DOCSLIB.ORG

La Porta D'oriente

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Porta D'oriente la porta d‘oriente marco beasley kiya tabassian constantinople Marco Beasley voice Kiya Tabassian setar, voice Didem Basar¸ kanun Tanya LaPerrière baroque violin Stefano Rocco archlute, baroque guitar Fabio Accurso lute Patrick Graham percussion Elinor Frey baroque cello Kiya Tabassian direction la porta d‘oriente 1 Dalla porta d’Oriente Giulio Caccini (c 1551-1618) 5:02 10 Versi Hafez (c 1325-c 1390) & Torquato Tasso 0:52 Nuove Musiche e nuova maniera di scriverle (Florence, 1614) Ghazal 3 & Gerusalemme liberata XII. 59-61 2 Zarb-e Fath (instr.) Ali Ufki (c 1610-1675) 3:57 11 Dialogo dei duellanti Claudio Monteverdi 1:46 MS Turc 292, National Library of France, Paris Combattimento di Tancredi e Clorinda (Venice, 1624) 3 Quest’amore, quest’arsura Claudio Saracini (1586-1630) 4:55 12 La Canella (instr.) Pietro Paolo Borrono (1490-1563) 2:49 Le Seconde Musiche per cantar e sonar (Venice, 1620) Lautentabulaturen BSB-Hss Mus.ms 266 4 Che si può fare? Barbara Strozzi (1619-1677) 8:11 13 La campana sona! (tarantella) Anonymous (16th c.) 3:14 Arie a voce sola, op. 8 (Venice, 1664) 14 Samai Frenci Ali Ufki 1:45 5 Uyan ey Gözlerim Ali Ufki 5:39 MS Turc 292, National Library of France, Paris MS Turc 292, National Library of France, Paris 15 Samai Nishaburak (instr.) Ali Ufki 3:24 6 Prologo alla Notte Torquato Tasso (1544-1595) 1:21 MS Turc 292, National Library of France, Paris Gerusalemme liberata XII. 52-54 16 Como sencza la vita (tarantella, Naples) Anonymous 3:12 7 Notte, che nel profondo Claudio Monteverdi (1567-1643) 3:17 Combattimento di Tancredi e Clorinda (Venice, 1624) 17 Kürdi Pishrow (instr.) Sultan Korkut (1467-1513) 6:58 Mecmua-i Sâz ü Söz, British Library, London 8 Fath-e Bâb (instr.) Ali Ufki 3:23 MS Turc 292, National Library of France, Paris 18 Compendium Tarantulae (instr.) Athanasius Kircher (1602-1680) 4:14 Magnes sive De Arte Magnetica (Rome, 1641) 9 Fronni d’alia / Ey Sareban¯ ¯ Canto tradizionale / Kiya Tabassian 7:53 19 Morte di Clorinda Claudio Monteverdi 6:04 Combattimento di Tancredi e Clorinda (Venice, 1624) The Gateway to the East In the spring of 1675, Antoine Galland – oriental- still foreign to Turkish musical culture that relied ist, avid traveller, and translator of the Tales of on oral transmission. As a palace page he received One Thousand and One Nights – returned to Paris a full Ottoman education, acquiring a new culture after a long and eventful journey in the Middle and a new religion. Bobowski converted to Islam, East. Among the treasures he had gathered during and took the name of Ali Ufki or Ufuki, ‘he who his travels was an intriguing musical manuscript comes from behind the horizon’, a poetic refer- from Constantinople, now in the National Library ence to his foreign origins. of France as MS Turc 292. Compiled by the Otto- man court musician Ali Ufki (c 1610-1675), and a Exceptionally talented and endowed with a lively unique reflection of the colourful musical and po- curiosity, Ali Ufki came to embody two cultures, etic universe he inhabited, this manuscript is the Ottoman and European – and he would make source of inspiration for this recording. treasure of it by continuously moving between the two worlds, and helping others to do the same. Ali Ufki was born as Wojciech Bobowski into a no- After gaining his freedom from palace service, ble family from Lvov, in what was then Poland. Ali Ufki worked as an interpreter for the Ottoman When he was still a young man, Bobowski was chancellery and entered the service of European captured by Crimean Tatars raiding Central Europe diplomats and travellers as a teacher, translator and brought to Constantinople a prisoner. Chosen and cultural intermediary, thus moving in the very to serve at the Ottoman court, he was assigned to heart of Constantinople’s intellectual life. For his the Seraglio’s musical ensemble, where for twenty European contacts, he was the source of irresist- years he sang and played the santur. He soon im- ible inside views of Turkish life and customs. He Ali Ufki pressed his masters with a miraculous ability to is said to have spoken no fewer than eighteen Steel engraving by Antoni Oleszczynski´ (1794–1879) memorize the songs he was taught – he wrote the languages, and was a prolific writer. His Turk- music down in Western staff notation, a practice ish translation of the Bible and his widely read 7 treatise De Turcarum liturgia explaining Islam to that Italian culture was particularly close to Ali credi and Clorinda, maybe the most moving epi- poet Sa’di, which tells of a lover’s suffering in European readers are vivid examples of his abili- Ufki’s heart, as he included many Italian writings sode of Jerusalem Delivered, famously set to mu- seeing a caravan carry away his beloved. Fronni ties to connect between cultures and religions. and poems, and even his notes to himself are in- sic by Claudio Monteverdi as the Combattimento di d’alia is a popular song in the rustic dialect of Ba- variably written in Italian. It is especially striking Tancredi e Clorinda in 1624. It tells of the Christian silicata about the girl Fronni d’alia (‘olive leafs’) The Seraglio’s music ensemble was a culturally to find various stories from Jerusalem Delivered, knight Tancredi who, deeply infatuated with the who is married off against her will, but vouches to diverse group, where Turkish musicians played a famous epic by Torquato Tasso (1544-1595). The Muslim warrior Clorinda, unwittingly kills his be- run away on her wedding night to sleep with her alongside musicians of many different origins. poem is set during the First Crusade of 1096, when loved in a nightly battle because he does not rec- true love. In many ways worlds apart, these songs Ottoman music built upon the rich musical and Christian armies set out to reconquer Jerusalem ognize her in her dark armour. A poignant story, are woven together in a way that brings out the literary traditions of Persia, and recent military from the Saracens. First published in 1581, it was in which love transcending cultural boundaries, shared themes of separation and lovers’ yearning conquests had brought many Persian musicians immensely popular, also because it struck a chord war as a dividing force, but especially the crucial that animate them both. to court. The musical ensemble was further enliv- in a time that Europe acutely felt the threat of ability to truly see and recognize the other are ened by captive palace pages such as Ali Ufki, who the expanding Ottoman empire. Revolving around key themes. All’arme, la campana sona commemorates a Turk- came from all over Europe and each brought the the opposition between East and West, Islam and ish attack on Sorrento in 1558, during which the melodies and traditions of their homeland with Christianity, Tasso’s poem captures the two sides Sung and recited in three parts, the story of Tan- town was sacked and most citizens taken away them. Ali Ufki himself describes in his memoirs coexisting within Ali Ufki’s own cultural identity, credi and Clorinda is joined by Turkish instrumen- as slaves to Constantinople – a fate very simi- how Italian music could be heard in the Sultan’s and must have held great personal significance tal peshrevs and semais, arias by Barbara Strozzi lar to what Ali Ufki would suffer some decades palace, due to the presence of an Italian choir for him. and Claudio Saracini, Persian ghazals, a Sufi hymn, later. This song is also meaningful in another way. master: ‘They, the Turks, have knowledge of Ital- and uplifting popular tarantellas from Southern One of the few to escape the attack was a young ian music: sultan Murad received as a gift from the This recording seeks to bring to life the manu- Italy, all effortlessly alternating and blending to- bride, Cornelia Tasso. The events so impressed her barbary pirates a very competent enslaved Italian script’s delightful variety, the ease and lightness gether. Oriental and Western song beautifully in- younger brother, the poet Torquato Tasso, that choir master, who composed many beautiful can- with which Ali Ufki moves between cultures and tertwine when the verses of the Persian poem Ey they would inspire him to write his Jerusalem zonette, and other songs for solo voice...’ musical genres. It unites music from Ottoman Sareban¯ ¯ are sung together with those of the Ital- Delivered, that would eventually find its way into and Persian tradition with songs from the Italian ian song Fronni d’alia. Ey Sareban¯ ¯ is a delicate, Ali Ufki’s manuscript, lovingly embraced by the Ali Ufki’s notebook, in which he recorded every- Renaissance, such as we can imagine have been sophisticated poem by the great medieval Persian melodies of the Ottoman court ... thing he learned and heard, allows us a unique performed by the Sultan’s Italian choir master. glimpse inside the Seraglio’s music room, as im- Together they evoke a colourful narrative ’about Marjolein van Zuylen mediate and enticing as if we were present our- war, about life and love, sufferings and distances, selves. Its densely scribbled pages are filled with and other such things’ – words once used by Ali poems and songs of a surprising variety of genres Ufki himself, when he described the essence of the and cultures, Ottoman music alternating with Eu- poems that were sung in the Seraglio. ropean compositions, lively folk tunes alongside courtly and spiritual songs. The manuscript shows At the heart of our narrative is the story of Tan- 8 9 La Porte d’Orient Au printemps 1675, Antoine Galland – orienta- pratique encore étrangère à la culture musicale liste, grand voyageur et traducteur des Mille et turque fondée sur la transmission orale.
Load more

Recommended publications
  • Turkish-Bible-History-Version-S-In-Preparation.Pdf
    A History of Turkish Bible Translations Annotated chronology with historical notes and suggestions for further research © Bruce G. Privratsky, Ph.D. With thanks to all who have suggested corrections of previous editions Please cite: Version “S” – April 2014 Download updated versions from: http://historyofturkishbible.wordpress.com/ Send evaluations and corrections to: [email protected] Table of Contents Introduction Chapter 1: Turkish in Arabic Letters (Ottoman Turkish, Osmanlıca) Chapter 2: Turkish in Hebrew Letters (Hebræo-Turkish) Chapter 3: Turkish in Greek Letters (Græco-Turkish, Karamanlıca) Chapter 4: Turkish in Armenian Letters (Armeno-Turkish) Chapter 5: Turkish in Latin Letters (Modern Turkish, Yeni Türkçe) Chapter 6: Turkish in Cyrillic Letters (Bulgarian Turkish) Chapter 7: Non-Turkish languages of Anatolia and Rumelia Chapter 8: History of the Koran in Turkish translation: A Brief Excursus Appendix I: A list of all Turkish Bibles and Bible portions in strict chronological order but without annotations Appendix II: Turkish versions of the Lord’s Prayer Appendix III: Sample comparisons of Ali Bey’s Bible manuscript with Haki’s text and with the first printed Turkish Bible Appendix IV: The life of Wojciech Bobowski (Ali Bey), the first successful translator of the Turkish Bible, as a slave and free man Appendix V: An overview of slavery in the 17th-century Ottoman Empire, without which the life of Ali Bey cannot be understood 2 Introduction The Turkish1 Bible has a history almost as old as the English, French and German Bibles of the Protestant Reformation. Two Turkish translations of the Bible were completed 350 years ago. The first was a draft manuscript by Yahya b.
    [Show full text]
  • Ali Ufkî Bey (Wojciech Bobowski) – Well-Known Musician, Forgotten Political Figure
    Stosunki Międzynarodowe – International Relations ISSN 0209-0961 nr 1 (t. 52) 2016 doi: 10.7366/020909611201614 Ali Ufkî Bey (Wojciech Bobowski) – Well-Known Musician, Forgotten Political Figure. A Luminary in the 600 Years of Turkish–Polish Diplomatic Relations1 İpek Aynuksa University of Warsaw In 2014, Turkey and Poland celebrated the 600th anniversary of the establishment of their diplomatic relations. The six-century-old relations have been full of ne- gotiations, agreements, peaceful times and conflicts, commercial ties and cultural interplay. Among the cultural interactions, many figures have played important roles for the cultural and political history of both countries. Ali Ufkî Bey (Wojciech Bobowski) (1610?–1675?) is certainly one of those personalities who deserve more scholarly debate. From a historical perspective, his contributions in the fields of culture, diplomacy, music, theology and linguistics illustrate how important the role of an individual as a non-state actor might be in the discipline of International Relations (IR), which constitutes the main focus of this article. Ali Ufkî (Bobowski) is certainly one of those individuals whose contributions need to be analysed in a profound manner, with special emphasis on inter-religious and inter-cultural dialogue. This article also aims at accentuating the historic importance of the 600 years of diplomatic ties in today’s foreign policy making process, which might be the subject of further study in IR. Keywords: Turkey, Poland, 600 years, Ali Ufkî Bey (Wojciech Bobowski), role of individual in IR, inter-cultural and inter-religious dialogue, cultural diplomacy, area studies. İpek Aynuksa – PhD Student, University of Warsaw, career diplomat at the Ministry of Foreign Affairs of the Republic of Turkey.
    [Show full text]
  • Dissertation Final Draft
    Copyright © 2012 John Jin Gill All rights reserved. The Southern Baptist Theological Seminary has permission to reproduce and disseminate this document in any form by any means for purposes chosen by the Seminary, including, without limitation, preservation or instruction. THE EVANGELICALISM OF ALEXANDER CARSON A Dissertation Presented to the Faculty of The Southern Baptist Theological Seminary In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by John Jin Gill May 2012 APPROVAL SHEET THE EVANGELICALISM OF ALEXANDER CARSON John Jin Gill Read and Approved by: __________________________________________ Michael A. G. Haykin (Chair) __________________________________________ David L. Puckett __________________________________________ Thomas J. Nettles Date______________________________ TABLE OF CONTENTS Page LIST OF ABBREVIATIONS . vi PREFACE . vii Chapter 1. INTRODUCTION . 1 Carson’s Gospel-centered Evangelicalism . 1 The Life of Alexander Carson . 8 2. ALEXANDER CARSON ON THE BIBLE . 36 Context of the Apocrypha Controversy . 37 Carson’s Doctrine of Plenary Verbal Inspiration . 42 Defense of Plenary Inspiration . 42 The nature and extent of inspiration can only be learned from Scripture . 43 Carson’s rejection of novel criteria for distinguishing between inspired and uninspired biblical texts . 49 Defense of Plenary Verbal Inspiration . 58 The manner and matter of Scripture . 61 Degrees of inspiration . 64 Principle of necessity . 67 Variant readings of Scripture not contradictory to plenary verbal . 69 iii Chapter Page Carson’s Views on Bible Translation . 71 Controversy over Ali Bey’s Turkish New Testament . 71 Controversy the British and Foreign Bible Society over the Translation of βαπτίζω . 81 Carson on the Divine Preservation of the Bible . 88 Conclusion . 94 3. ALEXANDER CARSON ON THE CROSS .
    [Show full text]
  • Old New Unknown
    Charlotta Forss Charlotta Forss The Old, the New and the Unknown This thesis investigates early modern ways of looking at the world through an analysis of what the continents meant in three settings of knowledge making in seventeenth-century Sweden. Combining text, maps and images, the thesis anal- yses the meaning of the continents in, frst, early modern scholarly ‘geography’, second, accounts of journeys to the Ottoman Empire and, third, accounts of journeys to the colony New Sweden. The investigation explores how an under- standing of conceptual categories such as the continents was intertwined with processes of making and presenting knowledge. In this, the study combines ap- proaches from conceptual history with research on knowledge construction and circulation in the early modern world. The thesis shows how geographical frameworks shifted between settings. There was variation in what the continents meant and what roles they could fll. Rather THE than attribute this fexibility to random variation or mistakes, this thesis inter- The Old, the New and Unknown OLD prets fexibility as an integral part of how the world was conceptualized. Reli- gious themes, ideas about societal unities, defnitions of old, new and unknown knowledge, as well as practical considerations, were factors that in different way shaped what the continents meant. THE NEW A scheme of continents – usually consisting of the entities ‘Africa,’ ‘America,’ ‘Asia,’ ‘Europe’ and the polar regions – is a part of descriptions about what the world looks like today. In such descriptions, the continents are often treated as existing outside of history. However, like other concepts, the meaning and sig- nifcance of these concepts have changed drastically over time and between con- AND THE texts.
    [Show full text]
  • A Selection for the Harjah Amadan Xhibition
    A Selection for the !harjah "amadan #xhibition on display from !" April until # May !$!% at Sharjah Publishing City ’t Goy, !e Netherlands Vienna, Austria "#"$ FORANTIL UARIAUMAT A Selection for the !harjah "amadan #xhibition on display from $% April until & May $'$( at Sharjah Publishing City ’t Goy, !e Netherlands Vienna, Austria "#"$ Items jointly o4ered for sale by Antiquariaat FORUM, ‘t Goy, !e Netherlands Antiquariat INLIBRIS, Vienna, Austria Extensive descriptions and images available on request All o4ers are without engagement and subject to prior sale. All items in this list are complete and in good condition unless stated otherwise. Any item not agreeing with the description may be returned within one week after receipt. Prices are 5678 (9). Postage and insurance are not included. :;< is charged at the standard rate to all 56 customers. 56 customers: please quote your :;< number when placing orders. Preferred mode of payment: in advance, wire transfer or bankcheck. Arrangements can be made for MasterCard and VisaCard. Ownership of goods does not pass to the purchaser until the price has been paid in full. General conditions of sale are those laid down in the ILAB Code of Usages and Customs, which can be viewed at: https://www.ilab.org/eng/ilab/code.html. New customers can be requested to provide references when ordering. FORANTIL UARIAUMAT Antiquariat INLIBRIS Antiquariaat FORUM BV Gilhofer Nfg. GmbH Tuurdijk $% Rathausstraße $' &''( )* ‘t Goy $#$# Vienna !e Netherlands Austria Phone: ++, (-)+- .-,,/00 Phone: +2& (#)$ 2#'%$'## Fax: ++, (-)+- .-,,1,+ Fax: +2& (#)$ 2#'%$'#' E-mail: [email protected] E-mail: [email protected] Web: www.forumrarebooks.com Web: www.inlibris.com www.forumislamicworld.com Front cover: no.
    [Show full text]
  • Musical Note Writing Systems Developed Between 17'Th and 19
    2012 International Conference on Humanity, History and Society IPEDR vol.34 (2012) © (2012) IACSIT Press, Singapore Musical Note Writing Systems developed between 17’Th and 19’Th century Oguz Karakaya1 Traditional Turkish Music Department of Dilek Sabancı State Conservatory of Selcuk University, Konya- Turkey Abstract. Besides transferring the spoken language into written one, the human searched numerous methods to transfer the music into writing. One of the first efforts to notate that were known in the history was carried out by the Sumerians. Sumerians provided the samples of first notating activities reach to present days through using symbols similar to their writings. In Turkish music, the first notating samples are seen in the forms of letters. In this system (ebced) developed by Yakub Al Kîndi (790 – 874) for the first time, the letters in Arabic alphabets was thought to be equal to a sound. Later on, this system was used with a different method of expression by Nâyî Osman Dede (1652-1730) who was an important composer and performer in Turkish music. It was developed by Abdülbâkî Nâsır Dede (1765-1821), an important composer and performer of Turkish music; some sample works were notated through this method and were transferred to present days. Another name that developed an alternative notating system in the same period with Nâsır Dede is Hamparsum (Hampartzum) Limonciyan (1768-1839). This system, also known as Hamparsun notes, was formed using the letters in the Armenian alphabet. In Turkish music, another name who has developed a distinctive method in the notating system that depends on letters is the Prince of Moldova Demetrius Cantemir (1673-1727).
    [Show full text]
  • List of Converts to Islam from Christianity
    List of Converts to Islam from Christianity Source (Link) http://en.wikipedia.org/wiki/List_of_converts_to_Islam_from_Christianity Institute of Objective Studies 162, Jogabai Main Road, Jamia Nagar, New Delhi – 110025 ([email protected]) http://en.wikipedia.org/wiki/List_of_converts_to_Islam_from_Christianity List of Converts to Islam from Christianity Wikipedia, the free encyclopedia A Kareem Abdul-Jabbar (Lew Alcindor) - retired basketball player & the NBA's all-time leading scorer.[1] He initially converted from Christianity to The Nation of Islam to mainstream Sunni Islam. [2] Mahmoud Abdul-Rauf (Chris Jackson) - retired basketball player Tariq Abdul-Wahad (Olivier Saint-Jean) - originally from France, former basketball player for the Mavericks and Kings[3] [4] Thomas J. Abercrombie - photographer Éric Abidal (changed his name to Bilal) - French football player, currently playing for FC Barcelona, converted to Islam after marriage.[5] [6][7] Ivan Aguéli (Johan Agelii) - Swedish painter. [8] Akhenaton - French rapper and producer of French hip hop. Muhammed al-Ahari born January 6, 1965 as Ray Allen Rudder is an American essayist, scholar and writer on the topics of American Islam, Black Nationalist groups, heterodox Islamic groups and modern occultism. [9] Abdul-Karim al-Jabbar (Sharmon Shah) - former NFL player Sana al-Sayegh, dean of the Science and Technology Faculty at Palestine International University, converted to Islam in August 2007. Fatah has accused its political rival Hamas of forcing the professor to convert from Christianity, a charge Hamas denies.[10] [11][12] Muhammad Ali (born Cassius Marcellus Clay, Jr.; January 17, 1942), from Baptist to The Nation of Islam to Sunni Islam.[13] Famous American professional boxer (3 time world heavyweight champion), philanthropist and social activist.
    [Show full text]
  • Lingua Franca__Programm 1
    Forum Transregionale Studien e.V. Georges Khalil c/o Wissenschaftskolleg zu Berlin | Wallotstr. 19 | 14193 Berlin Wissenschaftlicher Koordinator Dear Audrey Truschke, T +49 (0)30 8 90 01-258 [email protected] Workshop May 24 – 26, 2012 Wissenschaftskolleg zu Berlin, Villa Jaffé, Wallotstr. 10, 14193 Berlin Lingua Franca: Explorations of the Literary Geography of the Mediterranean World Conveners Elisabetta Benigni (Zukunftsphilologie–Fellow 2011-2012) Michael Allan (EUME–Fellow 2011-2012) Description In recent years, a wealth of scholarship has attempted to reframe the geographical grounds of literary analysis. Where previously the nation-state was the category through which texts would be contextualized, scholars have begun focusing trans-nationally on literary geography, shifting from national territories to consider maritime regions, trade routes, and intersecting zones of cultural interaction. This revised approach questions the conventional borders of cultures, nations, and literary traditions, and emphasizes the importance of history and cultural analysis in national and comparative literature. Authors such as Ferdinand Braudel, Immanuel Wallerstein and Margaret Cohen offer models for engaging the dynamics of cultural interaction, questions of value and power, and the trafficking of commodities across regions. And the Mediterranean, in particular, figures centrally in these discussions on account of its history of overlapping and intersecting languages, cultures and traditions. To contextualize in the Mediterranean region is necessarily to place translation, transformation and transculturation in the foreground of textual analysis. Shuttling between discussions of lingua franca, the shared language of commerce and cultural interaction, and the role of the sea in literary geography, the Mediterranean world literalizes many of the concepts now integral to literary study, especially as it overlaps with transnationalism, transregionalism and ocean studies.
    [Show full text]
  • The Hajj and Europe in the Age of Empire Leiden Studies in Islam and Society
    The Hajj and Europe in the Age of Empire Leiden Studies in Islam and Society Editors Léon Buskens (Leiden University) Petra M. Sijpesteijn (Leiden University) Editorial Board Maurits Berger (Leiden University) – R. Michael Feener (Oxford University) – Nico Kaptein (Leiden University) Jan Michiel Otto (Leiden University) – David S. Powers (Cornell University) volume 5 The titles published in this series are listed at brill.com/lsis The Hajj and Europe in the Age of Empire Edited by Umar Ryad leiden | boston This is an open access title distributed under the terms of the cc-by-nc License, which permits any non-commercial use, and distribution, provided no alterations are made and the original author(s) and source are credited. Cover illustration: Ansicht de Moschee, während darin ein gemeinschaftliches Çalät abgehalten wird. English translation: View of the mosque, while congregational Çalat [i.e., Salat] are being held inside. Photograph attributed to al-Sayyid ʿAbd al-Ghaffār, Physician of Mecca, by scholar Claude Sui. From Volume ii, page 88. Plate no. i in portfolio: Bilder aus Mekka, C. Snouck Hurgronje. Leiden: E.J. Brill, 1889. lot 7088 [item] [p&p], Library of Congress Prints and Photographs Division Washington, d.c. 20540 usa. Library of Congress Cataloging-in-Publication Data Names: Ryad, Umar, editor. Title: The hajj and Europe in the Age of Empire / edited by Umar Ryad. Description: Leiden ; Boston : Brill, [2017] | Series: Leiden studies in Islam and society ; V. 5 | Includes bibliographical references and index. Identifiers: lccn 2016035042 (print) | lccn 2016036427 (ebook) | isbn 9789004323346 (pbk.) : alk. paper) | isbn 9789004323353 (e-book) Subjects: lcsh: Muslim pilgrims and pilgrimages–Saudi Arabia–Mecca–History.
    [Show full text]
  • Transforming Conflict and Deepening Interfaith Dialogue Through Arts, Music and Ritual
    Concert-seminar program Cronkhite Graduate Center, May 7, 2005 Co-sponsored by: Harvard Divinity School’s Artists’ Action Resource Network The Apogee Foundation’s Synergy Program Transforming Conflict and Deepening Interfaith Dialogue through Arts, Music and Ritual Part 1 9-930am Welcome and registration 930-940am Overview of day’s objectives Jonathan James, Founder-Director of Counterpoint International 940-10am Concert 1 Ethan Philbrick performs 10-12am Plenary session: Can we tell another story? John Stanfield: Race as Covenant Breaking Amir Hussain: Richard Thompson and the poetry of ordinary Muslim lives Yehezkel Landau: Shabbat Spirituality and Peacemaking 12-1230pm Lunch 1230-130pm Concert 2 - a chance to meditate ZilZALA performs Part 2 130-3pm Telling the other story: Innovative approaches to building communities of peace Tamar Miller: Bringing the shadow peace process into the light Valarie Kaur: Sharing our stories: Sikh Americans and September 11 Clara Wainwright: The Faith Quilts Project Noam Sender and Mahmet Ali Sanlikol: Dünya and The Psalms of Ali Ufki Counterpoint International – dialogue through music and media 3-315pm Break 315-330pm Concert 3 and creative expression Dünya performs 330-5pm Lebanon: A Case Study Firas Abi-Nassif: The Roots of Conflict Loai Naamani (chair and moderator): Lessons Learned and Moving Forward Michel ElAshkar: A Message of Unity through Theatre and Hymns Christian Karam: ZilZALA and Dialogue through Music 5-515pm Closing Thoughts and Thanks Christi Caldwell 515-530pm Concert 4 Dünya performs Speakers John H. Stanfield, II, a sociologist with senior faculty appointments in African American and African Diaspora Studies, American Studies, Cultural Studies, Philanthropic Studies, and Sociology, is on leave from Indiana University Bloomington this year and is a STM (Masters of Sacred Theology) candidate at the Boston University School of Theology.
    [Show full text]
  • Paul Rycaut, the Present State of the Ottoman Empire. Textual Tradition and Lexical Borrowings from Turkish
    Studia Linguistica Universitatis Iagellonicae Cracoviensis 132 (2015): 187–196 doi:10.4467/20834624SL.15.017.3938 WOLFGANG SCHWEICKARD Universität des Saarlandes, Saarbrücken [email protected] PAUL RYCAUT, THE PRESENT STATE OF THE OTTOMAN EMPIRE. TEXTUAL TRADITION AND LEXICAL BORROWINGS FROM TURKISH Keywords: Paul Rycaut, Juan Bautista Lardito, Ottoman Empire, Turkisms, historical lexicography Abstract Paul Rycaut’s The Present State of the Ottoman Empire is the first comprehensive descrip- tion of the Ottoman Empire written in English by an author who reported firsthand. The first edition of 1666 was reprinted several times and translated into French, Dutch, Italian, Polish, Spanish, German and Russian. The present article provides information on the genesis, the structure and the sources of the English original as well as on the various translations and their interrelationship (the Spanish version was completely unknown until now, since the translator concealed the real authorship). On the basis of selected examples, the special interest of the work for the historical study of Turkish borrowings in European languages is illustrated. 1. Introduction Sir Paul Rycaut (London, 1629 – ibid., 1700)1 spent more than 15 years in the Ottoman Empire. Between 1660 and 1667 he was in the service of the British Ambassador to the Sublime Porte, Heneage Finch, third Earl of Winchelsea. In 1667 he was ap- pointed consul at Smyrna, which in those days, besides Aleppo, Constantinople and 1 According to contemporary sources, the correct pronunciation is [ˈraɪkɔ:t] (Anderson 1989: 19 fn. 3). 188 WOLFGANG SCHWEICKARD Alexandria, was one of the most important English trading places in the Levant.2 During his sojourn at Constantinople and Smyrna (where he remained until 1677), Rycaut paid close attention to the politics and culture of his host country.
    [Show full text]
  • Kitab-I Mukaddes'in Türkçeye Çeviri Süreci Ve Ali Ufki Bey'in Çevirisinin
    Gönderim Tarihi: 25 Temmuz 2020 • 425 Kabul Tarihi: 17 Kasım 2020 Yayımlanma Tarihi: 15 Aralık 2020 KİTAB-I MUKADDES’İN TÜRKÇEYE ÇEVİRİ SÜRECİ VE ALİ UFKİ BEY’İN ÇEVİRİSİNİN ÖNEMİ Salih ÇİNPOLAT* Öz Kitab-ı Mukaddes’in bir bütün olarak Türkçeye çevirisi, Leh asıllı, sonra- dan Müslüman olmuş, uzun yıllar Osmanlı sarayında görev yapmış Ali Ufki Bey tarafından 1664/1666 yılında İstanbul’da yapılmıştır. Dönemin Hollan- da elçisi Levinus Warner, bu çeviri sürecini İstanbul’da takip etmiş ve çeviri metinlerini kontrol edilerek basılması için Hollanda’ya göndermiştir. Ancak çevirinin basımı, yaşanan bazı olumsuzluklar nedeniyle 1827 yılında Paris’te yapılmıştır. Daha sonraki yıllarda Ali Ufki Bey’in çevirisi, dönemin dil özel- likleri dikkate alınarak bazı değişiklik ve düzeltmelerle 1878, 1885, 1886, 1901, 1941 ve 2001 yıllarında defalarca basılmıştır. Yani günümüzde kullanı- lan Kitab-ı Mukaddes’in Türkçe çevirisi, temelde Ali Ufki Bey’in çevirisine dayanmaktadır. Bu nedenle Ali Ufki Bey’in çevirisi ve bu çevirinin günümüze ulaşma sürecinin takibi oldukça önemlidir. Çünkü Kitab-ı Mukaddes’in Türk- çeye çevrilmesi ve günümüze ulaştırılması Protestan Hristiyanların ve Kitab-ı Mukaddes Şirketi’nin katkıları ile gerçekleşmiş ve Türklere yönelik Hristiyan misyonerliğinde Ali Ufki Bey’in çevirisi temel kaynak olarak sürekli kullanıl- mış ve kullanılmaktadır. Anahtar Kelimeler: Kutsal Kitap, Kitab-ı Mukaddes, Ali Ufki Bey, Ki- tab-ı Mukaddes Şirketi, Çeviri * Dr. Öğr. Üyesi, Karamanoğlu Mehmetbey Üniversitesi, İslami İlimler Fakültesi, Felsefe ve Din Bilimleri Bölümü, Dinler Tarihi e-posta: [email protected] ORCID: 0000-0003-2065-192X Atıf Cite/as: Çinpolat, S. (2020). “Kitab-ı Mukaddes’in Türkçe’ye Çeviri Süreci ve Ali Ufki Bey’in Çevirisinin Önemi” .
    [Show full text]