters who seem to roam across the surface of a hostile city that is impervious to diversity, unruffled by those weaknesses that make us human. What these three people have in common is their inability to fight their adverse, cruel destinies, built on deprivation and obligation. But in their hearts burns a need for love and recognition that they can hold back no longer. In a day that seems like any other, Cemo, Hayat and Ebru decide to rebel, with little consideration of the consequences, against a society that has rendered them invisible. With Köpek,Esen Isik turns the spotlight onto an uncomfortable reality, cast into the shadows so often that it has become one. Hers is a subtle yet brutal film that captures the small but significant steps of its three protagonists towards a utopian freedom. Köpek throws a different perspective over Istanbul, one which is sincere and cruel. It teaches us to recognise the small, almost invisible signs of necessary change. If society cannot protect a ten-year-old boy, it is he who will rescue an orphan puppy. If no one dares to fight for true love, a transsexual will. If only men are given the freedom to love, a woman will lay claim to it at the cost of her life. A strong debut film that faces up, without embellishment, to the injustices of a complex and paradoxical society. (Translated from Italian) 

 Synopsis | A day in the metropolis that is Istanbul and a look at three destinies: Cemo sells paper tissues on the streets in order to support his family. Today, the 10-year-old will finally pluck up the courage to speak to the girl he has long had a crush on. Hayat’s unwelcome marriage has lacked any form of passion since day one. When the first love of her life suddenly makes contact, she agrees to meet him in secret. Ebru works as a prostitute to make ends meet. This beautiful transsexual can attract any man she wants, but the man of her dreams will not stand by her. On this day, Cemo, Hayat and Ebru are prepared to do everything it takes to quench their desires. With an attentive eye on the poetry of day-to-day life, Esen Isik’s authentic debut feature film is a sensitive tale of love, violence and Turkish society at the beginning of the 21st century.
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Word origin | Paskalya, Yortu

March 25, 2016, 2:10 pm
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pictured Ostara by Johannes Gehrts.

Most scholars believe that Easter gets its name from Eostre[*] or Ostara, a Germanic pagan goddess. English and German are two of the very few languages that use some variation of the word Easter (or, in German, Ostern) as a name for this holiday. Most other European languages use one form or another of the Latin name for Easter, Pascha, which is derived from the Hebrew Pesach, meaning Passover. In French it’s Pâques, in Italian it’s Pasqua, in Dutch it’s Pasen, in Danish it’s Paaske, in Bulgarian it’s Paskha, and so on and so forth.

The relief known as the Burney Relief (also called the Queen of the Night relief) is widely considered to be an Ancient Babylonian representation of Ishtar (although some scholars believe that the woman depicted might be Lilitu or Ereshkigal). This relief is currently housed in the British Museum in London, but originates from southern Iraq and is nearly 4,000 years old. Easter is originally the celebration of Ishtar, the Assyrian and Babylonian goddess of fertility and sex. Ishtar was the goddess of love, war and sex. These days, thanks to Herodotus, she is especially associated with sacred prostitution (also known as temple prostitution).

[*] According to Jacob Grimm’s Deutsche Mythologie, which he wrote after journeying across Germany and recording its oral mythological traditions, the idea of resurrection was part and parcel of celebrating the goddess Ostara: “Ostara, Eástre seems therefore to have been the divinity of the radiant dawn, of up springing light, a spectacle that brings joy and blessing, whose meaning could be easily adapted by the resurrection-day of the Christian’s God. Bonfires were lighted at Easter and according to popular belief of long standing, the moment the sun rises on Easter Sunday morning, he gives three joyful leaps, he dances for joy … Water drawn on the Easter morning is, like that at Christmas, holy and healing … here also heathen notions seems to have grafted themselves on great Christian festivals. Maidens clothed in white, who at Easter, at the season of returning spring, show themselves in clefts of the rock and on mountains, are suggestive of the ancient goddess.” Some pagan authors say Ostara derives from ancient Celtic and Saxon spring holidays, later Christianized into the Easter holiday. Others argue this and other neopagan holidays are modern creations. Either way, many religions celebrate holidays during this time of year, including the Hindu Holi, Jewish Purim, Sikh Hola Mohalla and Christian Easter. For many neopagans, Ostara celebrates the Spring Maiden and Horned God who represent the characteristics of the new season. Along with Ostara, many Wiccans and neopagans observe Beltane, Litha (or summer solstice), Lughnasadh, the autumnal equinox, Samhain, Yule and Imbolc.

Mavi Boncuk |

Paskalya: Easter, Passover or Pesach [1][ Meninski, Thesaurus, 1680] paskalya, pasχalya: kızıl yumurta yortisi
GR pasχália πασχάλια  [çoğ.] paskalya kutlamaları from GR  pásχa πάσχα paskalya, İsa'nın çarmıha gerildikten sonra dirilişini kutlayan yortu Aramaic pisḥā פסחא  / Hebrew pesaḥ פֶּסַח  [#psḥ] 1. esirgeme, bağışlama, 2. İbrahim'in oğlu İshak'ın esirgenmesi ve bu olayı kutlayan bayram, fesih

Yortu: [ Filippo Argenti, Regola del Parlare Turco, 1533] jorttí: festa & solennita [bayram] GR yiortí γιορτή dini bayram, festival oldGRn eortḗ εορτή 

[1]Passover or Pesach (from Hebrew Pesah, Pesakh, Assyrian; ܦܸܨܚܵܐ"piskha"), is an important, biblically derived Jewish festival. The Jewish people celebrate Passover as a commemoration of their liberation by God from slavery in Egypt and their freedom as a nation under the leadership of Moses.

Passover is a spring festival which during the existence of the Jerusalem Temple was connected to the offering of the "first-fruits of the barley", barley being the first grain to ripen and to be harvested in the Land of Israel.

Historically, together with Shavuot ("Pentecost") and Sukkot ("Tabernacles"), Passover is one of the three pilgrimage festivals (Shalosh Regalim) during which the entire population of the kingdom of Judah made a pilgrimage to the Temple in Jerusalem.

When the Temple in Jerusalem was standing, the focus of the Passover festival was the Passover sacrifice (Hebrew korban Pesach) also known as the "Paschal Lamb". Every family large enough to completely consume a young lamb or wild goat was required to offer one for sacrifice at the Jewish Temple on the afternoon of the 14th day of Nisan,(Numbers 9:11) and eat it that night, which was the 15th of Nisan (Exodus 12:6). If the family was too small to finish eating the entire offering in one sitting, an offering was made for a group of families. The sacrifice could not be offered with anything leavened, (Exodus 23:18) and had to be roasted, without its head, feet, or inner organs being removed (Exodus 12:9) and eaten together with unleavened bread (matzo) and bitter herbs (maror). One had to be careful not to break any bones from the offering, (Exodus 12:46) and none of the meat could be left over by morning (Exodus 12:10Exodus 23:18).

Because of the Passover sacrifice's status as a sacred offering, the only people allowed to eat it were those who had the obligation to bring the offering. Among those who could not offer or eat the Passover lamb were an apostate (Exodus 12:43), a servant (Exodus 12:45), an uncircumcised man (Exodus 12:48), a person in a state of ritual impurity, except when a majority of Jews are in such a state (Pesahim 66b), and a non-Jew. The offering had to be made before a quorum of 30 (Pesahim 64b). In the Temple, the Levites sang Hallel while the priests performed the sacrificial service. Men and women were equally obligated regarding the offering (Pesahim 91b).

[2] Eastern: Old English easterne "of the east, from the east; oriental; of the Eastern Orthodox Church; of the eastern part of the globe," from east + -erne, suffix denoting direction. Cognate with Old Saxon ostroni, Old High German ostroni, Old Norse austroenn. Eastern Shore of Maryland and Virginia so called from 1620s.

Easter: (n.) Old English Easterdæg, from Eastre (Northumbrian Eostre), from Proto-Germanic *austron-, "dawn," also the name of a goddess of fertility and spring, perhaps originally of sunrise, whose feast was celebrated at the spring equinox, from *aust- "east, toward the sunrise" (compare east), from PIE *aus- (1) "to shine" (especially of the dawn); see aurora. 

Bede says Anglo-Saxon Christians adopted her name and many of the celebratory practices for their Mass of Christ's resurrection. Almost all neighboring languages use a variant of Latin Pascha to name this holiday (see paschal). Easter egg attested by 1825, earlier pace egg (1610s). Easter bunny attested by 1904 in children's lessons; Easter rabbit is by 1888; the paganish customs of Easter seem to have grown popular c. 1900; before that they were limited to German immigrants.

If the children have no garden, they make nests in the wood-shed, barn, or house. They gather colored flowers for the rabbit to eat, that it may lay colored eggs. If there be a garden, the eggs are hidden singly in the green grass, box-wood, or elsewhere. On Easter Sunday morning they whistle for the rabbit, and the children imagine that they see him jump the fence. After church, on Easter Sunday morning, they hunt the eggs, and in the afternoon the boys go out in the meadows and crack eggs or play with them like marbles. Or sometimes children are invited to a neighbor's to hunt eggs. [Phebe Earle Gibbons, "Pennsylvania Dutch," Philadelphia 1882]

East: Old English east, eastan (adj., adv.) "east, easterly, eastward;" easte (n.), from Proto-Germanic *aust- "east," literally "toward the sunrise" (cognates: Old Frisian ast "east," aster "eastward," Dutch oost Old Saxon ost, Old High German ostan, German Ost, Old Norse austr "from the east"), from PIE *aus- (1) "to shine," especially of the dawn (cognates: Sanskrit ushas "dawn;" Greek aurion "morning;" Old Irish usah, Lithuanian auszra "dawn;" Latin aurora "dawn," auster "south;" see aurora). The east is the direction in which dawn breaks. For theory of shift in the geographical sense in Latin, see Australia. 

As one of the four cardinal points of the compass, from c. 1200. Meaning "the eastern part of the world" (from Europe) is from c. 1300. Cold War use of East for "communist states" first recorded 1951. French est, Spanish este are borrowings from Middle English, originally nautical. The east wind in Biblical Palestine was scorching and destructive (as in Ezek. xvii:10); in New England it is bleak, wet, unhealthful. East End of London so called by 1846; East Side of Manhattan so called from 1871; East Indies (India and Southeast Asia) so called 1590s to distinguish them from the West Indies.
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1943 | Madonna in a Fur Coat, Sabahattin Ali

March 28, 2016, 10:17 am
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Number 1 book borrowed from Turkish Public Libraries.

Mavi Boncuk |
1943 | Kürk Mantolu Madonna (Madonna in a Fur Coat), Sabahattin Ali[1]
PDF Link

[1] Sabahattin Ali (February 25, 1907 – April 2, 1948) was a Turkish novelist, short-story writer, poet, and journalist. Sabahattin Ali was born in 1907 in the Ottoman town of Egridere (now Ardino in southern Bulgaria) and was killed on the Bulgarian border in 1948 as he attempted to clandestinely leave Turkey. A teacher, writer, and journalist, he owned and edited a popular weekly newspaper called Marko Pasa and was imprisoned twice for his political views.

Madonna in a Fur Coat
Sabahattin Ali, Maureen Freely[2], Alexander Dawe[3] (Translators) Hardcover: 160 pages
Publisher: Penguin Classic (June 28, 2016)
Language: English
ISBN-10: 0241206197
ISBN-13: 978-0241206195



The bestselling Turkish classic of love and longing in a changing world, available in English for the first time. 'It is, perhaps, easier to dismiss a man whose face gives no indication of an inner life. And what a pity that is: a dash of curiosity is all it takes to stumble upon treasures we never expected.' A shy young man leaves his home in rural Turkey to learn a trade in 1920s Berlin. The city's crowded streets, thriving arts scene, passionate politics and seedy cabarets provide the backdrop for a chance meeting with a woman, which will haunt him for the rest of his life. Emotionally powerful, intensely atmospheric and touchingly profound, Madonna in a Fur Coat is an unforgettable novel about new beginnings and the unfathomable nature of the human soul. 'Passionate but clear . . . Ali's success [is in ] his ability to describe the emergence of a feeling, seemingly straightforward from the outside but swinging back and forth between opposite extremes at its core, revealing the tensions that accompanies such rise and fall.' Atilla Özkirimli, writer and literary historian. 

[2] Maureen Freely is an American journalist, novelist, professor, and translator. She has worked on the Warwick Writing Programme since 1996. 

"In one way or another, I have been translating since the age 
of eight. This is how old I was when my family moved from Princeton, New Jersey, to the shores of the Bosphorus. After we settled in Istanbul, we spent our summers and large parts of all the other seasons exploring the shores of the Mediterranean. Each time we arrived in a new city, we walked until we got lost. And after we got lost, we’d walk some more, until suddenly, without warning, we’d find ourselves approaching our hotel from a new angle. But it took a few moments before we recognized it." Read More: Seeing Istanbul Again by Maureen Freely.

[3] Alexander Dawe is an American translator of French and Turkish. He lives in Istanbul.
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Washington Dc Turkish Film Festival 2016

March 28, 2016, 2:13 pm
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Mavi Boncuk | 

Washington Dc Turkish Film Festival
All screenings at  Landmark Theatres E Street Cinema
555 11th Street , Washington, DC 20004


Free Screenings to be Booked from Eventbrite (Click the Film Links)

MON, APR 11 7:00 PM
IVY (SARMAŞIK)

TUE, APR 12 5:00 PM
SIVAS

TUE, APR 12 7:00 PM
BASKIN

TUE, APR 12 9:00 PM
LIMONATA

WED, APR 13 5:00 PM
COLD OF KALANDAR (KALANDAR SOĞUĞU)

WED, APR 13 7:00 PM
A UNIQUE LIFE (NADIDE HAYAT)

WED, APR 13 9:00 PM
SNOW PIRATES (KAR KORSANLARI)

THU, APR 14 7:00 PM
125 YEARS MEMORY
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Festival du Cinéma de Turquie à Paris

March 29, 2016, 11:13 am
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Mavi Boncuk | 


Festival du Cinéma de Turquie à Paris

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 LES FILMS PROGRAMMES DANS LE 13EME EDITION DU FESTIVAL DU CINÉMA DE TURQUIE A PARIS DU 1 ER AU 10 AVRIL 2016

SUIS MA VOIX ( WERE DENGÊ MIN – SESIME GEL )
DE HÜSEYIN KARABEY
TURQUIE, FRANCE, ALLEMAGNE, 2014 – 1H45 – VOST

 Dans “Suis ma voix” il raconte le périple d’une petite fille kurde qui accompagne sa grand-mère dans un voyage à la recherche d’une arme, élément essentiel à la libération du père de l’enfant, arrêté par la police turque.
Garden State Film Festival (2015) Best Feature (U.S.A) Istanbul International Film Festival (2014) Golden Tulip, Cineuropa Award (Turkey) Mar del Playa Film Festival (2014) Audience Award, Best Film, SIGNIS Award special mention (Argentine) Milan Film Festival (2014) Audience award Best Film (Italy).

LES CHEMINS ARIDES
D’ARNAUD KHAYADJANIAN
FRANCE, 2015 – 1H- VOST

Arnaud Khayadjanian entame un périple en Turquie, sur la terre de ses ancêtres, rescapés du génocide arménien. À partir d’un tableau, de ses rencontres et de témoignages familiaux, il explore la situation méconnue des Justes, ces anonymes qui ont sauvé des vies en 1915.

UN DÎNER DE DÉCISION (YEMEKTEYDIK VE KARAR VERDIM) 
DE GÖRKEM YELTAN
TURQUIE, 2015 – 1H24- VOST

La vie ne laisse pas le temps pour les pourquoi. Si vous vous égarez, vous serez seuls… Avec le temps, si vous ne pouvez pas changer, vous pourrez en devenir malade. Parfois, l’homme ne peut pas voir l’amour, il peut même en devenir aveugle. Ce n’est pas un ‘road movie’ mais le film d’une famille sur la route de la vie.. C’est l’histoire de gens qui se dépassent en explorant la vie dans des rues inconnues…

LES PIRATES DE LA NEIGE (KAR KORSANLARI)
DE FARUK HACIHAFIZOGLU
TURQUIE, 2015 – 1H30- VOST

Snow Pirates (Kar Korsanlari) est un film turc qui évoque le passage de l’enfance à l’âge adulte avec en toile de fond le coup d’Etat de 1980. Avec une direction d’acteurs rigoureuse et un jeu de qualité, Faruk Hacihafizoglu, pour son premier film en tant que scénariste et metteur en scène, fait doucement monter la pression jusqu’au dénouement final, tendu et poignant. Les amourettes et les histoires de cour de récréation de la bande de Serhat, Gurbuz et Ibo sont brutalement interrompues par un coup militaire à Ankara, dont leur petit village oriental ne sortira pas indemne. « Bien tourné et bien joué, Snow Pirates est un film qui vous tient en haleine du début à la fin »Mahmud El Shafey

SINGING WOMEN (ŞARKI SÖYLEYEN KADINLAR)
DE REHA ERDEM
TURQUIE, 2013 – 2H00 – VOST

Une petite île en Turquie. Les intempéries violentes font déserter la plupart de la population. Trois femmes turques malmenées par la vie et les hommes, prennent plaisir à se retrouver dans la forêt. Durant ces courts instants, où elles se racontent et chantent ensemble, elles retrouvent leur liberté.

LIMONADE (LIMONATA)
D’ALI ATAY
TURQUIE, 2015 – 1H41- VOST

Ni Sakip (Ertan Saban), ni Selim (Serkan Keskin) n’auraient imaginé avoir un frère un jour, jusqu’à ce que leur père, Suat, soit sur son lit de mort. Afin de rassembler la famille avant son décès imminent, le père envoie Sakip de leur maison en Macédoine à la jungle urbaine d’Istanbul, pour qu’il ramène son fils perdu. Ainsi commence le voyage sur la route de nouveaux frères aux origines culturelles très différentes, allant de la Turquie cosmopolite vers les Balkans ruraux.

FRENZY (ABLUKA)
D’EMIN ALPER
TURQUIE, FRANCE, QATAR, 2015 – 1H59 – VOST

 En liberté conditionnelle, Kadir cherche à reprendre contact avec son jeune frère Ahmet dès sa sortie de prison. Mais celui-ci ne semble pas intéressé à renouer avec son aîné. Autour d’eux, c’est le chaos total, les bruits de bottes succèdent aux explosions. C’est un Istanbul apocalyptique que nous montre Emin Alper dans un suspense haletant du début à la fin. « Abluka démonte superbement le mécanisme qui, de la suspicion, mène à la folie. »

Venice Film Festival (2015) Prix spécial du Jury Bisato d’Oro Meilleur Directeur, Grand prix du Jury ASPA, MUFF Malayta International Film Festival (2015) Crystal Apricot Award Best Director, SİYAD Best Film



MUSTANG
DE DENIZ GAMZE ERGÜVEN
FRANCE, ALLEMAGNE, TURQUIE, 2015 – 1H33- VOST

C’est le début de l’été. Dans un village reculé de Turquie, Lale et ses quatre sœurs rentrent de l’école en jouant avec des garçons et déclenchent un scandale aux conséquences inattendues. La maison familiale se transforme progressivement en prison, les cours de pratiques ménagères remplacent l’école et les mariages commencent à s’arranger. Les cinq sœurs, animées par un même désir de liberté, détournent les limites qui leur sont imposées.

LA BALLADE DES EXILÉS (SÜRGÜN TÜRKÜLERI) 
D‘ILKER SAVASKURT
ANGLETERRE, TURQUIE, 2016 – 1H09 – ANGLAIS

La ballade des exilés reprend l’histoire du réalisateur Yılmaz Güney obligé de fuir en France après le coup d’Etat de 1980, où il a tourné son dernier film « Le Mur ». Le film évoque également la vie politique et artistique que mènent aujourd’hui en France et en Turquie les militants politiques, artistes et intellectuels qui ont fréquenté Yılmaz Güney. Ceux-ci partagent tout leur vécu à propos des oppressions qu’ils ont subi, de leur vie d’exil, ainsi que de leur rêves et envies de cinéma.

PARIS(S) D’EXIL 
DE ZÎREK
FRANCE, 2013 – 1H10- VOST

Zîrek est kurde de Turquie et apatride à Paris depuis plus d’un quart de siècle. Il a promis à son père de lui envoyer son petit-fils sur sa terre natale où lui-même ne peut plus aller. Le voyage de son fils, cinq jours au Kurdistan, va raviver ses propres souvenirs et angoisses. Par téléphone, il suivra mentalement ses pas, partagé entre le bonheur de redécouvrir à travers lui son pays et ses coutumes, et l’inquiétude que constitue ce périple dans une région encore soumise au couvre-feu.Ce voyage va le replonger dans son passé, à partir de l’aéroport où il est lui-même arrivé en France, vingt-cinq ans plus tôt. Il refera le parcours de sa vie depuis ses premiers pas de réfugié, habité par la certitude d’un retour proche jusqu’à sa situation d’exilé: l’éloignement des siens, la perte des illusions et de tout espoir. En progressant vers sa ville natale Hakkâri, le fils va peu à peu redécouvrir son père à distance. Leur relation au départ compliquée, évoluera au fil des appels téléphoniques vers une certaine complicité.

DELIRIUM (HEZEYAN)
DE CANAN
TURQUIE, 2014 – 1H- VOST ANGLAIS

« Delusion (Delirium), moyen métrage “fait maison” de Canan, dévoile la part féminine de l’âme de la Turquie. Rappelant Fassbinder à ses débuts, ce mélodrame émouvant et “prompt aux larmes” est à la fois engagé et bouleversant. Le film embarque le spectateur dans une histoire bien ficelée incorporant messagerie internet instantanée, foi religieuse, musique arabesque et folie. C’est actuellement le seul film turc réellement percutant à l’écran à Istanbul. Les aventures d’une femme au foyer heureuse avec son “prince charmant internet” sonnent comme une confession anonyme moderne. » Fatih Özgüven, journal Radikal

KURDISTAN KURDISTAN
DE BÜLENT GÜNDÜZ
FRANCE, 2015 – 1H36 – VOST

Kurdistan Kurdistan filmé à Muş en Turquie et à New York, raconte la vie de DelilDilanar, qui fut obligé de quitter son pays dans les années 90, pour avoir chanté en kurde dans un mariage. Au bout de 20 ans d’exil, lors d’un concert à New York, il annonce son retour à ses racines. Une fois au Kurdistan, il ressent une profonde solitude et tente d’en sortir avec son maître-musicien, venu lui rendre visite au village. Ce dernier lui transmet un dernier secret : atteindre le zénith du « dengbêj ». DelilDilanar joue dans ce film, son propre rôle.

International Filmmaker Festival of World Cinema London 2016, Meilleur Film en langue étrangère. Prix refusé par le réalisateur:  « Je suis un cinéaste appartenant à un Peuple d’une population de 40 millions, et qui n’a pas de pays, le peuple kurde. Les Kurdes sont aujourd’hui les seuls qui combattent les gangs de Daech, et qui gardent l’honneur de l’humanité. Malgré cette lutte honorable, les Kurdes n’ont pas trouvé le soutien nécessaire du monde, et ont subi des massacres sur toutes les terres où ils vivent. En tant qu’être humain et Kurde, pour attirer l’attention sur les positions hypocrites exposées par tous les pays du monde, notamment en Europe, plus particulièrement celles du Royaume Uni, de la France et de l’Allemagne, je me dois de refuser ce prix. Je remercie cependant de nouveau le jury du festival et je vous salue avec respect. » Propos recueilli par le site www.kedistan.fr
Los Angeles Film Festival 2015 , Meilleur Film, Meilleure Musique


DIS-MOI POURQUOI TU DANSES?
DE JACQUES KEBADIAN
FRANCE, 2015 – 1H03 – VF

Dis-moi pourquoi tu danses ? est le dernier film de Jacques Kebadian, réalisateur de Sans retour possible et de Que sont mes camarades devenus ?.

Pendant six mois il a suivi dans leurs répétitions et leurs représentations la troupe de danse arménienne « Yeraz ».
« Ce qui m’intéresse dans ce film c’est de raconter une histoire ancestrale et contemporaine. Et cette histoire dramatique, ce sont les arrières petits-enfants de 1915 qui la racontent avec leur corps, en nous faisant ressentir la beauté de cette danse millénaire, par des témoignages chargés d’émotion, d’humour et de pudeur. Leur passé et leur culture, ils les font partager sur la scène mais leur quotidien et leur avenir est ici dans la vie de tous les jours ».
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Mihraç Ural and Al Muqāwamat al-Sūriyah

March 29, 2016, 1:42 pm
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Multiple sources claim ( Ali Kayali ) known as Mihrac Ural (Leader of Syrian Resistance) got killed by rebels in Latakia. Ahrar has taken responsibility for his death.

Mavi Boncuk |

The Syrian Resistance (Al Muqāwamat al-Sūriyah, Arabic: المقاومة السورية), formerly known as the Popular Front for the Liberation of the Liwa of Iskandarun (Arabic: الجبهة الشعبية لتحرير لواء اســكندرون), is a pro-government Syrian armed group operating in Northwest Syria, claiming a Marxist–Leninist ideology.

The movement[1] is led by Mihraç Ural, a Turkish Alawite who has Syrian citizenship. According to Today's Zaman, Ural was the leader of a clandestine insurgent cell in Hatay Province called the THKP-C (Turkish Peoples' Liberation Party-Front) Acilciler ("The Urgent Ones") [Officially non existent for 25-30 years}.It was further alleged that Ural's group has sought to agitate Hatay's sizable Alawite population into confrontation with the Turkish authorities and has also recruited local Alawites to fight in Syria on behalf of the government.

Though the group openly espouses a broadly-inclusive platform of Syrian nationalism in addition to secular leftism, it has been claimed that its primary focus is the defence of the Alawite and Twelver Shi’a religious minorities in the country.[3] The Syrian Resistance has been accused by the Syrian opposition of being a sectarian Alawite militia, and of having carried out bombings and attacks in Turkey and on villages in Syria.[7][8] However, Sheikh Muwaffaq al-Ghazal, a member of the Islamic Alawi Council, claims it has an inclusive national line regarding religion, race and gender. 

 See Article: THE RENEWED THREAT OF TERRORISM TO TURKEY | June 25, 2013 | Stephen Starr.

[1] The Marxist-Leninist DHKP/C also claimed responsibility for a gunfire attack against the US Consulate on August 10, 2015.  The DHKP/C is said to have been behind terrorist attacks against government and Western targets in Turkey since 1994, including the suicide attack against the US Embassy in Ankara in February 2013. Another group that has emerged as a terrorist threat is the Urgent Ones (Acilciler), formed in 1975, “a splinter group from the Turkish People’s Liberation Party/Front (THKP/C)” led by Mihrac Ural, who became a primary suspect in the May 11, 2013, twin car bombings in the town of Reyhanli, Hatay Province (near the Syrian border) in which fifty-two people were killed.  That attack was said to be “the deadliest terrorist attack in [Turkey’s] modern history,” and Ural is reportedly “now infamous for his alleged involvement in massacres in the Syrian towns of Bayda and Baniyas in May 2013,” carried out in support of the Syrian Assad regime.  Another small leftist group, the People’s Defense Union (Halkların Savunması Birliği), claimed responsibility for bombings and gunfire attacks carried out in Istanbul against a police station and in Sirnak Province on August 10, 2015.
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Word Origin | Paçavra, Kumaş, Gömlek, Tela

April 1, 2016, 9:09 am
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Mavi Boncuk |

Paçavra: [ Kaşgarî, Divan-i Lugati't-Türk, 1073] çöpre [[eski ve yıpranmış kumaş parçası]]
[ Meninski, Thesaurus, 1680] paçavre ڀاچاوره : coarse cloth[1], granum crassum: tela crassa; coarse grain, coarsely woven, peniculus, peniculum [kaba bez parçası]. TartarTR *pā-çöbre ayak bezi Persian pā ayak (feet EN) +oldTR/ TartarTR çöpre/çöbre paçavra, eski bez TR worn cloth EN.

Tela: [ Özön, Türkçe-Yabancı Kelimeler Sözlüğü, 1961] tela: Elbiselerin kumaşla astar arasına konan sertçe bez. IT tela seyrek dokunmuş kumaş, kanaviçe from L tela dokuma, kumaş fromIE  *teks-lā  IE *teks- dokumak. teknik;  textile: 1620s, from Latin textilis "a web, canvas, woven fabric, cloth, something woven," noun use of textilis "woven, wrought," from texere "to weave," from PIE root *teks- "to make". Technique: As an adjective from 1650s. 1817, at first especially in criticism of art and music, from French technique "formal practical details in artistic expression" (18c.), noun use of technique (adj.) "of art, technical," from Greek tekhnikos "pertaining to art," from tekhne "art, skill, craft in work".

Kumaş: [ anon., Tezkiretü'l-Evliya terc., 1341] Fużayl bunların ulusı-yıdı kumāşı bunlara üleşdürür-idi fromAR ḳumāş قماش dokuma, bez Aramaic ḳūmīsā קומיסא gömlek TR; shirt EN[2] Chemise FR[3]


Gömlek: odTR [ Kaşgarî, Divan-i Lugati't-Türk, 1073] köŋlek: al-ḳamīṣ [gömlek] oldTR  köŋlek göğüslük, gömlek oldTR köŋül göğüs +Ak → gönül

[1] Cloth (n.) Old English claþ "a cloth, sail, cloth covering, woven or felted material to wrap around one," hence, also, "garment," from Proto-Germanic *kalithaz (cognates: Old Frisian klath "cloth," Middle Dutch cleet, Dutch kleed "garment, dress," Middle High German kleit, German Kleid "garment"), of obscure origin. As an adjective from 1590s. The cloth "the clerical profession" is from 17c. in reference to characteristic dress.


[2] Shirt (n.) Old English scyrte "skirt, tunic," from Proto-Germanic *skurtjon "a short garment" (cognates: Old Norse skyrta, Swedish skjorta "skirt, kirtle;" Middle Dutch scorte, Dutch schort "apron;" Middle High German schurz, German Schurz "apron"), related to Old English scort, sceort "short," from PIE *(s)ker- (1) "to cut" (see shear (v.)). Formerly of the chief garment worn by both sexes, but in modern use long only of that for men; in reference to women's tops, reintroduced 1896. Bloody shirt, exposed as a symbol of outrage, is attested from 1580s. To give (someone) the shirt off one's back is from 1771. To lose one's shirt "suffer total financial loss" is from 1935. To keep one's shirt on "be patient" (1904) is from the notion of (not) stripping down for a fight.


[3] Chemise is a French term (which today simply means shirt). This is a cognate of the Italian word camicia, and the Spanish / Portuguese language word camisa (subsequently borrowed as kameez by Hindi / Urdu / Hindustani), all deriving ultimately from the Latin camisia, itself coming from Celtic. (The Romans avidly imported cloth and clothes from the Celts.)

The English called the same shirt a smock.The term chemise or shift can refer to the classic smock, or else can refer to certain modern types of women's undergarments and dresses. In the classical use it is a simple garment worn next to the skin to protect clothing from sweat and body oils, the precursor to the modern shirts commonly worn in Western nations.

The chemise seems to have developed from the Roman tunica and first became popular in Europe in the Middle Ages. Women wore a shift or chemise under their gown or robe; while men wore a chemise with their trousers or braies, and covered the chemises with garments such as doublets, robes, etc.

Until the late 18th century, a chemise referred to an undergarment. It was the only underwear worn until the end of Regency period in the 1820s,[2] and was usually the only piece of clothing that was washed regularly.


In the 1810s, the term came also to be applied to an outer garment. In Western countries, the chemise as an undergarment fell out of fashion in the early 20th century, and was generally replaced by a brassiere, girdle, and full slip, and panties first came to be worn.
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