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A - Eskiçağlarda Göçler Ayşe Sina Antikçağ’da Bir Göç Modeli: Klerukhia ..................................................................................................................................17 Hüseyin Üreten Metoikoslar: Antikçağın Göçmenleri........................................................................................................................................29 Ergün Laflı Eskiçağ’da Amisos’a Yapılan Göçlere İlişkin Kısa Bir Not .................................................................................................39 Hatice Palaz Erdemir Troialı Hecuba’den Palymralı Zenobiaya Savaş ve Göç ..........................................................................................................43 Emine Kapka Kelt Göçleri: Avrupa’ya Yayılış ve Faaliyetler.........................................................................................................................55 Nazan Sünbül Eski Mezopotamya Tarihinde Sami Göçleri .............................................................................................................................63 Hasan Ali Şahin Eski Çağlarda Orta Asya’dan Önasya’ya Yapılan Göçler.........................................................................................................73 B - Osmanlı Öncesi Göçler Fatma İnce Doğu Karadeniz Bölgesinin Bugünkü Demografik Yapısının Ortaya Çıkmasını Sağlayan 2 Göç Hareketi: Çepni ve Kıpçak Göçleri.......................................................................................................................................................................................87 Süleyman Özbek Bahrî Memlukler Zamanında Suriye ve Mısır’a Moğol Göçü ve Sonuçları ............................................................................95 Yasemin Örnek Ay Lombardların İtalya Göçü (568).............................................................................................................................................103 C - Balkanlardan Göçler Berna Çaçan Osmanlı Gazeteleri ve Dergileri Işığında Balkan Göçleri ......................................................................................................111 Ayşenur Bilge Zafer Balkan Savaşı’nda Sırp İşgaline Uğrayan Bölgeler ve Bu Bölgelerden Göç Eden Müslümanların Mal Varlığı Sorunu.......123 Hüseyin Vehbi İmamoğlu 93 Harbinden Sonra Balkanlardan Anadolu’ya Göçler ..........................................................................................................139 Mehmet Demirtaş 1877-1878 Osmanlı-Rus Savaşı’nın Göç Olaylarına Etkileri ve Göçmenlerin Durumu........................................................155 Esra Işık Osmanlı’ya Balkan Göçleri ve Çocuk Göçmenler..................................................................................................................169 Esra Türe Rum Köyünden Göçmen Köyüne: Kaydalapa Örneği............................................................................................................177 Hasan Babacan Temettuat Kayıtlarına Göre Antalya’daki Mora Göçmenleri .................................................................................................195 Libuovi Çimpoeş / Tudora Arnaut Balkanlardan (Besarabya) Bucak Bölgesine İlk Göç ve Yerleşim Hareketi (Ukrayna Gagauzları Bilgileri Üzerine)...........209

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"A Remarkable Mixture" Indeed!

The annual BSI (Baker Street Irregulars) Weekend in New York has no real highlights for me – because it’s all one big highlight! But a scheduled activity that I’ve been privileged to attend the last few years is a cocktail party for contributors to the Baker Street Journal.

At this party, long-time BSJ editor Steven Rothman announces the winner of the annual Morley-Montgomery Award for the best article the previous year. In 2007, Steve edited a book called “A Remarkable Mixture,” putting together in one volume the 34 winners up to that time. 

The title is quite appropriate. It’s a marvelous collection, which I just recently acquired and read. One of its strengths is that the writers take many different approaches – literary analysis, Higher Criticism, history and biography, etc. For that reason, each reader will have her or his favorites, which may differ from mine.

  

Since my doctoral degree is theological, I enjoyed Henry T. Folsom’s “My Biblical Knowledge is a Trifle Rusty” on Holmes’s religious beliefs. (I wrote on this subject here.)

Robert Keith Leavitt’s “The Origins of 221B Worship” is something of a classic account of the early days of the BSI, and well worth re-reading.

Poul Anderson’s “The Archetypical Holmes” is highly insightful and I once drew on it for a talk. Interestingly, he suggested a connection between Holmes and Mr. Spock long before their relationship was confirmed on the screen, and before Leonard Nimoy played Holmes on stage.

Philip Shreffler’s pean to the original Old Series of the Baker Street Journal really resonated with me. “Merely holding an Original Series Journal gently in one’s hands today imparts a variety of galvanic reverence – as very likely it did then,” Shreffler writes. I know this is true from my own experience, thanks to an amazing gift from a devoted reader of my mystery novels.

The longest piece in the book Jon Lellenberg’s look at the 1940 BSI dinner. To read it is the next best thing to being there.

Susan Rice’s “Dr. Watson’s Hidden Addiction” is a brilliantly conceived, beautifully written answer to the question of when and why Watson became a gambler. Her use of what she calls the Flitcraft Syndrome from The Maltese Falcon is masterful.

Certainly not least of all (this discussion of the articles is in chronological order), S. E. Dahlinger’s “The Sherlock Holmes We Never Knew” about William Gillette is everything that great scholarship should be – painstakingly researched and written with grace and style. For the book, she added to the essay’s original footnotes based on ongoing research. That’s real scholarship!  

The Baker Street Irregulars Press is sold out of this book, but you can order a new copy from Denny Dobry of the BSI Trust at dendobry@ptd.net. I’m glad I did.

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Zombie Simon Gart 1

Üstteki linkten indirerek ya da reklamlara tıklayarak katkıda bulunabilirsiniz. Adfly'da şimdiye dek  65 sent birikmiş. Ha gayret, 5 dolar olunca çekebiliyorum. .)) Katkı vermek istemeyenler daha alttaki linkten indirebilir ve katkılarını mediafire'a yapabilirler. Sonuçta en iyi dosya indirme sitesi mediafire.

Sayı Bir.








Sayı Bir

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DECEMBER 3, "The Who" Concert Tragedy

  On the evening of today's date - December 3, in 1979 at Cincinnati's Riverfront Coliseum the press of concert-goers outside of the entry doors to a  show being performed by the British rock group  called "the Who" pushed forward with enough force to cause the death of 11 people who were trampled by the crowd.  23 other people sustained injuries in a situation so chaotic  that the concert was performed to the end, before the band members were even told of the deaths.

The Crowd Began Gathering Early

   "The Who" was on on the late part of a successful world tour which had taken them to Detroit and Pittsburgh in the days before their Cincinnati appearance at the Riverfront Coliseum (which is now called the Heritage Bank Arena).  The event seemed to be a success from the monetary side. 18, 348 tickets had been sold. The vast majority of these had been "General Admission" or "Festival Seating' which meant that instead of being actual seats with numbers on them, they were in the large open floor area directly in front of the stage.  And the spots where one stood were of course on a "first come first serve" basis. The Concert had been scheduled to begin at 8:00 p.m. but by 7:00 the crowd waiting to enter which had been gathering since about 5:00 had grown to about 8,000. By 7:00 only two of the doors had been opened at the far right of the main entrance area. Why the late opening and of only two doors is something which I've not been able to discover.

The "Stampede" Begins.....

  Then at about 7:15, "the Who's" "Quadrophenia" movie began playing as an opening to the concert. At this point, the crowd appeared to think that the band had started the concert early.   So the situation quickly became dangerous when the entire crowd thinking that they were missing the concert began to surge toward the two open doors in a way that left some people being pushed to the ground and being literally crushed under the forward  force of the crowd's movement.  At total of eleven people who were unable to tear themselves away were knocked to the ground or simply crushed by the  pushing and died of asphyxiation. Other people recalled being lifted off the ground and being carried along as if by a wave of the ocean. Some felt themselves being moved horizontally in and on top of the crowd. In some reports such as the Enquirer it was called a "stampede." The Concert did actually go on as planned as those who were inside had gotten there without knowing about the mob scene outside. The members of the band did't know of the chaos outside, and were not told of it until after the concert's end. In fact Cincinnati Safety Director Richard Castellini had thought of cancelling the Concert until he heard that the problem was on the outside, not in the arena itself.

In the Aftermath of the Chaos

   There was much to discover in the aftermath, but few people willing to take responsibility. Lt. Dale Menkhaus, who was in charge of the 25 man policemen who were assigned to police the event could see early on what a problem the crowd was turning into. He told one of the

concert promoters that more doors needed to be opened,  but was told that the doors couldn't be opened until the sound check was over. And coliseum officials who had been told that more doors needed to be opened wouldn't comment on why more doors weren't opened.  Some local TV news outlets described it as a drug crazed mob when it was obviously just too many people being squeezed through only a couple of open doors. The band when they were told of the deaths were obviously enough stunned and horrified. When they began a concert in  Buffalo the following night, band leader Roger Daltry said;  "We lost a lot of family last night. This show's for them." The city of Cincinnati also placed a ban on "Festival" seating on December 27, 1979, which, with minor exceptions, remained in place for the next 25 years. The families of the victims sued the band, the concert promoter and the city of Cincinnati. The suits were settled in 1983, awarding each of the families of the deceased @ $150,000, and roughly $750,000 to be divided among the 26 injured.

  Who or what was responsible for their lost lives? The idea of "festival seating" which crammed too many people into such a restricted spot? Was it whomever kept all but two of the doors closed, and why? Was it not having enough security personnel on handle such a huge crowd? We'll likely never have an answer.


Below is a list of those who were killed that night, along with their age, and hometowns:

Walter Adams, Jr., aged 22, Trotwood
Peter Bowes, aged 18, Wyoming, Ohio
Connie Sue Burns, aged 21, Miamisburg
Jacqueline Eckerle, aged 15, Finneytown
David Heck, aged 19, Highland Heights, Kentucky
Teva Rae Ladd, aged 27, Newtown
Karen Morrison, aged 15, Finneytown
Stephan Preston, aged 19, Finneytown
Philip Snyder, aged 20, Franklin
Bryan Wagner, aged 17, Fort Thomas, Kentucky
James Warmoth, aged 21, Franklin

May they all rest in peace.


Sources =

 https://www.cincinnati.com/story/news/2019/12/02/who-concert-tragedy-40-years-ago-stampede-kills-11-persons-coliseum-rock-concert/2590113001/

https://www.rollingstone.com/music/music-news/rock-roll-tragedy-why-11-died-at-the-whos-cincinnati-concert-93437/

https://en.wikipedia.org/wiki/The_Who_concert_disaster

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ROBERTO ALEXANDRU 03

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Famed Conductor Mariss Jansons Dies at 76

Mariss Jansons conducts the Vienna Philharmonic Orchestra during a new years concert
in Vienna, Austria on January 1, 2006. Photo by Dieter Nagl / AFP via Getty Images

One of classical music's most beloved conductors has died: Latvian-born Mariss Jansons, who was age 76 at his death on Saturday in St Petersburg, Russia.

Jansons had long had a heart condition, which first became known when he collapsed on the podium while conducting in Norway more than 20 years ago.

His death was initially reported by local media, followed by statements from several of the orchestras with whom he was closely associated, including Amsterdam's Royal Concertgebouw, the Bavarian Radio Symphony and Chorus in Germany, and the Pittsburgh Symphony.

Jansons had a fascinating and often tragic personal story. His father, Arvids Jansons, was a notable conductor. His mother, Iraida, was an opera singer and Jewish; her father and brothers were killed by the Nazis. She gave birth to Mariss on January 14, 1943, in secret in the Jewish ghetto in Riga, which was under German occupation during World War II. In later years, after Latvia was occupied by the Soviet Union and incorporated into the USSR, Jansons' sister was deported to Siberia during Stalin's regime.

Mariss Jansons conducts the Bavarian Radio Symphony Orchestra. Photo by Peter Meisel

At age 13, Jansons moved with his family from Riga to Leningrad, after his father was hired by Yevgeny Mravinsky as a conductor at the Leningrad Philharmonic, the orchestra now known as the St Petersburg Philharmonic. Young Mariss — who barely spoke any Russian at that point – found the move traumatic and threw himself into music; he studied violin, viola and piano before focusing on conducting. One of his mentors was Herbert von Karajan, whom he first met during a master class in 1968. Von Karajan invited Jansons to Berlin to study with him, but the Soviet authorities refused to grant the burgeoning young artist permission to leave the USSR. Soon, however, Jansons was sent abroad to study in Vienna; from there, Jansons called von Karajan, who promptly invited the young conductor to come work for him at the Salzburg Festival.

By 1972, Mravinsky had hired the younger Jansons as an associate conductor in Leningrad; Jansons eventually became a regular conductor of that orchestra. And Jansons broke out of the Soviet sphere into a truly global career: In 1979, he became music director of the Oslo Philharmonic in Norway; in 1992, he became principal guest conductor of the London Philharmonic Orchestra; and in 1997, music director of the Pittsburgh Symphony Orchestra, where he remained until 2004.

Throughout his performing life, Jansons was hailed not just for his incisive and evocative performances of sweeping orchestral works by Mahler, Tchaikovsky, Rachmaninov and Strauss, among other composers, but also for his warmheartedness toward his colleagues, and particularly among the orchestral musicians whom he led.

In November 2017, however, he created a furor when he told the Telegraph that female conductors were "not my cup of tea", prefacing his comment with an observation that "I understand the world has changed, and there is now no profession that can be confined to this or that gender. It's a question of what one is used to". Weeks later, he issued a public apology, saying in a statement: "I come from a generation in which the conducting profession was almost exclusively reserved to men. Even today, many more men than women pursue conducting professionally. But it was undiplomatic, unnecessary and counterproductive for me to point out that I'm not yet accustomed to seeing women on the conducting platform. Every one of my female colleagues and every young woman wishing to become a conductor can be assured of my support, for we all work in pursuit of a common goal: to excite people for the art form we love so dearly – music".

For more than 20 years before his death, Jansons had been frail because of a heart condition; in 1996, he had a heart attack and collapsed on the podium while conducting in Oslo, and then suffered another heart attack a few weeks later. (In a stunning parallel, his father, Arvids, had died on the podium while performing with the Hallé Orchestra in Manchester, England, in 1984.)

Rather than retiring, however, Jansons did his utmost to keep up a strenuous, globe-circling schedule – and the orchestras that adored working with him did their part not just to accommodate his cancellations and changes but to give him even more prominence.

In 2003, he was named chief conductor of the Bavarian Radio Symphony Orchestra and Chorus, with whom he won a Grammy in 2005 for their recording of Shostakovich's Symphony No.13. The following year, he became chief conductor of Amsterdam's Royal Concertgebouw Orchestra; it became one of the most rewarding collaborations of his career.

He remained with the Concertgebouw until 2015. When he announced that he was leaving the orchestra, one of the players told the Guardian: "We will all remember him for his detail, passion and immense musicality and knowledge. There is nothing in every score he conducts that he hasn't read, researched, discussed, thought about and worried about. [...] It was a complete and utter privilege to have worked with him and it is even more of a privilege to call him a friend".

Source: Anastasia Tsioulcas, Monday, December 2, 2019 (npr.org)

Mariss Jansons at his final concert with the Royal Concertgebouw Orchestra
in Amsterdam in 2015. Photo by Michel Porro / Getty Images

See also

Robert Schumann: Symphony No.1 in B flat major "Spring" | Hector Berlioz: Symphonie fantastique – Wiener Philharmoniker, Mariss Jansons (HD 1080p)

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E-Kitap Mimar Sinan - Turgut Cansever -

Buradan İndiriniz....

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The Spinning Jenny

The solution to challenge 6 was... THE SPINNING JENNY!

It was used in the textile industry...

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Hyunjin Kim

Hyunjin Kim

Backstage Competition Fall 2019

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Kaşgarlı Mahmut

Kaşgarlı Mahmud 1008 senesinde Türkistan'da dünyaya geldi. Saciye ve Hamidiye medreselerinde eğitim görmüş. Sonrasında kendisini Orta Asya'yı gezmeye ve Türk dilini incelemeye vermiş. Anadolu'ya gelerek çeşitli lehçe ve dil üzerine çalışmalarda bulunmuştur. 1072-1073 seneleri arasında hazırladığı ünlü eseri “Divanü Lügati'i Türk“ü Abbasi halifesine armağan etti. Bu kitabın asıl nüshası günümüzde Ayasofya Müzesi‘nde muhafaza edilmektedir. Kaşgarlı Mahmut kitabını tamamladıktan kısa bir süre sonra Kaşgar'a döndü ve burada vefat etti.






Kaynakça: https://www.timeturk.com/kasgarli-mahmud/biyografi-804222

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