#Nasreddin Hodja Tales

[santaclaustales]

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[toonz-media-group]

The Power of Thought episode from Tales of Nasreddin Hodja series, which is from the stables of our wonderful Hungarian partner KEDD Animation Studio has raked in as the Official Selection to the prestigious 7th International Folklore Film Festival! Toonz Media Group is the proud partner to distribute this series, produced in Hungarian by Kedd, for Indian and English-speaking audience across the world through YouTube and other digital platforms.

Website URL - https://toonz.co/

[libraerie]

rb this w a nice core memory you forgot about until very recently

[ariel-seagull-wings]

NASREDDIN

@the-blue-fairie @astrangechoiceoffavourites @darasuum @princesssarisa

"Nasreddin, variously Nasrudin or Nasrettin or Nasreddin Hodja or Mullah Nasreddin Hooja or Mullah Nasruddin (1208―1285) was a Seljuk satirist, born in Hortu Village in Sivrihisar, Eskişehir Province, present-day Turkey and died in 13th century in Akşehir, near Konya, a capital of the Seljuk Sultanate of Rum, in today's Turkey. He is considered a philosopher, Sufi, and wise man, remembered for his funny stories and anecdotes.

Nasreddin has become a legendary folk character in the Middle East and Central Asia, portrayed as a wise fool, clever simpleton, or instructive prankster. He appears in thousands of stories, sometimes witty, sometimes wise, but often, too, a fool or the butt of a joke. A Nasreddin story usually has a subtle humour and a pedagogic nature.

Nothing is conclusively known about the person who originally inspired the stories. Claims about his origin are made by many ethnic groups. But popular tradition considers him a minor cleric from Anatolia in the 13th or early 14th century. The oldest surviving manuscripts containing tales of Nasreddin date from 16th century, and are Turkish. By the 19th century, tales of the older Arabic trickster character Juha became amalgamated into the lore of Nasreddin.

As generations have gone by, new stories have been added to the Nasreddin corpus, others have been modified, and he and his tales have spread to many regions. The themes in the tales have become part of the folklore of a number of nations and express the national imaginations of a variety of cultures. Although most of them depict Nasreddin in an early small-village setting, the tales deal with concepts that have a certain timelessness. They purvey a pithy folk wisdom that triumphs over all trials and tribulations. The oldest manuscript of Nasreddin dates to 1571. Some of the stories, however, can be traced at far back as Aesop's fables.

Today, Nasreddin stories are told in a wide variety of regions, especially across the Muslim world and have been translated into many languages. Some regions independently developed a character similar to Nasreddin, and the stories have become part of a larger whole. In many regions, Nasreddin is a major part of the culture, and is quoted or alluded to frequently in daily life. Since there are thousands of different Nasreddin stories, one can be found to fit almost any occasion. Nasreddin often appears as a whimsical character of a large Turkish, Persian, Albanian, Armenian, Azerbaijani, Bengali, Bosnian, Bulgarian, Chinese, Greek, Gujarati, Hindi, Judeo-Spanish, Kurdish, Romanian, Serbian, Russian, and Urdu folk tradition of vignettes".

Examples of Nasreddin Tales:

The Sermon

"Once Nasreddin was invited to deliver a sermon. When he got on the pulpit, he asked, Do you know what I am going to say?  The audience replied "no", so he announced, I have no desire to speak to people who don't even know what I will be talking about! and left.The people felt embarrassed and called him back again the next day. This time, when he asked the same question, the people replied yes. So Nasreddin said, Well, since you already know what I am going to say, I won't waste any more of your time! and left.Now the people were really perplexed. They decided to try one more time and once again invited the Mulla to speak the following week. Once again he asked the same question – Do you know what I am going to say? Now the people were prepared and so half of them answered "yes" while the other half replied "no". So Nasreddin said Let the half who know what I am going to say, tell it to the half who don't, and left".

Whom do you believe?

"A neighbour came to the gate of Hodja Nasreddin's yard. The Hodja went to meet him outside."Would you mind, Hodja," the neighbour asked, "can you lend me your donkey today? I have some goods to transport to the next town."The Hodja didn't feel inclined to lend out the animal to that particular man, however. So, not to seem rude, he answered:"I'm sorry, but I've already lent him to somebody else."All of a sudden the donkey could be heard braying loudly behind the wall of the yard."But Hodja," the neighbour exclaimed. "I can hear it behind that wall!""Whom do you believe," the Hodja replied indignantly, "the donkey or your Hodja?"

[icpe]

Any book suggestions?

Ray Bradbury - “Something wicked this way comes”.

William Gibson - “Neuromancer”.

Eve Forward  - “Villains by Necessity”.

Leonid Solovyov - “The Tale of Hodja Nasreddin”.

Ilf and Petrov  - “The Twelve Chairs” .

Ray Bradbury - “The Martian Chronicles”.  (idk I like all his novels etc)

Stephen King - “Pet Sematary”, “Misery” etc….

[guncelpdfindir-blog]

The Selected Tales of Nasreddin Hodja

The Selected Tales of Nasreddin Hodja Nasreddin Hodja, who is known as the symbol of humour genre, is believed to have lived in Anatolia in the thirtennth century. Hodja, known for his quick wit, takes on contradictory caharacters in each story and reveals the seriousness of the incident with humour.

The stories in this tale have been chosen from various sources sources and carefully simplified.

“Only the genious artist called Charlie Chaplin got closer to the humor scenes with profound and precious advice of Nasreddin Hodja.” Necip Fazıl Kısakürek

“Hodja is in the imagination of the public; people, when necessary, get angry with themselves and scold themselves with his words. As Bedri Rahmi Eyüpoğlu said once; “Soon, Hodja will take the bus or the minibus and he will definetely want to take a cab…” Abdülbaki Gölpınarlı

The Selected Tales of Nasreddin Hodja

[pdfindiroku-blog]

The Selected Tales of Nasreddin Hodja

The Selected Tales of Nasreddin Hodja

The Selected Tales of Nasreddin Hodja Nasreddin Hodja, who is known as the symbol of humour genre, is believed to have lived in Anatolia in the thirtennth century. Hodja, known for his quick wit, takes on contradictory caharacters in each story and reveals the seriousness of the incident with humour.

The stories in this tale have been chosen from various sources sources and carefully simplified.

“Only the genious artist called Charlie Chaplin got closer to the humor scenes with profound and precious advice of Nasreddin Hodja.” Necip Fazıl Kısakürek

“Hodja is in the imagination of the public; people, when necessary, get angry with themselves and scold themselves with his words. As Bedri Rahmi Eyüpoğlu said once; “Soon, Hodja will take the bus or the minibus and he will definetely want to take a cab…” Abdülbaki Gölpınarlı

The Selected Tales of Nasreddin Hodja

[micaramel]

Artist: Geta Brătescu

Venue: Hauser & Wirth, New York

Exhibition Title: The Leaps of Aesop

Curated by: Magda Radu

Date: November 13 – December 23, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artist and Hauser & Wirth, New York. Installation photos by Timothy Doyon.

Press Release:

‘Geta Brătescu. The Leaps of Aesop’ is the first New York solo presentation devoted to the 91 year-old forerunner in the field of Romanian Conceptualism. Her diverse oeuvre – comprising drawing, collage, engraving, textiles, and photography, as well as experimental film, video, and performance – mines themes of identity, gender, and dematerialization, often drawing from the stories of literary figures and addressing the symbiotic relationship between art making and working environments. Aesop, the ancient Greek fabulist, serves as a point of departure for this exhibition, which features more than fifty works that span Brătescu’s career. In many ways a fitting avatar for Brătescu, Aesop manifests in the works on view as a symbol of antic irreverence, mocking authority and status. A spirited believer in the role of the artist as that of a disruptor, Brătescu has championed ideas of play and disorder throughout her vibrant practice, remarking, ‘there is much economy and at the same time rebellion in the creation of expression.’

On view through 23 December 2017, ‘Geta Brătescu. The Leaps of Aesop’ is conceived in collaboration with Magda Radu, curator and art historian based in Bucharest, Romania. She curated ‘Apparitions,’ Brătescu’s exhibition for the Romanian Pavilion at La Biennale di Venezia 2017. Special thanks to Marian Ivan and Diana Ursan of Ivan Gallery for their support and contribution to this exhibition. ‘Geta Brătescu. ‘The Leaps of Aesop’ will travel to Hauser & Wirth Los Angeles, where it will be on view from 17 February through 1 April 2018.

  Magda Radu on ‘Geta Brătescu. The Leaps of Aesop’

The exhibition ‘The Leaps of Aesop’ tracks the many implications generated by Aesop, the writer of the ancient fables, who, in Geta Brătescu’s system of thinking, becomes a playful and mischievous character and can be regarded as a metaphor for the condition of the artist. Right after the fall of the Communist regime in Romania, Geta Brătescu declared Aesop a symbol of ‘everything that stood against totalitarianism.’ But Aesop, like Medea, is a sign encompassing so many overlapping meanings that his literary embodiment is transcended and endlessly modulated in the artist’s practice. Aesop is, above all, an agent of freedom, the entity responsible for sparking the creative process in the studio. His leaps are so many movements of the mind, while his undisciplined nature channels the creative energy in countless directions. Aesop is a catalyst of ideas, rejecting the barriers between genres. His characteristic irreverence constitutes the ferment that pushes the artist to experiment in a plethora of forms of expression: drawing, collage, object, printing techniques, experimental film, performance, and animation.

Regarding his literary personality, Aesop is a relative of Păcală (‘Joker’ or ‘Trickster’), a character from Romanian folktales, who could be read in a subversive key as a parable of the way the weak and marginal confront the powerful by means of humor, courage, and cunning. This thread extends to another vernacular hero of Middle Eastern popular culture, Nasreddin Hodja, a follower of Aesop, carrying the latter’s ‘last breath,’ whose tales are rendered by Geta Brătescu in whimsical visual narratives. The same spirit precipitates the conjuring of characters like Charlot or Eugène Ionesco disguised as a clown; both are referenced in her writings, adding to the rich genealogy of jesters and fools telling uncomfortable truths to power. The artist is, after all, ‘tragicomic in her Chaplinesque destiny,’ a figure that can switch and accumulate identities, a theatrical creature playfully fashioning her many personae. Sometimes the studio itself becomes a theater stage and the objects within turn into characters that acquire parts in invented scenarios.

Extending the idea of playfulness, Brătescu is fascinated by the disruptive potential of magnets, as illustrated in her landmark piece, ‘Magnets in the City’ (1974), a photomontage with an accompanying text describing the ways in which magnets of various sizes, placed outside and within the city limits, unleash their hazardous energies, generating chaos while simultaneously reminding people of their own volition and power to act. In the same vein, the final segment of film, ‘The Studio,’ stages a Dada-like revolt, in which the artist employs various surrounding objects in a madcap, ritualized performance.

A more somber extrapolation of the state of febrile agitation may be linked to the concept of disorder, made explicit in another significant work, ‘Anti-Faust,’ an installation of almost formless drawings, developed as an antithesis to the conceptual and technical rigor of the Faust series, turning the visual interpretation of a literary masterpiece into an uncanny meditation on the self. Finally, the dimension of play and unbound formal inventiveness drives Brătescu’s recent Game of Forms series: each sheet of paper is like a field of competing energies, a theatrical or dance stage, where the profusion of shapes cut out with scissors enact condensed and abstracted versions of the Aesopian plays.

A displacement of the narrative towards sheer seriality and process also appears in her Drawings with the Eyes Closed series, which often emphasize the tension between the outside world and the inner flux of the mind that exteriorizes itself through drawing. The artist once declared that she starts these drawings ‘in/with a completely negative attitude towards expression.’ But this continuum does not go on uninterrupted, unhampered by the intrusion of memory, of some ‘mental motif,’ and she is well aware of that: ‘To draw with the eyes closed means on the one hand to invite chance, and on the other, to challenge it. It is precisely this double relation to the haphazard that reinforces the playful nature of this experience.’ Geta Brătescu incorporates in her ‘automatic’ drawings the emergence of forms, as the hand strives to record what gradually comes to mind, in a movement that cannot and will not let go of its creative impetus. This process is not devoid of its moments of impasse. Her video, ‘Cocktail Automatic’ (1993), captures the anxiety of the artistic process, marked by lapses, pointless repetitions, and failed attempts at beginning something.

Link: Geta Brătescu at Hauser & Wirth

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from Contemporary Art Daily http://bit.ly/2BGK1CH

[ingilizce-turkce]

NASREDDİN HOCA KİMDİR İNGİLİZCE HAYATI

NASREDDİN HOCA KİMDİR İNGİLİZCE HAYATI

NASREDDİN HODJA

Nasreddin lived in Anatolia, Turkey; he was born in Hortu Village in Sivrihisar,Eskişehir in the 13th century, then settled in Akşehir, and later in Konya where he died (probably born in 1209 CE and died 1275/6 or 1285/6 CE). As generations went by, new stories were added, others were modified, and the character and his tales spread to other regions. The themes in the tales have become part of the folklore of a number of nations and express the national imaginations of a variety of cultures. Although most of them depict Nasreddin in an early small-village setting, the tales (like Aesop’s fables) deal with concepts that have a certain timelessness. They purvey a pithy folk wisdom that triumphs over all trials and tribulations. The oldest manuscript of Nasreddin was found in 1571. Today, Nasreddin stories are told in a wide variety of regions, especially across the Muslim world, and have been translated into many languages. Some regions independently developed a character similar to Nasreddin, and the stories have become part of a larger whole. In many regions, Nasreddin is a major part of the culture, and is quoted or alluded to frequently in daily life. Since there are thousands of different Nasreddin stories, one can be found to fit almost any occasion.Nasreddin often appears as a whimsical character of a large Albanian, Arab, Armenian, Azeri, Bengali, Bosnian, Bulgarian, Greek, Kurdish, Chinese, Russian, Hindi, Italian, Pashto, Persian, Romanian, Serbian, Turkish and Urdu folk tradition of vignettes, not entirely different from zen koans. He is also very popular in Greece for his wisdom and his judgement;[citation needed] he is also known in Bulgaria, although in a different role, see below. He has been very popular in China for many years, and still appears in variety of movies, cartoons, and novels. The “International Nasreddin Hodja Festival” is held annually in Aksehir, Turkey between July 5–10. Some people say that, whilst uttering what seemed madness, he was, in reality, divinely inspired, and that it was not madness but wisdom that he uttered.

[icpe]

What are your favourite novels?

1. “Something wicked this way comes” by Ray Bradbury

2. “Neuromancer” by William Gibson

3. “Villains by necessity” by Eve Forward

4. “The Tale of Hodja Nasreddin“ by  Leonid Solovyov.

5. “The Adventures of Tom Sawyer” by Mark Twain