Bosco Choi
Backstage Spring 2019
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Herşey Dahil Sadece 350 Tl'ye Web Site Sahibi Ol
Hızlı ve kolay bir şekilde sende web site sahibi olmak istiyorsan tek yapman gereken sitenin aşağısında bulunan iletişim formu üzerinden gerekli bilgileri girmen. Hepsi bu kadar.
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Web Siteye Reklam Ver
Sende web sitemize reklam vermek veya ilan vermek istiyorsan. Tek yapman gereken sitenin en altında bulunan yere iletişim bilgilerini girmen yeterli olacaktır. Ekip arkadaşlarımız siziznle iletişime gececektir.
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Web Sitemizin Yazarı Editörü OL
Sende kalemine güveniyorsan web sitemizde bir şeyler paylaşmak yazmak istiyorsan siteinin en aşağısında bulunan iletişim formunu kullanarak bizimle iletişime gecebilirisni
Terry Crews Motivasyon Videosu
Yaşına aldırmadan antrenmanlarına son gaz devam eden Terry Crews mükemmel bir motivasyon videosu ile sevenlerinin karşısına çıkıyor. Dünya genelinde büyük bir hayran kitlesine sahip olan Terry renkli kişiliğini antrenmanlarında da gösteriyor. Yüksek motivasyonu ile yüksek ağırlıkların üstesinden kolayca geliyor. Bu motivasyon dolu adamın antrenman videosunu izlediğinizde siz de motive olacak ve bir an önce ağırlık kaldırmak isteyeceksiniz. İyi seyirler...
Sitemizdeki diğer Motivasyon Videolarını izlemek için buraya tıklayabilirsiniz.
Terry Crews Motivasyon Videosu
Sergei Prokofiev: Piano Concerto No.3 in C major – Irene Kim, Kaleidoscope Chamber Orchestra (HD 1080p)
Accompanied by the Kaleidoscope Chamber Orchestra, the American pianist Irene Kim performs Sergei Prokofiev's Piano Concerto No.3 in C major, Op.26. The concert was recorded at Musco Center for the Arts, Chapman University, Orange, California, on February 24, 2019.
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For his Third Concerto for piano and orchestra, Prokofiev looked to the past for inspiration: this concerto incorporates material derived from sketches made between 1911 and 1918. The first movement contains two themes that were written in 1916, plus a chordal passage first sketched in 1911; the second movement contains a theme and variations that was written in 1913, while the final movement uses thematic material from a discarded string quartet begun in 1918. When he began composing this concerto during a holiday in Brittany, Prokofiev wrote, "I already had all the thematic material I needed except for the third theme of the finale and the subordinate theme of the first movement".
The Third Piano Concerto is perhaps Prokofiev's best known essay in this genre, and approaches Tchaikovsky and Rachmaninov in popularity and frequency of performance. Its opus number places it just after the "Classical" First Symphony of 1917, and the concerto is, in its way, similar to the First Symphony is a number of ways: both works are lively, acerbic, with brilliant orchestration and a certain transparent texture. Both pieces are also clearly the work of a deft young composer of considerable technical skill; however, the two works differ greatly in regards to their reception. The "Classical" Symphony was reasonably well received in Russia, where it was performed only once before Prokofiev emigrated to the United States. Subsequent performances of the symphony in America were very successful. The Third Concerto, on the other hand, did not fare so well, and after a good premiere in Chicago (along with the opera Love for Three Oranges) in 1921, the work was roundly denounced in New York.
The Concerto displays much of the "harmonic liveliness", in Nancy Siff's words, of the mid-period symphonies, with its sudden shifts from key to key and chromatic harmony. The sophistication and bravura generally associated with Prokofiev's music is ever present, as is the humor found in many of his orchestral works. The Concerto is in a traditional three-movement concerto form (the only one of Prokofiev's five piano concertos to use the traditional form), beginning and ending with fast movements that flank a slow middle movement. Each movement is about the same length, and the thematic weight and interest is distributed evenly throughout the movements. The work begins with a vivacious opening movement, which includes a humorous march underlined by castanets, followed by the five variations of the second movement, and concludes with a grandiose display of colorful harmonies and virtuosic orchestration. The solo writing for the piano is also virtuosic, and at times quite percussive.
Source: Alexander Carpenter (allmusic.com)
Sergei Prokofiev (1891-1953)
♪ Piano Concerto No.3 in C major, Op.26 (1921)
i. Andante – Allegro
ii. Tema con variazioni
iii. Allegro, ma non troppo
Kaleidoscope Chamber Orchestra
Musco Center for the Arts, Chapman University, Orange, California, February 24, 2019
(HD 1080p)
American pianist Irene Kim has been praised for her "vitality and charm" and "authoritative inevitability" by the Peninsula Review and her "superior technique and delicate sensibility" by the Korea Times. Her performances have been heard across North America and Europe in recitals, chamber ensembles, and as a soloist with the Washington Youth Orchestra, Los Angeles Korean Chamber Orchestra, Rio Hondo Symphony, Southwestern Youth Music Festival Orchestra, and repeat performances with the Young Musicians Foundation Orchestra.
Having garnered the Franz Liszt First Prize in the Liszt-Garrison International Young Artist competition and top prizes in the Carmel Music Society, Korean Concert Society, Yale Gordon Concerto, and Russell C. Wonderlic competitions amongst others, she gave subsequent performances at venues such as the Kennedy Center, Wilshire Ebell Theatre, Dorothy Chandler Pavilion, Centro Cultural del Antiguo Instituto, Luckman Theatre, and the Library of Congress. Irene has also made appearances at the Banff Centre for the Arts Festival, Gijón International Piano Festival, Piano Festival Northwest, Seminars at the Colburn School, Columbia Chalice Concert Series, An die Musik Live, American Liszt Society Conferences, and also as a member of the Young Artists Guild.
As a musician of curiosity, Irene has collaborated extensively, most notably with vocalists, cellists, violinists, and percussionists. She tours frequently with violinist Benjamin Hoffman as brightfeather, appearing in recitals from the New England area to Florence, Italy to enthusiastic audiences. Continuously piqued by the music and art of her contemporary surroundings, she has recently taken on projects with living composers, premiering works, and collaborating with visual artists and dancers. Irene's other interests have led her to train as a conductor and also as a piano technician assistant at the Peabody Institute. She finished an internship with the Domingo-Cafritz Young Artist Program at the Washington National Opera and the Kennedy Center for the Performing Arts. Her love for cinematography has led to projects of setting mixed media to music. Taking after her architect father, Irene is thoroughly interested in the acoustical designs of theatres and music halls.
Irene was born and raised in Los Angeles and began musical studies at age three with her mother. By age five, she was accepted into the distinguished and influential studio of Ick-Choo and Hae-Young Moon, where her formative training was established. At age eight, she made her orchestral debut with the Young Musicians Foundation Orchestra.
Irene's professional training has been centered at the Peabody Conservatory, where she recently received her Doctorate in Musical Arts. She was awarded the Albert and Rosa Silverman Memorial Scholarship, the Lillian Gutman Memorial Piano Prize, and Clara Ascherfeld Award by the Conservatory for her musical endeavors during her studies there. Her mentors and teachers, Marian Hahn and Boris Slutsky, have been infinitely inspiring in the impartation of their passion for the art of musicianship.
In the course of her musical erudition, she also has had the honor to work with and receive precious insight from various distinguished musicians, including Leon Fleisher, Anton Kuerti, Robert McDonald, Ani Kavafian, Alexander Toradze, and Robert Van Sice amongst others.
Irene is an avid believer that the arts are a manifestation of humanity and its creativity and aspires to let music travel to where its resounding compassion is much needed.
Source: irenekimpianist.com
More photos
See also
Yuan-Chen Li: “Wandering Viewpoint”, Concerto for Solo Cello and Two Ensembles – Michael Kaufman, Kaleidoscope Chamber Orchestra (HD 1080p)
Samuel Barber: Knoxville, Summer of 1915 – Maria Valdes, Kaleidoscope Chamber Orchestra (HD 1080p)
Samuel Barber: Knoxville, Summer of 1915 – Maria Valdes, Kaleidoscope Chamber Orchestra (HD 1080p)
Leoš Janáček: Mládí (Youth), suite for wind sextet – Members of the Kaleidoscope Chamber Orchestra (HD 1080p)
Olivier Messiaen: L'Ascension, 4 meditations for orchestra – Kaleidoscope Chamber Orchestra (HD 1080p)
Ludwig van Beethoven: Symphony No.6 in F major "Pastoral" – Kaleidoscope Chamber Orchestra (HD 1080p)
Sergei Prokofiev: Symphony No.1 in D major "Classical" – Kaleidoscope Chamber Orchestra (HD 1080p)
Gustav Mahler: Symphony No.4 in G major – Janai Brugger, Kaleidoscope Chamber Orchestra (HD 1080p)
Ludwig van Beethoven: Symphony No.7 in A major – Kaleidoscope Chamber Orchestra (HD 1080p)
Ralph Vaughan Williams: The Lark Ascending – William Hagen, Kaleidoscope Chamber Orchestra (HD 1080p)
Aaron Copland: Appalachian Spring – Kaleidoscope Chamber Orchestra (HD 1080p)
Wolfgang Amadeus Mozart: Symphony No.39 in E flat major – Kaleidoscope Chamber Orchestra (HD 1080p)
Ludwig van Beethoven: Symphony No.5 in C minor – Kaleidoscope Chamber Orchestra (HD 1080p)
Kaleidoscope: Meet a different, colorful orchestra
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Sergei Prokofiev: Piano Concerto No.3 in C major – Yuja Wang, Lucerne Festival Orchestra, Claudio Abbado
Nunc tellus libero, tempus id luctus eget, fermentum.
A Toast to a 'Wild, Profane' Villain
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| Sidney Paget's Sir Hugo Baskerville |
For me, being asked to offer a toast at a Sherlockian gathering is equal parts honor and pleasure. I had both last month when my friend Al Shaw, “Sir Hugo” of Hugo’s Companions in Chicago, asked me to propose one of the toasts at the group’s annual Birthday Dinner and Awards Celebration.
The Companions have odd notion that Sherlock Holmes was born in May. This year they celebrated on May 25. Having the choice of subject for my toast, I picked Sir Hugo Baskerville himself. A fine Sherlockian once asked, “Why would you ever want to toast a villain?” I say, “Because it’s fun!”
Here was my toast to the evil Sir Hugo:
Companions and Fellow Guests:
Every great novel demands a great villain, and The Hound of the Baskervilles has one. But it’s not the man responsible for the death of Sir Charles Baskerville and the persecution of his nephew, Sir Henry. That feckless butterfly collector inspires only our derision. No, the real villain of the story is the “most wild, profane, and godless man” who met his much-deserved fate at the time of the Great Rebellion.
Let us lift our glasses in dishonor of one –
Who himself drained many glasses during the long carouses that were his nightly custom;
Who surrounded himself with idle and wicked companions (a tradition maintained by our own Sir Hugo to this very day);
Who when in his cups uttered such terrible oaths which as might blast the man which said them;
Whose “certain wanton and cruel humor . . . made his name a byword throughout the West;”
Who, in the end, rendered his body and soul to the Powers of Evil;
And without whom there would be Baskerville curse, no Baskerville hound, and no adventure of The Hound of the Baskervilles.
To Sir Hugo Baskerville – may his eternally damned spirit stay right where it is!
Europe's Oldest Royal Bids Us Adieu: Princess Woizlawa Feodora Reuß Dies Aged 100
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| Princess Woizlawa Feodora Reuß (1918-2019; née Mecklenburg-Schwerin) |
HH Princess Woizlawa Feodora Reuß, born Duchess of Mecklenburg-Schwerin, passed away yesterday, 3 June, at Strittmatt, Schwarzwald, Germany. The princess was 100 years old and the eldest surviving European royal. She had suffered from a short illness.
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| Princess Woizlawa Feodora celebrates her 100th birthday in December 2018 |
The 100th birthday of Princess Woizlawa Feodora Reuß was celebrated on 20 December 2018 with a ceremony at the Gera Theatre. Her maternal grandfather was the last reigning prince in Gera. There, the princess had witnessed how the castle was destroyed in a bombing raid in 1945. As a result, her family fled.
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| Fellow friends and family fête the princess on her 100th anniversary of life |
In 1991, Woizlawa Feodora returned to Gera and lived there for fifteen years. Since then, she had a home in the Black Forest. It was there that she celebrated her 100th birthday on Monday, 17 December 2018. At the ceremony in Gera, students of the special music class performed at the Geraer Rutheneum. The Gymnasium was founded 400 years ago by Count Heinrich II Reuß.
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| Duke Adolf Friedrich of Mecklenburg-Schwerin with his daughter Woizlawa Feodora |
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| A young Duchess Woizlawa Feodora of Mecklenburg-Schwerin |
Duchess Woizlawa Feodora of Mecklenburg-Schwerin was born at Rostock, Free State of Mecklenburg-Schwerin on 17 December 1918. She was the only child of Duke Adolf Friedrich of Mecklenburg-Schwerin (1873-1969) and Princess Victoria Feodora Reuß zu Schleiz (1889-1918, a day after her daughter's birth). In 1939, Woizlawa Feodora married Prince Heinrich I Reuß zu Köstritz (1910-1982): the couple had one daughter and five sons.
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| Princess Woizlawa Feodora with her cousin Prince Heinrich XIV Reuß, Head of the Family, at the wedding of her granddaughter Princess Benigna in 2011 |
Woizlawa Feodora was one of the three remaining members of the House of Mecklenburg-Schwerin, after her cousins Donata and Edwina. The princess was a first cousin of Grand Duke Kirill Vladimirovich of Russia (1876–1938), Queen Alexandrine of Denmark (1879–1952), German Crown Princess Cecilie (1886–1954), and Queen Juliana of the Netherlands (1909–2004).
For more on the Royal Families of Europe, please subscribe to ERHJ by clicking on the link:
Spring Grove Factory and Estate -- Part I
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| Spring Grove, taken by Charles Philips, 1895 |
I've known of the existence of the mill for quite a while, but I had been unsuccessful in finding very much information about it, until recently. Through my own research and through the amazing and detailed research of the site's current owner, David Deputy, we've come up with an almost complete history of the site, the mill, and the house built next to it. And what a story it is!
We begin in the days prior to the American Revolution, when Henry Brackin, Sr owned a large tract of land along what would become Stony Batter Road, as well as an old sawmill built along Mill Creek. His land actually stretched slightly across Mill Creek, and it was on or very near the southeastern portion of Henry's farm, very near that sawmill, that on September 8, 1777, British and American sharpshooters traded shots as the invading Red Coats camped along Limestone Road. This event would be known as Gen. Weedon's Foray, and was uncovered by Walt Chiquoine during his research for his paper Finding the Nichols House. When Henry died in 1779, his property went to his son Henry Brackin, Jr.
It seems that a few years after his father's death, the younger Henry built a stone grist mill. We have an indenture dated March 25, 1794 in which Henry Brackin obtains from Joseph Ball the right to build a new mill dam across Mill Creek, and to allow water to flow through a newly-dug race across Ball's land. However, there is also a court document from 1791 wherein a millwright named James Jordan sued Brackin over the use of the stone grist mill, then nearly finished, and of the old sawmill. As mentioned, the sawmill had belonged to (and was presumably built by) the elder Henry. When Henry, Jr set about building a new, larger, grist mill, it required a larger race and a new dam (hence the agreement with Ball). For whatever reason (logistical, financial, legal), it took several years for the new mill to be completed. It probably was completed soon after, and the 1804 tax assessment lists Henry with a grist mill and a sawmill.
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| Henry Brackin's house and barn, formerly on the north side of Stoney Batter Road |
It was also during the grist mill's construction that Henry petitioned the court to have an official road built from his house down near Mill Creek, up to Limestone Road. His 1787 petition also asked for a road going to the "road leading from Newport to Occasion in some point to the northward of John Walkers tavern." If you'll recall, "Occasion" was likely an early form of "Hockessin", and the portion of the road he refers to is now McKennan's Church Road. I was not aware that there was a tavern there (at the corner of McKennan's and Mill Creek Road, now Brookdale Farms), but that will have to wait for another day. The road on Henry's side up to Limestone is what's now Stoney Batter Road.
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| 1788 draft for Henry Brackin's road, later called Stoney Batter |
Henry Brackin died on September 14, 1813, devising his property to his son...Henry. On October 30, 1813, this youngest Henry sold a lot measuring just over five acres to George Whitelock and John Robinson. Whitelock was a cabinetmaker from Wilmington and Robinson probably a local farmer. I've been unable to find the actual 1813 sale to Whitelock and Robinson, but I do have an indenture from two years later where they've mortgaged the property to William Trimble and Moses Palmer. In this 1815 document, the property is described as being "whereon a Manufactory is now erected." This would seem to indicate that it was Whitelock and Robinson who either built the first textile mill there or adapted Brackin's grist mill for the task. I would also assume that the pair tore down the old saw mill, if it wasn't gone by then already.
The cotton mill that Whitelock and Robinson operated along Mill Creek was apparently not particularly successful. For, in 1819, they defaulted on their mortgage and the property was sold at auction to Martha Whitelock, who was likely George's mother. Martha Whitelock also obtained a mortgage for the property, in the amount of $2212.36 from the Bank of Wilmington and Brandywine. The logical assumption would be that Whitelock and Robinson continued to run the mill, but if they did, they didn't have much better luck.
Sometime before 1824, Martha Whitelock died and the mill property was auctioned again, this time bought by the same bank for only $500. The bank sold it four years later (1828) to James Gardner for $3045 (it's this indenture that first specifies that it's a cotton mill). Gardner turned right around and sold it for $4000 (half of which was mortgaged to Gardner) to John Stafford of Philadelphia. Since Stafford moved to the area (he's listed here in the 1830 Census), he's the first one I could say for sure would need some sort of house on the site. Whether that is, is part of, or has nothing to do with the house currently there, I don't yet know.
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| Notices from an 1823 Philadelphia paper mentioning both Stafford and Allen |
John Stafford is listed as a cotton spinner in the 1832 McLane Report of manufacturers, but did not respond to the questionnaire. It's possible that he didn't respond because he was dead (if so, I'm willing to give him a pass). A John Stafford died in Philadelphia in early 1832, and our Stafford was definitely gone by 1836. In that year, Stafford's property was sold to Joseph Lindsey, whose farm was across Stoney Batter Road. The next month, Lindsey sold the factory to an established cotton manufacturer from Philadelphia, William Allen. Allen mortgaged the property to Lindsey, and it's in the mortgage indenture that we find something interesting.
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| William Allen's Cotton Factory -- Spring Grove -- on the 1849 map |
In this 1836 document, we find the property described as, "...all that lot and buildings thereon erected known by the name of Spring Grove Factory..." I had originally thought that the name Spring Grove was given by a later-owning family, but it seems that either John Stafford or possibly even Whitelock and Robinson applied the appellation. The name can also be seen in the 1832 newspaper notice below. And whether it was the economy or William Allen's business skill, Spring Grove seemed to thrive. Well, at least it thrived enough for Allen stick around for over 20 years.
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| Spring Grove mentioned in the (Philadelphia) National Gazette in 1832. The three factories below Spring Grove were also in Delaware. |
When Allen finally did sell, he did so in 1858 to another established area textile manufacturer, James Broadbent. However, this English immigrant's specialty was in woolen fabric, and Broadbent, who had previously operated factories along the Brandywine as well as Pike Creek, converted Spring Grove into a woollen mill. He ran the Spring Grove Woolen Mill for a number of years, but exactly what number is the next gray area in the story.
A neighboring deed from 1870 mentions Broadbent's Factory and seems to imply he was still there then. The next deed I have for Spring Grove is from 1876, and in that one Calvin Derickson is selling the property to his father Aquila. The catch, though, is that it doesn't mention when or from whom Calvin purchased. Also, although it's dated 1876, it wasn't filed and recorded until 1883. What prompted them then was the recent death of Aquila. I think they had to file the 1876 sale to prove he owned the property, so that the heirs could then sell it to another one of his sons, Joseph W. Derickson, which they did at the same time.
The Derickson's had been in the area since at least the mid-1840's, when Aquila built his home on the west side of Limestone Road (now the home of Lee's Orientals Art Center). Aquila had three surviving sons -- Calvin, Bayard, and Joseph -- who all ended up with farms along Limestone Road. Despite the aforementioned mention of Broadbent's Factory in 1870, the census of that year lists Calvin Derickson as a Spoke Manufacturer. At this time, the nearby Greenbank Mill was also specializing in wooden products, including spokes. Perhaps Calvin worked there or took inspiration from the Philips brothers, and purchased (or, more likely, had his father purchase for him) Spring Grove and adapted it for spoke-making.
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| Spring Grove, now a woolen mill under Aquila Derickson's name, in 1881 |
The sale from Calvin to Aquila in 1876, along with the above 1881 map showing Spring Grove as a woolen mill, would suggest that it was changed back to textile production at that time. However, the evidence indicates that the factory was very much in decline, and would not operate much longer. In the next post we'll try to make sense of the last few years of the Spring Grove Factory, and trace the evolution of the property from industrial site to country estate. For though the mill would soon be gone, the house (literally and figuratively) behind it would live on and play host to a number very interesting residents throughout the 20th Century.
Cahiliye Dönemi Araplarında Üstün Varlık İnancı
İslam öncesi dönemde, sadece belirli merkezlerde odaklanan çeşitli Yahudi ve Hıristiyan guruplar bir tarafa, çok tanrıcılık ve paganizm kuzeyden güneye bütün Arap Yarımadası'nda yaygın şekilde görülmekteydi. Özellikle Orta Arabistan'ın göçebe ve yarı göçebe kabileleri arasında politeizm ve buna bağlı olarak paganizm hakim unsurlardı. Dünyanın diğer birçok politeist kültüründe olduğu gibi, Cahiliye dönemi Arap politeizminde de bir üstün varlık ve bu varlıkla insanlar arasında adeta aracılık görevini üstlenmiş olan ikinci dereceden ulühiyetler mevcuttu. Cahiliye dönemi Araplarının Allah'a inandıkları ve Allah'ın varlığını inkar etmedikleri bilinmektedir. Hatta onların Allah'ın yerin ve göğün yaratıcısı olduğu, güneşi ve ayı insanların hizmetine verdiği, gökten yağmur yağdırıp yeryüzüne bereket verdiği gibi hususları kabul ettiklerini de Kur'an bizlere haber veriyor.17 Cahiliye dönemi Arapları bu üstün varlık adına yemin etmekte, ıs ona atfen "Abdullah" gibi şahıs isimleri kullanmaktaydılar. Allah adına kesilen şeylerin yenilmeyeceğine inanmakta; ıs yine bazı hayvanlardan ve ekinlerden Allah'a paylar ayırmaktaydılar.20 Ayrıca belirli durumlardaki bazı hayvanları tanrılarına adanmış bir adak olarak değerlendirip başıboş salıvermekte ve bunların etinden sütünden vs. yararlanmayı caiz görmemekte ve bu geleneğin Allah'ın emri olduğunu düşünmekteydiler.2ı Yine onlar, cinler gibi bazı metafızik varlıklarla tapındıkları bazı putlarını "Allah'ın oğulları ve kızları" şeklinde nitelemekteydiler. 22 Örneğin Lat, Uzza ve Menat, Araplarca "Allah'ın kızları" olarak isimlendirilmekteydi. Büyük ihtimalle Araplar "Allah'ın kızları" deyimini "ilahi varlıklar" anlamında kullanmaktaydılar.
Cahiliye dönemi Arapları inanç sistemlerinde yer verdikleri bu üstün varlığın sıradan varlıklar olan insanlarla doğrudan ilgilenmeyecek kadar yüce ve aşkın olduğuna inanırlardı. Onlara göre bu üstün varlık yani Allah; her şeyi yaratan, evrendeki bazı olaylara düzen veren, ancak bundan sonra yüceliğinden dolayı bütün evrenden, alemden ve insandan elini eteğini çeken -haşa- emekliye ayrılmış bir Tann (Mircae Eliade'nin ifadesiyle deus otiesus) gibidir. Cahiliye Araplarının inancına göre ancak birtakım aracılar vasıtasıyla bu üstün güçle, Allah'la irtibat kurmak, ona yönelip dua etmek veya ondan yardım dileyebilmek mümkündü. İnsanlarla yüce varlık arasında iletişim kuran ve onun katında şefaatçi olacağına inanılan bu aracılar ikinci dereceden tanrısal varlıklar olan çeşitli metafizik varlıklardı.23 Aynca rahipler, kabile reisleri vb. eşraftan güçlü kişiler de bulundukları sosyal mevkilerinden dolayı Allah'a daha yakın ve dolayısıyla Allah ile sıradan insanlar arasında aracılık yapma yetkisine sahip 'kimseler olarak görülüyordu. Onlar bu hastalıklı inanç ve düşünceleri nedeniyle Allah'a birçok şeyi ortak koşuyor, atalarının sapkınlarını, gelenek ve göreneklerini körü körüne izliyorlardı. 24 Kur'an, Cahiliye Araplarının Allah'la ilgili bu inanç ve kanaatlerine yönelik olarak
"Allah'ı gereği gibi takdir edememek" tespitini yapmaktadır: Allah'ı gereği gibi takdir edemediler. Yeryüzü kıyamet gününde bütünüyle O'nun elindedir; gökler sağ eliyle dürülmüştür. O, onların ortak koştuklanndan münezzehtir, yücedir. 25
Cahiliye dönemi Arapları üstün güç olan Allah'ı soyut bir varlık olarak değerlendirip onun herhangi bir suret ya da temsilinin yapılmasını uygun görmüyorlardı. Zira onlara göre Allah her tür muhayyileden ve timsalden münezzehti. Ancak kendilerini Allah'a yakınlaştıran diğer uhlhiyetleri ise çeşitli şekillerde müşahhas olarak temsil etmek mümkündü. Sayısı oldukça fazla olan bu aracı varlıklar kuzeyden güneye bütün Hicaz bölgesinde yaygın şekilde bulunmaktaydı. İslam tarihi kaynaklarının verdiği bilgilere göre her kabilenin tazimde bulunduğu birden çok ulühiyeti ve bunları temsil eden putları vardı. Bununla birlikte her kabilede kabilenin koruyucu ve kollayıcı gücü olduğuna inanılan belirli bir ulühiyet ön plana çıkmaktaydı. Örneğin Kureyş kabilesinde Hubel, Sakif kabilesinde Llt, Dılmetülcendel bölgesinde ise Ved ön plana çıkmaktaydı. Bununla birlikte diğer putlar da tapınma objesi olarak tazim görmekteydi. Esasen bu durum, Ortadoğu bölgesindeki birçok kadim yerleşim merkezinin ortak bir özelli ği olarak bilinmektedir. Öyle ki Sümer, Asur ve Babillilerden Eski Mısırlılara kadar birçok toplumda yerleşim merkezlerinde belirli tanrısal varlıklar ön plana çıkarılmış, ancak bununla birlikte diğer ulılhiyetlere tazim de devam etmiştir. Örneğin Asur Babil döneminde Harran şehrinin yüce tanrısı ay tanrı sı Sin'dir; bunun yanı sıra Şamaş, İştar ve diğer ulılhiyetler de tanrılar panteonunun diğer unsurları olarak Eski Harran putperestlerinin inanç ve ibadetlerinde tazim edilen unsurlar olarak varlıklarını devam ettirmişlerdir
17 Bk. Mürrıinun 84 , 86, 88; Ankebüt 61, 63; Zuhruf 87
18 Bk. En'am 109. 19 "Eğer Allah'ın ayetlerine iman ediyorsanız. Allah'ın adı anılarak kesilen hayvanlardan yiyin. Size ne oluyor da Allah'ın adı anılarak kesilenlerden yemiyorsunuz? Halbuki O size, mecbur kalmanızın dışında haram olan şeyleri genişce açıklamıştır. Doğrusu birçokları bilmeden keyijlerine uya· rak insanları doğru yoldan saptırıyorlar. Muhakkak ki, Rabbin, sınırı aşanları çok iyi bilir." En'am 1 18-1 19. 20 Bk. En'am 136- 139. 21 "Allah Bahire'den Sdibe'den Vasfle'den ve Ham'dan hiç birini (meşru) kılmamıştır. Ancak inkar edenler, Allah'a karşı yalan düzüp uyduruyorlar. Onların çoğu akıl erdirmez." Mfüde 1 03. Bunlardan Bahire: beş yavru veren, beşinci batın yavrusu erkek (ya da dişi) olan devenin, faydalanılınaktan vazgeçilerek kulağının yarılıp salıverilmesidir. Sfilbe: dertten kurtuluş adağı olarak bir hayvanın faydalanılmaktan vazgeçilip putlara adanarak salıverilmesi; Vasile ise koyunun dişi doğurursa kendilerinin, erkek doğurursa tannlannın olması, erkekli dişili ikiz doğurması halinde dişiden dolayı erkek hayvanın da kurban edilmemesidir. Ham ise, on batın döl veren erkek devenin sırtına yük vurulmaması, başıboş bırakılarak yayılması ve su içmesinin engellenmemesidir. 22 "Cinleri Allah'a ortak kıldılar. Onları da O (Allah) yarattı. İlimleri olmaksı zın, "O'nun oğullan ve kızlan var/" yalanını uydurdular. O Sübhan'dır (her şeyden münezzehtir}, vasiflandırdıklan şeylerden yücedir." En'am 1 00.
23 Bk. Zümer 3, 43-44: Yunus 18. 24 "Onlara, "Allah'a ve Resulüne gelin!" denildiğinde onlw, "Babalanmızı üzerinde bulduğumuz şey bize yeter!" derler. Peki, babalan bir şey bilmiyor ve doğru yolu bulamamış olsalar da mı?" Mfüde 1 04. 25 Zümer 67. Ayrıca bk. Hace 74
JUNE 2 = The Last Confederate Army Surrenders
The American Civil War began on April 12, 1861, when the guns in the harbor of Charleston Bay opened fire upon the Federal held Fort Sumter across the Bay. This would be the start of the longest and bloodiest war in our nation's history. Four years later, General Edmund Kirby Smith (left) signed the final surrender document of the last Confederate army still in existence at Galveston on board the U.S.S. Fort Jackson on today's date, June 2, in 1865. The Confederacy had at long last come to her end.
The Death of the Confederacy
We've covered two other parts of the death of the Confederacy - the main event, which was of course General Lee's surrender to General Grant on April 9, 1865. And we have also covered the last battle of the Civil War, the Battle of Palmetto Ranch which begun on May 12 in 1865. But there were any number of Confederate troops still under arms after not only Appomattox but also Palmetto Ranch. General Joseph E. Johnston's Army of the Tennessee was still officially in the field with @100,000 men spread over several states from the Carolinas to Florida. Johnston surrendered his troops to General Sherman on April 26, 1865 at Bennett Place in Durham, North Carolina.
Smith Commands the Trans-Mississippi
Mississippi Department. But with the South's defeat at the Battle of Vicksburg, (July, 1863) the Mississippi River fell under the control of the Union. Thus all of the Confederate troops to the west of the Mississippi were cut off from communication with Lee and the rest of the command structure of the Southern forces (see map below). They were effectively on their own. With Smith at their helm the Rebel
Sources =
https://en.wikipedia.org/wiki/Edmund_Kirby_Smith
https://www.facebook.com/ShilohNMP/posts/gen-kirby-smith-finally-surrenders-june-2-1865gen-edmund-kirby-smith-was-the-las/831680786921909/
https://en.wikipedia.org/wiki/Edmund_Kirby_Smith
https://www.thoughtco.com/general-edmund-kirby-smith-2360303
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