Karagöz and Hacivat is a traditional Turkish shadow puppet theater featuring two main characters. Karagöz represents the illiterate public while Hacivat is educated, and their plays center around their contrasting interactions. According to legend, they entertained workers building a mosque but were later executed for causing delays. Their jokes lived on and the shadow puppet theater was born. Performances were popular from the 17th-19th centuries. Today a few artists continue the tradition supported by Turkish cultural organizations.
the poem describes exellent about the history of past and also about king who"s name is ozymandiasand he also say proudly that he is kings of king.let see this slideshare to know more details.
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Visual In-page Analytics (UX Camp Europe 2016)Bartosz Mozyrko
*This is a revised version of the presentation uploaded in 2015*
Visual In-page web analytics is the analysis of visitor behavior within a particular webpage or a product.
It differs from traditional web analytics, which focuses on visitor movement between pages rather than on one particular page. In-page web analytics software includes click-tracking, mouse-tracking, and session replay tools, many of which display what areas of a webpage receive the most visitor attention.
These tools are generally used to understand visitor behavior for the purposes of optimizing a website's usability and conversion rate.
Creative peculiarities of drama pieces in the Karakalpak literature of the 20...SubmissionResearchpa
The article is devoted to identifying the genre features of the works of the prose writer and playwright T. Kaipbergenov. In the article we focused on the history of the drama in the Karakalpak literature of the twentieth century and the study of its development history by scientists. We also noted that the drama in the Karakalpak literature originated in the 20s of the twentieth century, and the very first playwrights were K.Auezov, S.Mazhitov, A.Otepov and reviewed their dramatic works. We considered the features of the study and the objects of study of such researchers as K. Ayymbetov, T. Allanazarov, T. Bayandiyev, K. Sultanov, and in the years of independence K. Kamalov, S. Allayarov, K. Kurambaev, J. Esenov, O Satbayev, B.Tursinov, I.Oteuliyev, Zharimbetov and others. by M.Palymbetova 2020. Creative peculiarities of drama pieces in the Karakalpak literature of the 20th century (On the basis of T.Qayipbergenov’s dramatical pieces). International Journal on Integrated Education. 2, 4 (Mar. 2020), 19-22. DOI:https://doi.org/10.31149/ijie.v2i4.223. https://journals.researchparks.org/index.php/IJIE/article/view/223/216 https://journals.researchparks.org/index.php/IJIE/article/view/223
The Woman Who Was Not There by Joelle Taylor SAMPLEBurning Eye
Joelle Taylor is a poet, spoken word artist, playwright and novelist. She is a former UK slam champion and founder and artistic director of the Poetry Society’s national solo youth slam SLAMbassadors UK. She has produced four plays for theatre as well as several texts on performance practice. This is her second poetry collection.
"Joelle observes the reality of modern-day life, pinpoints the absurdities and the injustices, and then reminds us that we are human, and that sometimes the best way to make sense of it is through poetry. The thing I have always liked about Joelle’s poetry is that it has guts, it has rhythm, and it has attitude. The thing I like about this collection is that it continues that tradition.
In these times of austerity, hypocrisy, political corruption, and mindless reality television, we need poetry like this. Joelle Taylor does not mess about. Her poetry is fearless. It gets right to the point.
Her poetry has purpose."
Benjamin Zephaniah
"A city gritty heart-beaten tattoo."
John Hegley
"Joelle Taylor continues to propel poetry in not only innovative but in very crucial ways. Her work launches itself from a world that has been lived in a thousand hapless times, managing to unearth within the reader the deepest sense of tragedy, love and hope."
Anthony Anaxagorou
"The title misleads us, as these are the tumultuously heart-rending words of a woman who is actually very much here, there, everywhere. Joelle Taylor has written an epic collection of raw emotion distilled into a distinctly unique style of language. Put this in your bag, on your tongue, in your chest."
Sabrina Mahfouz
"Joelle Taylor’s a shape-shifter, myth-maker, linguistic risk-taker; poetical activist, surrealist with a raised fist. She knows how to handle a pen. Razor sharp, tattooed or AWOL, her women are the best dressed men. Her material – fractured glass and human skin; the effect – a maze, a mosaic, a hall of mirrors. She redefines the dispossessed, the caged in and gives them a way out."
Patience Agbabi
1. Karagöz And Hacivat - A Turkish Shadow Play
Karagöz & Hacivat is a Turkish shadow play taking its name from its main character Karagöz. The central
theme of the plays are the contrasting interaction between the two main characters. They are perfect foils of
each other: Karagöz represents the illiterate but straightforward public, whereas Hacivat belongs to the
educated class, speaking Ottoman Turkish and using a poetical and literary language.
According to a legend, they were working as construction workers in a mosque in Bursa. Although their satiric
jokes entertained other workers it also held up the building of the mosque by their constant joking together. As
a result it made the sultan very angry and anxious about whether Karagoz and Hacivat could encourage
rebellion in others, so they were executed. The construction of the mosque was completed without them, but
their comrades did not forget them and kept their jokes alive, telling them over and over. In time, the
adventures of Karagoz and Hacivat gained a new dimension and the traditional Turkish shadow puppet theatre
was born. Their monumental tomb stands in Bursa today.
Karagoz & Hacivat was the most enjoyed entertainment of the Ottoman period and was widely performed for
the public and in private houses between the 17th and 19th centuries especially during Ramadan, and at
circumcisions, feast festivals, coffee houses and even in gardens.
Karagöz play is played depending on the talent of an artist. Moving the design on curtain, voicing them,
dialects or imitations are all made by the artist. The subjects of Karagöz plays are funny elements with double
meanings, exaggerations, verbal plays, and imitating accents. There is always satire and irony.
These puppets with jointed limbs are 35-40cm sized and they are generally made from the skin of camel or
cows. The skins are made semi-transparent and painted with Indian ink or root paints. Then they are
embroidered with sharp painted blades and the pieces are tied with ropes. This is truly an art.
The white curtain on which Karagöz is played is named as ayna (mirror), and the light behind it as sema
(candle light). There is just one puppeteer, known as hayali (imaginary), assisted by an apprentice, who
installs the curtain and brings the puppets in order of appearance.
The main characters of the play are of course Karagoz and Hacivat. Karagoz represents the public morals and
common sense, the ordinary man in the street, and is straightforward and reliable. He is almost illiterate;
usually unemployed and embarks on money earning projects that never work. He is often kind of rude. You
can recognize him by his turban, his bald head and his black beard. His left arm is longer than the other one.
His friend Hacivat instead is the opposite of him; he is educated in a Moslem theology school, speaks Ottoman
Turkish and uses poetical and literary language. He's very clever as well.
Today a limited number of artists continue the studies related to the art of Hacivat & Karagoz and they're
conducted by the Presidency of Turkey National Center of International Puppet and Shadow Play Union
(UNIMA) and the Ministry of Culture.