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Muslim sects regarded as heretical, such as the Druze, Ismailis, Alevis, and Alawites, ranked below Jews and Christians. In 1514, Sultan Selim I, nicknamed "the Grim" because of his cruelty, ordered the massacre of 40,000 Anatolian Alevis (Qizilbash), whom he considered heretics, reportedly proclaiming that "the killing of one Alevi had as much otherworldly reward as killing 70 Christians."[page needed] Selim was also responsible for an unprecedented and rapid expansion of the Ottoman Empire into the Middle East, especially through his conquest of the entire Mamluk Sultanate of Egypt, which included much of the region. With these conquests, Selim further solidified the Ottoman claim for being an Islamic caliphate, although Ottoman sultans had been claiming the title of caliph since the 14th century starting with Murad I (reigned 1362 to 1389). The caliphate would remain held by Ottoman sultans for the rest of the office's duration, which ended with its abolition on 3 March 1924 by the Grand National Assembly of Turkey and the exile of the last caliph, Abdülmecid II, to France. | The Muslim sect known as the Druze is considered what? | heretical |
Muslim sects regarded as heretical, such as the Druze, Ismailis, Alevis, and Alawites, ranked below Jews and Christians. In 1514, Sultan Selim I, nicknamed "the Grim" because of his cruelty, ordered the massacre of 40,000 Anatolian Alevis (Qizilbash), whom he considered heretics, reportedly proclaiming that "the killing of one Alevi had as much otherworldly reward as killing 70 Christians."[page needed] Selim was also responsible for an unprecedented and rapid expansion of the Ottoman Empire into the Middle East, especially through his conquest of the entire Mamluk Sultanate of Egypt, which included much of the region. With these conquests, Selim further solidified the Ottoman claim for being an Islamic caliphate, although Ottoman sultans had been claiming the title of caliph since the 14th century starting with Murad I (reigned 1362 to 1389). The caliphate would remain held by Ottoman sultans for the rest of the office's duration, which ended with its abolition on 3 March 1924 by the Grand National Assembly of Turkey and the exile of the last caliph, Abdülmecid II, to France. | What was Sultan Selim I's nickname? | the Grim |
Muslim sects regarded as heretical, such as the Druze, Ismailis, Alevis, and Alawites, ranked below Jews and Christians. In 1514, Sultan Selim I, nicknamed "the Grim" because of his cruelty, ordered the massacre of 40,000 Anatolian Alevis (Qizilbash), whom he considered heretics, reportedly proclaiming that "the killing of one Alevi had as much otherworldly reward as killing 70 Christians."[page needed] Selim was also responsible for an unprecedented and rapid expansion of the Ottoman Empire into the Middle East, especially through his conquest of the entire Mamluk Sultanate of Egypt, which included much of the region. With these conquests, Selim further solidified the Ottoman claim for being an Islamic caliphate, although Ottoman sultans had been claiming the title of caliph since the 14th century starting with Murad I (reigned 1362 to 1389). The caliphate would remain held by Ottoman sultans for the rest of the office's duration, which ended with its abolition on 3 March 1924 by the Grand National Assembly of Turkey and the exile of the last caliph, Abdülmecid II, to France. | In what year did Sultan Selim I order the massacre of 40,000 people whom he considered heretics? | 1514 |
Muslim sects regarded as heretical, such as the Druze, Ismailis, Alevis, and Alawites, ranked below Jews and Christians. In 1514, Sultan Selim I, nicknamed "the Grim" because of his cruelty, ordered the massacre of 40,000 Anatolian Alevis (Qizilbash), whom he considered heretics, reportedly proclaiming that "the killing of one Alevi had as much otherworldly reward as killing 70 Christians."[page needed] Selim was also responsible for an unprecedented and rapid expansion of the Ottoman Empire into the Middle East, especially through his conquest of the entire Mamluk Sultanate of Egypt, which included much of the region. With these conquests, Selim further solidified the Ottoman claim for being an Islamic caliphate, although Ottoman sultans had been claiming the title of caliph since the 14th century starting with Murad I (reigned 1362 to 1389). The caliphate would remain held by Ottoman sultans for the rest of the office's duration, which ended with its abolition on 3 March 1924 by the Grand National Assembly of Turkey and the exile of the last caliph, Abdülmecid II, to France. | What group did Sultan Selim I consider heretics and subsequently slaughter? | Anatolian Alevis (Qizilbash) |
Muslim sects regarded as heretical, such as the Druze, Ismailis, Alevis, and Alawites, ranked below Jews and Christians. In 1514, Sultan Selim I, nicknamed "the Grim" because of his cruelty, ordered the massacre of 40,000 Anatolian Alevis (Qizilbash), whom he considered heretics, reportedly proclaiming that "the killing of one Alevi had as much otherworldly reward as killing 70 Christians."[page needed] Selim was also responsible for an unprecedented and rapid expansion of the Ottoman Empire into the Middle East, especially through his conquest of the entire Mamluk Sultanate of Egypt, which included much of the region. With these conquests, Selim further solidified the Ottoman claim for being an Islamic caliphate, although Ottoman sultans had been claiming the title of caliph since the 14th century starting with Murad I (reigned 1362 to 1389). The caliphate would remain held by Ottoman sultans for the rest of the office's duration, which ended with its abolition on 3 March 1924 by the Grand National Assembly of Turkey and the exile of the last caliph, Abdülmecid II, to France. | Under Sultan Selim I the empire swallowed what sultanate in Egypt? | Mamluk Sultanate |
Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects. | What system deemed non-Muslims subjects of the empire but unbound by Muslim law? | the millet system |
Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects. | What code had been active for 900 years in the Byzantine empire? | Justinian's Code |
Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects. | What were non-Muslims also known as in the Islamic Ottoman State? | zimmi |
Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects. | Being a non-muslim in the Empire resulted in what as it related to taxes? | higher taxes |
Under the millet system, non-Muslim people were considered subjects of the Empire, but were not subject to the Muslim faith or Muslim law. The Orthodox millet, for instance, was still officially legally subject to Justinian's Code, which had been in effect in the Byzantine Empire for 900 years. Also, as the largest group of non-Muslim subjects (or zimmi) of the Islamic Ottoman state, the Orthodox millet was granted a number of special privileges in the fields of politics and commerce, and had to pay higher taxes than Muslim subjects. | What millet was subject to Justinian's Code? | The Orthodox millet |
The Ottomans absorbed some of the traditions, art and institutions of cultures in the regions they conquered, and added new dimensions to them. Numerous traditions and cultural traits of previous empires (in fields such as architecture, cuisine, music, leisure and government) were adopted by the Ottoman Turks, who elaborated them into new forms, which resulted in a new and distinctively Ottoman cultural identity. Despite newer added amalgamations, the Ottoman dynasty, like their predecessors in the Sultanate of Rum and the Seljuk Empire, were thoroughly Persianised in their culture, language, habits and customs, and therefore, the empire has been described as a Persianate empire. Intercultural marriages also played their part in creating the characteristic Ottoman elite culture. When compared to the Turkish folk culture, the influence of these new cultures in creating the culture of the Ottoman elite was clear. | The Ottoman dynasty was preceded by what sultanate? | Sultanate of Rum |
The Ottomans absorbed some of the traditions, art and institutions of cultures in the regions they conquered, and added new dimensions to them. Numerous traditions and cultural traits of previous empires (in fields such as architecture, cuisine, music, leisure and government) were adopted by the Ottoman Turks, who elaborated them into new forms, which resulted in a new and distinctively Ottoman cultural identity. Despite newer added amalgamations, the Ottoman dynasty, like their predecessors in the Sultanate of Rum and the Seljuk Empire, were thoroughly Persianised in their culture, language, habits and customs, and therefore, the empire has been described as a Persianate empire. Intercultural marriages also played their part in creating the characteristic Ottoman elite culture. When compared to the Turkish folk culture, the influence of these new cultures in creating the culture of the Ottoman elite was clear. | What is one way that the Empire was described as it related to culture? | Persianate empire |
The Ottomans absorbed some of the traditions, art and institutions of cultures in the regions they conquered, and added new dimensions to them. Numerous traditions and cultural traits of previous empires (in fields such as architecture, cuisine, music, leisure and government) were adopted by the Ottoman Turks, who elaborated them into new forms, which resulted in a new and distinctively Ottoman cultural identity. Despite newer added amalgamations, the Ottoman dynasty, like their predecessors in the Sultanate of Rum and the Seljuk Empire, were thoroughly Persianised in their culture, language, habits and customs, and therefore, the empire has been described as a Persianate empire. Intercultural marriages also played their part in creating the characteristic Ottoman elite culture. When compared to the Turkish folk culture, the influence of these new cultures in creating the culture of the Ottoman elite was clear. | When the Ottoman empire conquered a region what also became a part of the empire? | some of the traditions, art and institutions of cultures |
The Ottomans absorbed some of the traditions, art and institutions of cultures in the regions they conquered, and added new dimensions to them. Numerous traditions and cultural traits of previous empires (in fields such as architecture, cuisine, music, leisure and government) were adopted by the Ottoman Turks, who elaborated them into new forms, which resulted in a new and distinctively Ottoman cultural identity. Despite newer added amalgamations, the Ottoman dynasty, like their predecessors in the Sultanate of Rum and the Seljuk Empire, were thoroughly Persianised in their culture, language, habits and customs, and therefore, the empire has been described as a Persianate empire. Intercultural marriages also played their part in creating the characteristic Ottoman elite culture. When compared to the Turkish folk culture, the influence of these new cultures in creating the culture of the Ottoman elite was clear. | The Seljuk Empire was influenced by the cultures of others resulting in it being referred to as what? | Persianised |
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib. | What type of Ottoman poetry is ritualized? | Divan poetry |
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib. | What kind of poetry inspired Ottoman Divan Poetry? | Persian poetry |
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib. | What type of framework was Divan poetry based on? | a strict metrical framework |
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib. | What was the romance genre of Divan poetry known as? | mesnevî |
Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد tezâd) were more or less prescribed. Divan poetry was composed through the constant juxtaposition of many such images within a strict metrical framework, thus allowing numerous potential meanings to emerge. The vast majority of Divan poetry was lyric in nature: either gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. There were, however, other common genres, most particularly the mesnevî, a kind of verse romance and thus a variety of narrative poetry; the two most notable examples of this form are the Leyli and Majnun of Fuzûlî and the Hüsn ü Aşk of Şeyh Gâlib. | What make up the largest portion of Divan poetry? | gazels (which make up the greatest part of the repertoire of the tradition), or kasîdes. |
Until the 19th century, Ottoman prose did not develop to the extent that contemporary Divan poetry did. A large part of the reason for this was that much prose was expected to adhere to the rules of sec (سجع, also transliterated as seci), or rhymed prose, a type of writing descended from the Arabic saj' and which prescribed that between each adjective and noun in a string of words, such as a sentence, there must be a rhyme. Nevertheless, there was a tradition of prose in the literature of the time, though exclusively non-fictional in nature. One apparent exception was Muhayyelât ("Fancies") by Giritli Ali Aziz Efendi, a collection of stories of the fantastic written in 1796, though not published until 1867. The first novel published in the Ottoman Empire was by an Armenian named Vartan Pasha. Published in 1851, the novel was entitled The Story of Akabi (Turkish: Akabi Hikyayesi) and was written in Turkish but with Armenian script. | Prose in the Ottoman empire did not develop to a higher level until which century? | the 19th century |
Until the 19th century, Ottoman prose did not develop to the extent that contemporary Divan poetry did. A large part of the reason for this was that much prose was expected to adhere to the rules of sec (سجع, also transliterated as seci), or rhymed prose, a type of writing descended from the Arabic saj' and which prescribed that between each adjective and noun in a string of words, such as a sentence, there must be a rhyme. Nevertheless, there was a tradition of prose in the literature of the time, though exclusively non-fictional in nature. One apparent exception was Muhayyelât ("Fancies") by Giritli Ali Aziz Efendi, a collection of stories of the fantastic written in 1796, though not published until 1867. The first novel published in the Ottoman Empire was by an Armenian named Vartan Pasha. Published in 1851, the novel was entitled The Story of Akabi (Turkish: Akabi Hikyayesi) and was written in Turkish but with Armenian script. | What rules did Ottoman prose have to follow? | the rules of sec (سجع, also transliterated as seci), or rhymed prose |
Until the 19th century, Ottoman prose did not develop to the extent that contemporary Divan poetry did. A large part of the reason for this was that much prose was expected to adhere to the rules of sec (سجع, also transliterated as seci), or rhymed prose, a type of writing descended from the Arabic saj' and which prescribed that between each adjective and noun in a string of words, such as a sentence, there must be a rhyme. Nevertheless, there was a tradition of prose in the literature of the time, though exclusively non-fictional in nature. One apparent exception was Muhayyelât ("Fancies") by Giritli Ali Aziz Efendi, a collection of stories of the fantastic written in 1796, though not published until 1867. The first novel published in the Ottoman Empire was by an Armenian named Vartan Pasha. Published in 1851, the novel was entitled The Story of Akabi (Turkish: Akabi Hikyayesi) and was written in Turkish but with Armenian script. | What did the rules of sec require? | between each adjective and noun in a string of words, such as a sentence, there must be a rhyme |
Until the 19th century, Ottoman prose did not develop to the extent that contemporary Divan poetry did. A large part of the reason for this was that much prose was expected to adhere to the rules of sec (سجع, also transliterated as seci), or rhymed prose, a type of writing descended from the Arabic saj' and which prescribed that between each adjective and noun in a string of words, such as a sentence, there must be a rhyme. Nevertheless, there was a tradition of prose in the literature of the time, though exclusively non-fictional in nature. One apparent exception was Muhayyelât ("Fancies") by Giritli Ali Aziz Efendi, a collection of stories of the fantastic written in 1796, though not published until 1867. The first novel published in the Ottoman Empire was by an Armenian named Vartan Pasha. Published in 1851, the novel was entitled The Story of Akabi (Turkish: Akabi Hikyayesi) and was written in Turkish but with Armenian script. | Who wrote Muhayyelât? | Giritli Ali Aziz Efendi |
Until the 19th century, Ottoman prose did not develop to the extent that contemporary Divan poetry did. A large part of the reason for this was that much prose was expected to adhere to the rules of sec (سجع, also transliterated as seci), or rhymed prose, a type of writing descended from the Arabic saj' and which prescribed that between each adjective and noun in a string of words, such as a sentence, there must be a rhyme. Nevertheless, there was a tradition of prose in the literature of the time, though exclusively non-fictional in nature. One apparent exception was Muhayyelât ("Fancies") by Giritli Ali Aziz Efendi, a collection of stories of the fantastic written in 1796, though not published until 1867. The first novel published in the Ottoman Empire was by an Armenian named Vartan Pasha. Published in 1851, the novel was entitled The Story of Akabi (Turkish: Akabi Hikyayesi) and was written in Turkish but with Armenian script. | When was Muhayyelât written? | 1796 |
Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount. | What was the biggest influence from the west on Ottoman literature? | French literature |
Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount. | During what time period was Ottoman literate most influenced by the west? | the latter half of the 19th century |
Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount. | During the Tanzimat what western influence could be seen? | the influence of Romanticism |
Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount. | The poetic tradition had its biggest influence on what Ottoman literary movements? | the Symbolist and Parnassian movements |
Due to historically close ties with France, French literature came to constitute the major Western influence on Ottoman literature throughout the latter half of the 19th century. As a result, many of the same movements prevalent in France during this period also had their Ottoman equivalents: in the developing Ottoman prose tradition, for instance, the influence of Romanticism can be seen during the Tanzimat period, and that of the Realist and Naturalist movements in subsequent periods; in the poetic tradition, on the other hand, it was the influence of the Symbolist and Parnassian movements that became paramount. | Romanticism, and Realism were two movements from the west that influenced the Ottoman literary scene, what was the third? | Naturalist |
Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures. | What 1876 Novel did Namik Kemal write? | İntibâh ("Awakening") |
Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures. | What did İbrahim Şinasi write in 1860? | the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). |
Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures. | Who wrote Hasan Mellâh yâhud Sırr İçinde Esrâr? | Ahmed Midhat Efendi |
Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures. | What Realist novel did Ahmed Midhat Efendi write in 1881? | Henüz On Yedi Yaşında |
Many of the writers in the Tanzimat period wrote in several different genres simultaneously: for instance, the poet Namik Kemal also wrote the important 1876 novel İntibâh ("Awakening"), while the journalist İbrahim Şinasi is noted for writing, in 1860, the first modern Turkish play, the one-act comedy "Şair Evlenmesi" ("The Poet's Marriage"). An earlier play, a farce entitled "Vakâyi'-i 'Acibe ve Havâdis-i Garibe-yi Kefşger Ahmed" ("The Strange Events and Bizarre Occurrences of the Cobbler Ahmed"), dates from the beginning of the 19th century, but there remains some doubt about its authenticity. In a similar vein, the novelist Ahmed Midhat Efendi wrote important novels in each of the major movements: Romanticism (Hasan Mellâh yâhud Sırr İçinde Esrâr, 1873; "Hasan the Sailor, or The Mystery Within the Mystery"), Realism (Henüz On Yedi Yaşında, 1881; "Just Seventeen Years Old"), and Naturalism (Müşâhedât, 1891; "Observations"). This diversity was, in part, due to the Tanzimat writers' wish to disseminate as much of the new literature as possible, in the hopes that it would contribute to a revitalization of Ottoman social structures. | What did writers of the Tanzimat period hope to accomplish with their publications? | contribute to a revitalization of Ottoman social structures |
Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art. | Ottoman artists mixed Chinese art with the art of what else? | traditional Byzantine art |
Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art. | The ottoman empire built structures in Romania that included Mosques, and Bridges, what else was built? | fountains and schools |
Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art. | Why did the art of the Ottoman empire develop the way it did? | the wide ethnic range of the Ottoman Empire |
Examples of Ottoman architecture of the classical period, besides Istanbul and Edirne, can also be seen in Egypt, Eritrea, Tunisia, Algiers, the Balkans and Romania, where mosques, bridges, fountains and schools were built. The art of Ottoman decoration developed with a multitude of influences due to the wide ethnic range of the Ottoman Empire. The greatest of the court artists enriched the Ottoman Empire with many pluralistic artistic influences: such as mixing traditional Byzantine art with elements of Chinese art. | Beside Edirne, Istanbul, and Egypt what other locations can one find the influence of the Ottoman classical period? | Eritrea, Tunisia, Algiers, the Balkans and Romania |
Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings. | Were would one find the sheets where Ottoman's created illuminated decorations? | muraqqa |
Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings. | What is another name for an Ottoman miniature? | taswir |
Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings. | Ottoman calligraphy can also be referred to as what? | hat |
Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings. | Who commissioned illustrated manuscripts in the Ottoman empire? | the Sultan or the administrators of the court |
Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in muraqqa or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature (taswir), calligraphy (hat), Islamic calligraphy, bookbinding (cilt) and paper marbling (ebru). In the Ottoman Empire, illuminated and illustrated manuscripts were commissioned by the Sultan or the administrators of the court. In Topkapi Palace, these manuscripts were created by the artists working in Nakkashane, the atelier of the miniature and illumination artists. Both religious and non-religious books could be illuminated. Also sheets for albums levha consisted of illuminated calligraphy (hat) of tughra, religious texts, verses from poems or proverbs, and purely decorative drawings. | What palace was the place of creation for illustrated manuscripts? | Topkapi Palace |
The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them. | Which art was important in religious symbolism and as a decoration in the Ottoman empire? | carpet weaving |
The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them. | What was the custom for those wearing shoes indoors in the Ottoman empire? | it was customary to remove one's shoes |
The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them. | Where did carpet weaving in the Empire originate? | the nomadic cultures of central Asia |
The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them. | Where did carpet weaving initially spread to inside of the Empire? | Anatolia |
The art of carpet weaving was particularly significant in the Ottoman Empire, carpets having an immense importance both as decorative furnishings, rich in religious and other symbolism, and as a practical consideration, as it was customary to remove one's shoes in living quarters. The weaving of such carpets originated in the nomadic cultures of central Asia (carpets being an easily transportable form of furnishing), and was eventually spread to the settled societies of Anatolia. Turks used carpets, rugs and kilims not just on the floors of a room, but also as a hanging on walls and doorways, where they provided additional insulation. They were also commonly donated to mosques, which often amassed large collections of them. | Kilims were used by Turks to provide insulation where? | walls and doorways |
Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. | The elites of the Ottoman empire found what type of music important? | Ottoman classical music |
Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. | Many of the Sultans of the Ottoman empire were accomplished at being what? | musicians and composers |
Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. | The sultan known by what name has compositions which are still performed today? | Selim III |
Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. | What rhythmic units does Ottoman classical music use? | units called usul |
Ottoman classical music was an important part of the education of the Ottoman elite, a number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes. | What are the melodic units used by Ottoman classical music? | makam |
The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music. | What are the three most used Anatolian and central asian instruments in Ottoman Classical music? | the saz, the bağlama, the kemence |
The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music. | Which Middle Eastern instruments can be heard in Ottoman classical music? | the ud, the tanbur, the kanun, the ney |
The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music. | In late Ottoman classical music one can find Western instruments, what were they? | the violin and the piano |
The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music. | There were two main style of music in the Ottoman empire, what were they? | classical music, and folk music |
The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), and—later in the tradition—Western instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Türküs, North-Eastern (Laz) Türküs, Aegean Türküs, Central Anatolian Türküs, Eastern Anatolian Türküs, and Caucasian Türküs. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music. | What were the most distinctive style of music in the Ottoman provinces? | Janissary Music, Roma music, Belly dance, Turkish folk music |
Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. | The cuisine known as Ottoman cuisine is in reference to the food eaten where? | the capital, Istanbul, and the regional capital cities |
Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. | In what kitchen's was Ottoman cuisine perfected? | the Imperial Palace's kitchens |
Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. | What is one type of religious event that the general public may come to experience the creations of the Imperial Palace? | Ramadan |
Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. | Preparing food at the Yalıs of the Pashas was one way Ottoman Cuisine might spread to whom? | the population |
Ottoman cuisine refers to the cuisine of the capital, Istanbul, and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens filtered to the population, for instance through Ramadan events, and through the cooking at the Yalıs of the Pashas, and from there on spread to the rest of the population. | What did the chefs ingredients in the Imperial Palace's kitchens? | create and experiment |
Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more. | Turkish cuisine originates from what source? | a shared Ottoman cuisine |
Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more. | The cuisine of what territories are descended from Ottoman cuisine? | former Ottoman territories |
Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more. | Turkish and Greek cuisine are descended from Ottoman Cuisine, along with the food of what other regions? | Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine |
Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more. | Turkish coffee is descended from what? | Ottoman cuisine |
Much of the cuisine of former Ottoman territories today is descended from a shared Ottoman cuisine, especially Turkish cuisine, and including Greek cuisine, Balkan cuisine, Armenian cuisine, and Middle Eastern cuisine. Many common dishes in the region, descendants of the once-common Ottoman cuisine, include yogurt, döner kebab/gyro/shawarma, cacık/tzatziki, ayran, pita bread, feta cheese, baklava, lahmacun, moussaka, yuvarlak, köfte/keftés/kofta, börek/boureki, rakı/rakia/tsipouro/tsikoudia, meze, dolma, sarma, rice pilaf, Turkish coffee, sujuk, kashk, keşkek, manti, lavash, kanafeh, and more. | Pita bread descends from what type of cuisine? | Ottoman cuisine |
Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. | In what century did the Ottoman's start to desire foreign manuscripts? | 15th Century |
Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. | Which sultan ordered a Greek scholar to do translations of work by Ptolemy? | Sultan Mehmet II |
Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. | Who did an Ottoman sultan order to translate work by Ptolemy? | Georgios Amiroutzes |
Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. | How many years did Ali Qushji spend in Istanbul? | two or three years |
Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th Century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji -an astronomer, mathematician and physicist originally from Samarkand- who became a professor in two madrasas, and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years before his death in Istanbul. | Where was Ali Qushji from? | originally from Samarkand |
The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir. | When did European sport clubs begin to form in the Ottoman empire? | 19th century |
The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir. | Where did football matches become to be popular in the Ottoman empire? | Constantinople |
The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir. | What was the leading sport club in 1905? | Galatasaray Sports Club |
The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir. | In what year did the Altay Sports Club form? | 1914 |
The main sports Ottomans were engaged in were Turkish Wrestling, hunting, Turkish archery, horseback riding, Equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905) and Fenerbahçe Sports Club (1907) in Istanbul. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir. | What was the football club known as Ülküspor formerly known as? | Turkish Fatherland Football Club |
Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time). | Which philosophy branch is concerned with issues surrounding ontology? | Philosophy of space and time |
Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time). | The philosophy of space and time was inspired by what kind of philosophy? | early analytic philosophy |
Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time). | The philosophy of space and time focuses on whether or not time and space exist independently of what? | the mind |
Philosophy of space and time is the branch of philosophy concerned with the issues surrounding the ontology, epistemology, and character of space and time. While such ideas have been central to philosophy from its inception, the philosophy of space and time was both an inspiration for and a central aspect of early analytic philosophy. The subject focuses on a number of basic issues, including whether or not time and space exist independently of the mind, whether they exist independently of one another, what accounts for time's apparently unidirectional flow, whether times other than the present moment exist, and questions about the nature of identity (particularly the nature of identity over time). | The philosophy of space and time focuses what kind of flow within time? | unidirectional |
The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time. | Who expounded the earliest recorded Western philosophy of time? | Ptahhotep |
The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time. | When do the Vedas date back to? | late 2nd millennium BC |
The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time. | Which philosophies are the Vedas oriented with? | Indian philosophy and Hindu philosophy |
The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time. | What do the Vedas describe? | ancient Hindu cosmology |
The earliest recorded Western philosophy of time was expounded by the ancient Egyptian thinker Ptahhotep (c. 2650–2600 BC), who said, "Do not lessen the time of following desire, for the wasting of time is an abomination to the spirit." The Vedas, the earliest texts on Indian philosophy and Hindu philosophy, dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction, and rebirth, with each cycle lasting 4,320,000 years. Ancient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time. | How long is the cycle of rebirth discussed in the Vedas? | 4,320,000 years |
In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6). | Which christian philosopher ruminated on time? | St. Augustine |
In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6). | What did St. Augustine comment on in Book 11, regarding thinking about time? | the difficulty |
In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6). | Who presented the first philosophical argument for the reality of Creation? | Augustine |
In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6). | What did Augustine say that the knowledge of time depended on? | the knowledge of the movement of things |
In Book 11 of St. Augustine's Confessions, he ruminates on the nature of time, asking, "What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not." He goes on to comment on the difficulty of thinking about time, pointing out the inaccuracy of common speech: "For but few things are there of which we speak properly; of most things we speak improperly, still the things intended are understood." But Augustine presented the first philosophical argument for the reality of Creation (against Aristotle) in the context of his discussion of time, saying that knowledge of time depends on the knowledge of the movement of things, and therefore time cannot be where there are no creatures to measure its passing (Confessions Book XI ¶30; City of God Book XI ch.6). | Where did Augustine say time could not appear? | where there are no creatures to measure its passing |
In the early 11th century, the Muslim physicist Ibn al-Haytham (Alhacen or Alhazen) discussed space perception and its epistemological implications in his Book of Optics (1021), he also rejected Aristotle's definition of topos (Physics IV) by way of geometric demonstrations and defined place as a mathematical spatial extension. His experimental proof of the intromission model of vision led to changes in the understanding of the visual perception of space, contrary to the previous emission theory of vision supported by Euclid and Ptolemy. In "tying the visual perception of space to prior bodily experience, Alhacen unequivocally rejected the intuitiveness of spatial perception and, therefore, the autonomy of vision. Without tangible notions of distance and size for correlation, sight can tell us next to nothing about such things." | Which 11th century Muslim physicist discussed space perception and its epistemological implications? | al-Haytham |
In the early 11th century, the Muslim physicist Ibn al-Haytham (Alhacen or Alhazen) discussed space perception and its epistemological implications in his Book of Optics (1021), he also rejected Aristotle's definition of topos (Physics IV) by way of geometric demonstrations and defined place as a mathematical spatial extension. His experimental proof of the intromission model of vision led to changes in the understanding of the visual perception of space, contrary to the previous emission theory of vision supported by Euclid and Ptolemy. In "tying the visual perception of space to prior bodily experience, Alhacen unequivocally rejected the intuitiveness of spatial perception and, therefore, the autonomy of vision. Without tangible notions of distance and size for correlation, sight can tell us next to nothing about such things." | Which 11th century book discussed space perception and its epistemological implications? | Book of Optics |
In the early 11th century, the Muslim physicist Ibn al-Haytham (Alhacen or Alhazen) discussed space perception and its epistemological implications in his Book of Optics (1021), he also rejected Aristotle's definition of topos (Physics IV) by way of geometric demonstrations and defined place as a mathematical spatial extension. His experimental proof of the intromission model of vision led to changes in the understanding of the visual perception of space, contrary to the previous emission theory of vision supported by Euclid and Ptolemy. In "tying the visual perception of space to prior bodily experience, Alhacen unequivocally rejected the intuitiveness of spatial perception and, therefore, the autonomy of vision. Without tangible notions of distance and size for correlation, sight can tell us next to nothing about such things." | Whose definition of topos did Alhazen reject? | Aristotle's |
In the early 11th century, the Muslim physicist Ibn al-Haytham (Alhacen or Alhazen) discussed space perception and its epistemological implications in his Book of Optics (1021), he also rejected Aristotle's definition of topos (Physics IV) by way of geometric demonstrations and defined place as a mathematical spatial extension. His experimental proof of the intromission model of vision led to changes in the understanding of the visual perception of space, contrary to the previous emission theory of vision supported by Euclid and Ptolemy. In "tying the visual perception of space to prior bodily experience, Alhacen unequivocally rejected the intuitiveness of spatial perception and, therefore, the autonomy of vision. Without tangible notions of distance and size for correlation, sight can tell us next to nothing about such things." | Alhazen's experimental proof of the intromission model of vision led to the change of understanding of what? | Without tangible notions of distance and size for correlation, sight can tell us next to nothing about such things |
In the early 11th century, the Muslim physicist Ibn al-Haytham (Alhacen or Alhazen) discussed space perception and its epistemological implications in his Book of Optics (1021), he also rejected Aristotle's definition of topos (Physics IV) by way of geometric demonstrations and defined place as a mathematical spatial extension. His experimental proof of the intromission model of vision led to changes in the understanding of the visual perception of space, contrary to the previous emission theory of vision supported by Euclid and Ptolemy. In "tying the visual perception of space to prior bodily experience, Alhacen unequivocally rejected the intuitiveness of spatial perception and, therefore, the autonomy of vision. Without tangible notions of distance and size for correlation, sight can tell us next to nothing about such things." | Alhazen stated that without tangible notions of distance and size for correlation, sight can tell us what about spatial perception? | next to nothing |
In 1781, Immanuel Kant published the Critique of Pure Reason, one of the most influential works in the history of the philosophy of space and time. He describes time as an a priori notion that, together with other a priori notions such as space, allows us to comprehend sense experience. Kant denies that either space or time are substance, entities in themselves, or learned by experience; he holds, rather, that both are elements of a systematic framework we use to structure our experience. Spatial measurements are used to quantify how far apart objects are, and temporal measurements are used to quantitatively compare the interval between (or duration of) events. Although space and time are held to be transcendentally ideal in this sense, they are also empirically real—that is, not mere illusions. | When did Kant publish one of the most influential works in the history of the philosophy of space and time. | 1781 |
In 1781, Immanuel Kant published the Critique of Pure Reason, one of the most influential works in the history of the philosophy of space and time. He describes time as an a priori notion that, together with other a priori notions such as space, allows us to comprehend sense experience. Kant denies that either space or time are substance, entities in themselves, or learned by experience; he holds, rather, that both are elements of a systematic framework we use to structure our experience. Spatial measurements are used to quantify how far apart objects are, and temporal measurements are used to quantitatively compare the interval between (or duration of) events. Although space and time are held to be transcendentally ideal in this sense, they are also empirically real—that is, not mere illusions. | What was Kant's influential work on the history of the philosophy of space and time titled? | Critique of Pure Reason |
In 1781, Immanuel Kant published the Critique of Pure Reason, one of the most influential works in the history of the philosophy of space and time. He describes time as an a priori notion that, together with other a priori notions such as space, allows us to comprehend sense experience. Kant denies that either space or time are substance, entities in themselves, or learned by experience; he holds, rather, that both are elements of a systematic framework we use to structure our experience. Spatial measurements are used to quantify how far apart objects are, and temporal measurements are used to quantitatively compare the interval between (or duration of) events. Although space and time are held to be transcendentally ideal in this sense, they are also empirically real—that is, not mere illusions. | What did Kant describe time as? | a priori notion |
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