jeudi 25 juillet 2013

Turkey now 154th in world press freedom index

ISTANBUL - Hürriyet Daily News

Daily News Photo
Daily News Photo
Turkey experienced a fall among the ranks of the Reporters Without Borders’ World Press Freedom index, falling to 154th on the list, which was topped for the second year in a row by Finland.

The organization stated that Turkey, a country of “political importance” amid the Syrian conflict, was “currently the world’s biggest prison for journalists.” The country suffered a six-slot fall, plummeting from 148th to 154th.

The report further targeted Turkey for failing to live up to its regional model aspirations “despite a varied and lively media” presence in the country. The Turkish state was criticized for pursuing “a paranoia about security, which has a tendency to see every criticism as a plot hatched by a variety of illegal organizations.”

The ongoing paranoia has intensified during the past year, which was “marked by a rising tension over the Kurdish question,” the organization said.

Syria became “the deadliest country for journalists,” taking one of the last spots, as journalists suffered both from the civil war and from government attempts to crack down on reporters.

The report also looked into some of the regional dynamics and noted especially Greece’ sharp drop down the list to number 84 as part of the “unraveling European model” that is otherwise filled with list-topper countries.

Greek journalists are “exposed to public condemnation and violence from both extremist groups and the police,” the report said. Countries like India, China and Russia were also named among those falling short of their regional ambitions.

Regional scores from zero to 100 ended up as 17.5 for Europe, 30.0 for the Americas, 34.3 for Africa, 42.2 for the Asia-Pacific and 45.3 for Eastern Europe and Central Asia. The Middle East and North Africa region came last at 48.5.

The index focuses not on political developments but on “attitudes and intentions of governments toward media freedom,” with criteria ranging from “legislation to violence against journalists,” according to the organization.

Press needs to have moral values: Prime minister
ANKARA - Anadolu Agency

Members of the press should not ignore the moral values that come with their occupation, the interest of their home country, public order and societal dynamics, Turkish Prime Minister Recep Tayyip Erdoğan said today in a message released to celebrate Journalists’ Day on July 24.

“Our institutions of the press should not ignore the interest of the country, public order, societal dynamism and the moral values that their occupation brings while pursuing a free, objective and responsible way of doing their jobs,” the statement said.

The prime minister highlighted the press as “an institutional force” in advanced democracies, capable of “influencing and guiding a large part of society.”

Erdoğan also added that the ruling Justice and Development (AKP) government had realized “important reforms on the issue of information and freedom of expression in parallel of Turkey’s advancement in issues of human rights and democracy.”

July 24 marks the 105th anniversary of the lifting of censorship of the Turkish 

Yeşilçam'ın 'Kötü adamı' zorda!

Yeşilçam'ın "kötü adamı" İhsan Gedik hayatını kitap satarak kazanıyor.


Yeşilçamın Kötü adamı zorda!
Yeşilçam'da, Ertem Eğilmez, Metin Erksan, Kunt Tulgar ve Ali Özgentürk gibi isimlerin yönetmenliğini yaptığı yaklaşık 600 filmde "kötü adam" karakterini canlandıran 71 yaşındaki İhsan Gedik, geçimini kitabını satarak sağlıyor.
İstanbul'da yaşayan Gedik, il il gezerek Yeşilçam filmlerinde çekilen fotoğraflarının ve o döneme ait özet bilgilerin yer aldığı "Dünden Bugüne Sinemada 48 Yıl" adlı kitabını satıyor.
"SİNEMAYA 48 YIL VERDİM AMA YENİ JENERASYON BENİ TANIMIYOR"
Kitap satışı için Edirne'ye gelen Gedik, sinemaya 48 yıl emek verdiğini ancak yeni jenerasyonun kendisini hatırlamadığını söyledi.
Cüneyt Arkın, Müslüm Gürses, Serpil Çakmaklı, Fatma Girik, Nuri Alço, Erol Taş, Yılmaz Köksal ve Bulut Aras gibi birçok ünlü oyuncuyla aynı sahneyi paylaştığını anlatan Gedik, şöyle devam etti:
"El Bebek Gül Bebek, Azrail Peşimizde, Karaşahin, Hazal, Akrep, Vahşi Aşk, Petrol Kralları ve İtirazım Var gibi, isimini daha sayamadığım yaklaşık 600 filmde rol aldım. Yeni jenerasyon bizi dışlayınca ben de bu kitabı çıkardım. Şu an geçimimi bu kitabı satarak sağlıyorum. İl il geziyorum. Kitabın karşılığı 50- 60 lira fazla da değil. Sağolsunlar, vatandaşlar ilgi duyuyor. Her şey için teşekkür ederiz. Sinemada Yeşilçam dönemleri yok. Tadı tuzu yok. Yeni jenerasyon bizi çağırmaz oldu. Netice itibarıyla ben de kitaplarımı dağıtıyorum."
Gedik, parlak bir oyunculuk döneminin ardından kitap satmaktan da mutlu olduğunu söyledi.
"1-2 DEFA' İYİ ADAM'I OYNADIM. YENİ FİLM TEKLİFİ YOK"
Yeşilçam döneminde ve sinemada çoğunlukla "kötü adam" karakterini canlandırdığını ifade eden Gedik, "1-2 tane 'iyi adam' rolü oynadım ama bizi hep 'kötü adam' olarak kullandılar. O zamanlar senede 60-70 film çekiliyordu. Düşünün 50 senedir sinemada oynuyorum, artık hesabını yapın. Ayhan Işık'lardan sonra kim varsa oynadık. Yeniden film teklifi yok. Çağırmıyorlar, çağırılmayan yere gidilmez. O yüzden biz de o taraftan karamsarız. Kendi adıma kitaplarımı il il gezerek dağıtıyorum" diye konuştu.
Bir oğlu ve üniversitede öğrenim gören bir kızı olduğunu ifade eden Gedik, "Çocuğum okuyor. O da okulunu bitirirse Allah onun da yolunu açık etsin" dedi. -
"KÖTÜ KARAKTER DOLAYISIYLA TEPKİ ALDIM"
İhsan Gedik, Yeşilçam dönemlerinde "Önce Vatan" adlı filmde "kötü adam" karakterinde oynadığını, bir vatandaşın kendisine rolü nedeniyle tepki gösterdiğini dile getirdi. Gedik, olayı şöyle anlattı:
"Ben, filmde Türkler'i kiliseye sokuyorum, işkence yapıyorum senaryo gereği. Filmi izledik. Elbiselerimi temizlemeciye götürüyordum, kadının biri 'dur' dedi. 'Ne oldu teyze, ne yaptım?' diye sordum. 'Sen dün akşam filmde Türkler'e işkence yaptın' dedi. 'Onu sahne gereği çektik' dedim. Daha sonra 'Sen iyi çocuğa benziyormuşsun' dedi. Heralde iyi çocuğuz, film icabı kötü oluyoruz... Buna benzer diyologlar yaşadım. Böyle tepkilerle de karşılaştım." (AA)

BEŞİKTAŞ – Des ruines archéologiques détruites au stade İnönü d'Istanbul

Plusieurs vestiges archéologiques, dont une ancienne voûte, ont été détruits hier au cours des travaux de démolition du stade İnönü, appartenant au club stambouliote de Beşiktaş, rapporte photos à l'appui le quotidien Radikal.
Le chantier, débuté le 2 juin, vise à remplacer ce stade inauguré en 1947 par une enceinte plus moderne. Selon Radikal, la Commission de protection du patrimoine culturel avait prévenu le 7 mai dernier que les travaux devraient être interrompus si des ruines étaient découvertes. Cet avertissement semble donc ne pas avoir été respecté.
Des archéologues ont pris des photos de ces ruines et ont rédigé un rapport qu'ils ont transmis au ministère de la Culture et du Tourisme, ainsi qu'à la Commission de protection du patrimoine culturel. Dans le même temps, les dirigeants du Musée archéologique d'Istanbul ont rappelé que les vestiges archéologiques devaient être préservés et que, par conséquent, les travaux devait être suspendus, conformément à la législation.
Quant au futur stade, son nom a été révélé hier: il s'agira du Vodafone Arena.
Jonathan Grimmer (http://www.lepetitjournal.com/Istanbul) jeudi 25 juillet 2013

mercredi 24 juillet 2013

The transformation and modernization of Istanbul

William Armstrong - william.armstrong@hdn.com.tr

‘The Emergence of Modern Istanbul: Transformation and Modernisation of a City’ by Murat Gül (I.B. Tauris, 2012, 40TL, pp 256)


Istanbul may be a great city, but the story of its urban planning history is not a happy one. For centuries, it has been a theater in which different regimes have struggled to display their political, ideological and social convictions – or lack thereof. This title by architectural and urban historian Murat Gül is a comprehensive and sometimes surprising overview of Istanbul’s spluttering modernization process from the late Ottoman period to the Adnan Menderes era in the mid-20th century. It doesn’t continue up to the present day, but its account of the political motivations that so often lie behind urban development feels particularly germane after the recent Gezi protests, which were sparked by outrage over the destruction of a central park in favor of yet another shopping mall.

The book begins in the 19th century, when attempts to reorganize the urban environment of the Ottoman capital were just one part of the wider initiative to modernize the whole empire on European models. Major urban planning proposals were hatched by various Western entrepreneurs in Istanbul throughout the century, attempting to solve problems related to population pressures, inadequate transportation, and lack of sanitary facilities. There were even extraordinary-sounding suggestions to bridge the European and Asian sides of the city as early as the 1870s, a whole 100 years before the first cross-Bosphorus Bridge was completed in 1973. While discussing these, Gül also introduces the late Ottoman progenitors of today’s intergalactic interest rate lobby: the Beyoğlu-dwelling Westerners who frequently refused to pay their taxes, thus hindering the municipal authorities’ attempts to improve the urban landscape.

Later on, the book mentions the little-known infrastructure works conducted in Istanbul by the Committee of Union and Progress (CUP) after the 1908 Young Turk revolution. However, following the collapse of the empire and the declaration of the republic in 1923, the city was almost entirely neglected by the authorities in favor of the newly designated capital, Ankara, where the new regime could most clearly express its break from the past in the language of urban form. Spending on public resources in Istanbul was redirected to the development of Ankara and other Anatolian cities, while new architectural tendencies also passed Istanbul by – largely because no public buildings of note were being constructed there. Atatürk himself conspicuously snubbed the city, not officially visiting the old Ottoman capital until 1927.

Still, despite the lack of sympathy from the republican authorities, Istanbul was too important to be neglected for long. In 1936, Frenchman Henri Prost was commissioned to produce a new master plan for its regeneration, based on his previous experience of introducing Western urban principles to Islamic cities in North Africa. In Prost’s plan, Istanbul’s major monuments would be untouched and even opened out, but most residential areas would be demolished and replaced by modern housing blocks designed on rational, “hygienic” principles. Interestingly enough, as part of the Prost plan, the Ottoman barracks building next to Taksim Square, which current Prime Minister Recep Tayyip Erdoğan is so keen on reconstructing as a shopping mall, was demolished and replaced by Gezi Park. In the end, however, most of the ideas set out by Prost didn’t materialize due to economic conditions and technical deficiencies, and he was finally decommissioned in 1950.

Another reason for Prost’s failure was his inability to foresee the mass migration that started to hit Istanbul after the Second World War, which had to be dealt with by the Democrat Party that was in power from 1950 until the 1960 military coup. The party was led by Adnan Menderes, who is described by Gül as “without doubt, the most controversial figure in the story of Istanbul’s transformation into a modern metropolis.” The second half of his time in office saw the destruction of much of Istanbul’s historical character, the large-scale expropriation of properties for demolition, and the development of gigantic boulevards for mass transportation. Menderes himself proudly described this work as the “second conquest of Istanbul,” after the Ottoman conquest of 1453, but much of it was conducted in a way often portrayed as unaccountable and corrupt. He is today considered by many modern critics as the individual solely responsible for much of the destruction of Istanbul’s architectural and cultural heritage, cynically using rapacious urban redevelopment to camouflage deficiencies in his government’s economic management.

The charge sheet is clear, but Gül presents us with a rare apologia for Menderes. His book seeks to reappraise the former prime minister in his wider historical context, highlighting the particular circumstances that determined policy at the time. “Any political leader during the early postwar period who faced the special circumstances and problems of the time and who had access to foreign economic aid would have responded to these problems in much the same way as Menderes did,” Gül suggests.

Of course, the parallels between Menderes and Erdoğan – not only in terms of their urban policies – are well known. Still, it’s a fact that the Turkish capital has actually experienced painful recurring motifs in its uneven development process for much of the past 200 years. Although it is undeniably thrilling, Istanbul remains somewhat tortuous to live in.

Names of God works in contemporary art

ISTANBUL - Anadolu Agency

Art works feature a combination of contemporary with Esma ül-Hüsna. AA photo
Art works feature a combination of contemporary with Esma ül-Hüsna. AA photo
One of the first contemporary exhibitions of art devoted to the 99 names of God (Esma ül-Hüsna) will open today at Yıldız Palace with works by Fatma Zeynep Çelik.

Curated by Ali Serim, Çilek’s works feature a combination of contemporary art with Esma ül-Hüsna drawings.

There will be total of 33 works at the exhibition, according to a written statement from the palace. There will be also a digital art exhibition of Çelik’s works at ottomansanat.com.

Çilek said the name of the exhibition was “Huu,” adding that she had tried to create a new take on Esma ül-Hüsna. “Until now everyone has reflected the names of God in calligraphy.
July/24/2013

27 juillet à Istanbul: La DESCARGA en concert

Soirée salsa latin jazz
Thématique Concerts
Date de debut 2013.07.27 22h00
Date de fin 2013.07.27 01h30
Intro "LA DESCARGA" est actuellement l'un des meilleurs groupes salsa latin jazz world en Turquie, avec comme soliste Gülseren et comme musicien-chef d'orchestre Luis E. Gomez.
Description Le répertoire oscille entre tradition et modernité, un mélange éclectique et nostalgique...Chants en français, espagnol, portugais, turc, allant du Dizzy Gillespie a Tito Puente en passant par Jacques Brel, Lara Fabian, Elis Regina, Michael Jackson, James Brown... Mais aussi des compositions sur des rythmes de la cumbia, merengue, salsa, fado, rumba, mambo, afro cuban, cha cha, flamenco, orientale. Bref, tout y est !
Contact
Adresse Nardis Jazz Club
Bereketzade Mh., 34420 Beyoglu
Istanbul, Turquie
Lien http://nardisjazz.com/
Posté par JG

Les centres commerciaux d'Istanbul à l'amende

TROIS PREMIÈRES HEURES GRATUITES – La mairie punit les parkings des centres commerciaux d’Istanbul

La Municipalité du Grand Istanbul a récemment condamné à des amendes 32 centres commerciaux de la mégapole. Ils avaient enfreint la règle qui impose que les trois premières heures de stationnement soient gratuites pour les visiteurs. Parmi les centres visés figurent Akmerkez, Cevahir, Kanyon ou encore Metrocity. Le total des amendes représente 435.807 livres turques (environ 173.000 euros) sur ces dix derniers mois, rapporte le quotidien Hürriyet.
Le journal révèle encore qu'en septembre dernier, un responsable de la police stambouliote avait constaté qu'un centre commercial situé à Şişli ne respectait pas cette règle imposée tant par le Centre de coordination des transports (UKOME) que par une décision du Conseil de l’Etat. Au total, 786 plaintes similaires auraient été déposées auprès de la mairie d'Istanbul.
Elisa Girard (www.lepetitjournal.com/istanbul) mercredi 24 juillet 2013