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In Memoriam | Zaha Hadid (1950-2016)

April 1, 2016, 11:54 am
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Dame Zaha Mohammad Hadid, DBE (Arabic: زها حديد‎ Zahā Ḥadīd; 31 October 1950 – 31 March 2016) was an Iraqi-born British architect. She became the first woman to receive the Pritzker Architecture Prize (2004). She received the Stirling Prize in 2010 and 2011. In 2012, she was created a Dame Commander of the Order of the British Empire and in 2015 she became the first woman to be awarded the RIBA Gold Medal in her own right. Hadid's buildings are distinctively neo-futuristic, characterised by curving forms with "multiple perspective points and fragmented geometry to evoke the chaos of modern life". On 31 March 2016, Hadid died of a heart attack in a Miami hospital, where she was being treated for bronchitis.



Mavi Boncuk |

Here is a small tribute to her work in Turkey. So far none was realized.

Istanbul International Control Tower Competition Entry

 The project begins by tying together the basic infrastructural and urban context of the surrounding site. Lateral lines stitch together the major road connections emerging from Kartal in the west and Pendik in the east.Design competition to determine control tower of Istanbul’s new airport

Zaha Hadid's design was inspired by whirling dervishes.


"We are developing a unique project that inspires from local architecture. We launched this competition as we aim that the air traffic control tower to contribute a lot to Istanbul's new airport symbolically. We specifically asked participating firms to be inspired from Turkey's symbols. We evaluate the projects and will soon share the result," CEO of IGA consortium Yusuf Akçayoğlu said. 

Kartal  Winning Competition Entry

The Kartal - Pendik Masterplan is a winning competition proposal for a new city centre on the east bank of Istanbul.

It is the redevelopment of an abandoned industrial site into a new sub-centre of Istanbul, complete with a central business district, high-end residential development, cultural facilities such as concert halls, museums, and theatres, and leisure programs including a marina and tourist hotels.

The site lies at the confluence of several important infrastructural links, including the major highway connecting Istanbul to Europe and Asia, the coastal highway, sea bus terminals, and heavy and light rail links to the greater metropolitan area.

2020 Expo Entry



Izmir has designated a 276-hectare area at inciraltı as the fairgrounds. one of europe’s largest urban recreational areas will be built here and an oasis created to serve the residents when the EXPO is over. next november, delegates from around the world will vote in paris at the bureau international des expositions (BIE) general assembly to decide where the 2020 EXPO will be and anglo-iraqi architect zaha hadid wa scheduled to make the presentation in person. Her firm designed a breathtaking lagoon setting in which the sky, sea and land come together to enhance the local environment and to ensure that the EXPO leaves izmir and the sea around the site cleaner than before. five official bidders make a final push to win EXPO 2020 bid: izmir (turkey), dubai (UAE), sao paulo (brazil), ayutthaya (thailand) and yekaterinburg (russia). izmir previously bid to host EXPO 2015 and narrowly lost to milan. if dubai or izmir win, it will be the first middle eastern expo. izmir was selected over ankara by turkey’s federal government.
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Diyarbakır Fortress and Hevsel Gardens Cultural Landscape

April 4, 2016, 12:11 pm
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Mavi Boncuk | 
Diyarbakır Fortress and Hevsel Gardens Cultural Landscape | UNESCO Site 

Located on an escarpment of the Upper Tigris River Basin that is part of the so-called Fertile Crescent, the fortified city of Diyarbakır and the landscape around has been an important center since the Hellenistic period, through the Roman, Sassanid, Byzantine, Islamic and Ottoman times to the present. The site encompasses the Inner castle, known as İçkale and including the Amida Mound, and the 5.8 km-long city walls of Diyarbakır with their numerous towers, gates, buttresses, and 63 inscriptions. The site also includes the Hevsel Gardens, a green link between the city and the Tigris that supplied the city with food and water, the Anzele water source and the Ten-Eyed Bridge. 

NOMINATION FILE
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In Memoriam | Ülkü Erakalın (1934-2016)

April 6, 2016, 11:36 am
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Mavi Boncuk | Ülkü Erakalin (b.  July 9, 1934 Istanbul, Turkey - April 6,  2016 Istanbul, Turkey). He was a prolific film director and writer.

Books:  

Fotoğraflar Siyah-Beyaz, Anılar Renkli | Arıtan Yayınevi | Aralık 2002 

Yeşilçam'dan Son Yapraklar | Belge ve Anılarla Türk Sinemasının Kırk Yılı | Arıtan Yayınevi, 
Eylül 2000, 

Film Karelerine Gizlenen Anılar | Arıtan Yayınevi | Nisan 1999

Direklerarası'nın Son Direkleri | 

Filmography:

Çığlık Çığlığa Bir Sevda - 2009 
Üvey Ana - 10 Altın Film - 2004
Dudaktan Kalbe - 2004
Paydos - 2004
Yılın Kadını - 1989
Hayroş - 1986
Kısrak - 1986
Acıların Kadını - 1986
Assolist - 1985
Kaderi Zorlama - 1985
O Kadınlardan Biri - 1985
Sana Öyle Hasretim ki - 1985
Satmışım Anasını - 1985
Sev Yeter - 1984
Rezalet - 1979
Şıllık - 1979
Uçurumdaki Kadın - 1979
Bu Benim Günahım - 1979
Yosma - 1979
Çıplaklar - 1979
Memnu Meyve - 1979
Gönül Oyunu - 1979
Dua - 1979
Yedi Kocalı - 1979
Şehvet Uçurumu - 1979
Fakir - 1979
Günahkar Kadın - 1979
Kara Leke - 1979
Koca Aranıyor - 1979
Skandal - 1979
Ay Aman Of - 1979
Lekeli Kadın - 1979
Bizim Fıstıklar - 1978
İsmet Bu Ne Kısmet - 1978
Kadınlar Koğuşu - 1978
Erkeklik Öldü mü Abiler - 1978
Kadınlar Hamamı - 1978
Sormagir Sokağı - 1978
Hayat Kadınları - 1978
Yengen - 1978
Köfte Ekmek Az Piyaz - 1978
Aldırma Gönül - 1978
Hızlı Giden Yorulur - 1977
Yeşilçam Sokağı - 1977
Yazgı - 1976
Ben Sana Mecburum - 1976
Çalkala Yavrum Çalkala - 1975
Derece 37 (2) - 1975
Ah Bu Kadınlar - 1975
Kanlı Sevda - 1974
Ayyaş - 1974
Silemezler Gönlümden - 1974
Alo Polis - 1974
Çoban - 1973
Elbet Birgün Buluşacağız - 1973
Dikiz Aynası - 1973
Bir Garip Yolcu - 1972
Afacan Harika Çocuk - 1972
Yaşamak Kolay Değil - 1970
Son Nefes - 1970
Ana Gibi Yar Olmaz - 1970
Köye Dönen Yosma - 1970
Vur Patlasın Çal Oynasın - 1970
Galatalı Fatma - 1969
İki Yetime - 1969
Kapıcının Kızı - 1969
Yanık Kaval - 1969
Yuvamı Yıkamazsın - 1969
Acı Yıllar - 1968
Hepimiz Kardeşiz-1964
Lekeli Aşk - 1964
Aşk Merdiveni - 1962
Kırmızı Karanfiller - 1962
İki Yetime - 1961
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Vladimir Ivanovich Dal ( 1801-1872)

April 8, 2016, 2:31 pm
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 Dal's portrait by Vasily Perov

Mavi Boncuk |
Vladimir Ivanovich Dal (alternatively transliterated as Dahl; Russian: Влади́мир Ива́нович Даль; November 10, 1801 – September 22, 1872) was one of the greatest Russian language lexicographers. He was a founding member of the Russian Geographical Society. He knew at least six languages including Turkic and is considered to be one of the early Turkologists. During his lifetime he compiled and documented the oral history of the region that was later published in Russian and became part of modern folklore.

His father was a Danish physician named Johan Christian von Dahl (1764 – October 21, 1821). He was a linguist versed in German, English, French, Russian, Yiddish, Latin, Greek and Hebrew languages. His mother, Maria Freitag, was of German and French descent (Huguenots). She spoke at least five languages and came from a family of scholars.

The future lexicographer was born in the town of Lugansky Zavod, in Novorossiya under the jurisdiction of Yekaterinoslav Governorate, part of Russian Empire, which is now Luhansk, Ukraine.

Dal served in the Russian Navy from 1814 to 1826, graduating from the St Petersburg Naval Cadet School in 1819. In 1826, he began studying medicine at Dorpat University and took part as a military doctor in the Russo-Turkish War (1828–1829) and the campaign against Poland in 1831–1832. Following disagreement with his superiors, he resigned from the Military Hospital in St. Petersburg and took an administrative position with the Ministry of the Interior in Orenburg Governorate, serving in similar positions in St. Petersburg and Nizhny Novgorod before his retirement in 1859.

Dal was interested in language and folklore from his early years. He started traveling by foot through the countryside, collecting sayings and fairy tales in various Slavic languages from the region. He published his first collection of fairy-tales in 1832 in Russian language. Some others, yet unpublished, were put in verse by his friend Alexander Pushkin and have become some of the most familiar texts in the Russian language. After Pushkin's fatal duel, Dal was summoned to his deathbed and looked after the great poet during the last hours of his life. In 1838, Dal was elected to the St Petersburg Academy of Sciences.

In the following decade, Dal adopted the pen name Kazak Lugansky ("Cossack from Luhansk") and published several realistic essays in the manner of Nikolai Gogol. He continued his lexicographic studies and extensive travels throughout the 1850s and 1860s. Having no time to edit his collection of fairy tales, he asked Alexander Afanasyev to prepare them for publication, which followed in the late 1850s.
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Recommended | Kamil Pasha Turkey

April 11, 2016, 7:29 am
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MUSLIM NATIONALISM AND THE NEW TURKS

Princeton University Press, November 2012(Hardcover) 2014(Paperback)

Mavi Boncuk |Blog  LINK

Kamil Pasha Turkey, and the thoughts and fiction of Jenny White 

I am an author and scholar, a professor of anthropology at Boston University, specializing in contemporary Turkish culture, politics and society. I have published three scholarly books on contemporary Turkey and three novels in the Kamil Pasha series: The Sultan’s Seal, The Abyssinian Proof , and The Winter Thief. For more information about my books and some background history, check out my website: www.jennywhite.net

This blog began as a species of fieldnotes — a record of what I thought was important — as I spent the year 2008 in Turkey on a research grant. I was looking into political issues, nationalism and Islam in particular as these were developing in Turkey. I’m back in Boston now, but continuing my mission to keep track of — and track down — interesting and important events and insights about contemporary Turkey. I try to be balanced (never an easy task in an ideologically divided country like Turkey) and, when the occasion presents itself, to look at the light side of things as well.  I give my own reflections as someone who has been coming to – and often living in — Turkey since the mid-1970s.

Istanbul is a city where the past is right there beneath your nose as you walk about the streets. My main fictional character, Kamil Pasha, was a prosecutor/magistrate in the nineteenth century secular Ottoman court of Beyoglu, the foreigners’ section of Istanbul. He went to school in Istanbul, grew up there, worked and loved there (and in my mind and that of my readers still does).

Old Turkey and new, my impressions and thoughts.


Sample Posting
Posted on April 11th, 2011 by Jenny White

"The unlikely love story of a Jewish-Greek couple that met and married in Istanbul over fifty years ago. (Click here for the full article.) An excerpt:

Fortuna was a teenager when she noticed Yani, five years her elder, a fishmonger working in the Grand Bazaar in the heart of old Istanbul. She was Jewish. He was Greek. They met on the boat that crosses the Bosporus. When she told her family about Yani, her mother locked her out of the house. These were observant Sephardic Jews whose ancestors had been forced to leave Spain in 1492. They were active in their synagogue, determined in those first years after the terrible cataclysm of World War II to assert their cultural and religious inheritance…

Fortuna, 17 and love-struck, knew only the village where the handsome Greek man lived, nothing more, not even his last name. She went to Gengelkoy, asked for “Yani” and was soon directed to the house where she could find him. She knocked on the door.

“I came,” she told the Greek, uncertain whether he would accept her.

Fortuna’s family, meanwhile, went to the police, and Yani was briefly incarcerated. The judge told him matter-of-factly that if the couple married, it would be OK for them to be together (despite the objections of her parents) and he could be freed from jail. They had a municipal wedding…

Sixty years ago, Istanbul’s population included a significant Greek community, 100,000 or more, and a similar number of Jews. Kuzguncuk was mostly Jewish and Greek, with two synagogues and one Greek Orthodox Church. Synagogues and churches dotted Beyoglu and other areas, too." ... MORE
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Only Blockbusters Left Alive| Kapali Gişe

April 11, 2016, 7:42 am
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Mavi Boncuk |

Only Blockbusters Left Alive: Monopolizing Film Distribution In Turkey | Kapali Gişe: Türkiye’de Tekelleşen Film Dağitimi| 


Realized by: Şenay Aydemir, Evrim Kaya, Fırat Yücel, Kaan Müjdeci / DOP: Kemalettin Sert / Editor: Doruk Kaya / Producer: Kaan Müjdeci / Production Co.: Coloured Giraffes / World Sales: Coloured Giraffes / Turkey / 2016 / DCP / Colour / 45´ / Turkish; English s.t.

Turkish film industry has been experiencing a breakthrough in the last ten years. According to 2015 figures, there is a bold uptrend in terms of viewers and film production. Yet without any regulations at work, this growth only made injustices in distribution bigger. While a single cinema chain controls more then 50% of the market, it also started to control distribution and production. In this monopolized environment, there seems to be no country for independent production. With the guidance of producers, distributors, and economists, the film traces the distortion created by the bad economy that has become an obstacle for freedom of choice.
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Life on Mars Cinemas

April 11, 2016, 7:54 am
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Demand for movies is rising in Turkey, where cinema ticket revenue jumped 23 percent last year, according to state statistics office data. The number of theaters nationwide increased 3.2 percent, the data show.

Turkey has a particularly dynamic media environment, with growing box office and, on TV, a vibrant sector with almost 18 million households in the gateway between Europe and Asia.

Mavi Boncuk |

South Korea’s CJ-CGV[1] has sealed a deal to acquire Mars Entertainment[2], the largest movie chain in Turkey. The deal has a price tag of $687 million (Euros 605 million) which expands to $800 million with the inclusion of net debt. The sellers, advised by Goldman Sachs Group Inc. and Morgan Stanley, are the Turkish private equity firms Esas Holding AS and Actera Group which own a combined 69.5 percent, as well as founding partners Muzaffer Yildirim and Menderes Utku, who own the remainder. The sale is expected to be closed in May, according to the statement. Citigroup Inc. represented CJ CGV in the deal.

CGV is leading a consortium of bidders, according to a regulatory filing. The Korean company said that it will directly hold a 38% stake, while its partners will hold the remainder.

Similarly, Sony Pictures Television Networks has taken a majority stake in Turkish free-to-air network Planet TV. The deal is joint venture with Turkish advertising group Satis Ofisi. It would rep the second big Turkish media deal in a few days, following on from Korea’s CJ- CGV acquired leading Turkish theatre chain Mars Cinema in a deal reported to be worth $687 million. 

Sony’s deal marks its first entry into the dynamic Turkish TV market. Planet TV has four channels: Pembe, which airs Turkish soaps and dramas; Turk, which airs local movies; cooking channel Mutfak and Cocuk, a kids channel. The deal is still subject to regulatory approval.

[1] CGV started as Theater Business Team inside CJ CheilJedang in 1995. CJ Golden Village was jointly established in 1996 by CJ Cheil Jedang of Korea, Orange Sky Golden Harvest of Hong Kong and Village Roadshow of Australia. However, now it is operated by CJ only as Golden Harvest and Village Roadshow have pulled out of the group. CGV opened the first multiplex in Gangbyeon in 1998. It merged CJ Golden Village and renamed the company to CJ CGV. In December 2004, it became the first theater chain listed on the Korea Stock Exchange. 

[2] Mars, which was founded in 2001 by Muzaffer Yildirim and taken over by the Actera Group in 2010. They currently account for more than half of Turkey’s total box office. The transaction means Mars Cinema Group, which owns 83 multiplexes with 736 screens under the Cinemaximum brand in Turkey, has an enterprise value, or market capitalization plus debt, of $800 million, the buyers and sellers said in a joint e-mailed statement. The deal brings the South Korean company closer to its target of operating 10,000 screens globally by 2020. The unit of South Korea’s CJ Group has said it is also considering buying the U.K.-based Odeon & UCI cinema chains from Terra Firma Capital Partners.

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Meninski (1623–1698)

April 14, 2016, 8:33 am
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Mavi Boncuk |


A portrait of the author of 'Thesaurus Linguarum Orientalium' by Antoni Oleszczyński (1794-1879), Polish engraver.

Francisci à Mesgnien Meninski (first name spelled also Franciscus, François and Franciszek) (1623–1698) was the author of a multi-volume Turkish-to-Latin dictionary and grammar of the Turkish language, first published in 1680, which was ground-breaking in its comprehensiveness at the time, and for historians today it is a valuable reference for the Turkish language of the time.

Mesgnien-Meninski was born in Lorraine (duchy) in today's northeastern France. He studied in Rome, where one of his teachers was a theoretical linguist, logician, and Jesuit, Giovanni Battista Giattini. Mesgnien-Meninski moved to Poland around 1647. In 1649, when aged in his late 20s, he published in Latin a grammar and tutorial for learning the Polish language.[1] In 1653 at age 30 he accompanied the Polish ambassador to Istanbul. After two to three years of applying himself to the study of the Turkish language in Istanbul, he became the chief translator to the Polish embassy at Istanbul, and subsequently was appointed as deputy ambassador with full ambassadorial powers. Soon after that promotion, he was awarded Polish citizenship, on which occasion he added the Polish termination of "ski" to his last name, which had been Menin beforehand.[2] In 1661 he moved to Vienna in Austria to become interpreter of Oriental languages for the Habsburg monarchy at Vienna. He stayed at that post for the rest of his career, and died at Vienna.

His great work, the Thesaurus Linguarum Orientalium, was published at Vienna in 1680 in 4 volumes, consisting of a dictionary of Turkish, Arabic and Persian vocabulary translated to Latin and explained in Latin, plus a grammar and tutorial for learning the Turkish language. For his Arabic and Persian vocabulary Meninski copied much from the Arabic-Latin and Persian-Latin dictionaries of Jacobus Golius (died 1667). The Turkish was largely and essentially from Meninski himself. In 1687 Meninski published a complementary volume entitled Complementum Thesaurus Linguarum Orientalium, in which it is the Latin words that are organized alphabetically and the Latin words are translated into Turkish.

A number of copyright-expired volumes written by F. Mesgnien-Meninski are fully readable at Books.Google.com

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Word Origin | Beden, Korse, Gövde, Cüsse, Ceset, Cesim, Cenaze, Mevta, Leş

April 14, 2016, 8:52 am
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Mavi Boncuk |

Beden: gövde TR corps EN [1], torso EN [2] [ Aşık Paşa, Garib-name, 1330] maˁlūm oldu bu beden birin birin/eytdük ol cevherlerüŋ yérlü yérin
"... kale burcu üzerindeki siperlik" [ Meninski, Thesaurus, 1680]
beden: ten, cesed, gevde. Corpus (...) Item turcicè sumitur pro pinnâ muri. Crêneaux de muraille. "giysi ölçüsü" [  2000] from  AR badan بدن  insan gövdesi, torso, 

Korse: Korse TR, kolsuz kısa gömlek veya zırh. Bodice EN[3], corset EN [4] korsaj [ Ahmed Mithat, 1888]
[ Hüseyin Rahmi Gürpınar, Şık, 1889] Şatırzade böyle korseli, pudralı şıklardandır. fromFR corset [dim.] gövde şeklinde kadın iç çamaşırı fromFR corps vücut, beden

Gövde: ETü: [ Uygurca Budist metinler,  1000] ölmiş kövtöŋler ermeser [ölü bedenler olmasa] KazakhTR: [ Kitab-ı Mecmu-ı Tercüman-ı Türkî, 1343] kewde: al-cus̠s̠a TatarTR: [ Dede Korkut Kitabı,  1400] Ol gövdeŋde cānuŋ varısa oğul χaber maŋa OldTR kövtöŋ ceset, beden 

Cüsse: [ Meninski, Thesaurus, 1680]
cüsset: Statura seu habitus corporis humani [insan bedeninin büyüklüğü ve endamı] & cadaver [ceset]. from  AR cuṯṯa(t) جثّة  [#cs̠s̠ fuˁla(t) mr.] beden, gövde, ceset

Ceset: [ Aşık Paşa, Garib-name, 1330] cesed from  AR casad جسد  beden, gövde (Aramaic gūşdā גושדא a.a. ) from oldFA gōşt et  Avesta  gaw gen. gauş- sığır

Cesim: from  AR casīm جسيم  cüsseli, büyük gövdeli, şişman    AR casuma جَسُمَ büyük idi, yer kapladı

Cenaze: [ anon., Tezkiretü'l-Evliya terc., 1341] χalayık feryād eylediler kim 'Zennūn diridür, barmağın çıkardı,' c.nāzeyi aşağa kodılar. [ Meninski, Thesaurus, 1680] cināze vul. cenāze from  AR/Fa cināza جنازه ölünün içine konulduğu tabut from Aramaic ginzā, gənīzā גנזא gömü, hazine from olsPersian ganz/gazīnag.  hazine TR, treasure EN[5]

Mevta: [ Ömer b. Mezîd, Mecmuatü'n-nezâir, 1437] Kefīl olursa kādirdür bugün ihyā-ı mevtāya
from  AR mawtāˀ موتاء  [#mwt çoğ.] ölüler    AR mayyit ميّت  [t.] ölü → mevt

Leş: dead body, used for animals and humans. lāşe TR [ Danişmend-Name, 1360] [ Filippo Argenti, Regola del Parlare Turco, 1533] lésci [leş]: corpo morto di homo &; di animale [insan ve hayvan cesedi] [ Ahmed Vefik Paşa, Lugat-ı Osmani, 1876] leş gibi kokmak (...) leşini sermek (...) ya devlet başa ya kuzgun leşe fromPE lāşa لاشه ceset 

  [1] corps (n.) late 13c., cors "body," from Old French cors "body, person, corpse, life" (9c.), from Latin corpus "body" (see corporeal). Sense in English evolved from "dead body" (13c.) to "live body" (14c.) to "body of citizens" (15c.) to "band of knights" (mid-15c.). The modern military sense (1704) is from French corps d'armée (16c.), picked up in English during Marlborough's campaigns. 

French restored the Latin -p- in 14c., and English followed 15c., but the pronunciation remained "corse" at first and corse persisted as a parallel formation. After the -p- began to be sounded (16c. in English), corse became archaic or poetic only.

corpse (n.) 1540s, variant spelling of corps (q.v.). The -p- originally was silent, as in French, and with some speakers still is. The terminal -e was rare before 19c. Corpse-candle is attested from 1690s.
corse (n.) mid-13c., from Old French cors, from Latin corpus "body" (see corps for history and development). Archaic from 16c.

[2] torso (n.) 1797, "trunk of a statue," from Italian torso "trunk of a statue," originally "stalk, stump," from Vulgar Latin *tursus, from Latin thyrsus "stalk, stem," from Greek thyrsos (see thyrsus). As "trunk of a person" by 1865. Earlier, in the statuary sense, in French form torse (1620s).

[3] bodice (n.) 1560s, oddly spelled plural of body, name of a tight-fitting Elizabethan garment covering the torso; plural because the body came in two parts which fastened in the middle. Bodice-ripper for "racy romance novel" is from 1981.

[4] corset (n.)  c. 1300, "kind of laced bodice," from Old French corset (13c.) "bodice, tunic," diminutive of cors "body" (see corps). Meaning "stiff supporting and constricting undergarment" is from 1795. 

[5] treasure (n.) mid-12c., tresor, from Old French tresor "treasury, hoard, treasure" (11c., Modern French trésor), from Gallo-Roman *tresaurus, from Latin thesaurus "treasury, treasure" (source also of Spanish, Italian tesoro), from Greek thesauros "store, treasure, treasure house" (see thesaurus). In Middle English also thresur, etc.; modern spelling is from 16c. Replaced Old English goldhord. General sense of "anything valued" is recorded from c. 1200.

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The Lustful Turk

April 15, 2016, 10:59 am
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The Lustful Turk uses the contemporary conventions of the novel of sensibility and Gothic romance and its exotic Oriental themes are influenced by the life, adventures and writings of Lord Byron. It was influential on many other works of erotica, and the theme of the virgin who is forcibly introduced to sexual acts and later becomes insatiable in her appetite for the carnal is common in later erotica.Such works include The Way of a Man with a Maid, a classic work of Victorian erotica concerning the forcible seduction of a girl called Alice by a Victorian gentleman; May's Account of Her Introduction to the Art of Love, first published in the Victorian erotic periodical The Pearl and The Sheik written by Edith Maude Hull, published in 1921. A film adaptation of The Lustful Turk was directed in 1968 by Byron Mabe with the screenplay written by David Friedman and starring Abbe Rentz, Linda Stiles and Gee Gentell. In the mystery novel Die For Love by Barbara Mertz (under the pseudonym Elizabeth Peters), plagiarism of The Lustful Turk is a minor plot point.

Mavi Boncuk |

The Lustful Turk, or Lascivious Scenes from a Harem is a pre-Victorian British erotic epistolary novel first published anonymously in 1828 by John Benjamin Brookes and reprinted by William Dugdale. However, it was not widely known or circulated until the 1893 edition. The novel consists largely of a series of letters written by its heroine, Emily Barlow, to her friend, Sylvia Carey. When Emily sails from England for India in June 1814 her ship is attacked by Moorish pirates and she is taken to the harem of Ali, dey of Algiers. Ali rapes her and subjects her to his will, awakening her sexual passions. Emily's debasement continues when Ali insists on anal sex, arousing the horror of her correspondent Sylvia, who expresses her indignation at Ali's behaviour, in a letter that the latter intercepts. Annoyed at her attitude, Ali arranges for Sylvia to be abducted and brought to the slave market of Algiers. After an elaborate charade in which Ali pretends to be a sympathetic Frenchman, bidding to save her from sexual slavery, and engaging her in a fake marriage, he deflowers her and awakens her sexuality, as he had done with Emily. Revealing his true identity Ali enjoys both girls together. This sexual idyll is eventually terminated when a new addition to the harem objects to anal rape and cuts off the Dey's penis with a knife, and then commits suicide.[1] Seemingly unfazed by this, Ali has "his lost members preserved in spirits of wine in glass vases" which he presents to Emily and Sylvia, sending them back to England with these tokens of his affection. The novel also incorporates interpolated stories concerning the erotic misadventures of three other girls abducted into the harem and enlarges on the fate of Emily's maid Eliza who, presented by Ali to Muzra, bey of Tunis, is bound, flogged and raped in turn. The book was one of those condemned as obscene by Lord Chief Justice Campbell when Dugdale was prosecuted in 1857.[4]
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IIFF 2016 | 35th Film Festival Awards

April 18, 2016, 6:04 am
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The 35th Istanbul Film Festival presented its awards to the winners at a ceremony held at the Haliç Congress Centre on Friday evening, 15 April 2016.
Please click here to download the awards list.

Cem Davran hosted the 35th Istanbul Film Festival Award Ceremony, where this year’s Cinema Honorary Award recipients, as well as the winners of the festival competitions were announced.

Mavi Boncuk |

International Golden Tulip Competition Awards

The International Golden Tulip Competition Jury, presided by the producer of the Oscar-winning film Ida, Ewa Puszczyńska, comprised actress Melisa Sözen, actor Lior Ashkenazy, and video artist Ali Kazma.

In this year’s International Competition, 15 films from 14 countries competed for the Golden Tulip. Given in memory of Şakir Eczacıbaşı, the former chairman of İKSV and one of the founders of the Istanbul Film Festival, the International Golden Tulip Award is once again supported by the Eczacıbaşı Group with a monetary award of €25,000. €10,000 of the total amount is given to the director of the Golden Tulip winning film, €10,000 to the Turkish distributor of this film, and the remaining €5,000 going to the director of the film that wins the Special Jury Prize.

The winner was announced by the Head of Jury Ewa Puszczyńska and the film’s director Rodrigo Plá received the monetary award by Eczacıbaşı Group from the Eczacıbaşı Group Vice President of Corporate Communications Devrim Çubukçu.

This year the International Golden Tulip Competition Award in memory of Şakir Eczacıbaşı was awarded to the film Un Monstruo De Mil Cabezas / A Monster With A Thousand Heads, directed by Rodrigo Plá. Venice Review

Announced by jury member Melisa Sözen and Lior Ashkenazy the International Golden Tulip Competition Special Jury Prize went to the film The Childhood of A Leader, directed by Brady Corbet.

National Golden Tulip Competition Awards



The National Golden Tulip Competition jury was presided over by one of the most prominent actresses of the Turkish cinema, Müjde Ar. The members of the jury for the National Golden Tulip Competition comprised actor Tansu Biçer, author and director Ben Hopkins, actress and director Niki Karimi, author Murat Uyurkulak, and distributor Torsten Frehse. Out of the 11 films competing for the Golden Tulip in the National Competition this year, 4 films made their world premieres and 3 their Turkish premieres at the festival.

The Golden Tulip for the Best Film in the National Competition went to Toz Bezi / Dust Cloth[1], directed by Ahu Öztürk who received the award from Head of Jury Müjde Ar.

Mustafa Kara won the Golden Tulip for the Best Director for his film Kalandar Soğuğu / Cold of Kalandar[2]. Onur Ünlü presented the award to Mustafa Kara.

In the National Competition, the film that wins the Golden Tulip receives a monetary award of 150,000 TL and the Best Director receives 50,000 TL.

The Special Jury Prize in memory of Onat Kutlar was given to the film Rauf / Rauf, directed by Barış Kaya and Soner Caner. The Special Jury Prize is supported with a 60.000 TL monetary award by Anadolu Efes, theme sponsor for “Turkish Cinema” in the festival for the last 29 years. Announced by jury member Ben Hopkins, the directors of the film received the award from Simge Balaban, Anadolu Efes Corporate Communications Manager.

Asiye Dinçsoy won the Best Actress Award for her role in Toz Bezi / Dust Cloth. She received her award from jury member Tansu Biçer. The winner of the Best Actress award receives 10,000 TL.

Haydar Şişman won the Best Actor Award for his role in Kalandar Soğuğu / Cold of Kalandar. He received his award from jury member Niki Karimi. The winner of the Best Actor award receives 10,000 TL.

The Best Screenplay Award in the National Competition was given to Ahu Öztürk for the film Toz Bezi / Dust Cloth. Jury member Murat Uyurkulak presented the award.

Cevahir Şahin and Kürşat Üresin won the Best Director of Photography Award in the National Competition for the film Kalandar Soğuğu / Cold of Kalandar. Jury member Torsten Frehse presented the award.

The Best Editing Award in the National Competition was given to Mustafa Kara, Umut Sakallıoğlu and Ali Aga for their work in the film Kalandar Soğuğu / Cold of Kalandar. The award was presented by Çiçek Kahraman.

The Best Original Music Award in the National Competition went to Doğan Duru for the film Tarla / The Field. The award was presented by Mabel Matiz.

National Short Film Competition

In its 35th edition, Istanbul Film Festival has launched the National Short Film Competition with a view to encouraging the making of short films, supporting improvement in this field, and presenting noteworthy short films to audiences. Head of Cannes Film Festival “Short Film Corner” Alice Kharoubi, director Fatih Kızılgök, and film critic Serdar Kökçeoğlu made up the pre-selection board of the competition that had director Can Evrenol, actress Hazal Kaya, and International Short Film Festival DokuFest director Nita Deda on its jury. The film chosen by the jury is supported by a monetary award of 5,000 TL by the Turkish Cinema Theme Sponsor Anadolu Efes.

Ziya Demirel’s film Salı / Tuesday won the Best Short Film Award, which was announced by jury member Can Evrenol. Barış Sarhan’s film Cemil Şov / The Cemil Show won the Special Mention.

National Documentary Competition

Culminating its interest in documentary filmmaking in Turkey, the Istanbul Film Festival has also launched a National Documentary Competition this year and is giving an award, with a view to support documentary films and filmmakers. The Best Documentary Award in the National Documentary Competition is supported by a monetary award of 10,000 TL.

A total of 10 films, 7 of which made their world premieres and 3 their Turkey premiers, competed in the National Documentary Competition. The National Documentary Competition of the Istanbul Film Festival had documentary film directors Emel Çelebi, Güliz Sağlam, and Carlos Hagerman on its jury.

The Best Documentary Award was given to Hazır Ol! / Attention!, directed by Onur Bakır & Panagiotis Charamis.The Others directed by Ayşe Polat won the Special Mention.

Seyfi Teoman Best Debut Film Prize

Since 2013, the Istanbul Film Festival has been giving a prize in memory of respected producer and director Seyfi Teoman, whom we lost at a young age. Seyfi Teoman Best Debut Film Prize jury comprises scriptwriter and director Mahmut Fazıl Coşkun, actor Ahmet Rıfat Şungar, and distributor Ioanna Stais.

13 debut films produced in Turkey, which were screened in the festival’s Turkish Cinema section, were nominated for the prize. The winner was presented a monetary award of 30,000 TL via CMYLMZ Fikirsanat. Ahmet Rıfat Şungar announced the winner of the Seyfi Teoman Best Debut Film Prize as Çırak / The Apprentice and the film’s director Emre Konuk received the award from Can Yılmaz.

Festival’s Cinema Honorary Awards

Presented by the Istanbul Film Festival every year to prominent figures who have devoted their lives to the Turkish cinema, the Cinema Honorary Awards was bestowed on five artists this year. The recipient of the first Honorary Award of the night was actress Jeyan Ayral Tözüm who started her career as a stage actress at a very early age to continue on film, radio, and television, and who later has been the voice actress for some of the greatest Yeşilçam stars, such as Türkan Şoray, Filiz Akın, and Fatma Girik, through her career of over 60 years. She received her award from Hülya Koçyiğit.

A doyen producer, Şerafettin Gür, who has supported numerous directors and produced some of the most significant classics in the Turkish cinema, including Vurun Kahpeye and Vesikalı Yarim during his career spanning over 60 years, received his award from Fatoş Güney.

The “most beloved jezebel” character in the Turkish cinema, Suzan Avcı who has won the hearts of the audiences in roles ranging from comedy to drama in the heyday of Yeşilçam was another recipient of the Honorary Awards. Murathan Mungan presented the award to her.

The recently deceased Ülkü Erakalın, one of Yeşilçam’s most prolific directors with over 200 films to his credit, would be yet another recipient of the Honorary Awards. In his long career that started at the end of the 50s, he directed a wide range of movies from melodrama to comedy all of which were very popular and he himself was widely loved and respected by both his colleagues and a vast audience. Ülkü Erakalın’s award was presented by Türkan Şoray to the director’s son Murat Erakalın.

The last of the festival’s Honorary Awards was presented to Perran Kutman whose uplifting, soft, and warm expression yields stunning performances that blur the boundaries between comedy and drama, breathing life into characters with which the audience deeply identifies, and who has taken her success on silver screen onto the television screen with such powerful characters such as Perihan Abla. Perran Kutman received her award from Türker İnanoğlu.

Special Award to Türker İnanoğlu

A surprise in the festival was the special award conferred on Türker İnanoğlu in the 60th year of his career for his contribution to the Turkish cinema. Istanbul Film Festival Director Kerem Ayan, together with Perran Kutman presented a gratitude plaque to Türker İnanoğlu. A Cinema Honorary Award of the festival was presented to Türker İnanoğlu in 1999, who, as a central figure in film Turkish industry, directed about 80 films and produced many television and cinema films with Erler Film, which he established in 1960. İnanoğlu has also founded the TÜRVAK Cinema-Theatre Museum in Istanbul.

AUDENTIA Award

Eurimages, the Council of Europe co-production fund, took a step towards giving greater visibility to women directors and encouraging other women to walk this path by deciding to offer an award of €30,000 to a female director to use on her next project. 15 films by female directors from the festival programme was assessed for the Audentia Award, which was given for the first time in the world at the 35th Istanbul Film Festival.

Aiming to draw attention to gender inequality in the film industry, the Audentia Award jury was made up of director
Yeşim Ustaoğlu, director Angelos Frantzis, and Sanja Ravlic from the Eurimages.

Announced by Sanja Ravlic and Yeşim Ustaoğlu, the Audentia Award winner was Anca Damian with her film La Montagne Magique / The Magic Mountain.

FACE Film Award of the Council of Europe

Exclusive to the Istanbul Film Festival, the Film Award of the Council of Europe (FACE) given to a film in the Human Rights in Cinema Competition section is now in its 10th year. The winner of FACE is presented a statuette and a monetary award of €10,000 supported jointly by the Council of Europe and its co-production fund, Eurimages.

The FACE jury comprises actor and author Ercan Kesal, Eurimages Deputy Executive Director Isabel Castro, Media Officer and Spokesperson for the Council of Europe, Can Fişek, and director Jakob Brossmann. The awards of the Human Rights in Cinema Competition were presented by jury member Ercan Kesal.

FACE Film Award of the Council of Europe was given to the film Mediterranea, directed by Jonas Carpignano. The film El Abrazo de la Serpiente / Embrace of the Serpent, directed by Ciro Guerra won the Special Mention.

FIPRESCI International, National, and National Short Film Awards

The International Film Critics Federation FIPRESCI used to give two awards within the scope of the international and national competitions of the Istanbul Film Festival. This year, it introduced a third award within the scope of the National Short Film Competition, which was held for the first time.

The winners of the FIPRESCI Awards were: Auf Einmal / All Of A Sudden directed by Aslı Özge in the International Golden Tulip Competition, Ana Yurdu / Motherland directed by Senem Tüzen the National Golden Tulip Competition, and Jamais Vu directed by Levent Türkan in the National Short Film Competition. The awards were announced by FIPRESCI jury members Chris Fujiwara and Senem Erdine.

The FIPRESCI jury, presided by Chris Fujiwara (USA), comprised Harri Römpötti (Finland), Patrizia Pistagnesi (Italy), Viera Langerova (Slovakia), Senem Erdine (Turkey), and Ali Deniz Şensöz (Turkey).

Cineuropa.org Award

Istanbul Film Festival Cineuropa.org Award winner was chosen by film critic Vladan Petkovic. The Cineuropa.org Award, bestowed on films of undisputed artistic quality, but which also foster mutual communication and have unifying character, was given to the film Toz Bezi / Dust Cloth, directed by Ahu Öztürk, from the Turkish Cinema National Competition.

Bluechip Creative Events gave organisational support to the 35th Istanbul Film Festival Award Ceremony. Following the Award Ceremony, the guests watched Un Monstruo de mil Cabezas / A Monster With A Thousand Heads, directed by Rodrigo Plá, that won the Golden Tulip Award in the International Competition as the closing film of the Festival.

[1] Cloth (Mavi Boncuk link)
Ahu Öztürk
Produktion: Ret-Film, Istanbul; Fiction 2.0, Hamburg Buch: Ahu Öztürk Kamera: Meryem Yavuz Mit: Asiye Dinçsoy, Nazan Kesal, Serra Yilmaz, Didem Inselel, Mehmet Özgür, Asel Yalin, Yusuf Ancu Länge: 99 Minuten Sprachen: Türkisch, Kurdisch

Nesrin and Hatun are cleaning ladies in Istanbul. They are friends, neighbours and Kurds. Nesrin has kicked her husband out. It was only intended as a warning, but now he hasn’t returned, and Nesrin and her young daughter Asmin find themselves in increasingly difficult circumstances. To enjoy proper social benefits, Nesrin would need to find a real job. Hatun, on the other hand, dreams the dream of moving up in the world and of a life in the fashionable district of Moda, where she cleans the apartments of her middle-class clients. Her desire is so strong that she, a Muslim, even prays for it in a Christian church. Toz bezi is a sensitive, thoroughly unsentimental portrait of a friendship between two women. But beyond the personal story of their relationship and its conflicts, Ahu Öztürk also paints a picture of an entire society in which social and ethnic origin can be insurmountable obstacles. She shows this almost in passing, in the scenes of Hatun and Nesrin at their clients’ homes. And when the camera follows the two of them moving between Istanbul’s different worlds, it becomes clear that the distance they are traversing is not just geographical. 
Anna Hoffmann

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.
[2] COLD OF KALANDAR | KALANDAR SOĞUĞU | Director: Mustafa Kara / Screenwriter: Bilal Sert, Mustafa Kara / DOP: Cevahir Şahin, Kürşat Üresin / Editor: Umut Sakallıoğlu, Ali Aga, Mustafa Kara / Original Music: Eleonore Fourniau / Cast: Haydar Şişman, Nuray Yeşilaraz, Hanife Kara, İbrahim Kuvvet, Temel Kara / Producer: Nermin Aytekin / Co-Producer: İvan Angelusz / Production Co.: Kara Film / World Sales: Kara Film / Turkey, Hungary / 2015 / DCP / Colour / 130´ / Turkish; English s.t.  

2015 Tokyo Best Director, Wowow Best Film
2015 Antalya Best Actor–International Competition (H. Şişman), Best Actress–National Competition (N. Yeşilaraz), Best Music, Special Jury Award
2015 Premier Plans D`angers Special Jury Award


Mehmet is a man living with his family in a mountain village in the Black Sea region. He earns his life breeding a few animals, while passionately looking for a mineral reserve on the mountains, but his pursuit is seen futile by his family. Devastated by vain efforts, his hope is renewed with a competition: Mehmet will attend the bullfights held in Artvin. But he returns from Artvin completely lost, once again. This simple story pictures the naive portrait of a touching life, a life struggle in hardship and the relationship between nature, animals and human beings.
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Word hunter | Karma Proje

April 19, 2016, 6:28 am
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Mavi Boncuk |

Word hunter | Karma Proje TR for Mixed Use project EN[1][2].

[1] Mixed-use development is—in a broad sense—any urban, suburban or village development, or even a single building, that blends a combination of residential, commercial, cultural, institutional, or industrial uses, where those functions are physically and functionally integrated, and that provides pedestrian connections.

The term ("a mixed-use development") may also be used more specifically to refer to a mixed-use real estate development project—a building, complex of buildings, or district of a town or city that is developed for mixed-use by a private developer, (quasi-) governmental agency, or a combination thereof. Traditionally, human settlements have developed in mixed-use patterns. However, with industrialisation as well as the invention of the skyscraper, governmental zoning regulations were introduced to separate different functions, such as manufacturing, from residential areas.

[2] project (v.) late 15c., "to plan," from Latin proiectus, past participle of proicere (see project (n.)). Sense of "to stick out" is from 1718. Meaning "to cast an image on a screen" is recorded from 1865. Psychoanalytical sense, "attribute to another (unconsciously)" is from 1895 (implied in a use of projective). Meaning "convey to others by one's manner" is recorded by 1955. Related: Projected; projecting. 

project (n.) c. 1400, "a plan, draft, scheme," from Latin proiectum "something thrown forth," noun use of neuter of proiectus, past participle of proicere "stretch out, throw forth," from pro- "forward" (see pro-) + combining form of iacere (past participle iactus) "to throw" (see jet (v.)). Meaning "scheme, proposal, mental plan" is from c. 1600. Meaning "group of low-rent apartment buildings" first recorded 1935, American English, short for housing project (1932). Related: Projects. Project manager attested from 1913.
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In Memoriam | Attila Özdemiroğlu (1943-2016)

April 20, 2016, 6:46 am
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Turkish composer and arranger Atilla Özdemiroğlu, who had been receiving cancer treatment for some time, passed away at the age of 73 on Wednesday.

The prominent musician played in several music groups and also for famous Turkish pop stars like Ajda Pekkan, Nilüfer, Kayahan and Sezen Aksu.

Özdemiroğlu was awarded five times for his film scores at the Antalya Golden Orange Film Festival and twice at the Adana Golden Boll Film Festival.

Mavi Boncuk |
Attila Özdemiroğlu, (b. January 5, 1943 in Ankara, Turkey- d. April 19, 2016 istanbul, Turkey) was a Turkish composer and arranger. He is best known for his award winning film scores in the 1970s and 1980s.

Özdemiroğlu got interested in playing music already in his early years. At his age of eight, he took private lessons on violin. Learning to play many music instruments such as flute, vibraphone, double bass and trombone, he participated at music events during his high school and university years.

In 1966, he moved to Istanbul and joined the music band Durul Gence 5. Later, Özdemiroğlu played in several other music groups and also for Turkish pop stars like Ajda Pekkan, Nilüfer, Kayahan and Sezen Aksu. One of his compositions, Pet'r Oil, was selected for Turkey's entry in the Eurovision Song Contest 1980. Özdemiroğlu was awarded five times for his film scores at the Antalya Golden Orange Film Festival and twice at the Adana Golden Boll Film Festival.

Outside of his career as a musician Attila was one of the co-founders of Anadolu.net one of the first Internet Service Providers in Turkey together with Riza Nur Pacalioglu and Tony Yustein.

Atilla Özdemiroğlu married four times so far. He made his first marriage with Ayla at his age of 19. From this marriage that lasted eleven years, he has a daughter, Yaprak Özdemiroğlu, who became a film actress, and a son, Sarp Özdemiroğlu, who is also a composer and arranger. His marriage with Füsun Önal, a renowned pop singer, ended after only 1.5 years. He married then ballerina Lale Mansur, now film actress. After six years with her, he became an item with Müjde Ar, a famous film actress, which lasted 15 years. Since 1995, He is married to Hepgül Hepbir. Atilla Özdemiroğlu and his 31 years younger wife have together twin daughters, Lara and Lidya.

Filmography (film score)

Adı Vasfiye (1985)
Züğürt Ağa (1985)
Afife Jale (1987)
Muhsin Bey (1987)
Gece Yolculuğu (1988)
Kaçamak (1988)
Arabesk (1989)
Aşk Filmlerinin Unutulmaz Yönetmeni (1990)
Robert's Movie (1991)
Akrebin Yolculuğu (1997)
Ağır Roman (1997)
Gönderilmemiş Mektuplar (2003)
Kalbin Zamanı (2004)
Kilit (2007)

omposed by Şanar Yurdatapan arranged by Attila Özdemiroğlu Turkey's selection for Eurovision Song Contest

1975 Delisin by Cici Kızlar (third place in the selections)
1975 Minik Kuş by Füsun Önal (with Çiğdem Talu)
1975 Çiçekler by Zerrin Yaşar (with Zerrin Yaşar)
1978 İnsanız Biz by Grup Sekstet (second place in the selections - with Şanar Yurdatapan)
1980 Pet’r Oil by Ajda Pekkan (Turkey's entry - with Şanar Yurdatapan)
1983 Atlantis by Beş Yıl Önce, On Yıl Sonra (with Aysel Gürel)

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Word Origin | Kemer, Kuşak, Uçkur

April 20, 2016, 1:50 pm
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Mavi Boncuk |

Kemer: 1. belt EN[1]; 2. Arch[2] (in architecture), arc[3] EN
"giysi kemeri" [ Codex Cumanicus, 1303] corigia [kuşak] - Persian: χamar - TR: kur"... yapı kemeri" [ Aşık Paşa, Garib-name, 1330]
kırk direk var kubbede u kırk kemer. Persian: kamar كَمَر 1. kuşak, 2. mimaride kemer veya kubbe  Avesta: kamarā- kuşak

Kuşak: oldTR [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
kurşaġ [[kuşak kuşanma; dokunmuş yünden yapılan ve çadırın etrafına sarılan halka] KazakhTR: [ Ebu Hayyan, Kitabu'l-İdrak, 1312]; kuşak: al-mintaḳa
from oldTR kurşak kuşak, kuşanma from oldTR kurşa- kuşak bağlamak +Uk kuşan-

Uçkur: KazakhTR: [ Codex Cumanicus, 1303] ičkir; ceinture FR; el cinturón SP; cinghia f. IT -  der Gürtel Pl.: die Gürtel GER; tartarTR: [ Meninski, Thesaurus, 1680] uçkur

oldTR iç kur iç kuşak, don kemeri old TR kur kuşak

[1] belt (v.) early 14c., "to fasten or gird with a belt," from belt (n.). Meaning "to thrash as with a belt" is 1640s; general sense of "to hit, thrash" is attested from 1838. Colloquial meaning "to sing or speak vigorously" is from 1949. Related: Belted; belting. Hence (from the "thrash with a belt" sense) the noun meaning "a blow or stroke" (1899).

belt (n.) Old English belt "belt, girdle," from Proto-Germanic *baltjaz (cognates: Old High German balz, Old Norse balti, Swedish bälte), an early Germanic borrowing from Latin balteus "girdle, sword belt," said by Varro to be an Etruscan word. 

As a mark of rank or distinction, mid-14c.; references to boxing championship belts date from 1812. Mechanical sense is from 1795. Transferred sense of "broad stripe encircling something" is from 1660s. Below the belt "unfair" (1889) is from pugilism. To get something under (one's) belt is to get it into one's stomach. To tighten (one's) belt "endure privation" is from 1887.

[2] arch (n.)  c. 1300, from Old French arche "arch of a bridge" (12c.), from Latin arcus "a bow" (see arc). Replaced native bow . Originally architectural in English; transferred by early 15c. to anything having this form (eyebrows, etc.).

[3] arc (n.) late 14c., originally in reference to the sun's apparent motion in the sky, from Old French arc "bow, arch, vault" (12c.), from Latin arcus "a bow, arch," from PIE root *arku- "bowed, curved" (cognates: Gothic arhvazna "arrow," Old English earh, Old Norse ör; also, via notion of "supple, flexible," Greek arkeuthos, Latvian ercis "juniper," Russian rakita, Czech rokyta, Serbo-Croatian rakita "brittle willow"). Electrical sense is from 1821.

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SOTHEBY'S | The enthronement of Sultan Osman II

April 21, 2016, 10:10 am
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A painting of the enthronement of Ottoman Sultan Osman II has been bought for 521,000 pounds ($745,900) by the Turkish government, according to a statement from the auctioneers.

The scene shows Osman's 1618 investiture in front of Istanbul's Hagia Sophia Mosque with his mother Mahfiruz Hatice Sultan and Hoca Omer Efendi, the grand mufti, who is presenting the Holy Quran and blessing the crowd.

According to various reports in Turkish media, the picture will be displayed in Istanbul's Topkapi Palace, the former home of Ottoman rulers and now a tourist attraction, after it was bought at Sotheby's auction house by the Ministry of Culture. Osman II's reigned from 1618 to 1622, when he was overthrown in a military rebellion.

Mavi Boncuk | 




The enthronement of Sultan Osman II (r.1618-22), by a European artist travelling with the Austrian Ambassador Baron Mollard, circa 1618.
oil on canvas, framed, with two old collection labels '1168'
painting: 127 by 107.5cm.
framed: 140 by 121.5cm. 

Estimate 150,000 — 200,000 GBP | LOT SOLD. 521,000 GBP (Hammer Price with Buyer's Premium)

SOTHEBY'S CATALOUGE NOTE 

"This impressive painting depicts the enthronement of Sultan Osman II, which took place on 26 February 1618. Painted by an artist traveling with a European ambassador at the time, this work represents one of the earliest known depictions of an Ottoman courtly ceremony.

This engaging painting, which was executed during the reign of the successive Sultan, Murad IV (r.1623-1640), is both of artistic and historical importance, presenting the ongoing interest of the European ruling class in the daily life of the Ottoman court.

The enthroned Osman II is presented facing his mother, Mahfiruz Sultan, the head of the Imperial Harem. She is wearing a gold crown and is surrounded by her maids of honour. The birth of Sultan Osman II marked the moment in which her husband, Sultan Ahmed I, became the youngest Ottoman Sultan to ever become a father. Upon Osman’s enthronement in 1618, she left the old palace (Eski Saray) in the Bayezid district and moved to the Imperial Harem in the Topkapi Palace.

The iconic Ayasofya Mosque portrayed in the background frames the scene and sets the importance of the moment, as do the figures of the müezzins on the minarets who appear to be announcing the call to prayer (ezan). The grand mufti (şeyhülislam) Hoca Ömer Efendi, Osman II’s tutor (hace-i sultani), is situated directly in front of the Imperial Mosque; presenting the holy Qur’an towards the audience and blessing the young ruler. 

The grand mufti was one of the leading political figures behind the dethronement of the previous Sultan, Mustafa I (r.1617-18 and 1622-23), paving the way for Osman II’s ascension to the throne. The musicians and dervishes surrounding Hoca Ömer Efendi were most probably from the mevlevi dervish lodge, and appear to be performing a Sufi ritual (mevlevi ayini) in order to obtain a divine blessing for the recently enthroned Sultan. The chief-black-eunuch of the Imperial Harem (kızlar ağası), Süleyman Ağa, is depicted beside the Sultan as his duty was to accompany the prince to the throne and supervise the ceremony.

The sword-bearer (silahdar ağa) is positioned behind him, holding a bejewelled box which was to be presented as an imperial gift to the Sultan. The sword-bearer’s responsibility was to escort the prince from his private chamber in the Topkapi Palace to the throne. Wearing a red kaftan behind him is the solak (imperial guard), guarding the enthroned monarch. In front of the Emperor’s mother appears the grand-vizier, Sofu Mehmed Pasha (d.1649), holding a mace. 

The Austrian ambassador, Baron Hans Mollard von Reinek, is painted in distinctly European attire with a large feathered hat. Below the enthronement scene are the various members of the public and imperial chancery who have gathered in order to take part in the ceremony. 

This painting is presented to us through the memory of the artist’s own personal observations. He must have been accompanying Ambassador Mollard, whose presence at the ceremony is confirmed by the renowned Ottoman historian Von Hammer: “… Mollard was present as an eye-witness during the enthronement of the Osman II to celebrate him” (“... beglückwünscht Sultan Uthman II bei seiner thronbesteigung”), see von Hammer, vol.IV/p.520.

The attention to detail on the present painting highlights not only the artist’s own capabilities but provides us with a glimpse into an important historical moment, an Ottoman enthronement, rarely seen by a European."
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Map | Das Byzantinische Reich bis in das XIte. Jahrhundert

April 21, 2016, 11:46 am
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Mavi Boncuk| SOURCE [1]


 partial map detail

[1] The David Rumsey Historical Map Collection focuses on 18th and 19th century North and South American cartographic materials. The collection includes atlases, globes, school geographies, maritime charts, and a variety of separate maps including pocket, wall, children's and manuscript maps. 

The David Rumsey Map Collection was started over 30 years ago and contains more than 150,000 maps. The collection focuses on rare 16th through 21st century maps of North and South America, as well as maps of the World, Asia, Africa, Europe, and Oceania. The collection includes atlases, wall maps, globes, school geographies, pocket maps, books of exploration, maritime charts, and a variety of cartographic materials including pocket, wall, children's, and manuscript maps. Items range in date from about 1550 to the present. Digitization of the collection began in 1996 and there are now over 67,000 items online, with new additions added regularly. The site is free and open to the public. Here viewers have access not only to high resolution images of maps that are extensively cataloged, but also to a variety of tools that allow to users to compare, analyze, and view items in new and experimental ways.

Das Byzantinische Reich bis in das XIte. Jahrhundert. (with) Constantinopolis. Gestochen v. C. Poppey. K.v. Spruner's histor. Atlas: S.-O.-Europa u. V.-Asien No. I. Gotha: Justhus Perthes. Revid. 1855.
Engraver or Printer: Poppey, Carl, 1829-1875
Publication Author: Spruner von Merz, Karl
Pub Date: 1854
Pub Title: Historisch-geographi scher Hand-Atlas zur Geschichte der Staaten Europa's vom Anfang des Mittelalters bis auf die neueste Zeit von Dr. Karl von Spruner ... Drei und Seibzig colorirte Karten nebst erlauternden Vorbemerkungen. Zweite Auflage. Gotha: bei Justhus Perthes. 1854(-1863)

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Encapsulated Turkish Coffee Machine

April 21, 2016, 12:02 pm
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Mavi Boncuk | Turkey’s Selamlique[1] brand producing traditional tastes of Turkish coffees in different flavors marked a new co-operation with leading technology brand Arçelik.

The disposable Selamlique coffee capsules offer Turkish coffee lovers a taste remaining fresh all the time. With the Arçelik / Selamlique capsule Turkish coffee machine, consumers will be able to make Turkish coffee in seconds, by one touch control.

Selamlique Arabica processes coffee beans, producing a wide range of flavors such as chocolate, cinnamon, Aegean gum mastic and cardamom.

With its practical use, the machine not only facilitate making lots of coffee foam with its Cooksense 3 technology, but also helps cleaning the machine, instantly, with its ultra-hygienic cleaning option. The 12- patented encapsulated Turkish coffee machine is set to meet consumers in Arçelik vendors, along with Selamlique shops very soon.

[1] The name Selamlique derives from the selamlık of old Turkish mansions, villas and palaces. These were the sections of the house where visitors were greeted, meetings were held and guests entertained. Isolated from harem, the inner sections of the house, selamlık is named after the word selam, greeting, because visitors were often received, thus greeted, here. When Selamlique chose its name, it aimed to draw attention to the socializing force of Turkish coffee, a drink generally accompanied by conversation, while at the same time welcoming everyone to its extraordinary selamlık.
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Osman Gazi Köprüsü | The Osman Gazi Bridge

April 21, 2016, 12:25 pm
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The last section of the İzmit Bay Bridge was installed on April 21. The three-kilometer bridge will cut the 70-minute drive around İzmit Gulf to just six minutes and is part of a large highway project that will link industrial Istanbul to İzmir, another industrial hub, as well as many Aegean tourism destinations.


The Osman Gazi Bridge aka İzmit Bay Bridge (Turkish: İzmit Körfez Köprüsü) is a suspension bridge under construction, located at the Gulf of İzmit along the eastern end of the Sea of Marmara, in close vicinity of Izmit and approximately 50 km (31 mi) southeast of Istanbul, Turkey. 

When completed, it will be the fourth-longest suspension bridge in the world by the length of its central span. 

Construction and operation of the bridge was awarded to a joint venture formed by five Turkish companies (Nurol, Özaltın, Makyol, Yüksel and Gocay) and one Italian construction company Astaldi following the international Build–operate–transfer tender that took place in April 2009.

 Mavi Boncuk |



Köprü: bridge EN[1] oldTR: [ Uyghur Maniheist texts, 900] köni nomluġ köprügüg körkittiŋiz [hakiki öğretinin köprüsünü gösterdiniz] oldTR köprüg köprü  from oldTR köpür- şişmek, kabarmak +Ig


[1] bridge (v.) Old English brycgian "to bridge, make a causeway," from bridge (n.). Related: Bridged; bridging.

bridge (n.1) "causeway over a ravine or river," Old English brycge, from Proto-Germanic *brugjo (cognates: Old Saxon bruggia, Old Norse bryggja, Old Frisian brigge, Dutch brug, Old High German brucca, German Brücke), from PIE root *bhru "log, beam," hence "wooden causeway" (cognates: Gaulish briva "bridge," Old Church Slavonic bruvuno "beam," Serbian brv "footbridge"). For vowel evolution, see bury. Meaning "bony upper part of the nose" is from early 15c.; of stringed instruments from late 14c. The bridge of a ship (by 1854) originally was a "narrow raised platform athwart the ship whence the Captain issues his orders" [Sir Geoffrey Callender, "Sea Passages"].

Bridge in steam-vessels is the connection between the paddle-boxes, from which the officer in charge directs the motion of the vessel. [Smythe, "The Sailor's Word-Book," 1867]

bridge (n.2) card game, 1886 (perhaps as early as 1843), an alteration of biritch, but the source and meaning of that are obscure. "Probably of Levantine origin, since some form of the game appears to have been long known in the Near East" [OED]. One guess is that it represents Turkish *bir-üç "one-three," because one hand is exposed and three are concealed. The game also was known early as Russian whist (attested in English from 1839).

"... This earlier dating of the game and the probability that it was of Turkish or Russian origin is strongly supported by evidence uncovered in 1974-1975 by Robert H. True, who quotes from a 1904 issue of Notes and Queries, a letter from A. M. Keiley (nationality unknown): I was in 1886 a member of the Khedival Club in Cairo, and bridge was the principal card game played there at my entry and, as members told me, had long so been. One of the names by which bridge was first known on the Riviera was Khedive, presumably because players had met it in Cairo. Turkey held Egypt almost without interruption from the early 16th century until World War I and Khedive was the official title held by the Turkish viceroy.

Further new evidence confirming Levantine origin and earlier dating of the game was presented by Bob van de Velde of The Netherlands in IBPA Bulletin No:222. Sources for this evidence are Daily Telegraph (England, November 1932), La revue du bridge (France, December 1932) and Bridge (The Netherlands, February 1933). The primary source, Daily Telegraph, carried an article by a Mr. O. H. van Millingen who lived in Constantinople in 1879 or 1880 and remembered a very interesting game called Britch, a game that became very popular in all clubs and dethroned the game of whist. He included a letter, dated January 7, 1922, of his friend Edouard Graziani who at that time worked for the Italian Embassy as a translator and was one of the best Bridge players of the Cercle d¹Orient. In August 1873 Graziani played the game of bridge for the first time at the home of Mr. Georges Coronio, manager of the Bank of Constantinople. Also present at that game in Buyukdere along the bank of the Upper Bosphorus were Mr. Eustache Eugenidi and a Mr. Serghiadi, a Rumanian financier who taught the principles of bridge to the foursome. After Constantinople, Graziani wrote, bridge came first to Cairo, from where it conquered the Riviera, Paris, London and then New York..."SOURCE

[*] The name bridge has its origins in the name of an earlier game. Bridge departed from whist with the creation of Biritch (or "Russian Whist") in the 19th century, and evolved through the late 19th and early 20th centuries to form the present game. The word biritch itself is a spelling of the Russian word Бирюч (бирчий, бирич), an occupation of a diplomatic clerk or an announcer. However some experts think that the Russian origin of the game is a fallacy.
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Statement by the President on Armenian Remembrance Day

April 22, 2016, 10:05 am
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Mavi Boncuk |

The White House
Office of the Press Secretary
April 22, 2016
Statement by the President on Armenian Remembrance Day

Today we solemnly reflect on the first mass atrocity of the 20th century—the Armenian Meds Yeghern—when one and a half million Armenian people were deported, massacred, and marched to their deaths in the final days of the Ottoman empire.

As we honor the memory of those who suffered during the dark days beginning in 1915—and commit to learn from this tragedy so it may never be repeated—we also pay tribute to those who sought to come to their aid.  One such individual was U.S. Ambassador Henry Morgenthau, Sr., who voiced alarm both within the U.S. government and with Ottoman leaders in an attempt to halt the violence.  Voices like Morgenthau’s continue to be essential to the mission of atrocity prevention, and his legacy shaped the later work of human rights champions such as Raphael Lemkin, who helped bring about the first United Nations human rights treaty.

This is also a moment to acknowledge the remarkable resiliency of the Armenian people and their tremendous contributions both to the international community as well as to American society. We recall the thousands of Armenian refugees who decades ago began new lives in the United States, forming a community that has enormously advanced the vitality of this nation and risen to prominence and distinction across a wide range of endeavors.   At a moment of regional turmoil to Armenia’s south, we also thank the people of Armenia for opening their arms to Syrian refugees, welcoming nearly 17,000 into their country.

As we look from the past to the future, we continue to underscore the importance of historical remembrance as a tool of prevention, as we call for a full, frank, and just acknowledgment of the facts, which would serve the interests of all concerned.  I have consistently stated my own view of what occurred in 1915, and my view has not changed. I have also seen that peoples and nations grow stronger, and build a foundation for a more just and tolerant future, by acknowledging and reckoning with painful elements of the past.  We continue to welcome the expression of views by those who have sought to shed new light into the darkness of the past, from Turkish and Armenian historians to Pope Francis.‎

Today we stand with the Armenian people throughout the world in recalling the horror of the Meds Yeghern and reaffirm our ongoing commitment to a democratic, peaceful, and prosperous Armenia. 
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Smyrna | Grand Hotel Huck

April 22, 2016, 11:22 am
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Mavi Boncuk | 

“Hotel des Deux Auguste” Era Grand Hotel Huck.

READ: “Hotel Huck Smyrna: Outstanding Hotel of the Glorious Port-City” written by Ali Özkan and translated from the Turkish by Görkem Daskan, 2012 

EXCERPT

" The emergence of modern hotels started a whole new era in the long history of lodgings which still exists today. In the same century, centuries-old lodgings like the caravanserais and inns which had deep roots in the Turkish culture slowly left their places to modern hotels. With the opening of the Izmir-Aydın railway line and the securing of a faster and a more efficient mode of transportation to the hinterland of Izmir, caravans and caravanserais began to lose their rationale and gradually disappeared. The inns found in city centres, on the other hand, managed to survive serving as depots and offices/stores.


19th century hotels, beyond enjoying a new type of architecture that offered different opportunities than inns did, maintained higher standards and paved the way for modern hotels.5 The massive, complex hotels installed in proximity to the quay were of a level of quality to compete with their contemporary equivalents available in Europe.

Truly one of the grandest buildings in Izmir, the Grand Hotel Huck was located at the intersection of the 1st Cordon Street and the Ottoman Post Office Street.6 On the ground floor of the building, on the left, was situated the Ottoman post office.7 Being a 19th century building, it used to occupy the parcel number 49 according to the insurance plan of 1905. This plan, made by the English civil engineer Charles E. Goad, especially has laid out the details of districts such as Kemeraltı8 and the Frank Street.

The hotel was named Hotel M. Mille, Hotel des Deux Auguste and finally the Grand Hotel Huck in chronological order.10 In a photograph by one of the early photographers of Izmir, Rubellin, dating 1880, it could be seen in addition to the sign placed high on the parapet that read “Hotel des Deux Auguste” and the signs on both sides of the main door and just above the first-storey balcony door that read “Hotel M. Mille”. In 1888, the hotel was run by a Berliner called Madam Huck and later to be named after her.



The restaurant based on the first floor of the hotel was known to be quite a popular and an attractive spot at the time. An advertisement published in a city guide in 1894 shows that the guests of the Grand Hotel Huck were presented with a fixed menu, famous alcoholic drinks, cold and hot baths and tourist guides fluent in every language."

SEE ALSO: EVOLUTION OF ACCOMMODATION AND THE HISTORICAL HOTELS IN IZMIR An article written by Emel Kayın[1] and translated by Görkem Daşkan[2]. 

[1]This article, originally entitled “İzmir’de Konaklama Anlayışının Dönüşümü: Tarihi İzmir Otelleri” (Kayın, Emel. 2000. Arredamento Mimarlık, Sayı:100, s.30-31) is translated from the Turkish consulting the author’s Ph.D. thesis entitled “Historical Evolution of Hostelry Buildings with Particular Reference to Those within the Inner-City Izmir from the 17th to the First Quarter of the 20th Centuries” (Kayın, Emel. Ph.D. dissertation, Dokuz Eylül Üniversity, 1998). Also see Kayın, Emel. (2000) İzmir Oteller Tarihi (The History of İzmir Hotels). İzmir: İzmir Büyükşehir Belediyesi Kent Kitaplığı. 

 [2] Associate Professor, Department of Architecture, 9 Eylül University.


Advertisement of Grand Hotel Huck published in a city guide dating from 1894. “Exceptional position in proximity to Post Office, Telegraph and Maritime Agencies – At the centre of the business and cultural life of the city, tramway before the hotel going all directions – Guides fluent in all languages to accompany tourists on visits to the antiquities – Fixed Menu: a la carte service, famous cellars – Hot and Cold Baths – Special prices for gentlemen who are visiting for commercial purposes – Discount for long-term customers.

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