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IIFF 2016 | Turkish Cinema | Secret

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Mavi Boncuk |
SECRET | | Director: Selim Evci / Screenwriter: Selim Evci / DOP: Ferhat Öçmen / Editor: Selim Evci / Original Music: Cengiz Onural / Cast: İlhan Şeşen, Settar Tanrıöğen, Türkü Turan, Pelin Akil, Ümit Çırak, Şehnaz Bölen Taftalı, Bâlâ Atabek / Producer: Selim Evci / Production Co.: Evci Film / World Sales: Evci Film / Turkey / 2015 / DCP / Colour / 102´ / Turkish; English s.t.

2015 Antakya Best Film, Best Cinematography
2015 Antalya FILM-YÖN Best Director

Mahir, a musician renowned with his proud personality, has been having a secret romantic relationship with her daughter´s friend Duru. Duru´s father Ali is a traditional, family-oriented man. Mahir and Duru drift apart in their fear while Ali is just about to learn of their secret relationship.

IIFF 2016 | Turkish Cinema | Not So Far Away

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Mavi Boncuk |

NOT SO FAR AWAY | UZAKLARDA ARAMA | Director: Türkan Şoray / Screenwriter: Onur Ünlü / DOP: Soykut Turan / Editor: Ali Aga / Original Music: Rahman Altın / Cast: Yağmur Ünal, Mehtap Bayri, Serkan Şenalp, Goncagül Sunar, Ekin Türkmen, Mustafa Uğurlu, Fırat Tanış, Eşref Kolçak / Producer: Yağmur Ünal / Production Co.: Vadi Film Yapım Ve Reklam Ltd. Şti. / World Sales: Vadi Film Yapım Ve Reklam Ltd. Şti. / 2015 / DCP / Colour / 112´ / Turkish; English s.t.

The story has been inspired by a real event that had occurred in Turkey, but the characters and what happened afterwards is fictitious. The film tells the story of a chain of events that starts with an order for a nightclub to move from the city center to a nearby small town, in a humorous way. The audience watches the story from the eyes of a 9-year-old child who questions life, adults, and what is “good” and “evil”.

IIFF 2016 | Turkish Cinema | Coastliners

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Mavi Boncuk | 

COASTLINERS | KIYIDAKİLER | Director: Erdem Tepegöz, Barış Pirhasan, Alphan Eşeli, Melisa Önel, Ramin Matin / Screenwriter: Ceyda Aşar / DOP: Hayk Kirokosyan, Arda Yıldıran, Ergin Öztürk / Editor: Mesut Ulutaş, Ayhan Ergürsel, Arzu Volkan, Eytan İpeker / Cast: Şebnem Hassanisoughi, Antigone Gitana, Masal Kahraman, Defne Halman, Sinan Özerk / Producer: Erdem Tepegöz / Production Co.: Altona Film / World Sales: Altona Film / Turkey / 2016 / DCP / Colour / 70 / Turkish; English s.t. 

 Coastliners puts the theme of “human rights” together with different stories, and consists of five short fiction films made by internationally acclaimed different directors. We accompany the personal effects of refugees washed ashore, the peculiar story of an assaulted young man, a mother and daughter who take refuge in a house when bombs sound on the Syrian border, a hero stuck in the hurly burly of Istanbul, trying to overcome obstacles; and the her spiritual journey of a pregnant woman trying to return to her village from where she was cast away.

Turkish Films 2016 | Feature Films, Shorts and Docs

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With Cannes Film Festival comes the Film market and the booklets of Turkish Film Catalogue[1] for the Year.

Mavi Boncuk | 

Download PDF for Feature Films

Download PDF for Shorts and Docs

[1] Prepared by The Ankara Cinema Association 

The Ankara Cinema Association was founded in 1998 by a group of film enthusiasts who were already running the Festival on Wheels since 1995. Alongside the Festival on Wheels, a modern-day cinema troupe hosted every year in four-six cities, the Association has organized film weeks presenting different national cinemas. In the process, audiences in Ankara and a number of other cities in Turkey have been introduced to the films of Finland, France, Britain, Israel, Iran, South Korea, Egypt, Greece and Canada. More...

The Ankara Cinema Association has been working with the Adana Golden Boll Film Festival since 2008 as coordinator of the festival’s international section.

In addition, the Ankara Cinema Association contributes to the promotion of Turkish cinema overseas as coordinator of the Turkish stands at Cannes and Berlin.

Similarly, the Ankara Cinema Association contributes to the promotion of Turkish cinema overseas in its role at the Venice and Sarajevo Film Festivals.

In recognition of its ventures in almost every area of the film industry, the Ankara Cinema Association won the İFSAK (Istanbul Association of Film and Photography Amateurs) Cinema Award in 1999 and Labour Award of the Eskişehir Film Festival in 2013.

IIFF 2016 | Turkish Cinema | Ember

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Mavi Boncuk |



EMBER | KOR | Director: Zeki Demirkubuz / Screenwriter: Zeki Demirkubuz / DOP: Zeki Demirkubuz / Editor: Sercan Sert / Cast: Aslıhan Gürbüz, Caner Cindoruk, Taner Birsel, İştar Gökseven, Çağlar Çorumlu, Dolunay Soysert, Talha Yayıkcı, Berat Özdemir / Producer: Başak Emre, Ahmet Boyacıoğlu / Co-Producer: Mustafa Dok (Bredok Film) / Production Co.: Mavi Film / World Sales: Başak Emre / Turkey, Germany / 2016 / DCP / Colour / 145´ / Turkish; English s.t.
When her husband Cemal is arrested in Romania, Emine is left alone with their child who needs immediate surgery. She takes a job as a needle worker at a garment workshop where she comes across Ziya, her husband´s former boss. He can´t stay indifferent when he learns what the woman he once fancied is going through. When Cemal returns months later, he finds Emine working at the garment workshop and their son healthy. A hospital bill he accidentally sees reveals that Ziya has paid for the surgery and Emine hid this fact. Will Cemal, who already blames Ziya for what he went through and is extremely jealous of Emine, be able to confront this situation or choose to ignore it? 

DIRECTOR’S STATEMENT 

It is what we hide as much as what we show that makes us human. It is people’s rationality and irrationality, morals and desires, reasons and randomness that make us human. These are the roots of a human being’s goodness and malice. However, the deepest pain a person suffers is hidden in his nature which is impossible to grasp. The basic challenges I deal with in my filmmaking are human nature with which one has to live helplessly, without being able to do anything about it, and to question it while trying to understand life as it is shaped through this nature.

Cannes 2016 | Turkish Short Films

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At Cannes, short films are represented at the Competition, at the end of which the short films Jury awards a Palme d’or, and at the Short Film Corner Organized by the Festival de Cannes, the Short Film Corner is the essential rendez-vous for filmmakers. Since 2004, short film producers and directors have chosen the Short Film Corner as the place to present their films, make meetings reality and take decisive steps for their future careers.

Mavi Boncuk |

Gabra | Directed by Hakki GORGULU 
Duration14 mn 
Produced in July 2015 
Genres Drama Filmed in Digital 
Contact Kemal ERDURAK 
 Synopsis: Gabra is a Syrıan girl who loses her family in the war and takes shelter to Turkey. She clings to life with the kindliness of İsmail whom she meets in a graveyard. This film is dedicated to all the women who are left alone and helpless because of wars. ContactKemal ERDURAK; ScriptwriterBatuhan ARICIOGLU; Director of photography Kadir YUCEL; Music Melih OGUZHAN; Sound Melih OGUZHAN; ActorTutku KARACA, Bulent ERGUN; Producer S.EDA SURMELİ (CİHANGİR mah. mebusan yokuşu no:31 fındıklı /beyoğlu 34343 İstanbul)




69. Cannes Film Festival |  Hezarfen Film Galeri “Shorts From Turkey"[1]

AŞKIN BOYUTLARI | Directed by Mehmet Bahattin MERMUT
Duration :  7 mn
Genre :  Comedy
Synopsis: A plastic surgeon's absurd obsession with breasts and its impact on his love life.

ZILAN |  Directed by Mehmet Mahsum AKYEL
Duration :  7 mn
Synopsis: The movie is about the evacuation story of villages at 1990s, told through a little girl.
Genre :  Drama

7 SANTIMETRE |  Directed by Metehan ŞEREFLIOĞLU
Duration :  16 mn
Genre :  Drama
Synopsis: Erdem goes to high school. The principle warns him to cut his hair so as to obey the school rules. Upon his parents pressure for the same reason he falls into a dilema as the girl he fancies, likes his hair.

FAILI MEÇHUL | Vedat OYAN
Duration :  9 mn
Genre :  Drama
Synopsis: In 1990s, approximately 17 thousand unidentified murders were committed in Turkey. The murderers were driving “Renault 12” –also named Renault Toros in Turkey, which became a symbol for unidentified murders. The film compares the production purposes of the vehicle in France and its uses in Turkey.

BALIK HAVUZU |  Directed by Ezgi KAPLAN
Duration :  17 mn
Genre :  Drama
Synopsis: For the weekend a group of friends goes to one of their parents summer house. When they enter the house they encounter an unexpected guest.

RODI | Directed by Emre SERT, Gözde YETIŞKIN
Duration :  18 mn
Genre :  Comedy, Drama
Synopsis: Ismail is a roadie who is responsible for the stage-setting for a rock band. Ismail, who wants to be a famous musician, tries to give his demo CD to Barkın, the vocalist of the band, during a concert day.

TUHAF ZAMANLAR | Mehmet Emrah ERKANI
Duration :  11 mn
Genre :  Drama
Synopsis: Haldun is a transvestite who lives in an urban transformation district of Istanbul. Hate crimes aiming trans people have recently increased, however still he has to go out that night. But things will get weird.

KUZGUN |  Directed by Doğuş MINSIN
Duration :  18 mn
Genre :  Drama, Fantastic
Synopsis: Once upon a time, in a corrupted village in Anatolia Kuzgun kills his father. Villagers think there is a devil in his body. They would do anything to banish the devil, including killing the child. Kuzgun was not possessed by devil but villagers were. He is just taking revenge of his mother's death.

ÇEVIRMEN |  Directed by Emre KAYIŞ
Duration :  23 mn
Genre :  Drama
Synopsis: Yusuf, a Syrian refugee boy who lives in an exile in a remote Turkish border town is chosen for his newfound power but he has to experience how to use it, at the cost of his innocence.

[1] Prepared by: Hezarfen Film Galeri 
Contact: Nesim Benjoya (Nissim Ben Joya), Director, Haifa Cinematheque (b. Izmir, Turkey 1952)

Orientalism | Sailor of the Imperial Navy

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Mavi Boncuk | Sailor of the Imperial Navy, serving at the Ottoman admiralty, by Louis Dupré[1].

[1] Louis Dupré (Versailles 9 January 1789 – 12 October 1837 Paris) was a French painter, especially noted for his travels in Greece and the Ottoman Empire and his numerous paintings with Orientalist and Philhellene themes. 

He often traveled and changed his work location, including Paris, Kassel (1811–1814), Naples (1814–1816), Rome (1816–1819, 1824–1831), Naples (1819–1820), Istanbul (ca. 1820), Greece (ca. 1820), Paris (1820–1837), and Vienna (1820–1824).

His visit to Greece was on the very eve of the Greek War of Independence. 

Pictured: Dupré's 1821 self-portrait, depicting himself in Istanbul, in the act of making a drawing of the environment while wearing a curved Turkish sword.  




Hand-coloured lithograph by Louis Dupré entitled 'Un Mamlouk', from a volume by Dupré entitled 'Voyage à Athènes et à Constantinople'. Published in Paris, 1825.

Cannes La Semaine de la Critique | Album de Famille

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 La Semaine de la Critique[1]

Competition Film.

Mavi Boncuk |

ALBÜM (ALBUM DE FAMILLE) Mehmet Can Mertoğlu[*]
PREMIÈRE MONDIALE WORLD PREMIERE – TURQUIE/ FRANCE/ROUMANIE TURKEY/ FRANCE/ ROMANIA
2016 – 1H45 – VO TURC IN TURKISH
Production KAMARA Yoel Meranda
Co-production ASAP FILMS Cedomir Kolar,
Marc Baschet, PARADA FILM Oana Iancu,
Calin Peter Netzer, ARTE FRANCE CINÉMA Olivier Père
Distribution LE PACTE Xavier Hirigoyen
Ventes/Sales THE MATCH FACTORY Michael Weber
Presse française/French press Stanislas Baudry
Presse internationale/International press: Richard Lormand

Cast: With Şebnem Bozoklu, Murat Kılıç, Muttalip Müjdeci, Müfit Kayacan, Zuhal Gencer Erkaya, Rıza Akın,
Mihriban Er, Şafak Karali, Binnaz Ekren

Un couple marié, approchant la quarantaine, met en scène dans un album photo une fausse grossesse pour dissimuler à son entourage qu’ils adoptent un enfant.

A couple in their late 30’s sets out to prepare a fake photo album of a pseudo pregnancy period in order to prove their biological tie to the baby they’re planning to adopt. Cüneyt and Bahar are a married couple in their late thirties living and working in Antalya, in southern Turkey. They decide to adopt a baby after failing to bear one through biological means. While waiting for their turn, they start preparing a photo album of a pseudo pregnancy period, so that the baby will, in the future, consider them as biological parents too. In this album there are photos of Bahar, dressed-up as pregnant, posing at a day trip, by a cliff, at the tax office… The couple also hopes to leave Antalya to start a new life. The day they adopt the baby, they complete their album with a few photos taken at a hospital, where Cüneyt’s doctor friend arranges them a fake birth mise-en-scène. The couple’s wish to leave Antalya becomes possible in a short time with some bureaucratic influence and Cüneyt gets assigned to Kayseri in central Anatolia.

[*] Mehmet Can Mertoğlu | Born: August 25, 1988 (age 27), Akhisar, Turkey | 

Born in Turkey in 1988, Mehmet Can Mertoglu studied Turkish Literature at Bogazici (Bosphorus) University, Istanbul. His first short film Yokuş (“The Slope”) had its world premiere at the 62nd Edinburgh Film Festival. The film was also screened at numerous other international film festivals including Rotterdam, Montreal and Angers. He completed his second short, Fer (“Glimmer”), in 2012. Another short film project of his, Moloz (“Debris”), was recently supported by Turkey’s Ministry of Culture. He finished his first feature, Albüm (« The Cliff Shore »).


[1]
FEATURE FILMS IN COMPETITION 
ALBÜM Mehmet Can Mertoğlu (Turkey/France/Romania) 
DIAMOND ISLAND Davy Chou (Cambodia/France/Germany/Thailand/Qatar)
RAW (GRAVE) Julia Ducournau (France/ Belgium) 
MIMOSAS Oliver Laxe (Spain/Morocco/France/Qatar)
ONE WEEK AND A DAY (SHAVUA VE YOM) Asaph Polonsky (Israel) 
TRAMONTANE Vatche Boulghourjian (Lebanon/France/United Arab Emirates/Qatar)
A YELLOW BIRD K. Rajagopal (Singapore/France)

Parallel section of the Cannes Film Festival, La Semaine de la Critique focuses on discovering new talents. Ever since it was created by the French Union of Film Critics in 1962, the objective of La Semaine de la Critique has been to showcase first and second feature films by directors from all over the world. Bernardo Bertolucci, Jean Eustache, Otar Iosseliani, Ken Loach, Wong Kar-Wai, Jacques Audiard, Arnaud Desplechin, Alejandro González Iñárritu, Bertrand Bonello or Jeff Nichols were first introduced to the public at La Semaine.

Reflecting the usual film critics’ curiosity and high standards, la Semaine de la Critique intends to explore and reveal new, innovative filmmakers. Playing the role of a talent scout, la Semaine brought to light films like Respiro by Emanuele Crialese, Since Otar Left by Julie Bertuccelli, Or by Keren Yedaya, Me and You and Everyone We Know by Miranda July, Meduzot (Jellyfish) by Etgar Keret and Shira Geffen, The Orphanage by Juan Antonio Bayona or The Lunchbox by Ritesh Batra.


To ensure greater visibility to its talents, La Semaine presents a very selective programming of only ten feature films (seven in competition) and ten short and medium-length films, which are crucial when it comes to discovering new filmmakers. Selected with their short films, renowned directors such as François Ozon, Gaspar Noé and Andrea Arnold made their first steps at la Semaine.

For the curious: 2016 Jury Member ALICE WINOCOUR - FRANCE After studying screenwriting at la Fémis, Alice Winocour directed three short films, winning numerous international awards (among them, Kitchen, selected in the Official Competition of the 2005 Cannes Film Festival). She is the co-writer of several films, like Ordinary People by Vladimir Perisic (part of the 2009 Semaine de la Critique in Cannes) and Mustang by Deniz Gamze Ergüven (2015 Directors’ Fortnight, Cannes), for the latter she wins the 2016 César award for Best original screenplay, together with Deniz Ergüven.


Cannes 2016 Cinéfondation L'Atelier | Iguana Tokyo and The Boarding School

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Cannes 2016 Cinéfondation L'Atelier[1] | Iguana Tokyo and The boarding School

Mavi Boncuk |

IGUANA TOKYO Directed by Kaan MÜJDECİ
Country: TURKEY, GERMANY
Year: 2016
Duration: 90.00 minutes
Director’s previous films: http://www.cinandovl.com/latelier2016
SPECIFICATIONS

Locations and shooting dates: Berlin-Tokyo, 6 weeks
Language film shot in JAPANESE , ENGLISH
Working budget € 2.3 M
Financing acquired € 740 000

SYNOPSIS: What happens, when an ordinary nuclear family lives in different realities in a city that is arguably at its most advanced? What happens when the line between reality and fantasy begins to disappear? When a computer game is (re-) defining the spaces of existence? When a giant green iguana is the observer of their realities?
Iguana Tokyo tells the story of this family who installs a computer game in their small flat in the city of Tokyo. The rule of the game is simple: the one who wins, leads the house and accordingly each one's own room enlarges or shrinks via moving walls. As the computer game becomes the centre of their ordinary lives, the relationship among three starts to shift. Only the Iguana can witness this dangerous tension between the mother, father and their fourteen-year old daughter, Tokyo. 

STATEMENT: « Everything only exists as much as you see and witness it. » In Iguana Tokyo, I attempt to capture the stresses that follow from observing ‘sins’ in a cramped urban home of Japan, a model country of contemporary economic and social progress. The smallest social institution - the family - reproduces itself through sexuality, and is the point of contact of intersecting rules and systems of regulation. Iguana Tokyo offers a depiction of each family member breaking with the moral norms in the city of Tokyo. The iguana's perspective is ideal: it offers a neutrality and an eye to witness everything that happens in the home. The world I want to portray in Iguana Tokyo is a world in which our existence is defined solely by seeing and witnessing.

CONTACTS AND USEFUL LINKS
Production
COLOURED GIRAFFES - Nazli KILERCI
Oranienstr. 34 10999 Berlin GERMANY - nazli.kilerci@gmail.com

THE BOARDING SCHOOL Directed by L.Rezan YESILBAS
Country: TURKEY
Year: 2016
Duration: 100.00 minutes
Director’s previous films: http://www.cinandovl.com/latelier2016

SYNOPSIS: 1981 Diyarbakir. Siyap and his two brothers study in a boarding school in an environment where the effects of the military coup that took a place a year ago are still felt intensely. To the children, the school feels like a military barracks with its tight discipline. When Siyap goes to Diyarbakir to visit his father in prison, a fire breaks out at night. He is detained on his way to the prison and is tortured. Siyap feels the iron hand of the military coup more severely as he steps into adulthood.

STATEMENT: A story set in Diyarbakir in the 1980's is inevitably with a political background. This script mainly focuses on the experiences of three boys of different ages in a Regional Boarding School (YIBO). For me, it is an important detail how the teachers of the school, who are supposed to teach, turn into guardians with the power of the ruler ship. These regional schools mentioned, functioned as tools for assimilation politics of Kurds for a period. My goal is not to only reflect this historical atmosphere, but to tell a story about children who are on the threshold of losing their innocence. The ways children cope with or give in to power, clever tactics like taking it lightly or joking about it, keep the film away from a heavy political atmosphere.

CONTACTS AND USEFUL LINKS
Production
LIMAN FILM - Nadir OPERL(link)
Ozogul Sokak N°18 D:12 Cihangir Beyoglu 34427 Istanbul TURKEY - T: +90 53 366 177 37 - info@limanfilm.com - http://www.limanfilm.com


ABOU LEILA Directed by Amin SIDI-BOUMEDIENE
ANIMAS Directed by José F. ORTUNO
DAOUD'S WINTER Directed by Koutaiba AL-JANABI
DEATH IN BED Directed by David VOLACH
FEMME FATALE Directed by Kyoko MIYAKE
LA CORDILLERA Directed by Santiago MITRE
MARLINA THE MURDERER IN FOUR ACTS Directed by Mouly SURYA
MEMORIES AND MY MOTHER Directed by Aditya Vikram SENGUPTA
MY FAVORITE FABRIC Directed by Gaya JIJI
NI DIEUX NI MAÎTRES (NO GODS NO MASTERS) Directed by Eric CHERRIÈRE
SEMINA IL VENTO (SOW THE WIND) Directed by Danilo CAPUTO
TANTAS ALMAS Directed by Nicolas RINCON GILLE
THE WHOLE-TIMERS Directed by Pooja GURUNG, Bibhusan BASNET


 In 2005, the Festival gave the [1] Cinéfondation the task of organising L'Atelier, a new step in its action to promote the creation of new works.

Each year, L'Atelier selects about fifteen feature length projects from around the world, and invites their directors to the Festival de Cannes in order to put them in contact with film professionals. The filmmakers are selected according to the quality of their project and that of their previous films, as well as on the state of progress of their finance plan. The programme will enable them to gain access to international financing and speed up the production process.

In order to help the selected filmmakers, L'Atelier undertakes to:
- publish a Livre des Projets (Project Brochure) to promote the film projects and present the directors and their producers to film professionals and the media.
- organise appointments with producers, distributors and grant distribution managers in the L'Atelier pavilion, situated in the Village international-Pantiero, in order to meet any shortfall with other already agreed financing. The filmmakers' previous films and screenplays will be made available for consultation.

- associate the selected filmmakers with the daily life of the Festival by providing them with access to the programme of daily Festival screenings, meetings and events.

Jamala 1944

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Jamala is the winner of the 2016 Eurovision Song Contest with the song 1944 Mavi Boncuk |

ENGLISH/CRIMEAN TATAR (IN  TURKISH) LYRICS

When strangers are coming
They come to your house
They kill you all
And say
We’re not guilty
Not guilty

Where is your mind?
Humanity cries
You think you are gods
But everyone dies
Don’t swallow my soul
Our souls

(IN  TURKISH)[1]
Yasligima toyalmadim
Men bu yerde yasalmadim
Yasligima toyalmadim
Men bu yerde yasalmadim

We could build a future
Where people are free
To live and love
The happiest time

Where is your heart?
Humanity rise
You think you are gods
But everyone dies
Don’t swallow my soul
Our souls

(IN  TURKISH)[1]
Yasligima toyalmadim
Men bu yerde yasalmadim
Yasligima toyalmadim
Men bu yerde yasalmadim

[1] I couldn’t spend my youth there
Because you took away my peace
I couldn’t spend my youth there
Because you took away my peace

Word Origins | Bodily Functions

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Mavi Boncuk |

Dışkı: shit EN[1]; newTR: [ TDK, Türkçe Sözlük, 1. Baskı, 1945] TartarTR dış +gI
Dış TR outside EN; sıç|mak TR; from oldTR sıç- dışkılamak; excrete EN

Bok: ETü: [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
boḳ: al-χuḍra [[uzun süre beklemekten veya nemden dolayı ekmekte oluşan yeşil küf (...) Oğuzlar al-ġāˀit [dışkı]anlamında bu sözcüğü kullanır.]][ İbni Mühenna, Lugat, 1310], al-ġāˀiṭ [dışkı], oldTR bok 1. küf, pas, 2. OghuzTR dışkı

Kaka: cacaEN[2] TartarTR: [ Ahmed Vefik Paşa, Lugat-ı Osmani, 1876] kaka: Avam zebanzedi. Ters, pis, necis, necaset. Persian kak, GR kaká, Arm. kak քաք, Lat caca.

Çiş: piss EN[3] oldTR: [ Kaşgarî, Divan-i Lugati't-Türk, 1073]

Sidik: urine EN[4] oldTR: [ Kaşgarî, Divan-i Lugati't-Türk, 1073] siḏük: al-bawl[ İbni Mühenna, Lugat, 1310] sidük سيتُك: al-bawl, oldTR sidük idrar  from oldTR sīd- işemek, siymek +Uk ; pee EN

İdrar:[ Aşık Paşa, Garib-name, 1330]; vaḳf u idrār eyler olsa naḳd u cins [vakf edip ihsan etse para ve malı] [ Meninski, Thesaurus, 1680]; idrār; idrārāt: Abundè & continuò donare [bol ve sürekli ihsan etmek] [ Ahmed Vefik Paşa, Lugat-ı Osmani, 1876]; idrār: Akıp gelen şey, tebevvül. inPersion mothly income, salary fromAR idrār إدرار  işeme fromAR darra دَرَّ (şarıldayarak) aktı; flow (with flowing sound) EN 

[1] shit (n.)  Old English scitte "purging, diarrhea," from source of shit (v.). Sense of "excrement" dates from 1580s (Old English had scytel, Middle English shitel for "dung, excrement;" the usual 14c. noun seems to have been turd). Use for "obnoxious person" is since at least 1508; meaning "misfortune, trouble" is attested from 1937. Shit-faced "drunk" is 1960s student slang; shit list is from 1942. Up shit creek "in trouble" is from 1937 (compare salt river). To not give a shit "not care" is from 1922. Pessimistic expression Same shit different day attested by 1989. Shitticism is Robert Frost's word for scatological writing.

The expression [the shit hits the fan] is related to, and may well derive from, an old joke. A man in a crowded bar needed to defecate but couldn't find a bathroom, so he went upstairs and used a hole in the floor. Returning, he found everyone had gone except the bartender, who was cowering behind the bar. When the man asked what had happened, the bartender replied, 'Where were you when the shit hit the fan?' [Hugh Rawson, "Wicked Words," 1989]

shit (v.) Old English scitan, from Proto-Germanic *skit- (cognates: North Frisian skitj, Dutch schijten, German scheissen), from PIE *skei- "to cut, split, divide, separate" (see shed (v.)). The notion is of "separation" from the body (compare Latin excrementum, from excernere "to separate," Old English scearn "dung, muck," from scieran "to cut, shear;" see sharn). It is thus a cousin to science and conscience. 

"Shit" is not an acronym. The notion that it is a recent word might be partly because it was taboo from c. 1600 and rarely appeared in print (neither Shakespeare nor the KJV has it), and even in "vulgar" publications of the late 18c. it is disguised by dashes. It drew the wrath of censors as late as 1922 ("Ulysses" and "The Enormous Room"), scandalized magazine subscribers in 1957 (a Hemingway story in "Atlantic Monthly") and was omitted from some dictionaries as recently as 1970 ("Webster's New World"). 

[2] caca (n.) "excrement," a nursery word but a very ancient one (PIE *kakka-), forming the base word for "excrement, to void excrement" in many Indo-European languages, such as Greek kakke "human excrement," Latin cacare, Irish caccaim, Serbo-Croatian kakati, Armenian k'akor; Old English cac-hus "latrine." Late 19th century: from cack ‘excrement,’ or directly from Latin cacare ‘defecate.’ Etymologists dispute whether the modern Germanic words (Dutch kakken, Danish kakke, German kacken), are native cognates or student slang borrowed from Latin cacare. The word in this form appears in English slang c. 1870, and could have been taken from any or several of the languages that used it (Spanish, Modern Greek). 

Extensive slang usage; meaning "to lie, to tease" is from 1934; that of "to disrespect" is from 1903. Shite, now a jocular or slightly euphemistic and chiefly British variant of the noun, formerly a dialectal variant, reflects the vowel in the Old English verb (compare German scheissen); the modern verb has been influenced by the noun. Shat is a humorous past tense form, not etymological, first recorded 18c. To shit bricks "be very frightened" attested by 1961. The connection between fear and involuntary defecation has generated expressions in English since 14c. (the image also is in Latin), and probably also is behind scared shitless (1936).
Alle þe filþ of his magh ['maw'] salle breste out atte his fondament for drede. ["Cursor Mundi," early 14c.]

[3] pee (v.) 1788, "to spray with urine," euphemistic abbreviation of piss. Meaning "to urinate" is from 1879. Related: Peed; peeing. Noun meaning "act of urination" is attested from 1902; as "urine" from 1961. Reduplicated form pee-pee is attested from 1923.

piss (n.) late 14c., from piss (v.). As a pure intensifier (piss-poor, piss-ugly, etc.) it dates from World War II. Piss and vinegar first attested 1942. Piss-prophet "one who diagnosed diseases by inspection of urine" is attested from 1620s. Piss proud "erect upon awakening" is attested from 1796.

piss (v.) late 13c., from Old French pissier "urinate" (12c.), from Vulgar Latin *pissiare, of imitative origin. To piss away (money, etc.) is from 1948. Related: Pissed; pissing. Pissing while (1550s) once meant "a short time."
He shall not piss my money against the wall; he shall not have my money to spend in liquor. [Grose, "Classical Dictionary of the Vulgar Tongue," 3rd edition, 1796]

[4] Urine (n.) c. 1300, from Old French orine, urine (12c.) and directly from Latin urina "urine," from PIE *ur- (cognates: Greek ouron "urine"), variant of root *we-r- "water, liquid, milk" (cognates: Sanskrit var "water," Avestan var "rain," Lithuanian jures "sea," Old English wær, Old Norse ver "sea," Old Norse ur "drizzling rain"), related to *eue-dh-r (see udder).

Profile | Binali Yıldırım

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Turkey’s ruling party has chosen transport minister Binali Yildirim, a confidant of the president, to be the country’s new prime minister. Yildirim is expected to be formally elected as the governing AKP's leader and Turkey’s prime minister in an extraordinary party congress on Sunday, May 22, 2016, where he will run unopposed.

Following Mr Davutoglu’s resignation, Mr Yildirim was considered the frontrunner for his post. Although Mr Erdogan’s son-in-law, energy minister Berat Albayrak, was also rumoured to be a potential candidate, he was not listed in the ruling party’s internal survey ahead of the announcement. The AKP’s spokesman Omer Celik said Mr Yildirim’s nomination was supported by a “huge consensus” within the party.


Mavi Boncuk |

Binali Yıldırım; born 20 December 1955) is a Turkish politician who currently serves as the Minister of Transport, Maritime and Communication of Turkey since 24 November 2015. He previously served in the same position from 2002 to 2007, from 2007 to 2011, and from 2011 to 2013. A member of the ruling Justice and Development Party (AKP), he has served as a Member of Parliament for İstanbul's first electoral district from 2002 to 2007, for Erzincan from 2007 to 2011, for İzmir's second electoral district from 2011 to June 2015 and for İzmir's first electoral district since November 2015.

Born in Refahiye, Erzincan Province to a Turkish family originally from Ağrı, Yıldırım was educated at the Istanbul Technical University's School of Maritime in Naval Architecture and Ocean Engineering and in 1991 he graduated from the World Maritime University with a Master of Science degree in Maritime Safety and Environmental Protection. After graduation, Yıldırım served as the director general of the Istanbul Fast Ferries Company (İDO) from 1994 to 2000 while Recep Tayyip Erdoğan was Mayor of Istanbul.

He entered politics and became a co-founder of the Justice and Development Party in August 2001. During his term as Minister of Transport, Turkey met with high-speed rail lines. Under his leadership, Turkey constructed high-speed rail between Ankara-Eskişehir and Ankara-Konya. Also Eskisehir-Istanbul line is under construction to connect Istanbul and Ankara. The project collapsed after the fatal derailment of a train in Pamukova, Sakarya Province on 22 July 2004 during one of the first journeys between Istanbul and Eskişehir. Calls for Yıldırım's resignation followed the incident.

His repeated appointment to the ministry was declared by Prime Minister Erdoğan on 6 July 2011 with other members of the new cabinet. He was removed from office on 25 December 2013 in a cabinet reshuffle. In 2014, he was nominated as Presidential Advisor.

A photograph of Yıldırım's veiled wife seated separately from him during a business lunch went viral and produced an outcry in Turkey in 2005, many criticizing him with charges of sexism.[4] As the Minister of Communications, Yıldırım was also the source of numerous other controversies, including replying to criticisms about government surveillance of phone lines by saying: "If you are not up to anything illegal, don't worry about surveillance."

Yıldırım was the unsuccessful AKP candidate for Mayor of İzmir against incumbent Aziz Kocaoğlu in the 2014 local elections in Turkey.

Book | The Postcards Of Max Fruchtermann

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Max Fruchtermann Max Fruchtermann 1852-1918 Constantinople, Turkey 

Mavi Boncuk |

THE POSTCARDS OF MAX FRUCHTERMANN By Mert Sandalci Published by KoçBank, 3 volume set Out of Print

Fruchtermann’s Postcards Windows onto the past
* Baris Dogru is a freelance writer

For Westerners the Orient was a mysterious world for centuries, and this mysterious and imaginary Western image of the East even has a name: Orientalism. The concept first took shape in the work of European painters, and it was through these paintings that European aristocrats and rulers made their first acquaintance with the East. Accounts by European travellers who travelled eastwards made their own contribution to this image, which with the development of photography and photographic printing techniques entered a new stage. Postcards became the most widespread vehicle of dissemination for these photographs, and undoubtedly the most notable figure in this field in the Ottoman Empire was Max Fruchtermann. Max Fruchtermann became the country's first photography editor and publisher (Ed. actual printing was done by E. Pinkau[1] in Germany). Born in Kalucz, a town on the frontier of the Austro-Hungarian Empire, in 1852, he moved to Istanbul in 1867.

Two years later he opened a framing shop on Yüksekkaldirim Street, where there are still several framers today. In the course of his work Fruchtermann became aware of the huge demand for pictures of Ottoman sights and scenes, and in 1895 entered into an agreement with the Emil Pinkau printing house in Breslau for the production of the first picture postcards of Istanbul. The first series depicted Seraglio Point, the Galata Bridge and Galata Tower, Dolmabahçe Palace, Sultanahmet Mosque, Arnavutköy, Kuzguncuk, and figures including porters, water sellers, dervishes and fishermen. The enterprise took off, and his picture postcards of Istanbul and scenes from other parts of the country were soon being posted to the four corners of the world. The first series was followed by numerous others, and with his Gruss series printed by Fingerle Freudenberg in Rehydt, of which he sent examples in his correspondence with collectors all over the world, his reputation soared.

He went on to produce beautiful series depicting many Ottoman cities, including Bursa, Izmit and Trabzon. Fruchtermann became a rich man, but misfortune lay in store. The death of his wife in 1917 was followed by the loss of his fortune, as his war bonds and other investments became worthless with the defeat of Austria in World War I. Fruchtermann died a broken man in 1918 at the age of 65. The golden age of the postcard had gradually come to an end in a war-torn world, as the optimistic intellectual climate of the pre-war period, in which people had sought to get to know other countries and peoples, made way for disillusionment. Massive economic upheaval aggravated the prevailing pessimism, and naïve pleasures like postcards were pushed aside. However, the story of Fruchtermann's postcards was not yet at an end.

His son Paul continued to run the business, despite changed conditions, until his death in 1966, when his second wife Anna was obliged to close down the business. She sold off the stock - an estimated 600,000 picture postcards - stored in the attic of the shop to a junk dealer for just 2500 lira. It is popularly assumed that photographs reflect a realistic and objective view of the world. In fact the photographer has a degree of control over the finished photograph comparable in some respects to that of the painter, exercised by his selection of subject and scene, use of light, and printing techniques. In Max Fruchtermann's postcards we see the clear stamp of Orientalism in their subjective approach. Having taken this into account, however, these photographs remain of undeniable documentary importance, depicting historic buildings and monuments of Istanbul that have disappeared today, costumes no longer worn, and scenes now vastly altered. Looking back a century in time through these postcards is a moving experience, reminding us both of what has changed and what remains the same.

The importance of Fruchtermann's postcards is appreciated by collectors all over the world. Thousands of these postcards have now been published by Koçbank in three volumes, the result of intensive research involved in tracking them down in numerous collections. They cover the period from the late 19th to early 20th century, a time of dramatic social changes which influenced the daily lives of all the diverse ethnic and cultural communities of the Ottoman Empire. The albums are a fascinating window on to that period and a valuable documentary resource. 


[1]  Emil Pinkau & Co. (1880-1926) | Breslau and Leipzig, Saxony. Lithographic printer of books, maps, pictorial souvenir booklets, and possibly the largest printer of postcards in Germany. His earliest work was in monochrome but he started using color about 1897. Published a large set of cards depicting the Ottoman Empire for Max Fruhtermann beginning in 1895. Also printed cards for American and Canadian publishers such as the Illustrated Post Card Company and the Canadian Pacific Railway. 


Emil Pinkau (b.January 10, 1850 in Thonberg, Leipzig, d. July 22, 1922 in Halle) Complete name: Eduard Franz Emil Pinkau was a German lithographer and entrepreneur. He pioneered the postcard and is one of the founders of the view card industry in the last quarter of the 19th century. 

The Postcard boom started by about the mid 1890’s in Germany. The big, well-known postcard publisher Ottmar Zieher, MuOttmar_Ziehernich, claimed having published 6000 different cards from Germany and Austria-Hungary by Oct. 1895. For November that year Zieher announced to have complete series of coloured cards with views from America, Belgium, England, France, Holland, Italy, Portugal, Switzerland, Scandinavia, Spain and Turkey / Orient on offer to collectors. 10 cards for 0,80 Mark and 100 for 5 Mark. 


Many O. Zieher cards were printed by Emil Pinkau & Co AG, Leipzig, Saxony. A combined printing process called “Heliochrom” by Emil Pinkau & Co., another of the long-established, huge postcard factories from Leipzig, was offered from c. 1901 on. 

WW1 meant big business for postcard printers. It also was the final breakthrough for massive photographic (bromide) card production. Emil Pinkau & Co. had added a new dept. for bromide (rotary) photo printing in 1911 to his factory. By 1917 he even had an own photopaper production running (to be independent from suppliers). So, his photographic production must had been successful/profitable, and...his WW1 cards made a big contribution to the positive development.

Series 1 No 20 Mosquée du Sultan Ahmed et Place de L'Hippodrome SOURCE

BOOK REVIEW | CORNUCOPIA 27
Wish you were here BY ELIZABETH MEATH BAKER

EXTRACT

When Max Fruchtermann wrote to the Imprimerie Emil Pinkau in Breslau[1] to order his first print run of picture postcards in 1895, it must have been with some excitement: he would be the first to bring what had become a European craze to the Ottoman capital. Fruchtermann was a child of two huge, declining but multi-ethnic empires: born on the eastern edge of Austro-Hungary to German Protestant parents in 1852, he had come to the heart of the Ottoman Empire in 1867, opening a frame-shop on Yüksekkaldırım two years later when he was just 17.

In 1895 long-distance international travel was just taking off as a pastime: Constantinople, the most romantic destination, on the threshold of the East, had suddenly moved nearer. “The entire continent turns eastward,” wrote Victor Hugo in the prologue to Les Orientales. In 1883, passengers on the first Express d’Orient from Paris to Constantinople had been advised to carry guns and rifles, just in case, and were also forced to disembark at Varna for a choppy boat crossing of the Black Sea. But 1889 saw the first “through” train, which called at Strasbourg, Munich, Vienna, Budapest and Bucharest, taking a mere seventy hours; the Compagnie des Wagons-Lits opened the Pera Palas Hotel in 1895 to accommodate its passengers in suitable comfort…

Photographs of landscapes, important buildings, interesting local sights and characters had for some time been available for these new tourists to buy as souvenirs from galleries in the city’s European quarter, close to their hotels. But the photographers – Sébah and Joaillier,Kargopoulos, Abdullah Frères – had become rich and grand, some being commissioned by the Sultan to record such things as new schools and railway stations around the empire, and to take his portrait, so their work could be expensive…

Fruchtermann must have struck some kind of deal with the grand photographers, for the postcards he printed featuring their work sold cheaply, so that everyone, tourists and locals, could afford to buy them. The first known trial cards went on sale in July and August 1895, and by Christmas that year Fruchtermann had brought out his first series. Enthusiasts rapidly bought up series after series, both to send to (and as often to exchange with) friends, and to accumulate into albums. It proved hard for Fruchtermann to keep up. He created a key position for himself in the swiftly developing market he had initiated. Then, as now, collectors divided into those interested in stamps, franking or postmarks, and those who collected cards for their intrinsic interest. As a dealer in both cards and stamps, Fruchtermann dominated the trade for both groups.

In 1897 he began to publish in colour. The earliest examples were probably painted by hand in the shop (a telltale sign is watercolour paint that has seeped through to the back of the card). The technical development of the cards closely followed progress in photo and litho printing. An extraordinary range of topics was covered, and millions of Fruchtermann cards were sold.
Opening the massive three-volume catalogue of Max Fruchtermann’s postcards so lovingly put together by archivist and historian Mert Sandalcı over years of patient detective work, every aspect of these fragile documents is of interest. Each card is a richly textured fragment of history. Here are cards in French, German, Russian, Italian, English, Ottoman Turkish, Arabic and Persian. Each one may have travelled further than the individual who first sent it. Originally often traded on a barter system, with a value that quickly surpassed their original price of one kuruş, two pfennigs, or two centimes, they became a currency in themselves. Because at first the backs of the cards were used only for the address, the messages are written over the pictures. Often they concern the exchange of postcards, but there are also tantalising vignettes of people’s lives – travellers’ tales, thanks, congratulations, diffident lovers’ greetings. Their size imposes a brevity, immediacy and informality which must have felt quite new: a 19th-century email.

Fruchtermann died a broken man in 1918, destroyed by depression and drink. The empires that had nurtured him, together with the huge success and fortune he had amassed, had been obliterated by war. His son carried on the business, after a fashion, into the Sixties, but it went into liquidation in 1966. An archive of next to 600,000 cards was sold to a secondhand dealer for a song…

Sandalcı’s hunt for every known Fruchtermann card began, as it well might, in the Charing Cross Road. A notoriously taciturn dealer, a Mr Drumm, was offering the usual stuff for the passing trade, and was surprised when the £80 he asked for something more interesting was handed over without a word. Sandalcı earned himself a trip to the dealer’s country house, and a tour of his collection which culminated, after several hours, in a climb up a ladder to an attic packed from floor to ceiling. Weaving their way through, they arrived at a cupboard where the dealer pulled out a drawer crammed with Ottoman cards. He invited Sandalcı to take his pick and name a price. The very first card he pulled out was extraordinarily valuable: one written and sent by Fruchtermann himself. Embarrassed, Sandalcı offered to put it back, but his offer was firmly refused - £20 would do, wouldn’t it? Astonished, Sandalcı accepted what is one of the crucial pieces in his collection…


TO READ THE FULL REVIEW, PURCHASE ISSUE 27



Max Fruchtermann (1852-1918 )

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1867 son of Arthur Abraham and Sarah Fruchtermann , Max Arthur Christian Fruchtermann (fruit seller), aged 15 decides to move to Constantiple.



Mavi Boncuk | Max Fruchtermann in front of his framer's (dükkan) store Yüksekkaldırım No. 13. 

The first set of cards from Emil Pinkau rached him on December 28, 1895[1]. Jordan, a clerk from Swiss Embassy in İstanbul purchased a scene of Galata Bridge and mailed it to Neuchatel. (Source in Turkish). By 1909 there will be about 200 postal card publishers in the empire.

[1] The world's oldest postcard was sent in 1840 to the writer Theodore Hook from Fulham in London, England. The study and collecting of postcards is termed deltiology.

Art Nouveau Yali of Nazime Sultan

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Mavi Boncuk | Max Fruchtermann card No. 1609. Art Nouveau yali of Nazime Sultan in Kuruçeşme by Raimondo D'Aronco[1]. 1897

Nazime Sultan, the daughter of Sultan Abdülaziz (1861–1876) commissioned this yalı from Raimondo D'Aronco, the same architect who built the Egyptian Consulate in Bebek. After Çırağan palace burned down, the Meclis Mebusan met here. When the imperial family left Turkey, it was used as a storage facility, and eventually was torn down. The land was used for many years to store coal from the Zonguldak mines.

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[1] Raimondo Tommaso D’Aronco (1857–1932) was an Italian architect renowned for his building designs in the style of Art Nouveau. He was the chief palace architect to the Ottoman Sultan Abdülhamid II in Istanbul, Turkey for 16 years.

Art Nouveau was first introduced to Istanbul by d'Aronco, and his designs reveal that he drew freely on Byzantine and Ottoman decoration for his inspiration. D'Aronco made creative use of the forms and motifs of Islamic architecture to create modern buildings for the city.
The buildings, which he designed at Yıldız Palace, were European in style. The best known of these are Yildiz Palace pavilions and the Yildiz Ceramic Factory (1893–1907), the Janissary Museum and the Ministry of Agriculture (1898), the fountain of Abdulhamit II (1901), Karakoy Mosque (1903), the mausoleum for the African religious leader Sheikh Zafir (1905–1906), tomb within the cemetery of Fatih Mosque (1905), Cemil Bey House at Kireçburnu (1905), clock tower for the Hamidiye-i Etfal Hospital (1906). Casa Botter (1900–1901), a seven-story workshop and residence building in Istiklal Avenue in Beyoğlu, which he designed for the sultan’s Dutch fashion tailor M. Jean Botter, represents a turning point in D’Aronco’s architecture.

Mavi Boncuk Postings related to Raimondo Tommaso D’Aronco
Article 1
Article 2
Article 3
Article 4

Garibaldines in Balkan War

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Mavi Boncuk | First Balkan War : Group of Garibaldian[1] greek volunteers (Italian volunteers fighting for Greek Independance).  



[1] Redshirts (Italian Camicie rosse) or Red coats (Italian Giubbe Rosse) is the name given to the volunteers who followed Giuseppe Garibaldi in southern Italy during his Mille expedition to southern Italy, but sometimes extended to other campaigns of his. The name derived from the color of their shirts or loose fitting blouses (complete uniforms were beyond the finances of the Italian patriots). Giuseppe Garibaldi's son, Ricciotti Garibaldi[*], later led redshirt volunteer troops that fought with the Greek Army in the Greco-Turkish War of 1897 and the First Balkan War of 1912–13.




[*] Ricciotti Garibaldi (February 24, 1847 - July 17, 1924) was an Italian soldier, the fourth son of Giuseppe Garibaldi and Anita Garibaldi.

Born in Montevideo, he was named in honour of Nicola Ricciotti who had been executed during the failed expedition of the Bandiera Brothers against the Kingdom of Naples. He spent much of his youth in Nice, Caprera and England.

In 1866, alongside his father, he took part in the Battle of Bezzecca (1866) and the Battle of Mentana (1867); in 1870, during his father's expedition in support to France during the Franco-Prussian War, he fought for the Army of the Vosges, during which he occupied Châtillon and, at Pouilly[disambiguation needed], captured the sole Prussian flag lost during the war.

After a failed attempt to create market enterprises in America and Australia, he was a deputy in the Italian Parliament from 1887 to 1890. In the Turkish-Greek war in 1897 and 1912 he fought with the Greek Army against the Ottomans with other Garibaldines

This book aims to demonstrate how the Italian nationalist ideas were a catalyst to the creation of national unity and freedom to the Turkish people, prompting a drive for freedom that originated from the élite and moved to the masses in a top-down manner. The conspiracy ideas particularly of Giuseppe Mazzini, one of the greatest figures in the Italian national struggle, gave strong impetus to the birth of the pre-republican Young Turks. Giuseppe Garibaldi permanence in Turkey, his contacts with the Italian Workers Society in Constantinople,[*] his letters and deep connections with Europe disclosed the idea that, the birth of the Turkish Republic, was ideologically supported by Italian Carbonari kinds of associations. In order to illustrate this link, the book observes the role of some eminent delegates of the Italian Workers Association and the Italian Freemasonry in Istanbul/Constantinople and other provinces of the Ottoman Empire.

[*] The Società Operaia Italiana di Mutuo Soccorso in Costantinopoli (Italian Workers’ Mutual Aid Society of Constantinople) See Article

"...Since its foundation in 1863, the Società Operaia, like the other similar institutions founded all over the world, has had two main different tasks: the first one was the mutual aid and assistance for the workers and their families; the second one was the political and patriotic engagement for the freedom and the unity of Italy. This later issue has been the topic of different researches focused on the role of the Italian patriots Garibaldi and Mazzini, both in contact with the Società Operaia in Costantinopoli, in spreading the Italian’s Risorgimento principles inside the community. "

1900 | From Valenti to Nimes "Vue de Galata"

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Mavi Boncuk | Purchased from Gaetano Valenti, Card Collection store No. 11 at Hadzapulo Passage, Pera Constantinople. Marked Imprime to pay a reduced fee since the card carried no message. Signed by Valenti. Most possibly intended for a postal card collectioner in Nimes, France. Franked by the French Post office of Galata.

printer Litho Emil Pinkau Leipzig  ed. Fruchtermann Galata



Ottmar Zieher | Two Smyrna Cards

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Mavi Boncuk | 

Smyrne Art Nouveau litho Quais Quay Ottoman Turkey.
This postcard was published by Ottmar Zieher in about 18998.

Art Nouveau colour litho postcard of Smyrne (= Izmir), Ottoman Turkey with an undivided back. It shows a beautiful view of the Pont des Caravanes (= Bridge of the Caravans). This postcard was published by Ottmar Zieher in about 1899.

The big, well-known postcard publisher Ottmar Zieher (1857-1924), MuOttmar_Ziehernich, claimed having published 6000 different cards from Germany and Austria-Hungary by Oct. 1895. For November that year Zieher announced to have complete series of coloured cards with views from America, Belgium, England, France, Holland, Italy, Portugal, Switzerland, Scandinavia, Spain and Turkey / Orient on offer to collectors. 10 cards for 0,80 Mark and 100 for 5 Mark.

Many O. Zieher cards were printed by Emil Pinkau & Co AG, Leipzig, Saxony. A combined printing process called “Heliochrom” by Emil Pinkau & Co., another of the long-established, huge postcard factories from Leipzig, was offered from c. 1901 on. Ottmar Zieher of Munich and Bavaria between 1897 to 1908 printed postcards that are copied to this date, from 1902 to 1905 he did several hundred that show the various nations coat-of-arms and their postage stamps on the obverse.



Article | When the world failed Syria, Turkey stepped in

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Erdoğan calls on Europe to take in more Syrian refugees

Mavi Boncuk |

When the world failed Syria, Turkey stepped in. Now others must help 

Recep Tayyip Erdoğan

Monday 23 May 2016, The Guardian

Today the first world humanitarian summit opens in Istanbul, bringing together heads of state, prime ministers and cabinet members from more than 100 countries and reflecting the United Nations’ appreciation that Turkey currently hosts more refugees than any other country. But the extent to which the international humanitarian aid system lies broken is alarming.

Nearly 60 million people depend on humanitarian aid to survive. According to the UN’s high commissioner for refugees, the number of refugees and displaced persons has reached its highest level since the second world war. Almost half are children. The existing humanitarian aid system depends heavily on the UN and remains at the mercy of individual nation states. This is a global problem and must be addressed to cater to the needs of millions of people affected by wars, conflicts and natural disasters every year.

Violent conflicts claim lives in Syria, Libya and Yemen every day, while ethnic tensions and natural disasters haunt numerous countries in Asia and Africa. Haunting images of refugees flocking to border gates, the dead bodies of innocent children on beaches and people living in extreme poverty symbolise the tragedy of everyday life in many places. The summit will address these pressing problems, seek to fix the humanitarian system’s glitches and make a long-term commitment to develop new capabilities. For the first time, heads of state and government, non-governmental organisations, the private sector and those affected by humanitarian crises will come together to look for answers.

Turkey has been a safe haven for people escaping war, destruction and oppression for centuries, and today we provide humanitarian relief in more than 140 countries on five continents. In fact, Turkey remains the world’s most generous country, spending a bigger share of its GDP on humanitarian aid than any other.

What sets Turkey apart is our commitment to making an actual difference on the ground and changing people’s lives – instead of pursuing hidden agendas, drawing up fancy charts or treating people in need in a condescending way. When I visited Somalia in August 2011, I found a country on which the world had turned its back. What many considered to be a failed state overwhelmed by drought, famine and conflict, Somalia was in ruins. At the time, Turkey made a commitment to help the people of Somalia get back on their feet – a mission Turkish aid agencies, in cooperation with their local partners, accomplished in five years. Today, the incredible progress that Somalia has made to promote political stability, combat terrorism and make its citizens safer has not only inspired the entire region but also gives us the strength to help others.

Turkey’s response to the humanitarian crisis in Syria is another success story. Having adopted an open-door policy towards Syrian refugees in 2011, we now host nearly 3 million Syrian nationals from diverse ethnic, religious and sectarian backgrounds. In the past five years Turkey has allocated $10bn to provide Syrian refugees with free healthcare, education and housing. At a time when the international community failed the Syrian people – 600,000 of whom have lost their lives in the civil war, with 13 million forced from their homes – Turkey, along with the rest of Syria’s neighbours, was left to deal with the conflict’s consequences. As the Syrian civil war enters its sixth year, we are calling on the world to create a fair mechanism for sharing the burden.

The international community in particular has largely ignored its responsibilities toward the Syrian people by turning a blind eye to Bashar al-Assad’s crimes against his own citizens. It was not until refugees appeared in the streets of Europe and terrorist organisations such as Islamic State started attacking EU citizens that European leaders realised they could no longer ignore the problem. Many Syria-related problems could have been avoided had the world intervened in the early stages of the conflict. But it’s not too late if European leaders are ready to make the right commitments today.

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To keep illegal immigration under control Europe and Turkey must work together to create legal mechanisms, such as the March 2016 agreement, for the resettlement of Syrian refugees. By rewarding refugees who play by the rules and making it clear that illegal immigrants will be sent back to Turkey, we can persuade refugees to avoid risking their lives at sea.

The international community must not buy into Assad’s argument that his removal from power will further escalate the conflict in Syria. To give Syria’s democracy a chance to flourish, we must commit to defeating both Isis and the Assad regime, instead of looking for the lesser evil. As a key stakeholder in the Middle East, the EU must work more effectively with Turkey and others to develop a lasting solution.

Make no mistake: the Syrian people will continue to suffer until the international community makes a serious effort to end the crisis, prevent attacks against civilians and enforce terror-free safe zones in the country. And the UN security council must lead the way. We urge the permanent members to use their veto power to promote peace, stability and security around the world instead of looking out for their short-term interests.

Global leaders will this week make concrete commitments to reform the system, but whether the summit can make an actual difference depends on the sincerity of participants and how much room there is in our hearts for 125 million fellow human beings. Together we must restore hope in the hearts of the poor, the hungry and the oppressed. Let us join together to take a giant leap forward toward a more peaceful, safe and fair world.

In memoriam | İbrahim Bodur (1928- 2016)

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İbrahim Bodur, Turkish businessman and founder of Kale Group, dies at age 88. His body will be buried in the family cemetery in the village of Nevruz in Çanakkale's Çan district after funeral services and prayer at the Kaleseramik Fabrikaları (Kale ceramic factories) Mosque on Wednesday.

Mavi Boncuk | 

İbrahim Bodur (link Turkish), Turkish businessman (b. 1928, Yenice, Çanakkale- d. Istanbul 2016), the founder and honorary president of the Kale[1] group, was born in the northwestern province of Çanakkale. After his success at Robert College in Istanbul, Bodur went to the U.S. and after completing his MBA returned to Turkey in 1951.

[1] Kale Group produces ceramic tile products and materials in Europe, offering a range from ceramic floor tiles and bathroom sets to painting supplies and insulation materials, from decoration materials to kitchen and bathroom furnishings and much more.

Kale Group, which closed in 2015 with more than $1.5 billion in revenue, sells products to 100 countries. The group, however, has recently experienced problems with exports, mainly in the neighboring region, Kale Group Chair Zeynep Bodur Okyay said on April 24. "We have faced serious problems with our exports to the neighboring region, mainly in 18 countries, such as Iraq and Algeria. Due to these problems, we have eyes on new markets, mainly the United States and European markets," she said, adding that there were also problems in the domestic market.


The group has a total of 17 companies ranging from the defense sector to the energy and tourism sectors. The Kale Group is the largest construction chemicals producer and seller in Turkey and fifth-largest in Europe
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