#Turchi

[gregor-samsung]

“ Quando Maometto II s'impadronì di Costantinopoli, la città non era più da diversi decenni la grande metropoli del passato; già prima del 1453 numerosi abitanti l'avevano abbandonata, e ancorché non si possa stabilire esattamente l'ammontare della popolazione nel momento della conquista, essa era molto probabilmente inferiore ai 100.000 abitanti. Questi, beninteso, erano greci nella quasi totalità, anche se esisteva già un piccolo nucleo di musulmani, la cui presenza risaliva almeno alla seconda metà del XIV secolo. Subito dopo aver conquistato la città, Maometto II deportò la maggior parte della restante popolazione greca, e per sostituirla fece venire dei turchi dall'Asia minore, ma anche dei non musulmani già sottomessi all'autorità ottomana, che risiedevano in Anatolia nelle province balcaniche. Questo primo popolamento effettuato dai turchi ha lasciato tracce nella capitale, in quanto i nuovi arrivati si sono raggruppati secondo il luogo d'origine e hanno spesso dato questo nome ai quartieri che occupavano, come per esempio i quartieri di Aksaray, di Balat, di Karaman, di Çarşamba, popolati da genti provenienti dalle città omonime. Tra le minoranze che furono installate a Istanbul negli anni che seguirono la conquista, citiamo i greci delle isole e del Peloponneso, gli armeni d'Asia minore, gli ebrei di Salonicco. Praticamente questi trasferimenti di popolazione sono attuati in modo autoritario e si potrebbe quasi parlare di deportazione. In ogni caso i nuovi arrivati si videro attribuire le case abbandonate dai greci e alcune facilitazioni per esercitare nella capitale la loro attività artigianale o commerciale: Maometto II voleva restituire a Costantinopoli vita e animazione e fare della città il primo centro del mondo musulmano, soppiantando il Cairo, ancora nelle mani dei mamelucchi. Egli proseguì nel suo intento e le conquiste che fece nei Balcani facilitarono l'impresa. Non è tuttavia certo che la popolazione di Istanbul, alla fine del XV secolo, superasse le 200.000-250.000 unità. “

Robert Mantran, La vita quotidiana a Costantinopoli ai tempi di Solimano iI Magnifico e dei suoi successori (XVI-XVII secolo), traduzione di Maria Luisa Mazzini, BUR (Biblioteca Universale Rizzoli), Milano, 1985¹; pp. 75-76.

[Edizione originale: La Vie quotidienne à Constantinople au temps de Soliman le Magnifique et de ses successeurs (XV ͤ  et XVII ͤ  siècles), Paris, Hachette, coll. « La vie quotidienne », 1965 ]

[cooperatoresveritatisinfo]

11 e 12 settembre 1683 le nazioni Cattoliche con il beato Marco d'Aviano, vincono a Vienna

Anniversario della battaglia di Vienna dell’11 e 12 settembre 1683: sotto la guida del Papa Innocenzo XI le nazioni cattoliche sconfissero i Turchi e salvarono la Cristianità. Un secolo più tardi le nazioni cattoliche infiltrate dalle logge massoniche, divennero apostate e sovvertirono la Cristianità. I laicisti e anticlericali che festeggiano il 1789 non possono, ovviamente, festeggiare il…

[primepaginequotidiani]

PRIMA PAGINA Giornale Di Sicilia di Oggi lunedì, 12 agosto 2024

[diioonysus]

jael slaying sisera / judith slaying holofernes

[sculppp]

Alessandro Turchi (1578–1649)

Erminia finds the wounded Tancred, 1630 (detail).

[granstromjulius]

Alessandro Turchi

[lea-mattioli]

Nostra Signora dei Turchi ⭒

[ghw-archive]

"Allegory of Hope" {1617 - 1618} By ~ Alessandro Turchi

[allegorypaintings]

Charity

Artist: Alessandro Turchi (Italian, 1578-1649)

Date: 1615-1620

Medium: Oil on canvas

Collection: National Gallery Victoria, Melbourne, Australia

[falsenote]

Our Lady of the Turks (1968)

[pangeen]

" Scala dei Turchi " //© Sebastien Nagy

[mlleclaudine]

Adèle Haenel : le cinéaste Christophe Ruggia condamné pour agressions sexuelles sur mineure

by Marine Turchi - Mediapart, February 3, 2025

AP photo by Aurelien Morissard

Five years after the revelations in Mediapart, actress Adèle Haenel has won her case in court.  On Monday February 3, filmmaker Christophe Ruggia was sentenced to four years' imprisonment, including two years under electronic surveillance, for sexual abuse of a 15-year-old minor.

She wanted «justice for this child whom no one protected».  The courts listened to Adèle Haenel when, on Monday February 3, they sentenced Christophe Ruggia to four years' imprisonment, including two years under electronic surveillance.

Closely following the recommendations of the public prosecutor, the Paris Criminal Court found the director guilty of sexually assaulting the actress when she was a minor.  It emphasized that Christophe Ruggia had «taken advantage of the influence» he had over the young actress «as a result of the exclusive relationship» he had established during the filming of Les Diables (2002), in which Adèle Haenel played the lead role.  At the time of the events, from 2001 to 2004, she was between 12 and 15 years old, and he was between 36 and 39.

The court also prohibited the director from working with minors for five years, and ordered him to pay the actress 40,000 euros in compensation for emotional distress and medical expenses, plus 10,000 euros for legal costs.

In his reading of the verdict, the president of the court emphasized the fact that Adèle Haenel had confided in several people close to her, in the years before she spoke out in Mediapart in 2019, but he also mentioned the revelations of people in Christophe Ruggia's entourage at the time.

When the decision was announced, the 35-year-old actress, wearing a grey suit and green shirt, remained stone-faced.  Accompanied by her lawyers, Anouck Michelin and Yann Le Bras, she quickly left the courtroom to lengthy applause from the audience.  She addressed only the «activists» present: «Thank you for being here to advance human rights, and thank you for the support.»

«It's not up to us to be satisfied or dissatisfied with this decision, nor to comment on the severity of the sentence», responded her lawyer, Anouck Michelin, adding: «We recognize the fact that the court found Christophe Ruggia guilty of the charges against him.  That was the key thing, that was what we were fighting for.  And that's what motivates Adèle Haenel today: to hear the court say that she is Christophe Ruggia's victim.»

Through her «deeply moving but more importantly genuine» statement in Mediapart, the actress had «identified a problem of society, of power, of patriarchy», recalled her lawyer, and above all «raised the question of whether justice could be heard for the victims»: «Today, we have a key component of an answer, and if we have to play this game again on appeal, we'll play it again», concluded Mr. Michelin.

There will indeed be a hearing before the Court of Appeal: Christophe Ruggia, who was also present at the deliberations, immediately went to the court clerk's office to appeal the decision.  His lawyer, Fanny Colin, reiterated that his client «maintains that he never touched Adèle Haenel».  «Here, the law of the most powerful, of the one who screams the loudest, of the one who has the unconditional support of public opinion, has crushed the fundamental principle of law, which is the benefit of the doubt.  The court's decision leaves us with the bitter feeling that injustice is preferable to chaos, which Christophe Ruggia's acquittal would have brought about», explained the lawyer as she left the hearing.

On the courthouse steps and in the courtroom, feminist activists, figures from the French #MeToo movement and from the world of cinema, such as actresses Judith Godrèche and Aïssa Maïga, had come to support Adèle Haenel.

Two months earlier, at the end of a very tense trial, the prosecutor, Camille Poch, had asked the court to sentence the filmmaker to two years' detention - which could be carried out via electronic surveillance - to «set the world straight, remind us of the forbidden, and who was the child, who was the adult».  She was referring to Adèle Haenel's words on the Mediapart set in 2019: «If I speak out, it's not to destroy Christophe, it's to set the world straight [...], so that perpetrators stop strutting around and face what they’ve done, so that shame is embedded where it belongs.»

It was in a Mediapart investigation that year that Adèle Haenel recounted, in great detail, the Saturday afternoons she spent at Christophe Ruggia's home, after filming of Les Diables ended in the early 2000s.  The Cadbury Finger blanc cookies and Orangina that the filmmaker always placed on the small table in the living room; the conversations during which he would «go off the rails», according to her; the hands he would slide «under her t-shirt», «on her thigh moving down towards [her] sex» and his kisses «on her neck», which she would try to escape by fleeing from the sofa to the armchair and then to the footrest, «which was so small that he couldn't get close to [her]».

Her story was corroborated by several witnesses’ testimonies, collected by Mediapart and then by the courts from the film's crew, some of whom attested to the director's «hold» over the young actress, and from those close to her, who recounted their «discomfort» at the time or the teenager's attempts to express herself over the years.

But two testimonies from Christophe Ruggia's entourage at the time carried particular weight.  One of Ruggia's former girlfriends, director Mona Achache, recounted the filmmaker's confessions to her in 2011, notably that he had «romantic feelings» for the young actress.  His sister Véronique Ruggia, who was his assistant on the set of Les Diables, confirmed that she had questioned him after a discussion with Adèle Haenel - who had hinted at complaints about his behavior a few years after the fact.

The actress's accusations were also backed up by written documents, such as a letter to Christophe Ruggia, written in 2014 and never sent, in which she denounced the facts in detail and used the word «pedophilia»; or the two letters sent to her by the director in 2006 and 2007, in which he mentioned his «love for [her]», which «was sometimes too much to bear».  Police investigations also uncovered a Google search for «adèle haenel hot» on the filmmaker's computer in 2011 (the actress was 22 at the time) and a manuscript entitled «Adèle Haenel m'a tué» (2019), in which he wrote that «Adèle and her 12 years had an overwhelming sensuality».

Although he conceded a kind of «domination» as a director, and acknowledged that he had «made the mistake of playing Pygmalion», Christophe Ruggia has always denied any sexual abuse and attributed the actress's accusations to a film project that ultimately came to nothing in 2004.

He cultivated this theory of revenge during the hearing in December, while denouncing the «Stalinist trial» in which Mediapart was «the prosecutor»: «I was considered guilty by everyone from the start!  #MeToo was going to happen in France, and it landed on me!   There was a strategy behind it.»

An «absurd defense», dismissed the prosecutor.  On the stand, Adèle Haenel called everyone to account: «But who's the adult?  Who was there to tell this child: “It's not your fault”?»

The court's decision was eagerly awaited.  Firstly, because this case opened the door to the French #MeToo movement, two years after its launch in the United States.  Adèle Haenel's outspokenness in Mediapart caused an upheaval in the film world and in society at large, where the universal scope of her testimony resonated strongly.  The press unanimously hailed it as a «chilling one-hour scream», a «manifesto», a «new and powerful voice» that «reinvigorated the #MeToo movement» and marked a «historic date».

In the five years since, the actress has become the standard-bearer for those who denounce the impunity of sexual abusers, and a symbol of resistance.  In 2020, she walked out of the César ceremony with an iconic «Shame!» to protest the three prizes awarded to Roman Polanski, who has been accused of rape by several teenage girls.  In 2023, she turned her back on the film world in which she had succeeded, to denounce the industry's complacency towards sexual and gender-based violence.  In 2024, at the trial, she never took her eyes off Christophe Ruggia, and pounded her fist on the table when he went so far as to appropriate the new surname she had chosen as a young actress: «Shut the hell up!»

On Monday February 3, the court's decision was also anticipated because of Adèle Haenel's criticism of the judicial system in 2019.  By choosing to address a media outlet rather than the courts, the actress had raised the issue of judicial dysfunction in the handling of complaints of sexual violence, more than two-thirds of which are dismissed.  In Mediapart, she explained that she had never given thought to the justice system, which «rarely condemns sexual abusers», and added, in a phrase that left a lasting impression: «Justice ignores us, so we ignore justice.»

Three days after the Mediapart revelations, the Paris public prosecutor's office opened an investigation.  Adèle Haenel decided not to «back down» and to lodge a complaint: «Justice has taken a step, so I will as well», she told Mediapart.

The judiciary acted swiftly.  Within two months, the investigation, assigned to a unit specializing in child abuse cases, led to Christophe Ruggia’s being held in police custody for forty-eight hours, and then to an indictment for sexual assault of a 15-year-old minor.

Adèle Haenel was aware of this throughout the proceedings: time and resources were devoted to her case, and «competent», «sensitive» police officers and magistrates «who take their jobs to heart» were assigned to it.  But she was never fooled by the «public relations campaign».  «I imagine that the State wants to set an example and prove through my case that, no, there are no problems in the judicial handling of cases of sexual violence», she explained to us in an interview in 2021.  The actress said ironically: «Like in the Soviet Union back in the day, I feel like I'm being shown the display case, the most beautiful places, the most beautiful municipal gymnasium.»

Christophe Ruggia and his lawyers quickly complained about the speed of justice, and in 2020, they obtained the cancellation of his police custody and the lifting of the obligation to submit to psychological care, laid down in his supervision order.

Despite this procedural victory, the investigation file grew thicker with each passing month.  In August 2024, after five years of investigations, the judge decided to refer the filmmaker to the criminal court, emphasizing the «detailed, constant and precise» denunciations made by the actress, «her state of shock» at the time of the events, their «psychological repercussions», «the significant age difference between the two parties» and «the occurrence of progressive psychological coercion» applied by the director.  For Adèle Haenel, seeing these words written in black and white served as the first validation, and provoked «a lot of emotion», she told Mediapart.

During the trial, the actress was immediately questioned by the presiding judge about her desire to speak out in the media rather than go to court.  Why didn't she file a complaint at the time?  Had she considered the consequences for Christophe Ruggia? This was a way for the magistrate to avoid mentioning the questioning of the actress in 2019, which had irritated a section of the judicial world by holding up a mirror to an institution incapable of handling these cases.  The question had shocked the actress.  No, she hadn't thought about the consequences for the man she accused of molesting her as a child.  «At that moment, I spoke out because it was impossible to remain silent.  I was only thinking about this unbearable, enforced silence.»

h/t to @thexfridax for getting me access to the article - thanks, Ros!

[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist – I know far too well how easy it is to appropriate stuff on Tumblr.  I would be the first to admit that my translations are not perfect – there are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts – but they do take a lot of work and time.  Thanks for understanding. - C.]

[galleryofart]

Poetry

Artist: Alessandro Turchi (Italian, 1578-1649)

Date: 1606

Medium: Oil on canvas

Collection: The Royal Collection, United Kingdom

Description

This painting depicting Poetry formed one side of an organ shutter originally painted for the organ in the newly built music hall at the Accademia Filarmonica in Verona. When the shutters were opened, Music appeared on the left with Poetry on the right. The figure was inspired by Cesare Ripa's Iconologia and the artist probably consulted the 1603 edition which has some woodcut illustrations. Identifiable primarily by their costume and the attributes they hold. Crowned with a laurel wreath, Poetry is dressed in blue to show that poetry is a heavenly art; her head is winged, to convey her 'flights of Fancy'; she holds a book in one hand and, in the other, a laurel branch, sharpened like a quill pen. Ripa includes the laurel crown, wings on head, book in left hand and 'sceptre' of laurel, but there is no woodcut illustration.

King's Bed Chamber, Windsor Castle

[mythologypaintings]

The Judgement of Paris

Artist: Alessandro Turchi (Italian, 1578–1649)

Date: ca. 1640

Medium: Oil on canvas

Collection: Metropolitan Museum of Art, New York City, NY, United States

Description

Turchi enjoyed a prestigious career in Rome, where he became head of the Accademia di San Luca in 1637. This painting is characteristic of his historical subjects: monumental figures presented in a frieze and executed with soft, sfumato effects of paint and light.

The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War, and in later versions to the foundation of Rome.

Eris, the goddess of discord, was not invited to the wedding of Peleus and Thetis. In revenge, she brought a golden apple, inscribed, "To the fairest one," which she threw into the wedding. Three guests, Hera, Athena and Aphrodite, after some disputation, agreed to have Paris of Troy choose the fairest one. Paris chose Aphrodite, she having bribed him with the most beautiful mortal woman in the world, Helen of Sparta, wife of Menelaus. Whereupon Paris carried Helen off to Troy, and the Greeks invaded Troy for Helen's return. Eris' Apple of Discord was thus the instrumental casus belli (or her not being invited to the wedding in the first place) of the Trojan War.

[oldsardens]

Alessandro Turchi, dit l'Orbetto - Léda et le cygne

[granstromjulius]

Alessandro Turchi