http://yasam.bugun.com.tr/yalniz-leonardo-da-vinci-degil-michelangelo-da-galata-ya-kopru-yapmak-istemisti-yazisi-210000

Doesn’t it sound strange that Leonardo da Vinci (and Michelangelo also as my article relates) were eager to plan bridges for Istanbul? It actually shows what a magnetic city Istanbul was in the 15^th century in the eyes of Western intelligentsia. It is good to remember this even though Renaissance in school history books is often solely connected to Italy.

It was very much the inheritage of Fatih Sultan Mehmet who showed hospitality European learned men and artists as well as Christian scholars.

Fatih´in oğlu II. Bâyezid…İtalya´daki devletlerle iyi ilişkiler kurmuştu. Avrupalı sanatkârlar, Fatih zamanında birçok sanatçının Osmanlı Devleti´nde faaliyet göstermiş olması ve İkinci Bâyezid´in da Batı´yla bu kadar ilgilenmesinden dolayı araştırmalarına maddi destek sağlamak için sultanla temas kurmaya çalıştılar. Mehmed II’s son Bayezid II built good relationships with the governments in Italy. European artists strived to make contact with the Sultan in order to gain material support for their studies because during the Conqueror many artists were in the service of the Ottoman Empire and because Bayezid II also was so much interested in the West.

The big mistake is to see the old woman only as a fragile oldster. It is all inside of her: the little girl, the young bride, the adult woman in her strength and bloom.

I came across a couple of linguistic anecdotes today while reading about language contacts. Five hundred years of Ottoman rule has left behind many Turkish features in Balkan languages. The most obvious of them is vocabulary of course. But there has also been a deeper influence.

In Macedonian the use of the verb jade ´to eat´ has been widened to new idioms following the Turkish model of yemek used in expressions equivalent to yağmur yemek ´to get wet in the rain´, kötek yemek ´to get a beating´ and bok yemek ´to say something wrong, to put one´s foot in it´.

In Albanian, the verbs bëj ´to do´ and bëhem ´to be´ are used exactly the same way like etmek and olmak are used in Turkish in compounds with nouns of Arabic origin. The only difference is that in Albanian the loanwords connected to these auxiliaries are  -  Turkish!

In Serbian, it seems that you can strengthen adjectives by duplicating the first syllable just like we got used to seeing it in Turkish:

                    Srb ravno ´even´ > ravravno ´entirely horizontal´

Maybe our Balkan members can correct me or provide us with some more examples.

Thank you for your attention, og2009, but I don´t think anyone is really interested in those things.

Some saz just for the balance:

                 https://www.youtube.com/watch?v=C2uR-y0F4po

I have been listening to Kıvırcık Ali (1968-2011) a lot and I think he died when he was at his best. It is not only his musical talent that impresses me but the personality also. You just have to look at him when he plays: the way his eyes communicate, all the expression on his face. His voice, his beautiful Turkish accent. Mekanı cennet olsun.

I have begun to see how these old compounds are all upside down. The language is Turkish, the words are Arabic and the word order of the noun phrases is Persian. These compounds must have sounded so strange in the commons´ ears.

Saz and bağlama are two different things aren´t they?

Because it comes from the verb stem büyü-, not from the adjective büyük. Where can you get the ğ from when there is no k in the first place, eh?

...and this adverbial verb form doesn´t actually show the person at all. So, in your sentence

                      Büyüyünce ne olmak istiyorsun?

the person, sg 2nd, shows only in the main verb. Thus, the pl 1st person for example would be

                      Büyüyünce ne olmak istiyoruz?

This feature, following the main clause predicate in person and number, is typical to adverbial clauses. But read more in the links.

I knew my wife´s mother while I was not married with her yet.