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The Ottoman journal Aşiyan (Arabic: آشیان; DMG: Āšiyān; English: "Home") was published in Istanbul between 1908 and 1909 in a total of 14 issues. The content focused on literary, scientific and political topics.Aşiyan. No. 1. Istanbul 1908. One of the most famous writers of Aşiyan is Halide Edib Adıvar (1884-1964), a popular Turkish nationalist, writer and feminist. She published a range of articles that deal with the women's position in the Ottoman Empire, the modernization of women and the criticism of former politics.Halide Edib Adivar 1884-1964. http://sister-hood.com/sister-hood-staff/halide-edib- adivar-1884-1964/ ==References== ==External links== * Category:1908 establishments in the Ottoman Empire Category:1909 disestablishments in the Ottoman Empire Category:Defunct literary magazines Category:Defunct political magazines published in Turkey Category:Literary magazines published in Turkey Category:Magazines established in 1908 Category:Magazines disestablished in 1909 Category:Magazines published in Istanbul Category:Turkish-language magazines Category:Weekly magazines published in Turkey

The Aşiyan Asri Cemetery () is a burial ground situated on Aşiyan between the Bebek and Rumelihisarı neighborhoods of the European part of Istanbul, Turkey. Many renowned intellectuals, writers and artists rest in this small cemetery, which has a panoramic view of the Bosporus. == Notable burials == Listed by year of death: ; 19th century * Ahmet Vefik Paşa (1823–1891), grand vezir, historian, linguist ; 20th century * Tevfik Fikret (1867–1915), poet * Nigâr Hanım (1856–1918), poet * Ziya Songülen (1886–1936), founder and first president of Fenerbahçe Sports Club * Ömer Fahreddin Pasha (1868–1948), Ottoman (then kemalist) military leader and governor of Medina * Orhan Veli Kanık (1914–1950), poet * Yahya Kemal Beyatlı (1884–1958), poet * Ahmet Hamdi Tanpınar (1901–1962), novelist * Ulviye Sultan (1892–1967), Ottoman princess * Rukiye Sabiha Sultan (1894–1971), third daughter of Ottoman Empire's last sultan Mehmed VI and his first wife Nazikeda Kadın * Adalet Cimcoz (1910–1970), voice actress, art curator, critic, translator, gossip columnist * Hilmi Ziya Ülken (1901–1974), scholar and writer * Tevfik Rüştü Aras (1883–1972) Minister of Foreign Affairs and diplomat * Gündüz Kılıç (1919–1980) football player and coach * Münir Nurettin Selçuk (1900–1981), musician, tenor singer * Curt Kosswig (1903–1982), German zoology and genetics professor * Tezer Özlü (1943–1986), writer * Sadi Irmak (1904–1990), academician, prime minister (1974–1975) * Tarık Zafer Tunaya (1916–1991), lawyer, academician * Abidin Dino (1913–1993), painter (without headstone as wished by himself) * Bedia Muvahhit (1896–1994), actress * Cihat Arman (1919–1994), football player * Mehmet Ali Aybar (1908–1995), politician * Onat Kutlar (1936–1995), writer, poet, founder of Turkish Sinematek * Hanzade Sultan (1923–1998), Ottoman princess ; 21st century, * Mina Urgan (1916–2000), academic, translator, writer and politician * Fatma Neslişah Sultan (1921–2002), daughter of Princess Sabiha * Avni Arbaş (1919–2003), painter * Attila İlhan (1925–2005), poet, journalist * Necla Sultan (1926–2006), Ottoman princess * Feyyaz Berker (1925–2017), businessman * Erdoğan Teziç (1936–2017), academic, jurist * Güngör Uras (1933–2018), economist, journalist and author * Yıldız Kenter (1928–2019), actress * Doğan Cüceloğlu (1938–2021), psychologist, nonfiction writer * Tarhan Erdem )1933–2022), politician * Ziya Şengül (1944–2023), footballer ==External links== * Category:Cemeteries in Istanbul Category:Bosphorus Category:Beşiktaş Category:Sunni cemeteries

Aşiyan Museum () is the house of famous Turkish poet Tevfik Fikret (1867–1915) at Aşiyan neighborhood of Beşiktaş district in Istanbul. It was built in 1906 and later in 1945 converted to a museum. The museum is owned by the Istanbul Metropolitan Municipality. ==Building== Tevfik Fikret lived in the house from 1906 until his death in 1915. The building was acquired in 1940 by the municipality from his wife Nazime with the initiative of Lütfi Kırdar, Mayor and Governor of Istanbul, and was converted into a museum named Museum of New Literature (). The museum opened in 1945. The museum was renamed Aşiyan in 1961 after the remains of Tevfik Fikret, which initially were buried at the Eyüp Cemetery, were taken to his home's yard he liked very much due to its panoramic view of Bosporus. Tevfik Fikret designed the architectural project of the house by himself, and named his house "Aşiyan", which means "nest" in Persian language. The house is a three-story wooden building within a garden. ==Museum== thumb|Aşiyan Museum, 2013 The ground floor consists of administrative offices. The first floor is reserved for Abdülhak Hâmid Tarhan (1851-1937) and female poet Nigar Hanım (1856-1918), poets of the "New Literature Movement". In two separate rooms, paintings, photographs, books and personal belongings of both poets are on display. In the second floor, Tevfik Fikret's study and bedroom are situated. Here, his personal belongings, his writing desk, armchair, drawings and paintings made by him are exhibited. In the bedroom, a death mask of him is also on display. A painting of then Ottoman Shahzada Abdülmecid (1868-1944), which he created in inspiration of Tevfik Fikret's poem "Sis" (), hangs on the wall at this floor. Aşiyan museum was restored completely, and reopened by Mayor Kadir Topbaş in December 2012 after one-and-half-year works costing 1.128 million (around US$640,000). By the restoration, furniture remade after original photos and a wax sculpture of Tevfik Fikret were added to the museum. ==Admission== The museum is closed on Mondays. Visiting hours are 9:00-16:00. Admission is free of charge. ==References== Category:Museums in Istanbul Category:Historic house museums in Turkey Category:Museums established in 1945 Category:1945 establishments in Turkey Category:Poetry museums Category:Beşiktaş Category:Biographical museums in Turkey Category:Bosphorus Category:Literary museums in Turkey

Aşk Fırtınası is a 1972 Turkish romantic drama film, directed by Halit Refiğ and starring Kartal Tibet, Bahar Erdeniz, and Muzaffer Tema. ==References== ==External links== *Aşk Fırtınası at the Internet Movie Database Category:1972 films Category:Turkish romantic drama films Category:1972 romantic drama films Category:Films directed by Halit Refiğ

Aşk Kadın Ruhundan Anlamıyor (Love Doesn't Understand A Woman's Soul) is the third studio album by Turkish singer Hande Yener. It was released on 6 July 2004 by Erol Köse Production. An album with pop rhythms, it was the singer's first studio album since the 2002 release of Sen Yoluna... Ben Yoluma.... Ten of the album's songs were written and composed by Alper Narman and Fettah Can, making them the two main songwriters and composers in the album. Alongside Narman and Can, Altan Çetin, Mete Özgencil and Sezen Aksu also wrote songs for the album. Hande Yener served as one of the album's producers, and the recordings took place in Hamburg and Istanbul. Containing 16 songs in total, Aşk Kadın Ruhundan Anlamıyor received positive reviews from music critics. Hande Yener's style was praised and compared to that of Ajda Pekkan and Sezen Aksu. The album's lead single, "Acele Etme", was written by Altan Çetin, and it was accompanied by a music video, which was directed by Luca Tommassini and recorded in Rome. Following "Acele Etme", separate music videos were released for "Kırmızı", "Acı Veriyor", "Armağan", "Hoşgeldiniz" and "Bu Yüzden" respectively. By selling 400,000 copies in 2004, Aşk Kadın Ruhundan Anlamıyor received a gold certification from MÜ-YAP and was given the Golden Award by İstanbul FM. At the end of 2009, the album ranked sixth on the list of best albums of the past decade by NTV. After its initial release in 2004, the album was put on sales in the music markets two more times on 3 May 2012 and 19 June 2012. == Background and release == Hande Yener made her debut in 2000 with the release of Senden İbaret by Doğan Music Company, on which she had worked together with Altan Çetin. In 2002, her second studio album, Sen Yoluna... Ben Yoluma..., was released by Erol Köse Production. Altan Çetin prepared many of the album's songs, and Alper Narman and Fettah Can collaborated with her as well. A few months after releasing Sen Yoluna... Ben Yoluma..., Yener began preparations for her new studio album and did the initial recordings at the Istanbul Technical University studios. For the last parts, she went to Germany and did a section of the recording at Booya Music studio. Her team prepared their "most valuable" songs for the album. After one and a half year of working, Hande Yener's third studio album, Aşk Kadın Ruhundan Anlamıyor, was released on 6 July 2004 by Erol Köse Production. For the album, which addresses the issue of "the fight that comes with love", Yener worked with Altan Çetin, Alper Narman and Fettah Can, alongside Mete Özgencil and Sezen Aksu, all of whom wrote and composed different pieces for this project. Narman and Can wrote 10 of the album's 14 new songs. Sezen Aksu worked with the two on writing the song "Armağan". Altan Çetin wrote and composed the songs "Acele Etme" and "Kırmızı", while Mete Özgencil prepared "Bir İz Gerek" and "Hoşgeldiniz". The songs were arranged by Altan Çetin, Ayhan Sayıner, Volga Tamöz, Devrim Karaoğlu, Ozan Çolakoğlu, Erdem Kınay and Mustafa Ceceli. The album features rhythms of pop music and its photographs were taken by Nihat Odabaşı. After the release of Aşk Kadın Ruhundan Anlamıyor, which includes 16 songs, Hande Yener stated that she had become more professionalized and believed that she had been able to attract the attention of an audience with high intellectual capacity. The album sold 400,000 copies in the year it was released and received a gold certification from MÜ-YAP as well as a Golden Award from İstanbul FM. At the end of 2009, one of NTV's music judges, Selami Bilgiç, placed the album sixth on the list of best albums released over the past decade. After its initial release in 2004, the album was put on sales in the markets two more times on 3 May 2012 and 19 June 2012. == Critical reception == Hande Yener's third studio album, Aşk Kadın Ruhundan Anlamıyor, received positive reviews from music critics, and the singer's style as well as her collaboration with Altan Çetin were praised. Sabahs Can Sayın found the album "successful", described "Kırmızı" as the "hit song" of summer, and named "Bir İz Gerek" as one of his favorite songs in the album. Radioman Michael Kuyucu described the album as a "high quality pop album that can appeal to high music tastes" and praised Yener's style, stating that each of her songs had its own "distinct flavor". He found the music style in some pieces similar to that of Ajda Pekkan and Sezen Aksu, and believed that Yener was on her way to become "Ajda Pekkan of the future". Another Sabah contributor, Şafak Karaman, wrote that Yener's name had to be mentioned "among the best singers" and cited her performance in the song "Acı Veriyor" as an evidence for his statement. He described Çetin and Yener as the "right kind of partners", and stated that while listening to the album it occasionally felt as if he was listening to Sezen Aksu. Hürriyets Tolga Akyıldız also wrote a positive review for the album, praised Altan Çetin–Hande Yener collaboration and described the two songs written by Mete Özgencil as beautiful pieces. Music website Gerçek Pop wrote in its 2011 review that Yener had not received "most of what she deserves in her career" and mentioned that Aşk Kadın Ruhundan Anlamıyor deserved to sell one million copies. == Music videos == Hande Yener released six music videos for Aşk Kadın Ruhundan Anlamıyor. The first music video was made for the song, "Acele Etme", written by Altan Çetin. It was directed by one of Madonna's dancers Luca Tommassini, and recorded in Rome, Italy. The music video was released in June 2004. "Acele Etme" ranked first on a number of radio and television lists in Turkey for weeks."Acele Etme" on music charts: * * * * * The second music video was directed by Ömer Faruk Sorak and made for the song "Kırmızı". It was recorded in a kitchen and released in August 2004. "Kırmızı" ranked among the top three on music charts inside Turkey."Kırmızı" on music charts: * * * * * * The third music video was made for the song "Acı Veriyor", written and composed by Alper Narman and Fettah Can. The video was recorded in a cemetery and directed by Deniz Akel. Arda Can appeared as Yener's partner in the video. Like its predecessors, this song also ranked among the top three on the music charts."Acı Veriyor" on music charts: * * * * * The fourth music video was prepared for the song "Armağan", written by Sezen Aksu. It was directed by Luca Tommassini and released in January 2005. Two other music videos were released for the songs "Hoşgeldiniz" and "Bu Yüzden". The music video for "Hoşgeldiniz" was directed by the song's writer and composer Mete Özgencil. == Track listing == == Personnel == * Erol Köse (Erol Köse Production) – producer * Üçüncü Göz Communication Consultancy Ltd. – production, public relations and management * Hande Yener – artist, producer, main vocals * Alper Narman – songwriter, composer, vocals * Fettah Can – songwriter, composer, vocals * Altan Çetin – songwriter, composer, arranger, vocals * Mete Özgencil – songwriter, composer * Sezen Aksu – songwriter, composer * Ayhan Sayıner – general voice engineer, arranger, recording, mixing, synth, computer programming * Volga Tamöz – arranger, intro, drums, clavier, vocals, piano, electric guitar, percussion * Devrim Karaoğlu – arranger, mixing, recording * Mustafa Ceceli – arranger * Ozan Çolakoğlu – arranger * Erdem Kınay – arranger * Bülent Aris – sound controller, recording, mixing * Barış Büyük – mixing * Çağrı Kodamonoğlu (ITU Miam) – mixing * ITU Miam (Istanbul) – studio * Booya Music (Hamburg) – studio * Erekli Tunç (Istanbul) – studio * Sanev – studio * Özgür Yurtoğlu – recording * Ünal (Malika Records) – recording * Master & Servant (Hamburg) – mastering * Erdem Sökmen – guitar * Özcan Şenyaylar – violin * Mehmet Akatay – percussion, goblet drum, bendir, daf, zill, bongo drum * Cengiz Ercümer – percussion, goblet drum, bendir, daf, zill, bongo drum * Gündem Yaylı Grubu – bowed string instruments * Hakan Güngör – qanun * Hüsnü Şenlendirici – clarinet * Yıldıran Güz – oud * Can Şengün – e-guitar * Jörg Sandler – e-guitar * Hüseyin Delen – clarinet * Birkan Şener – bass guitar * Timur Atasever – cello * Ali Güven – vocals * Bilgehan – vocals * Demet – vocals * Sıla – vocals * Selin Yiğit – vocals * Özlem Yüksekoğlu – vocals * Canan Kaplan – vocals * Bilgehan Öziş – assistant engineer * Soner Şeker – assistant engineer * Ozan Murat – assistant engineer * Nihan Bilgen – assistant engineer * Nihat Odabaşı – photographer * Kemal Doğulu – hair stylist * İlker Akyol – hair stylist * Çiğdem Yartaşı – make-up * Sanem Habib – stylist and creative consultant * Atelier Works – design * FRS – printing Credits adapted from Aşk Kadın Ruhundan Anlamıyors album booklet.Aşk Kadın Ruhundan Anlamıyor (album booklet). Hande Yener. Erol Köse Production. 2004. 8698562000044. == Release history == Country Date Format Label Turkey 6 July 2004 CD cassette digital download Erol Köse Production Worldwide Digital download Üçüncü Göz Production Turkey 3 May 2012 CD (reissue) Erol Köse Production 19 June 2012 == References == == External links == *Aşk Kadın Ruhundan Anlamıyor – Discogs Category:2004 albums Category:Hande Yener albums Category:Turkish-language albums

Aşk Kaç Beden Giyer? (What Size Does Love Wear?) is the fifth studio album by Turkish-Belgian singer Hadise. It was released on 12 April 2011 by Seyhan Müzik. The preparations began in 2010 and Hadise announced that she had planned to publish it by the end of the year. However, due to her break up with her then-boyfriend Sinan Akçıl in November 2010, and Akçıl's decision to take back some of the songs that he had prepared for the album, the release date for the album was postponed. Hadise produced the album and worked with Alper Narman, Deniz Erten, Erdem Kınay and Gülşen on this project. A dance-pop album, Aşk Kaç Beden Giyer? became the topic of many tabloid discussions as many believed that its lyrics had references to Hadise and Sinan Akçıl's relationship. Some of the music critics found the album to be ordinary, but some of them praised the fact that the songs were above Turkish pop music standards. Hadise appeared with a leopard patterned dress on the photographs for the album's cover, and her appearance was compared to that of Beyoncé by some critics. Three of the album's songs were turned into music videos. The oriental-inspired lead single "Superman" was the first song for which a music video was released and it rose to number 5 on Türkçe Top 20. Its music video, directed by Nihat Odabaşı, was praised by the critics. The second and third music videos were released for the songs "Aşk Kaç Beden Giyer?" and "Mesajımı Almıştır O" respectively. The music videos for these two songs were directed by Hadise's elder sister Hülya Açıkgöz. By the end of 2011, "Superman" and "Aşk Kaç Beden Giyer?" became the eight and fourth most-downloaded songs in Turkey respectively. Aşk Kaç Beden Giyer? ranked 10th on D&R;'s Best-Selling list and by the end of 2011 sold 35,000 copies in Turkey. To promote the album Hadise gave concerts at various places in Turkey, and performed her songs at the 38th Golden Butterfly Awards and on Beyaz Show. The album was nominated as the Best Album at the 2012 OMÜ Media Awards, and its lead single "Superman" received the Best Music Video award at the 2nd Pal FM Music Awards. == Background and development == After representing Turkey at the Eurovision Song Contest 2009 with the song "Düm Tek Tek", written by Sinan Akçıl, and placing fourth in the contest, Hadise released the album Fast Life and Kahraman in the same year. Hadise's first Turkish album Kahraman was produced by Sinan Akçıl and shortly after its release reports about his relationship with Hadise appeared in the press. The couple split in November 2010, which resulted in a longer preparation process for the album as Akçıl took back four songs that he had already given to Hadise. Their breakup caused speculations about whether the songs on the album's final version where referencing Akçıl or not. Meanwhile, Hadise gave various information on the album throughout 2010. In March, on an interview with PowerTürk TV she stated that preparing the album was taking longer than what she had expected and that she was planning on publishing a maxi single first. In another interview in July with Elle magazine, she announced that the album would be released in October. However, after her breakup with Sinan Akçıl, he took back the songs "Aşkım", "Başkan", "Bebek" and "Kalbine Bir Şey Olmuş", leaving Hadise with only three songs, which forced her to postpone the release date. In September she signed a contract with Seyhan Müzik, and at the same time began sharing the lyrics of her new song. On the first days of 2011, it was reported that she had received a song by Gülşen. == Music and lyrics == thumb|left|Gülşen wrote and composed the album's lead single "Superman". In the period before its release, Hadise said that "music felt as a turning point in my life and [the album] was done out of good music", and Aşk Kaç Beden Giyer? was eventually released as a dance-pop album. In her opinion, instead of encouraging depression, the album was about "enjoying life, being strong and loving yourself". Alper Narman and Deniz Erten each wrote three songs for the album, while Gökhan Şahin wrote two of the songs and Gülşen only one of them. Erdem Kınay composed and arranged five of the album's songs. Hadise herself produced the album, and her elder sister Hülya Açıkgöz served as general coordinator. Parts of the recording was done in Turkey, and the other parts were done in Belgium. All of the mixing was done in Antwerp by Ozan Aktaş, a member of the Street Fabulous production, at the Trez Record Studios, while the audio mastering was done in Brussels at the Electric City studio by Alan Ward.Aşk Kaç Beden Giyer? (album booklet). Hadise. Seyhan Müzik. 2011. 8697415714107. The album contains nine songs and its first song, "Burjuva", was a dance song with high tempo written by Alper Narman, and according to some music critics the song's chorus, "Adam mısın süslü burjuva? (Are you a man, dressed-up in a bourgeois?) / Patlar o pasta bebek suratında (This cake is smashing against your face) / Kıvır durma tatminsiz diva (Come on, sway, unsatisfied diva) / Yolu kapatma, haydi bye bye (Don't block the road, so bye bye)", was a reference to Hadise's ex-boyfriend Sinan Akçıl. Milliyets Ali Eyüboğlu believed that the phrase "ornate bourgeois" was a direct reference to Akçıl. Hadise denied all of these rumors and said that the songs were there "just to make the album beautiful". The second and third songs "Mesajımı Almıştır O" and "Aşk Kaç Beden Giyer?" also had high tempos and were written by Gökhan Şahin and Deniz Erten. The song "Aşk Kaç Beden Giyer?", which questioned the idea of living through numerous loves at the same time, was according to Gerçek Pop's Fatih Melek "the reason the album came to existence" because of its vocal arrangement and good use of samples. The synth-pop song "Kalbine Yalan Bulma" was composed by Erdem Kınay, followed by the fifth song "Melek", composed by Hadise and Youssef Chellak. The sixth song "Yetenek", was a slow-paced song written by Alper Narman. The seventh song was named after the American comic books character Superman, due to the use of his name in the song's chorus: "Nasıl bir düşmek bu böyle gözden? (What kind of falling into disfavor is this?) / Superman olsan toplayamazsın (You couldn't fix that, even if you were Superman)". The song featured oriental elements and was composed by Gülşen, and due to its characteristics, it was considered by music critics irrelevant to the rest of the album. The song "Macera", composed by Erdem Kınay, was compared by Fatih Melek to Paul Oakenfold's "Faster Kill Pussycat". Ozan Doğulu composed the album's final song "Harakiri". == Cover and release == thumb|200px|Hadise's image on the cover was found similar to Beyoncé's general appearance. Aşk Kaç Beden Giyer?s photographs were taken by Duy Quoc Vo. Hadise's hair and makeup for the photographs were done by Lisselotte van Saarloos and Mahmut Karadağ served as the general stylist. Hadise's hair was dyed brown for the photo shoot and she appeared in front of a pail oil green background, wearing a leopard-patterned dress. The pail green color was used as the main color for the album's frame. Hadise's appearance in the photographs was compared by many journalists and music critics to that of American singer Beyoncé. Hürriyets Onur Baştürk addressed the issue and said "On the cover of the album, Hadise is quite resembling Beyoncé. The stance, the look, the hair, the auto-tanned skin, the excess skin color ... I don't mind. She is carrying this Beyoncé attitude very well." Gerçek Pop's Fatih Melek also commented on the album's cover and described it as a "disastrous album cover as usual". Hadise saw the comments as a "great compliment", yet denied the similarities and stated that she didn't use anyone as a model for the photo shoots and they only applied that theme due to its suitability. She also emphasized that she didn't want to be "a copy of another artist". Hadise's fifth studio album Aşk Kaç Beden Giyer? was released by Seyhan Müzik on 12 April 2011 on digital platforms, and in CD format on 14 April in Turkey. It was the Hadise's only album that was distributed by Seyhan Müzik. The album ranked tenth on D&R;'s Best-Selling list and according to MÜ-YAP sold 35,000 physical copies by the end of the year, becoming the twenty-eighth best-selling album of the year. Together with its release, it was advertised in 11 different parts of Istanbul on great commercial buildings. According to Vatan the cost of one of these monthly advertisements was 55,000 at the time. Aşk Kaç Beden Giyer? earned Hadise the Best Female Artist award at the 18th Golden Objective Awards. The album was nominated for the Best Album Award at the 2012 OMÜ Media Awards. == Critical reception == Aşk Kaç Beden Giyer? received mixed reviews from music critics. Some found the songs suitable based on Hadise's style, while some found them too ordinary and mediocre. Hürriyets Onur Baştürk believed that thanks to the album Hadise "has distanced herself from her Eurovision style and finally found some appropriate cool songs for herself" and stated that it was the "Turkish pop album with the most dynamic and western sound that I've listened to for a long time," and attributed this quality to Erdem Kınay's composition. Hayat Müzik's critic Yavuz Hakan Tok also published a review on the website, saying the album was "not bad at all and a few songs are over the standard line for Turkish pop". Tok went on to say that in general the album "has given signals that Hadise cannot go further with her insistence on being the 'Turkish Beyoncé or Shakira'." Writing for Söz Müzik, Mine Ayman also liked the album and stated: "Hadise really worked hard for this album and collaborated with the best names of music industry. [...] It's been a long time since I wanted to listen repeatedly to an album as beautiful as this." Milliyets Tolga Akyıldız also liked the album and wrote: "Hadise's album is one of the best pop albums of the year." Gerçek Pop's editor Fatih Melek found the album mediocre, giving it 2,5/5, and believed that "Kınay's works in this album do not sound as good as his previous works", describing it as a misfortune for Hadise. He also said that "To surprise the Turkish market, she distanced herself from R&B; and changed her genre to dance music, but the result indicates that it was not a good move for Hadise." Radikals Sarp Dakni wrote about the album: "Finally a 30 minute pop / dance album. The best option to let yourself go at the home party that you will give on the weekend." Akşams Serhat Tekin also described it as "a well-coordinated pop album". == Promotion == === Live performances === thumb|Hadise performing at a concert in October 2011 To promote the album after its release, Hadise gave a concert at the Cemil Topuzlu Open-Air Theatre on 8 July 2011 alongside other concerts at various places in Turkey. Following these concerts, she appeared on numerous TV programs and performed the songs. On 29 April 2011, she appeared on Beyaz Show and performed "Aşk Kaç Beden Giyer?", "Burjuva", "Mesajımı Almıştır O" and "Superman". She appeared on the same program on 4 November, and the show's band performed her song "Aşk Kaç Beden Giyer?" as a türkü. On 13 June, she performed at the 38th Golden Butterfly Awards. She appeared in a white outfit and performed the songs "Aşk Kaç Beden Giyer?", "Melek" and "Superman" while being accompanied by her dancers. On 31 December, on Show TV's New Year program she performed the songs "Aşk Kaç Beden Giyer?", "Mesajımı Almıştır O" and "Superman". === Music videos === Three songs from Aşk Kaç Beden Giyer? were turned into music videos. The music video for the album's lead single "Superman" was released in April 2011. Nihat Odabaşı directed the video and Hadise was accompanied by a number of dancers on it. However, after the shooting was over, it was reported that a financial issue had been created between Odabaşı and Hadise. According to Milliyet the cost for the video was initially estimated to be 50,000 but after the shooting was over Odabaşı demanded an additional amount of 12,000 after taking into consideration the taxes, and this resulted in a tension between the parties. On the other hand, the music video of the song was critically acclaimed and received 4 out of 5 on Gerçek Pop. It received the Best Music Video award at the 2nd Pal FM Music Awards and was nominated for the Best Dance Video award at the Gerçek Pop 2011 Awards. The songs ranked fifth on Türkçe Top 20. It was also downloaded over 76,000 times on official websites and was streamed over 2.8 million times on online platforms, becoming Turkey's eighth most downloaded song and third most streamed song in 2011. The second music video was released for "Aşk Kaç Beden Giyer?". It was directed by Hadise's elder sister Hülya Açıkgöz and released in October. The song won the Best Dance Single award at the Gerçek Pop 2011 Awards. It was downloaded over 87,000 times on official websites and streamed 3.1 million times on online platforms, becoming Turkey's fourth most downloaded song and tenth most streamed song in 2011. The album's last music video was made for the song "Mesajımı Almıştır O" and directed by Hülya Açıkgöz. It was released in March 2012. Hadise appears in the music video while singing the song in front of a microphone and in a studio with walls on which the song's lyrics are written. == Track listing == == Personnel == * Hadise – singer, producer, composer , concept * Alper Narman – songwriter * Erdem Kınay – composer , arranger , recording * Deniz Erten – songwriter , composer * Gökhan Şahin – songwriter * Gülşen – songwriter , composer * Ender Gündüzlü – composer * Youssef Chellak – composer , arranger , recording * Ozan Çolakoğlu – arranger , recording * Amin Boudouhi – arranger * Erdem Uyanık – editor * Metehan Köşeoğlu – guitar ; acoustic guitar * Gündem Yaylı Grubu – bowed string instrument * Mehmet Akatay – percussion * Fatih Ahıskalı – oud , cümbüş * Can Şengün – electric guitar * Ozan Aktaş – mixing * Alan Ward – mastering * Seyhan Müzik (Bülent Seyhan) – producer * Hülya Açıkgöz – general coordinator * Duy Quoc Vo – photographer * Mahmut Karadağ – styling * Lisselotte van Saarloos – hair, makeup Credits adapted from Aşk Kaç Beden Giyer?s album booklet. == Charts == Chart (2011) Peak position Turkey (D&R; Best-Selling) 10 == Sales == Country Sales Turkey (MÜ- YAP) 35,000 == Release history == Country Date Format Label Turkey 12 April 2011 Digital download Seyhan Müzik Worldwide Turkey 14 April 2011 CD == References == == External links == * Aşk Kaç Beden Giyer? – Discogs Category:2011 albums Category:Hadise albums Category:Dance-pop albums by Belgian artists Category:Turkish-language albums

Aşk Laftan Anlamaz (Love Doesn't Understand Words) is a Turkish romantic comedy television series broadcast on Show TV. The series premiered on June 15, 2016. It stars Burak Deniz as Murat Sarsılmaz and Hande Erçel as Hayat Uzun. The story is set in Istanbul and follows a workplace romance at a multinational fashion company, Sarte.Aşk Laftan Anlamaz Dizisi Nerede Çekildi? The series has aired in over 30 countries worldwide and has reached millions of views on YouTube. ==Plot== Hayat Uzun, a native of Giresun village and daughter of a fisherman is under pressure to secure employment in Istanbul or she will have to return to her family in the countryside and would be forced into an arranged marriage by her strict conservative father. She currently lives with her best friends Ipek and Asli, with her mother, Emine, visiting them. A case of mistaken identity gets her a job at multinational textile company Sarte, as personal assistant to the assistant of Murat Sarsılmaz, Sarte's head. Originally, the job was reserved for Suna Pektas a family friend of Sarsilmaz's. Murat is drawn towards Hayat. This provokes jealousy from Murat's ex-girlfriend, Didem, the lead model for the company. Didem causes misunderstandings that make Murat push Hayat away, but he then pursues her and apologizes, eventually firing Didem for her plotting. Murat's personal chauffeur and best friend, Kerem falls for Ipek, and she later returns his advances. Murat brings Hayat to his home to recover from a panic attack caused by Didem, and they bond over the weekend, but Didem then arrives claiming to be pregnant. Murat is distraught but accepts his responsibility to marry Didem for the baby's sake. Both the families meet and decide their wedding. Murat clarifies to them that the marriage is just a formality to legitimize the child and he won't live with Didem. Hayat learns from Asli, who is a nurse, that Didem faked her pregnancy tests. Murat's stepmother Derya, also learns the truth and helps Didem to fake a miscarriage before her truth is discovered, which releases Murat from his presumed responsibility. Murat's brother, Doruk meets Asli, and they become friends which later turns into love. Meanwhile, Hayat's landlord Fadik's nephew Ibhrahim enters the plot. Hayat with the help of her friends Ipek and Asli decides to make Murat suffer a bit because he continues to maintain distance from her. She pretends to be in a romantic relationship with Ibrahim which sparks Murat's jealousy. Later on due to a series of events Murat learns the truth. On Hayat's (actually Suna's) birthday, Murat welcomes Hayat in his life in the same place where he presumably lost his mother, Leyla Sarsılmaz. Both begin a very happy relationship. But Hayat is in constant despair due to her false identity. Meanwhile, Didem brainwashes Ibrahim into believing that Murat is cheating on Hayat. Murat proposes marriage to Hayat but is still unaware of her true identity. Hayat feels sad but is unable to disclose this to him fearing she might lose him. Kerem learns Hayat's truth and breaks up with Ipek because she knew all along about Hayat/Suna. Murat's grandmother stops Kerem from telling the truth to Murat to save his happiness. Ibrahim confesses his feelings to Hayat and tells her about Murat's infidelity which causes misunderstandings between them. Murat takes her to Didem to clarify her doubts and they reconcile. Murat learns of Didem's fake pregnancy and throws her out of his company for lying. Hayat is frightened of her own lies and decides to tell the truth. However, Derya discloses the truth to Murat before Hayat can and he's heartbroken. Hayat loses her job and her grandfather, Hasmet, who has arrived in Istanbul, decides that she must return home. Afraid of losing Hayat, Murat goes to stop her and asks for her hand from Mr. Hasmet. Later, when her grandfather does not agree for their union due to their families' past history, he elopes with Hayat. On the day of the wedding Murat discovers a letter written for his grandma from his mother Leyla which reveals that she is alive and had left him for her career and the truth was kept from him. He confronts his grandma and tells her he'll never forgive them and Hayat. Both get married in front of their friends. However, Murat, unable to forgive Hayat, is cold towards her. Murat becomes jealous when Emre, a contractor to Sarte, flirts with Hayat and the company suffers. Murat and Hayat fall more in love and friction in their relationship increases at the same time. Derya disapproves of Doruk's relationship with Asli. She is also always worried that Doruk will not get his rightful share in Sarte. However, Doruk does not let her influence him against his brother. Murat's mom returns with nurse Hazal in a series of events. Hayat realizes that their relationship is not working and decides to get divorced after Murat misbehaves with her. When his mother is hospitalized from an accident, Murat contemplates Hayat's desire to separate and realizes that he has to fight for her. Kerem and Ipek reunite. Murat tries to mend his relationship with Hayat, but she spurns his efforts being very hurt. Emre sends an unusual message to Hayat confessing his love Murat is angry on Hayat and he leaves her saying the marriage is over. But then Murat returns to save Hayat from a fire, saying that he cannot live without her. Emre and Derya together plot to separate Hayat and Murat in order to destroy Murat. Hayat and Murat get married again in front of her brother according to all rituals and go on their honeymoon. Nejat sells his shares of Sarte to Emre. Emre interrupts the honeymoon when he reveals to Hayat that Murat is not a Sarsilmaz. Later Hazal kills Murat's mom in a revengeful act. Murat is angry with Hayat on finding a gift box in their room from Emre which Derya had kept there. He believes Hayat is lying to him again due to her suspicious behavior during the honeymoon as well. Emre, on the other hand black-mails Hayat to tell the truth to Murat or start working with Emre. Hayat is so distraught that she tries to kill herself in Emre's office. This shakes Emre who changes his mind. He decides to return his shares and tells Derya to end all scheming and plotting. Then he calls Hayat for a last meeting to return the shares which ends up in their accident with Murat's car because Derya had goons tamper with Emre's brakes to kill him. Emre has some serious injuries in the accident and goes into a coma. Seeing this Derya gets a chance and explains everything to Murat without proving herself guilty. Doruk's ex-girlfriend, Giçik returns and wants to get back with him. Asli witnesses Giçik kissing Doruk and thinks Doruk cheated on her so she end things with him. He tries to stop her but in vain. To get revenge, she flirts with Hayat's brother, Cemil and pretends to be in a relationship with him which causes Doruk to become jealous. This is also hers and Cemil's plan to make Tuval jealous as Cemil is in love with her. Murat is angry with Hayat that she is hiding something, so Hayat decides to tell the truth to Murat. Murat is devastated on this news but then Hayat does another DNA test which reveals that Murat is the heir of the Sarsılmaz family and Doruk is not. But Murat doesn't tell this to Doruk for peace in their family. Murat gives all his shares to Doruk and convinces the staff at Sarte to accept him as their boss. Murat plans on starting a new company and Hayat finds out that she is pregnant and the whole family is elated. Doruk's mother, Derya, argues with the house servant and Hayat gets in the middle of it, in hopes to end the brawl, but ends up falling down the stairs whilst pregnant. She later learns that the baby is unharmed. Derya, unaware of the baby's condition, packs her belongings and tries to take Doruk with her as she is worried that she will get the blame for Hayat falling down the stairs. But Doruk stays and Derya leaves. Cemil & Asli's plan succeeds when Tuval starts developing feelings for Cemil. On Valentine's Day, Murat reveals to Hayat his plans about the company and to name it "Hyt" after her and they embrace. Five years later, Hayat and Murat have four-year-old twins and she is expecting again. Kerem and Ipek have a newborn and Doruk and Asli are back together. The series ends happily. == Cast == ===Main cast=== * Burak Deniz as Murat Sarsılmaz: Owner of Sarte; Nejat and Leyla's son; Derya's stepson; Doruk's step-brother; Hayat's husband * Hande Erçel as Hayat Uzun Sarsılmaz: Emine's daughter; Cemil's sister; Aslı and İpek's best friend; Murat's wife * Oğuzhan Karbi as Doruk Sarsılmaz: Nejat and Derya's son; Murat's step-brother; Asli's husband * Özcan Tekdemir as Aslı Sarsılmaz: Hayat and İpek's best friend; Doruk's wife * Merve Çağıran as İpek: Hayat and Aslı's best friend; Kerem's wife * Süleyman Felek as Kerem: Murat's best friend; İpek's husband * Bülent Emrah Parlak as Cemil Uzun: Emine's son; Hayat's brother; Tuval's love interest * Demet Gül as Tuval Yanıkoğlu: Sarte's head designer; Cemil's love interest * İsmail Ege Şaşmaz as İbrahim: Fadik's nephew who loved Hayat * Sultan Köroğlu Kiliç as Emine Uzun: Hayat and Cemil's mother * Evren Duyal as Fadik: Emine's friend; Hayat and Cemil's aunt * Birand Tunca as Emre Azatoğlu: A contractor to Sarte * Muhammad Abdullah as Abdullah * Betül Çobanoğlu as Derya Sarsılmaz: Nejat's wife; Murat's stepmother; Doruk's mother * Cem Emüler as Nejat Sarsılmaz: Head of Sarte; Azime's son; Derya's husband; Murat's father; Doruk's step-father * Nazan Diper as Azime Sarsılmaz: Nejat's mother; Murat's grandmother; Haşmet's fiancée * Metin Akpınar as Haşmet Uzun: Hayat and Cemil's grandfather; Azime's fiancé * Nurseli Tırışkan as Leyla Sarsılmaz: Nejat's ex-wife; Murat's mother ===Recurring cast=== * Elif Doğan as Suna Pektas: Murat's childhood friend who proposed to him * Metehan Kuru as Gökçe * Oğuz Okul as Kamal Pektas: Suna's father * Gözde Kocaoğlu Yağmur as Çağla: Murat's assistant * Tuğçe Karabacak as Didem: Murat's ex-girlfriend; Lead model of Sarte. * Alp Navruz as Cenk: Didem's friend == International airing == In the Philippines, the airing was also known as simply Hayat, it was aired on ETC on the ETCerye block from February to June 2021. In the Pakistan, the airing was also known as Pyaar Lafzon Mein Kahan, it was aired on LTN Family.Aired as Thamath Adare Nathnam (තාමත් ආදරේ නැත්නම්) in Hiru TV in Sri Lanka. In Slovenia, it was shown in June 2022 under the name known to viewers Ljubezen ne rabi besed on POP TV. ==See also== *Television in Turkey *List of Turkish television series *Turkish television drama == References == == External links == * Category:2016 Turkish television series debuts Category:Turkish drama television series Category:Turkish romantic comedy television series Category:Show TV original programming Category:Television series produced in Istanbul Category:Television shows set in Istanbul Category:Television series set in the 2010s Category:Burak Deniz

"Aşk Sakızı" is a pop song by Hepsi. It is the second single released from their second studio album, Hepsi 2 (2007) and the seventh single released with a music video. Yet again due to the album-orientated nature of the Turkish music industry this single was not physically or digitally released, but only released through airplay and through receiving play on music channels. ==History== According to Hepsi there were 4 possible singles to be chosen, Aşk Sakızı being one and the others being "Mum", "іki Kelime" and "Saklanbaç". "Aşk Sakızı" was chosen as the second single from the album as it won the majority of the vote by the girls.YouTube – Grup Hepsi – ask sakizi (kamera arkasi) ==Music video== The music video features the girls in trendy clothes singing to the camera and dancing in front of a coloured background, recorded by a blue screen as stated in the Turkish equivalent to Making the Video on channel PowerTürk. It also featured scenes of the group singing in front of two yellow motorbikes and features the group performing a dance in belly dancer's outfits. ==References== Category:2007 singles Category:Hepsi songs Category:Turkish songs Category:2007 songs Category:Song articles with missing songwriters

Aşk Yeniden () is a Turkish romantic comedy television series produced by Süreç Film starring Özge Özpirinçci and Buğra Gülsoy. It premiered on Fox on February 10, 2015 to June 14, 2016. == Plot == Zeynep is a headstrong and bold girl living in Istanbul with her Fisherman father Şevket, who loves his daughter unconditionally. Zeynep falls in love with a guy named Ertan, and later leaves her home to elope with him to America. In America, they live quite happily until Zeynep discovers of being pregnant, but Ertan asks her to abort the baby. Ertan leaves Zeynep after she refuses to do so. Zeynep breaks down and gives birth to a baby boy, Selim. But, she comes back to Turkey after 10 months as she unable to living with a baby and surviving in a foreign land. On the other hand, Fatih Şekercizade, who belongs to a well-established and elite family of Turkey. He had been facing the pressure of being from an elite family from his mother who happens to be making his decisions from his childhood and has betrothed him to the girl of her own choice. In order to have a peaceful and free life Fatih had escaped to America with the excuse of studying. In America, he falls in love with Summer who then denies his proposal at the end. Heartbroken Fatih decides to return to Turkey. While in the flight, due to a turbulence Fatih and Zeynep ran into one another. Fatih who doesn't want to marry İrem, offers Zeynep to pretend to be his wife and Selim to be his son in front of his family so that he would be able to settle his issue for sometime. On the other hand, Zeynep who was also worried about telling her father about her baby and Ertan agrees it as Fatih agrees to pretend as Selim's father. After arriving İstanbul, they visit fatih's family first where Fatih introduces Zeynep to his family. His family members consists of his parents Mukaddes and Fehmi, his younger sister Selin and his grandmother Gülsüm Şekercizade. Fatih's family accepts Zeynep and her son after a short while, except for Fatih' mother, Mukaddes who hates Zeynep and Selim more than anything else and plans to kick her out of Fatih's life at any cost. On the other hand, Zeynep also introduces Fatih to her family, Her family is a middle-class family consisting of her Father Şevket, her aunt Yadigar and her cousins, Orhan and Elif su. At first the family members seem to be hesitant however later accept Fatih. However, Şevket who seemed to be upset with Zeynep as she had left him, takes his anger out on Fatih by ordering his nephew Orhan to abduct Selin. Orhan who happens to obey every order from his uncle, abducts Selin and both get married against Selin's will. However this creates a rift between both families for a while but then the issues get settled and the families eventually start to accept each other. Gradually Zeynep and Fatih start to understand one another more every day after Zeynep confesses her past with Ertan to Fatih. Orhan and Selin fall in love with each another. However, Fatih's bestfriend Mete and Zeynep's best friend Fadik support them in every manner. As the story moves on, Fatih develops a loving relationship with Selim and starts to consider him as his own son and falls in love with Zeynep. They stay happy until Zeynep's long lost mother Meryem (whom Zeynep thinks as dead) returns from Europe as a business tycoon. Upon learning this, Şevket tries to keep her away from Meryem as he misunderstood that Meryem left them for another man. Meryem tries to purchase the business of Fatih's family, but gives up when she discovers that Fatih is Zeynep's husband and that Zeynep is her daughter. Meryem then tries to reconcile with Zeynep by befriending her first as an employer and Şevket informs Meryem's truth to Fatih, who helps him to keep Meryem away from Zeynep for keep her happy. Soon, Meryem informs Şevket how she always loved her family and how she was threatened to leave her family and had to leave with a man. This reunites Şevket and Meryem and Şevket reveals Meryem's truth to Zeynep who gets shocked and stays away from her "lying" parents for a while. Soon, she leaves Fatih after she finds that Fatih also being involved with this. However Fatih tries to explain himself in every way but she discourages him. Upon realizing her mistake, Zeynep apologizes from him. Later Fatih proposes Zeynep and decide to genuinely marry in secret. However, Zeynep feels quite guilty upon hiding the reality from their loved ones and families and convinces Fatih to tell the truth to the families. Both of them bring the truth to their families. After that, Fatih's family disowns Zeynep and Selim leading to Fatih disowning his family, surname and legacy for Zeynep and Selim. On the other side, Şevket encourages his daughter of being strong by giving birth to Selim and Fatih as being a true human. Fatih and Zeynap then move in to Zeynep's family. Since the family was a middle-class family with so many people living under the same roof including the neighbors Ayfer and her daughters Fadik and Saziment. Fatih had to compromise his lifestyle and find a job to meet the needs of Zeynep and Selim. Moreover, upon realizing her family's selfish behavior towards Fatih and Zeynep, Selin also decides to leave the home and moves in with Zeynep's family. The home becomes a livelihood of so many people living together and proves to be a heaven for Fatih and Selin in a short time. With time, Zeynep also develops a healthy relationship with her parents. Meryem also leaves her Villa and moves in with the family. Time passes, and the family stays happy, until Vahit enters their life. Vahit ego believes that Meryem had poisoned his brother in order to get his business, abducts Zeynep and poisons her. Upon being discovered, Zeynep is found poisoned and was rushed to hospital from where everyone try to find the antidote as soon. However they cannot convince Vahit for the antidote until Ertan shows up with antidote. Zeynep is saved, and Şevket thanks him greatly. Ertan tries to gain Zeynep again without himself knowing the fact that he is Selim's real father. however, Fatih's family realize their mistake and brace Zeynap and Selim as their own. Zeynep and Fatih get marry on the same day with Orhan and Selin. But, Mukaddes, who somehow finds Ertan's truth, blackmails Zeynep to leave Fatih otherwise she reveals about Ertan. Then, Zeynep and Fatih come to a plan. The plans involves Fatih and Zeynap pretending to quarrel and then getting divorced this time in front of even their best friends and family members so that this would prevent Mukaddes from creating troubles for sometime. The couple then fights in front of everybody and divorces one another. Upon learning about the divorce and Zeynep leaving the Şekercizade villa, Mukaddes becomes so happy that almost forgets Ertan while on the other hand, both of the family members fall into a grief. While both the families are grieving, Mukaddes asks Fatih to remarry somebody with her choice this time, Fatih in order to escape lies of having a secret lover and that he had actually cheated Zeynep, thus adding more happiness for Mukaddes. Now the couple, decides to find somebody to pretend to be Fatih's lover and thus reaches Şaziment. Though Şaziment had been the part of Zeynep's family but since she had never left her room in years therefore nobody in Fatih's family had seen her before, also Şaziment had proven to be trustworthy for Zeynep and Fatih, who then try to convince her to work with them by first letting her know their secret. Şaziment finally agrees by being an American- Turkish girl Melissa who had come from New York to marry Fatih. == Cast == * Özge Özpirinçci as Zeynep Taşkın Şekercizade – Şevket and Meryem's daughter; Fatih's wife; Ertan's ex-fiancée; Selim and Jr. Gülsüm's mother * Buğra Gülsoy as Fatih Şekercizade – Fehmi and Mukaddes' son; Selin's brother; Zeynep's husband; Selim's adopted father; Jr. Gülsüm's father * Tamer Levent as Şevket Taşkın – Yadigar's brother; Meryem's husband; Zeynep's father * Sema Keçik as Meryem Taşkın – Şevket's wife; Zeynep's mother; Şekercizades' business tycoon * Tülin Oral as Gülsüm Şekercizade – Fehmi's mother; Fatih and Selin's grandmother * Lale Başar as Mukaddes Şekercizade – Fehmi's wife; Fatih and Selin's mother * Orhan Alkaya as Fehmi Șekercizade – Gülsüm's son; Mukaddes's husband; Fatih and Selin's father * Yağiz Yiğit Sayın as Selim Şekercizade – Zeynep and Ertan's son; Fatih's adoptive son; Jr. Gülsüm's half-brother * Nilay Deniz as Selin Şekercizade Günay – Fehmi and Mukaddes's daughter; Fatih's sister; Orhan's wife * Can Sipahi as Orhan Günay – Yadigar's son; Elif's brother; Selin's husband * Nazlı Tosunoğlu as Yadigar Taşkın Günay – Şevket's sister; Orhan and Elif's mother; Ayfer's neighbor * Su Bursu Coskun as Elif Su Günay – Yadigar's daughter; Orhan's sister * Mert Öcal as Ertan Sönmez – Zeynep's ex-fiancé; Selim's father * Esin Gündogdu as Ayfer Servermez – Yadgar's friend and neighbor; Hayder's wife; Fadik and Șaziment's mother * İlkem Ulugün as Fadik Servermez – Ayfer's younger daughter; Șaziment's sister; Zeynep's best friend; Mete's wife * Miray Akovalıgil as Șaziment Servermez – Ayfer's elder daughter; Fadik's sister; Birol's wife * Emre Erkan as Mete – Fatih's best friend; Fadik's husband * Barış Yalçın as Birol – Șaziment's husband * Murat Kocacık as Hayder – Ayfer's second husband * Mazhar Alican Uğur as Mustafa – Fatih's bodyguard * Fatma Karanfil as Hacer – Fatih and Selin's governess * Tevfik İnceoğlu as Kamil – Şevket's bodyguard * Mert Öner as Cevat – Şevket's bodyguard * Didem Soyden as İrem Șencan – Fatih's childhood friend * Tunca Aydoğan as Vahit – Şevket and Meryem's enemy * Yakup Yavru as Ethem – Şevket's friend * Didem Soydan as İrem Şencan – Fatih's childhood friend == International broadcasts == Country Network Premiere date Original name One TV April 21, 2018 Ezdewaje janjali TV Puls August 13, 2015 (season 1), August 13, 2018 (season 2) Kontrakt na miłość TV Doma January 11, 2016 Láska na druhý pokus Acasă TV November 17, 2016 Dragoste cu împrumut Kanal 5 December 12, 2016 Љубов (Love) LNT February 2, 2017 Iemīlēties vēlreiz Canal 13 February 6, 2017 Amor a segunda vista Pink M March 20, 2017 Ponovo zaljubljeni RTV Pink Pink 2 March 29, 2017 Ponovo zaljubljeni Imagen TV March 7, 2017 Volver a amar Pink BH April 28, 2017 Ponovo zaljubljeni TV3 Lithuania / TV8 May 4, 2017 Pamilti vėl Nessma TV September 11, 2017 Hobek Darbani 1+1 November 20, 2017 Я знову тебе кохаю Andina de Televisión January 15, 2018 Volver a amar Nova TV June 11, 2018 Začin ljubavi bTV bTV Lady November 16, 2018 May 10, 2020 Любов от втори опит Telemundo Univision 2017 2021 Volver a amar Locos Por Amor 2023 । Abar Valobasha == References == == External links == * Category:2015 Turkish television series debuts Category:Turkish drama television series Category:Turkish romantic comedy television series Category:Fox (Turkish TV channel) original programming

Aşk ve Ceza (English: Love and Punishment) is a Turkish television drama series that aired in 2010 and 26 mai 2023 Nurgül Yeşilçay, Murat Yıldırım and Feride Çetin starring, the series were shot in Van, Bodrum and Istanbul. Since 2011, this series has been broadcast in more than 43 countries. In 2011, in Bosnia and Herzegovina on FTV, Croatia on Kanal 2 Nova TV and Romania on Kanal M Kanal D. In Serbia, it was aired from January 8, 2013, in 1PRVA. In Georgia TV Maestro started broadcasting this series on April 15, 2013, and January 17, 2014, on Slovenian channel Planet TV. And, from August 28, 2017, it is again airing by Bosnian FTV. ==Plot== A 29-year-old woman called Yasemin (Nurgül Yeşilçay) works at an advertising agency. She has been with her fiancé Mehmet (Caner Kurtaran) for over three years. Just a week before their wedding. Her life turns upside down as she feels deeply betrayed and unappreciated. She drops everything, and goes to Bodrum. In Van, Çiçek (Feride Çetin) is marrying Kemal Baldar (Ali Yiğit), the eldest son of the powerful Baldar family. Kemal Baldar's American educated, modern brother Savaş goes to Bodrum for a vacation after his brother's wedding. Those two have their first encounter at a bar in Bodrum. Yasemin, betrayed and devastated by the turn of events with her fiancé, finds herself in the arms of Savaş after a night of heavy drinking. Burdened with guilt and regret after her one night stand, she leaves without even learning Savaş's name. Savaş also fails to learn who the girl that stole his heart that night is. After receiving a phone call informing him that his newly married brother and his father died in a car accident, Savaş returns to Istanbul as head of his family. In the meantime, Yasemin finds out she is pregnant with Savaş's baby, and then she gives birth to a child named Ömer. While Savaş keeps dealing with his family's unconventional problems, he doesn't stop looking for Yasemin, the Cinderella. ===Main cast=== Actor/Actress Character Nurgül Yeşilçay Yasemin Ustun Baldar; Main female protagonist Murat Yıldırım Savaş Baldar; Main male protagonist Feride Çetin Çiçek Moran Baldar Tomris İncer Şahnur Baldar Zeynep Beşerler Nadya Caner Kurtaran Mehmet; antagonist Gökçe Yanardağ Nazan Baldar Noyan Oktay Gürsoy Cem Kerem Atabeyoğlu Pala Abdulkadir Sennur Nogaylar Leyla Ustun Nazan Kesal Sevgi Cenk Ertan Bora Noyan; antagonist Halil Kumova Ahmet Moran; main antagonist of first season (Killed by Mustafa) Erkan Bektaş Yavuz Moran; main antagonist of second season (Killed by police) Ali Yigit Kemal Baldar (Killed in a car accident) Taner Barlas Hasip Baldar (Killed in a car accident) Belit Özükan Müjde Enis Ankan Alpay Işil Dayioğlu Sitare Meltem Pamirtan Endam Gamze Topuz Derya Sinan Tuzcu Hakan Emrah Elçiboga Eşref (Killed by Yavuz) Ahu Yağtu Pelin Alihan Araci Haldun Özlem Conker Ceyda Nalan Yavuz Fidan ==References== ==External links== * Category:Turkish drama television series Category:2010 Turkish television series debuts Category:2011 Turkish television series endings Category:ATV (Turkey) original programming Category:Television shows set in Istanbul Category:Television series produced in Istanbul Category:Television series set in the 2010s

Aşk ve Mavi () is a Turkish television series starring Burcu Kıratlı as Mavi and Emrah as Ali in lead roles. The show earned critical acclaim and was a major commercial success including winning several awards. The soundtracks of the drama were equally successful and popular. The show gained massive popularity and is regarded as one of the famous Turkish modern era drama in terms of its dialogues, plot twists, superb acting, cinematography and music. The show was originally broadcast on ATV between 2016 and 2018. ==Plot== Ali (Emrah) is the son of a rich family and imprisoned in jail for killing a man named Ahmet. During his imprisonment, a girl named Mavi (Burcu Kıratlı) starts interacting with him through letters. Ali eventually falls in love with the girl whom he never saw but know only through letters. The day Ali was released the two decide to get married right away, but it is no coincidence that Mavi chooses Ali in so many people in prison to interact. Mavi is the sister of Ahmet, who was allegedly killed by Ali years ago & she seeks revenge against him. Mavi tries to kill Ali who she thinks is her brother's killer on their wedding night, although Ali is not his killer, he stayed in prison for 12 years to protect the real killer. Luckily Ali was saved, his family came to know about Mavi reality sending her to jail. But Ali saves his wife staying by her side saying it was an accident. The family thinks Ali married and saved Mavi because of remorse. Otherside Mavi is all set to get the job done this time & took Ali & his family with Vengeance. ==Cast== Actor Role Burcu Kıratlı Mavi Emrah Ali Işıl Yücesoy Refika Kenan Bal Fazil Cüneyt Mete Cemal Alayça Öztürk Safiye Ayşegül Ünsal Hasibe Seda Akman Yüksel Karahan Keremcem Yaman Ali Düşenkalkar Müntaz Osman Karakoç İlyas İpek Tuzcuoğlu Elmas ==Awards== Year Award Winner Presenter 2017 Female Drama Actress of The Year Burcu Kıratlı Datça Altın Badem Awards 2017 Drama Director of The Year Hakan Arslan Datça Altın Badem Awards 2017 Drama of The Year Aşk ve Mavi Datça Altın Badem Awards 2017 The Best Female Drama Actress of the Year Burcu Kıratlı Düzenlenen Altın Turizm Awards 2017 The Best Male Drama Actror of the Year Emrah Düzenlenen Altın Turizm Awards 2017 The Best Drama Director of the Year Hakan Arslan Düzenlenen Altın Turizm Awards 2017 The best series of the year Aşk ve Mavi Düzenlenen Altın Turizm Awards 2017 The Best Female Drama Actress of the Year Burcu Kıratlı Radyo Televizyon Gazetecileri Derneği 2017 Yılı Medya Oscarları Ödül Töreni 2017 The best TV series of the year Aşk ve Mavi Dizisi' ödülü Awards 2017 Best Drama Series Ask Ve Mavi Altın Palmiyede Award 2017 Best Producer Award Yiğit Alp Altın Palmiyede Award 2017 The Honor Award of the Year Aşk ve Mavi Altın Palmiyede Award 2017 The Song of the Century Aşk ve Mavi Altın Palmiyede Award 2018 Drama Series of the Year Aşk ve Mavi Altın Palmiyede Award 2018 Female Series Player of the Year Burcu Kıratlı Altın Palmiyede Award ==References== Category:2010s Turkish television series Category:Turkish drama television series Category:Television series produced in Istanbul Category:Television shows set in Istanbul Category:Television series set in the 2010s

Aşk İnsanı Değiştirir (English: Love Changes Human), is the thirteenth album of Turkish singer Yıldız Tilbe. The album was released on 20 May 2009. The album includes total of 23 songs on 2 CDs. Styles of the songs are in arabesque predominantly. In the album were pulled video clip for songs Anma Arkadaş and Ben Bir Karar Verdim. == Track listing == First CD: * 01 Anma Arkadaş – (Do Not Make Mention of She) – (Lyrics & Music: Selahattin Sarıkaya) * 02 Aşk Bence Sen Demektir – (Love In My Opinion Means "You") – (Lyrics & Music: Özer Şenay) * 03 Bal mısın Şeker misin? – (Are You Honey Or Sugar?) – (Lyrics & Music: Sait Ergenç) * 04 Ben Bir Karar Verdim – (I Decided One) – (Lyrics & Music: Yıldız Tilbe) * 05 Salındı Bahçeye Girdim – (He Oscillated, I Went Into Garden) – (Lyrics: Arif Sağ / Music: Anonymous) * 06 Seni Sevmek İstemiştim – (I Had Wanted To Love You) – (Lyrics & Music: Yıldız Tilbe) * 07 Yaşamak Seninle Güzel – (To Live is Nice With You) – (Lyrics & Music: Selahattin Cesur) * 08 Ağla Yüreğim – (Cry My Heart) – (Lyrics & Music: Yıldız Tilbe) * 09 Al Gönlünü Ondan – (Take From She Your Heart) – (Lyrics & Music: Ali Erköse) * 10 Gözleri Kara Sevgilim – (My Darling Her Black-Eyes) – (Lyrics & Music: Yıldız Tilbe) * 11 Geleceyem – (I Will Go) – (Lyrics & Music: Anonymous) * 12 Gayri Dayanamam – (I No Longer Can Not Stand) – (Lyrics & Music: Anonymous) Second CD: * 13 Üstüme Düşme Benim – (Don Not Fall Over Backwards To Do Me) – (Lyrics: Halit Çelikoğlu / Music: Atilla Alpsakarya) * 14 Tanrı'dan Diledim – (I Wished From The God) – (Lyrics & Music: Anonymous) * 15 Aşkın Cehennem Olsa – (Although Your Love is Hell) – (Lyrics: Salih Korkmaz / Music: Atilla Alpsakarya) * 16 Dudaklarında Arzu – (In Your Lips Are Desire) – (Lyrics: Sevim Ozhan / Music: Saadettin Öktenay) * 17 Bir Tek Düşüncem – (My Reasoning Only) – (Lyrics & Music: Adnan Varveren) * 18 Kim Bilir Şimdi Neredesin? – (Who Knows Where You Now?) – (Lyrics & Music: Seyfi Doğanay) * 19 Karahisar Kalesi – (Karahisar Castle) – (Lyrics & Music: Anonymous) * 20 Kara Sevda – (Blind Love) – (Lyrics & Music: A. Nail Baysu) * 21 Bülbül Havalanmış – (Nightingale Has Been Aired) – (Lyrics & Music: Anonymous) * 22 Aşk İnsanı Değiştirir – (Love Changes Human) – (Lyrics & Music: Yıldız Tilbe) * 23 Hata Benim – (The Mistake Is Mine) – (Lyrics & Music: Neşet Ertaş) == Charts == Chart (2009) Peak position D&R; Best-Selling Fantasy albums Retrieved 19 June 2009 3 Hepsiburada.com Best-Selling Retrieved 19 June 2009 16 Seyhan Müzik Top 20 Retrieved 19 June 2009 6 ==References== Category:2010 albums Category:Yıldız Tilbe albums

Aşk-ı Memnu may refer to: * Aşk-ı Memnu (novel), an 1899 Turkish romance novel by Halit Ziya Uşaklıgil * Aşk-ı Memnu (1975 TV series), a Turkish television miniseries, adapted from the novel * Aşk-ı Memnu (2008 TV series), a Turkish romantic drama television series, adapted from the novel

Aşk-ı Memnu is the second television series produced in Turkey and the first television miniseries adapted from the eponymous novel by Halid Ziya Uşaklıgil. The first part of the six-part series was released on TRT 1 channel on 19 April 1975. ==Cast== ;Main characters * Müjde Ar as Bihter Ziyagil * Salih Güney as Behlül Haznedar * Neriman Köksal as Firdevs * Şükran Güngör as Adnan * Çolpan İlhan as Mademoiselle de Courton * Murat Erton as Bülent * Itır Esen as Nihal * Suna Keskin as Peyker * Ersin Pertan as Nihat ==Episodes== # Melih Bey Takımndan Oluyoruz! # Nihal Hanım'ın Çarşafı # Çılgınlık Bu Yaptığımız! # Gelin Olmak mı? Asla! # Behlül'den Sakın! # Firdevs Hanım'ın Kızı ==External links== * http://www.sinematurk.com/film/7304-ask-i-memnu/ Category:1974 Turkish television series debuts Category:1970s Turkish television series Category:Turkish comedy television series Category:Turkish drama television series Category:Turkish Radio and Television Corporation original programming

Aşk-ı Memnu (Ottoman Turkish for "the forbidden love") is a Turkish drama television series originally broadcast on Kanal D between 2008 and 2010. It is an adaptation of Halit Ziya Uşaklıgil's 1899 novel Aşk-ı Memnu set in contemporary Istanbul instead of the novel's late 19th-century setting. With ensemble cast starring Beren Saat, Kıvanç Tatlıtuğ, Selçuk Yöntem, Hazal Kaya & Nebahat Çehre. ==Synopsis== Adnan Ziyagil, a rich Istanbul businessman lives an idyllic life in his mansion on the shore of Istanbul's Bosporus strait with his two children: teenage daughter Nihal and eleven-year-old son Bülent, his orphaned younger relative Behlül, and various house staff. Behlül, son of Adnan's cousin, moved in after his parents died in a car accident when he was young. He is in his 20s as the series starts. Ms. Deniz de Courton is the children's tutor and she has been living in the household long before the death of Adnan's wife. Deniz is of both Turkish and French heritage and is known to the entire household as "Mademoiselle". She was "entrusted" with the children by Adnan's deceased wife on her deathbed. A wealthy widower, Adnan attracts the attention of Firdevs Yöreoğlu, who has two daughters and has recently lost her husband. Peyker Yöreoğlu (Firdevs' eldest daughter) dated Behlül but marries Nihat Önal, son of another wealthy Istanbul family as the story begins. At their wedding, Adnan and Firdevs' youngest daughter, Bihter Yöreoğlu bond over the loss of their loved ones. Adnan falls in love with the much younger and beautiful Bihter. He proposes to her and she agrees to marry him even though she knows that her mother fancies him. There is no love lost between mother and daughter as Bihter blames her mother for her father's death after she cheated on him with another man. Firdevs is also not a favorite of Nihat's father, the rich but cunning businessman Hilmi Önal. Hilmi dislikes Firdevs because she is greedy, cunning, and self-centered; he vows to make her life a living hell. Firdevs – along with her maid, Katya – moves in with the Ziyagils after she suffers a serious car accident. The marriage of Bihter and Adnan begins well as Bihter tries to endear herself to Adnan's children. Adnan is devoted to Bihter but their age difference soon shows in their widely different reactions to events. Everyone knows Behlül as a playboy, more interested in girls than in his university studies. Bihter has held a grudge against him since he left her sister Peyker. Living together in the Ziyagil mansion, Behlül falls head over heels in love with Bihter. He tries to stay away and has feelings of guilt toward his uncle, but it proves a losing battle as he becomes more and more captivated by Bihter. She initially rejects him, but later falls for him. Their "forbidden love" (Aşk i Memnu in Turkish) becomes the centerpiece of the story which ends tragically. The series is an in-depth look at the damage created by their illicit affair on themselves and the entire Ziyagil household. ==Characters== Role Actor Character Bihter Yöreoğlu Ziyagil Beren Saat The lead protagonist Bihter is a beautiful young woman who blames her mother, Firdevs for the death of her father. While her mother was planning to marry Adnan Ziyagil, a rich widower, Adnan proposes to Bihter instead of her mother. Bihter agrees, but it is clear that for her Adnan is more of a father figure, replacing the father she has lost. Bihter attempts to endear herself to Adnan's two children. She begins an affair with Behlül, Adnan's "nephew" who lives in the mansion and falls in love with him. Behlül Haznedar Kıvanç Tatlıtuğ The orphaned son of Adnan's cousin who lost both his parents in a car accident when he was a young child. He has been raised by Adnan, whom he calls "uncle". He is known as a womanizer and has many girls in his life, but he gradually falls madly in love with Bihter when she starts living with the family. A deeply feeling young man but he is not brave enough to defend their forbidden love due to guilt for his uncle who raised him as his own Adnan Ziyagil Selçuk Yöntem A rich Istanbul businessman, head of a powerful holding, Adnan is a widower who falls in love with and marries the much younger Bihter. He has two children, Nihal and Bülent. He has raised the orphaned Behlül as his own son. Firdevs Yöreoğlu Nebahat Çehre Bihter's and Peyker's mother, a greedy woman obsessed with money, status, and power. Her husband died of a heart attack when he discovered that she was having an affair. She is overbearing and manipulative and meddles in both her daughters (Bihter and Peyker)'s lives. She becomes aware of but wants to prevent the love between Bihter and Behlül. Nihal Ziyagil Hazal Kaya The parallel lead protagonist Nihal is Adnan's innocent and naive daughter. Though she and Behlül have been raised as siblings, she has romantic feelings for and falls blindly in love with him. Behlül becomes engaged to her as one of his many attempts to cover up (or make up to his uncle for) his illicit affair with Bihter. Ms. Deniz De Courton Zerrin Tekindor Nihal's and Bülent's tutor, she is well educated and cares for both the children who have been entrusted to her by their dying mother. She is secretly in love with Adnan but conceals her feelings as Adnan marries Bihter. Bülent Ziyagil Batuhan Karacakaya Adnan's son and Nihal's brother, he is eleven years old when the series begins. A fun-loving kid who loves Behlül and looks up to him. Peyker Yöreoğlu Önal Nur Fettahoğlu Bihter's older sister, Firdevs's daughter, Nihat's wife, Doruk's and Saif's mother and Behlül's ex-girlfriend. Nihat Önal Ilker Kizmaz Peyker's husband, Hilmi Önal's and Aynur's son, Adnan's much younger brother- in-law and business partner. Hilmi Önal Recep Aktuğ Nihat's father. A cruel and manipulative man who treats his wife and son as accessories. Hilmi initially disowns Nihat because he married Firdevs' daughter against his wishes. Nihat then goes to work for Adnan Ziyagil's family. Aynur Önal Zerrin Nişancı Nihat's mother, Peyker's mother-in-law. A soft-spoken and kind lady who loves Peyker and Nihat very much. Beşir Elçi Baran Akbulut Driver at Adnan's house. He was orphaned at the age of six and brought by Adnan to live in his house. He was raised along with Nihal and has fallen in love with her. He would go to any length to keep Nihal happy. He finds out about the Bihter- Behlül affair. In the end he dies by lung cancer. Elif Meryem Eda Özerkan Behlül's most steady girlfriend. Behlül proposes to her in his attempts to stay away from Bihter but feels no real love for her. They have a long engagement but break-up as Behlül and Bihter get deeper into their affair. Eventually she moves to Paris for her modeling career. Süleyman Rana Cabbar Cook and head of the household staff for the Ziyagil family. He is married to Şayeste and has a daughter, Cemile. All three of them have lived in the mansion for years and are considered as "family" though there are clear upstairs and downstairs conflicts between masters and servants. Şayeste Fatma Karanfil Süleyman's wife and Cemile's mom. Cemile Pelin Ermiş Süleyman and Şayeste's daughter. Loves Beşir. Nesrin Evren Duyal The maid of the house. Gets engaged to Captain Rıza. Katya Ufuk Kaplan Mrs. Firdevs's maid from Ukraine who had a crush on Sait. Pelin Hayal Köseoğlu Nihal's friend. While she has a crush on Behlul, Bülent has a crush on her. Sait Uğur Tekin When Beşir was sick, Sait came to the Ziyagil house as a driver. But actually, he was sent by Hilmi to spy on the family. Arsen Ziyagil Gülsen Tuncer Adnan's older sister. Motherly presence for his children but lives in a country house outside of Istanbul. Often a "voice of reason" for Adnan and the rest of the family. ==Series overview== Season Number of Episodes Episodes Start of the Season Season Finale Viewers in Turkey (Millions) Day and Time of Broadcasting TV Season TV Channel Season 1 38 1–38 4 August 2008 18 June 2009 9.6~16.14 Thursday 20:00 2008–2009 Kanal D Season 2 41 39–79 (Final) 3 September 2009 24 June 2010 15.1~27.1 Thursday 20:15 2009–2010 Kanal D ==Television Ratings== The series grew popularity over the course of its two season run. The pilot episode garnered 9.6 million viewers on its initial release in Turkey, with the amount rising until the first season finale, which 16.14 million viewers have watched. The second season premiered with 15.1 million viewers with the number fluctuating between 15 and 27 million viewers throughout the season. The series' finale, 41st episode of the season and the 79th episode overall, was watched by record-breaking 27.1 million viewers, making it the highest- watched episode of any TV show of all time in Turkey, with almost 40% of the population watching it. ==Other adaptations== The series follows a 1975 adaptation of the novel starring Müjde Ar as Bihter and Itır Esen as Nihal, taking place in the original late 19th-century setting. A Spanish-language American remake titled Pasión prohibida began airing in 2013. Later, the Indian channel Star Plus broadcast the remake of this show as Dil Sambhal Jaa Zara. A Romanian adaptation was also produced by Antena 1 under the title Fructul oprit in 2018; Antena 1 was sued by the writers of Aşk-ı Memnu in 2020 and lost all rights to Fructul oprit, as a court has decided that way too many scenes had been precisely copied. ==International broadcasts== Aşk-ı Memnu has broken rating records in Turkey.Turquía sueña con el Amor prohibido The series is the top-rated series there.Soap Operas in the Arab World Yield Their Own Soft Power A major hit in Pakistan with 11.9 ratings on its last episode. It was seen by more than 90 million people in Pakistan. Aired thrice, it was the first foreign drama to get so many ratings in Pakistan. The series was renewed for a fourth time in Pakistan and is currently airing on a YouTube Channel "Dramas Central" in partnership with Kanal D and the Dot Republic Media. Aşk-ı Memnu was dubbed in many languages, including Urdu, Persian, Arabic, Hindi, Portuguese, and Spanish. Broadcasters carrying the series include. *Algeria - Al jazeera *Turkey – Kanal D *Bosnia & Herzegovina – Hayat TV *Afghanistan – Tolo TV *Pakistan – Urdu 1 (Dubbed in Urdu language) *Pakistan – Dramas Central (YouTube) (Dubbed in Urdu language) *America and Europe – Rishtey TV (Dubbed in Hindi language) *Bangladesh – Channel I (Dubbed in Bengali language) *Saudi Arabia – MBC 4 *Egypt – Melody Drama *Lebanon – LBC *Iran – GEM Classic Channel (Dubbed in Persian language) *Bulgaria – bTV, bTV Lady, Nova TV, Diema Family *Montenegro – TV In *Morocco – 2M Maroc *Tunisia – Nessma TV *Croatia – Nova TV, Doma TV *Serbia – Prva TV *Hungary – TV2 *Greece – ANT1 *Slovenia – POP TV *Slovakia – TV Doma *Romania – Kanal D, Pro 2 *China – XJTV (Dubbed in Uyghur language) *Israel – Viva *Kazakhstan – 31 Kanal *Uzbekistan *Macedonia – Kanal 5 *Lithuania – LNK *Albania – Klan TV *Georgia – Maestro TV *Chile – Canal 13 *Latvia – LNT *Estonia – Kanal 2 *Ecuador – Gama TV *Peru – Latina Televisión *Paraguay – Telefuturo *Argentina – Telefe *Brazil – Band (Dubbed in Portuguese language) *Colombia – Caracol Televisión *Mexico – Imagen TV *Czech Republic – Kino Barrandov *Ethiopia – Kana TV *United States - Univision Dubbed in Spanish. Set to premiere in 2020. ==References== ==External links== * *Aşk-ı Memnu YouTube page Category:2008 Turkish television series debuts Category:2010 Turkish television series endings Category:Turkish drama television series Category:Television series by Ay Yapım Category:2010s Turkish television series Category:2000s Turkish television series Category:Kanal D original programming Category:Television shows set in Istanbul Category:Television series produced in Istanbul Category:Turkish television series endings

Aşk-ı Memnu (; , ) is a Turkish romance novel by Halit Ziya Uşaklıgil. It was serialized in 1899 and 1900 in Servet-i Fünun, a leading Turkish literary magazine of the time. ==Adaptations== Aşk-ı Memnu was adapted by Halit Refiğ into a TV series in 1975, considered to be the first miniseries on Turkish television. Another TV series adaptation named Aşk-ı Memnu aired from 2008 to 2010. It takes place in the modern-day Istanbul instead of the novel's late 19th-century setting. Telemundo produced a Spanish adaptation of the serial, Pasión prohibida, which was set in Miami. The novel was made into a 3-act play by Tarık Günersel, who also wrote a libretto for the Turkish composer Selman Ada leading to an opera. ==References== Category:1900 novels Category:Turkish novels Category:Novels first published in serial form Category:Works originally published in Turkish magazines Category:Works originally published in literary magazines Category:Novels set in Istanbul

{{Infobox settlement | name = Aşkale | image_skyline = | image_caption = | image_shield = | pushpin_map = Turkey | coordinates = | subdivision_type = Country | subdivision_name = | subdivision_type1 = Province | subdivision_name1 = Erzurum | subdivision_type2 = | subdivision_name2 = | leader_party = AKP | leader_title = Mayor | leader_name = Enver Başaran | leader_title1 = Kaymakam | leader_name1 = Mustafa Özsoy | elevation_m = | area_footnotes = | area_blank1_title = District | area_blank1_km2 = | population_footnotes = | population_urban = | population_as_of = | population_blank1_title = District | population_blank1 = | population_density_blank1_km2 = auto | postal_code_type = Post code | postal_code = 25500 | blank_name_sec1 = Climate | blank_info_sec1 = Dsb | website = }} Aşkale is a town and district of the Erzurum province of Turkey. The mayor is Enver Başaran (AKP). The population is 12,509 (as of 2010). Kandilli Ski Resort, which hosts cross-country skiing and biathlon competitions at some international winter sports events, is situated in Aşkale. == Labour camps for non-Muslims == In 1942, the Varlık Vergisi (, "wealth tax" or "capital tax") was imposed on the minority non-Muslim citizens of Turkey (mainly Jews, Greeks, Armenians, and Levantines.: "Those mainly afflicted were the Greeks, Jews, Armenians, and, to some extent, foreign- passport Levantine families." Those unable to pay had to work off their debt in labor camps in Aşkale. Five thousand were sent to the Aşkale labor camp."Out of 40,000 tax debtors, about 5,000 were sent to these camps, and all of these were members of non-Muslim communities." The law was repealed on 15 March 1944,"The Wealth Tax was withdrawn in March 1944, under the pressure of criticism from Britain and the United States" and minority citizens who were at the labour camps were sent back to their homes."Minority citizens still in the camps were sent back to their homes." ==Neighbourhoods== * Abdalcık * Akören * Altıntaş * Bağırsak * Ballıtaş * Bozburun * Büyükgeçit * Çatalbayır * Çatören * Çayköy * Çiftlik * Dağyurdu * Dallı * Demirkıran * Dereköy * Düzyurt * Eyüpoğlu * Gökçebük * Gölören * Güllüdere * Gümüşseren * Güneyçam * Gürkaynak * Hacıbekir * Hacıhamza * Hacımahmut * Hatuncuk * Haydarhacı * Kapıkale * Karahasan * Karasu * Kavurmaçukuru * Koçbaba * Koşapınar * Kurtmahmut * Küçükgeçit * Küçükova * Kükürtlü * Merdivenköy * Mezrea * Musadanışman * Ocaklı * Ovacık * Özler * Pırnakapan * Saptıran * Sarıbaba * Sazlı * Taşağıl * Taşlıçayır * Tecer * Tepsicik * Tokça * Topalçavuş * Tosunlu * Tozluca * Turaç * Yaylaköy * Yaylayolu * Yaylımlı * Yumruveren ==References== Category:Populated places in Erzurum Province Category:Districts of Erzurum Province

Aşkale labor camp is a labor camp established in Aşkale for taxpayers who do not fully and timely pay the extraordinary wealth tax enacted with the 'Varlık vergisi' in Turkey, dated 11 November 1942 and numbered 4305. With the law enacted in November 1942, a process that particularly affected minorities in Turkey. Those who could not pay the determined debts within a monthİsmail Cem, Türkiye'de Geri Kalmışlığın Tarihi, Can Yayınları: 17. basım: 2007, İstanbul, s. 291. were sent to the labor camps in Aşkale and Erzurum, where they were employed in various jobs. In January 1943, the first convoy went to Aşkale by train for the labor camps to which they would be sent. Due to the number of the first non-Turkic convoys arriving in Aşkale, space problems arose, and the convoys were sent to Erzurum. Taxpayers staying in Aşkale and Erzurum were put on freight wagons in August 1943 and sent to Eskişehir. Non-Turks, who are taxpayers of wealth tax, cleared the snow on the highway in Aşkale. In Erzurum, they prevented the highway from being blocked by snow and swept the streets of the city.Yorgo Hacıdimitriadis'in Aşkale-Erzurum Günlüğü, Yayına Hazırlayan: Ayhan Aktar, s. 8. More than 20 non-Muslim taxpayers, most of whom were older, died in Erzurum.Rıdvan Akar, Varlık Vergisi Kanunu, Belge Yayınları, s. 108. The wealth tax and enslavers conscription,Mina Urgan, Bir Dinozorun Anıları, Yapı Kredi Yayınları, s. 67. which drew reactions from non- Turks due to the demand for taxes that they could not pay, led to various criticisms both at home and abroad.Zafer Toprak, “Erken Cumhuriyet Türkiye’sinde Finansal Yapı,” Bugünün Bilgileriyle Kemal’in Türkiye’si - La Turquie Kamâliste, İstanbul; Boyut Yayıncılık, 2012, s. 118-125. == References == Category:Discrimination in Turkey Category:History of the Republic of Turkey

Aşkar is a village in the municipality of Quşçu in the Shamakhi Rayon of Azerbaijan. ==References== Category:Populated places in Shamakhi District

"Aşkkolik" (En. Love Addict) is the fifth single, tenth overall, by Belgian singer Hadise from her second self-entitled studio album Hadise. The single is the second Turkish song on the album. ==Background== The song is written by Deniz Erten and produced by Özgür Buldum. "Aşkkolik" differs to most of Hadise's releases except My Body. Both songs are more electronic unlike other releases which are more R&B; influenced. ==Music video== The single begun receiving airplay when the album was released, but a music video was not shot. However, on 2 November 2008, owing to the popularity of the song and the fact that the song had no video, the Turkish music channel "Powertürk TV" released a collage using music videos from Hadise's previous music videos. These included "My Body", "Deli Oğlan" and "A Good Kiss". Hadise was unable to promote the song as she was preparing possible songs for the 2009 Eurovision Song Contest. ==Chart performance== Aşkkolik started to receive airplay due to the huge success of the previous Turkish single "Deli Oğlan", and it led to the song charting on many radio charts and the official Turkish billboard Chart. ==Charts== Chart (2008) Peak position Turkish Top 20 Chart (Official)Turkish Billboard Top 20 Chart Retrieved On 10 November 2008 17 ==References== Category:2008 singles Category:Hadise songs Category:2007 songs Category:EMI Records singles

Aşklarım Büyük Benden (My Loves Are Greater Than Me) is the third studio album by Turkish singer Murat Boz. It was released on 9 May 2011 by Dokuz Sekiz Müzik. Boz's first studio album since Şans (2009), Aşklarım Büyük Benden is a pop album and was produced by Boz himself. The album contains nine songs in total and received positive reviews from critics, who described it as "a good orientation" in Boz's music career. The alum's lead single, "Aşklarım Büyük Benden", was released together with a music video in April 2011. After the album's eventual release, more music videos were released for the songs "Hayat Öpücüğü", "Geri Dönüş Olsa", "Kalamam Arkadaş", "Bulmaca" and "Soyadımsın". Out of these songs, "Geri Dönüş Olsa" and "Kalamam Arkadaş" ranked first on Türkçe Top 20. Aşklarım Büyük Benden sold 35,000 and received the Most Special Album award at the award ceremony organized by Kadir Has University. To promote the album, Boz performed his songs on programs such as Beyaz Show, Şeffaf Oda, and O Ses Türkiye, and gave concerts at various places in Turkey. He later released the remixed version of some of these songs in a compilation album titled Dance Mix in August 2012. == Background and release == Murat Boz's second studio album, Şans was released in February 2009 and he continued to release various music videos for the album until late 2010. In April 2010, he also released the single "Hayat Sana Güzel". During an interview in May 2010, Boz said that he would release the album in summer. In December 2010, it was reported that Boz had traveled to London to work on his new album and that it would have "a more mature appeal". Boz also said that all of the songs on the album would be "catchy". In Mart 2011, Murat Boz announced on his Facebook page that he was still working on the album and asked his fans to "be ready for surprises in April." On 12 April 2011, the album's lead single "Aşklarım Büyük Benden" was released on digital platforms and it was confirmed that the album would also bear the same title. At the end of the same month, some of the lyrics of the songs were shared with the audience.The lyrics that were shared from Aşklarım Büyük Benden before its release: *Soyadımsın: *Hayat Öpücüğü: *Korkma: The album was released on 9 May 2011 by Dokuz Sekiz Müzik. Murat Boz claimed that the songs on the album were a combination of his experiences. He also added that the songs were chosen in accordance with his mood. Aşklarım Büyük Benden was produced by Murat Boz and contains nine songs in total. Pop singer and songwriter Fettah Can and Ayşe Özyılmazel were among the album's songwriters. Can wrote the songs "Aşklarım Büyük Benden" and "Soyadımsın", while Özyılmazel wrote "Kalamam Arkadaş". The songs were arranged and composed by Mert Ali İçelli, Erdem Kınay, Ozan Doğulu, Mert Ekren and Mustafa Ceceli. The album sold 35,000 copies in total and received the Most Special Album award at the award ceremony organized by Kadir Has University. It was also nominated for the Best Album award at the Siyaset Dergisi award ceremony. == Critical reception == Aşklarım Büyük Benden received positive reviews from music critics and its lyrics and compositions were praised. Radioman Michael Kuyucu described the album as "cool" and stated the singer was taking "confident steps in the right way". He also added that the first remarkable thing in the album was Boz's choice of "meaningful songs". DJ and radio programmer Olcay Tanberken gave the album a positive review and wrote that it was an album that pushed Boz "into the period of maturity" in his career. Music website Gerçek Pop also gave the album a favorable review and gave it 3.5 out of 5 stars. The website stated that the album contained mostly "medium tempo" songs, and the song "Aşkın Suçu Yok" would satisfy "those who want to listen to songs" such as "Her Şeyi Yak" and "Sallana Sallana", which appeared in Boz's previous album. The orientation that he had chosen with this album was found much better "for our music industry [...] and for himself". The website also gave 3 stars out of 5 to the album's cover design. The music website Popüler Müzik Notları also published a positive review on the album. The website found this album as "a mix of his two previous albums" and named the song "Geri Dönüş Olsa" as its "most original song". == Music videos == Six music videos were released for Aşklarım Büyük Benden. The first music video was made for the album's lead single "Aşklarım Büyük Benden", which was released on 13 April 2011. The video was directed by Burak Ertaş, who also took the album's photographs, and model Sonja Wronski appeared alongside Boz on it. On 27 May 2011, the album's second music video "Hayat Öpücüğü" was released. It was directed by Murad Küçük and Slovak model Andrea Lehotska accompanied the singer on the video. In the video, Boz demonstrated a love story that ends as a result of a car accident. The music video for "Geri Dönüş Olsa" was recorded in late August and directed by Tülay İbak. It was released on 9 September 2011. "Geri Dönüş Olsa" ranked first on Türkçe Top 20. The fourth music video was made for the song "Kalamam Arkadaş". It was directed by Korhan Bozkurt and released on 28 November 2011. Similar to "Geri Dönüş Olsa", the song ranked number one on Turkey's official music chart. The fifth and sixth music videos, "Bulmaca" and "Soyadımsın", were released on 12 March and 8 May 2012 respectively. The people who appeared together with Boz on the video for "Soyadımsın" were chosen following the result of a contest. == Track listing == == Personnel == Credits adapted from Aşklarım Büyük Bendens album booklet.Aşklarım Büyük Benden (album booklet). Murat Boz. Dokuz Sekiz Müzik. 2011. 867441640913. * Dokuz Sekiz Müzik – production * Ahmet Çelenk – producer * Murat Boz – singer, producer * Demet Karaduman – general coordinator * Reşit Gözdamla – songwriter, composer * Bülent Ay – composer * Mert Ali İçelli – composer, arranger, mixing * Cansu Kurtcu – songwriter * Fettah Can – songwriter, composer * Gökhan Şahin – songwriter * Emrah Karaduman – composer * Elif Nun İçelli – songwriter * Deniz Erten – songwriter * Erdem Kınay – composer, arranger * Ayşe Özyılmazel – songwriter, composer * Mert Ekren – composer, arranger * Gülşah Tütüncü – songwriter, composer * Ozan Doğulu – arranger * Çisel Onat – songwriter, composer * Mustafa Ceceli – arranger * Candan Köker – mixing * Suat Durmuş – mixing * Arzu Alsan – mixing * Tarık Ceran – mixing * Metropolis London – mastering * Burak Ertaş – photography * CVT Hairdesign (Cevat Aydın) – hair * Çetin Koyuncu – make-up * Elif Sakuçoğlu – stylist, director * Özgürarcan – graphic * Behra Ofset – printing * Esen Dağıtım – distribution * Akademi Organizasyon (Hakan Özgül) – reservation agency * Eliz Sakuçoğlu – management == Release history == Country Date Format Label Turkey 9 May 2011 CD, digital download Dokuz Sekiz Müzik Worldwide Digital download == References == == External links == *Aşklarım Büyük Benden – Discogs Category:2011 albums Category:Murat Boz albums

Aşktır Beni Güzel Yapan (This is Love that Makes Me Beautiful) is an album by Turkish singer Asya. It is her fifth studio album, released in Turkey in 2007. ==Track listing== * "Kırmızı Kart" (Red Card) * "Tesadüfen" (by Chance) * "Gittin Gideli" (Since You have Gone) * "Git Güle Güle" (Bye Bye) * "Aşktır Beni Güzel Yapan" (This is Love That Makes Me Beautiful) * "Canım" (Honey) * "Senden Sonra" (After You) * "Teslim Oldum Aşka" (I Surrender Myself to The Love) * "Yaprak Döken Benim" (This is Me Who Patch off) * "Yeter" (Enough) ==References== == External links == * Category:Asya (singer) albums Category:2007 albums

"Aşkı Bulamam Ben" (English: I Cannot Find Love) is the first single of Turkish singer Murat Boz. After the success of "Aşkı Bulamam Ben" Murat Boz released his first album Maximum which featured this single. The single consists of 2 songs and 2 versions. The video of the song, Aşkı Bulamam Ben helped him to win the Kral TV's 2006's Best New Male Artist Prize. ==Track list== ==Chart== Album Single Peak TurkeyBillboard Türkiye Top 20 Maximum "Aşkı Bulamam Ben" 3 ==References== ==External links== *Murat Boz Aşkı Bulamam Ben Single Site Category:2006 singles Category:Murat Boz songs Category:2006 songs

Aşkın Nur Yengi (born 3 July 1970) is a Turkish singer and actress. With her debut album Sevgiliye in 1990, she became one of the most successful Turkish singers of the '90s. == Personal life == Yengi married Haluk Bilginer in 2006 and they have a daughter. The couple divorced in 2012 after six years. == Discography == === Albums === Release date Album Producer Notes 30 January 1990 Sevgiliye Fono Müzik 2 September 1991 Hesap Ver Emre Müzik 15 July 1993 Sıramı Bekliyorum 12 December 1994 Karaçiçeğim 6 June 1997 Haberci Emre Müzik 17 June 1999 Aşk Kazası 19 September 2000 Peşindeyim 5 April 2002 Aşkın Nur Yengi 12 October 2004 Yasemin Yağmurları Marşandiz 6 November 2007 Aşk'ın Şarkıları Emre Plak 5 January 2010 Gözümün Bebeği Emre Grafson Müzik 8 November 2016 Aşk'tan Olsa Gerek (EP) Sony/Columbia === Singles === * "Peşindeyim" (2000) * "Allah'tan Kork" (with Mehmet Erdem) (2019) * "Baba" (2020) == Filmography == === Theater === *Kadıncıklar (2001) === Documentaries === *Kurtuluş === Series === *Olacak O Kadar Televizyonu, (2001) *Cesur Kuşku *Bayanlar Baylar === Movies === *Ömerçip === TV programs === *Altın Adımlar Yarışması - (TRT) == Awards == *1987 – Kuşadası Golden Pigeon Song Contest *1988 – International Antalya Golden Orange Film Festival *1989 – Çeşme Music Festival ==References== Category:1970 births Category:Living people Category:Actresses from Istanbul Category:Singers from Istanbul Category:Turkish film actresses Category:Turkish television actresses Category:Turkish pop singers Category:21st-century Turkish singers Category:21st-century Turkish women singers

Aşkın Tuna (born 21 July 1940) is a Turkish athlete. He competed in the men's triple jump at the 1964 Summer Olympics and the 1968 Summer Olympics. ==References== Category:1940 births Category:Living people Category:Athletes (track and field) at the 1964 Summer Olympics Category:Athletes (track and field) at the 1968 Summer Olympics Category:Turkish male triple jumpers Category:Olympic athletes for Turkey Category:Sportspeople from Manisa

Ashli or Aşlı (cv. Аскиль trn.Askil, ; pronounced ) was a mysterious medieval Volga Bulgarian town. In Russian chronicles it is known as Oshel (). Whereas archaeological excavations prove that the city appeared as early as the 11th century, the Tatar legends and the Russian Tver Chronicle state that the city was founded by Alexander the Great. At its heyday Ashli was a major trade and political centre. In 1220 it was ruined and burned by the troops of Sviatoslav III of Vladimir. The Tver Chronicle is the only written source where Ashli is mentioned. Газета "Республика Татарстан" Под град Ошель на Волге… ==Downfall== The downfall of the city is mentioned in the Tver Chronicle, the only written mention of the city. The prince of Vladimir Yuri Vsevolodovich sent the expedition to sack Ashli under his brother, Sviatoslav. The Russians under prince Sviatoslav, his brother Yaroslav and voyevoda Yeremey Glebovich reached the city by the Volga on their boats. They landed to the east of the city at the flat bank of the Volga. The Rostovans formed the right flank, the Pereslavleans the left, the prince and the Muromeans stayed in the center. One regiment stayed to protect the boats. The Russians came across the forest and met the horseback Bulgars under their prince. Bulgars shot their arrows and retreated to the citadel. The Russians reached the walls in a harsh battle and managed to set a fire at the walls. However the fire, smoke and wind were so strong, that the Russians were forced to retreat and to enter the city from another side. However, Ashli's prince and his cavalry retinue escaped under cover of the smoke. However, foot warriors and civilians were killed in action. The fire was so strong that many invaders who dared to enter Ashli to rob the city perished. The Russians took into many civilians captive and retreated by the Volga. Bulgar reinforcements, sent from Bilär, the capital, were too late. ==Search and excavations== For a long period there weren't any ruins identified as Ashli. Vasily Tatishchev assumed that the ruins near Yantikovsky (Kirelsky) in what is today Kamsko-Ustyinsky District (Kama-Ustjin District) were the remains of Ashla. Another supporter of this version, A. Smirnov, advanced that the name of the city comes from the Esegel tribe of the Volga Bulgars. Yantikovsky's ruins were flooded with the infill of the Kuybyshev Reservoir in the 1950s, however, they were totally explored. There weren't scents of the mentioned great fire in Yantikovsky ruins. Today the ruins are assumed to be near the village of Bogodashkino, Tetyushsky District. Bogdashkino is a village located on the upper course of the Kilna River, between Proley-Kasha and Iokovo villages, about five kilometres north of Uryum village, on the land which is inhabited by Tetyushi Mordvins, about 16 kilometres south-west of Tetyushi. The Bogodashkino ruins were found in 1909 by Ğäynetdin Äxmärev and the excavations took place in 1949-1950 under Nikolay Kalinin. He also excavated Yantikovsky's ruins and decided that Ashli was situated near Bogodashkino. The remains of the fortress, the apartments, workshops, pottery and foundry were unearthed. The Muslim burial ground found there dates back to the 11-13th centuries. The last expeditions of 1987 and 2003 provided a good matter for historians. ==Controversial theories== Some Cäğfär Taríxı-based versions place Aşlı in the modern Kazan and state the victory of Bulgars under Gabdulla Chelbir and defeat of the Russians and the Udmurts.Сколько же лет Чебоксарам? ==References and footnotes== Category:Volga Bulgaria Category:Defunct towns in Russia Category:Archaeological sites in Tatarstan Category:Former populated places in Russia Category:Cultural heritage monuments of federal significance in Tatarstan

Aşlıca (formerly Nanikuşağı, ) is a village in the Ovacık District, Tunceli Province, Turkey. The village is populated by Kurds of the Qoçan tribe and had a population of 19 in 2021. The hamlets of Çığırcık, Elmacık, Sarısalkım and Yağışlı are attached to the village. == References == Category:Kurdish settlements in Tunceli Province Category:Villages in Ovacık District, Tunceli

Aşralar (also, Ashralar) is a village in the Tovuz Rayon of Azerbaijan. The village forms part of the municipality of İsakənd. == References == * Category:Populated places in Tovuz District

Aştavul (also: Aşdağul) is a town (belde) in the Ortaköy District, Çorum Province, Turkey.Belde Belediyesi, Turkey Civil Administration Departments Inventory. Retrieved 1 March 2023. Its population is 2,135 (2021). ==References== Category:Ortaköy District, Çorum Category:Populated places in Çorum Province Category:Town municipalities in Turkey

Aşubcan Kadın (; "Queen bee's spirit"; 1793 – 10 June 1870), called also Aşubican Kadin, was a consort of Sultan Mahmud II of the Ottoman Empire. ==Life== Daughter of a Bulgarian delegate and born in 1793, Aşubcan, called also Aşubican, entered in Mahmud II's harem on 1808, and was given the title of "Fifth Kadin" (consorts). On 5 July 1809 she gave birth her first daughter, Ayşe Sultan, Who died on February 1810. On 16 June 1811 she gave birth to her second daughter Saliha Sultan in the Topkapı Palace. Traditional birth ceremony was arranged in the imperial harem, which was attended by Mahmud's mother, wives, and sisters. On this occasion Valide sultan Nakşidil Sultan presented Aşubcan with presents. She was followed a year later by a third daughter, Şah Sultan, born on 22 May 1812, who died at the age of two in September 1814. She was then elevated to the title of "Fourth Kadin", and later to the title of "Third Kadin" and at end "Second Kadın". In 1834, her daughter married Damat Gürcü Halil Rifat Pasha, and went to live in Fındıklı Palace. After Mahmud's death in 1839, his son Sultan Abdulmejid I, son of Bezmiâlem Kadın, ascended the throne. Aşubcan moved to live in the Beşiktaş waterfront Palace, and later in Çamlıca, and Maçka Palaces. In 1843 her only survived daughter also died. In 1861, after the death of Abdulmejid, his half- brother Sultan Abdulaziz, son of Pertevniyal Kadin, ascended the throne. Aşubcan often wrote letters to both of her stepsons, and was even visited by them at her palace. ==Death== Aşubcan Kadın died on 10 June 1870, and was buried the mausoleum of her husband located at the Divanyolu street. ==Issue== Together with Mahmud, Aşubcan had at least three daughters: * Ayşe Sultan (5 July 1809 - February 1810). Buried in the Nurosmaniye mosque. * Saliha Sultan (Topkapı Palace, 16 June 1811 - Istanbul, Turkey, 5 February 1843, buried in Sultan Mahmud II Mausoleum, Divanyolu, Istanbul). * Şah Sultan (22 May 1812 – September 1814, buried in Nuruosmaniye Mosque, Fatih, Istanbul). ==In popular culture== *In 2018 Turkish historical fiction TV series Kalbimin Sultanı, Aşubcan is portrayed by Turkish actress Açelya Devrim Yılhan. ==See also== *Ottoman Imperial Harem *List of consorts of the Ottoman sultans ==References== ==Sources== * * * * * Category:1795 births Category:1870 deaths

Aşurlu (also, Ashurlu and Ashurli) is a village and municipality in the Masally Rayon of Azerbaijan. It has a population of 1,884. == References == * Category:Populated places in Masally District

Aşut is a village in the Refahiye District of Erzincan Province in Turkey.Köy, Turkey Civil Administration Departments Inventory. Retrieved 1 March 2023. The village had a population of 29 in 2022. == Notable people == * Türkan Örs Baştuğ ==References== Category:Villages in Refahiye District

Aşçıbekirli is a village in the District of Pozantı, Adana Province, Turkey. ==References== Category:Villages in Pozantı District

Khanlar Maharramov (; 1950, Tovuz - 1998, Baku) was a famous Azerbaijani ashiq. Ashig Khanlar Maharramov was born in January 1950 in the village of Alimardanli, Tovuz region. He died in 1998 in Baku. == References == Category:Azerbaijani folk poets Category:Azerbaijani poets Category:1998 deaths Category:1950 births Category:20th-century poets Category:Ashiks

Şerif Cırık, popularly known as Aşık Mahsuni Şerif, was a Turkish ashik, folk musician, composer, poet, and author.Hem Kızılbaş, hem Aleviyim Aşık is a title used to indicate his position as a respected musician and his relationship with Alevism. == Early life == Mahsuni Şerif was born in the Berçenek village of Afşin, Kahramanmaraş, Turkey in 1939.Aşık Mahzuni Şerif - Ozanlarımız: : Asrin Ozani - Asik Mahzuni Serif : : His mother's name is Döndü, his father's name is Zeynel Cırık. There was no primary school in his village, Berçenek. Instead, he studied the Koran in Lütfü Efendi Madrasa, located in the village of Alembey, until he could graduate later on from the local primary school. He started playing baglama and writing poems in 1956 while attending military school. == Career == After Mahzuni left the army, he started to become a public poet by continuing to traditional Turkish Folk poetry. He was writing about political topics and his poems were all about public's problems. For instance one of his poems is about lack of education in villages (school without class [Sınıfsız Okul]). He interested in Turkish Folk tradition since he was 12. He learned playing baglama from his uncle Ashik Fezali (Pehlül Baba). His first record was released in 1964. He resided in Gaziantep for a while, after he moved to Ankara. He actively worked for the labor party's youth branch in 1963, 1964. He met with Fikret Otyam. Thanks to him he met with Cüneyt Arcayürek Form Gazette of Hürriyet. First writing in gazette about Mahzuni was written by Cüneyt Arcayürek. He found the Society of Ashiks for public poets. He gave concerts supported by Fikret Otyam and Union of Gazette. He founded a record firm with the money he earned in 1968. However, he bankrupt with his partners Ayhan Coşkun and Abbas Sütçü in a short time. In 1989–1991 years he was chosen as one of the World's biggest three poets by the Turkish Folk Poets Federation. He is known as these folk songs: Dom Dom Kurşunu, Yedin Beni, Yuh Yuh, Fadimem, Gül Yüzlüm, Ciğerparem, Merdo, Dostum, Han Sarhoş Hancı Sarhoş, Çeşmi Siyahım, Yalan Dünya, Ağlasam mı, Abur Cubur Adam, Katil Amerika, Ekmek Kölesi. His folk songs are vocalized by a lot of folk music and pop music artists. Some of them are Ersen ve Dadaşlar, Edip Akbayram, Cem Karaca, Gülden Karaböcek, Zeki Müren, İbrahim Tatlıses, Ahmet Kaya, Mahsun Kırmızıgül, Murat Göğebakan, Selda Bağcan. Mahzuni released 453 records, 50 tapes and 9 books. == His Lawsuits == In 1974, Mahzuni Şerif was arrested upon his return from an overseas concert. This arrest stemmed from a false claim made by a member of the TPFA (Turkey, Public Freedom Army) organization, who kidnapped the owner of Türkola Records by falsely stating, "Mahzuni wants you." Despite the lack of truth in the accusation, Mahzuni Şerif was sentenced to a prison term lasting 14-15 months. As a result, during the mid-70s, he faced an eight-year prohibition from performing on stage and was unable to travel abroad. To sustain himself, he resorted to selling records in a small store. During the political climate of 1971, following a military coup that ousted the Süleyman Demirel government, the Nihat Erim government took power. This new administration adopted stringent measures against leftist individuals. In response, Mahzuni Şerif composed a folk song titled "Erim Erim Eriyesin," which directly referenced the president of the new government by his surname. Through his song, Mahzuni implicitly criticized the oppressive tactics employed by the administration, conveying the message that they would eventually "melt away" under the weight of their own repressive actions. Consequently, Mahzuni Şerif was arrested and sentenced to a 10-month prison term. In 1972, he visited the village of Sivrialan in Sivas to pay a visit to Aşık Veysel, a renowned folk poet. In 1973, Mahzuni Şerif was arrested once again, this time on charges of inciting people to commit crimes. He was tried in the Ankara Court, which operated under military governance. In 2001, Mahzuni Şerif faced a legal suit due to certain statements he made in an article. The legal proceedings commenced on December 27, 2001. Unfortunately, the case remained unresolved at the time of his passing in Germany. Mahzuni Şerif endured torture during his time in prison. When asked by a journalist whether he had ever been offered the title of a state artist, a significant honor in Turkey, he responded, "The state rewarded me by subjecting me to torture, such as having my nails forcibly removed, in a military-controlled court." His poignant reply shed light on the immense suffering he experienced as a consequence of his activism and highlighted the stark contrast between the state's actions and the recognition typically associated with being a state artist. == Death == He died on May 17, 2002, in Porz, Köln, Germany. He was buried in an area called Çilehane, in Hacı Bektaş Veli Complex, Nevşehir Province. Şerif became one of Turkey's best-known musical interpreters of Turkish folk music and folk poetry. ==References== ==External links== * Mahzuni Şerif on birikinet.com Category:1939 births Category:2002 deaths Category:People from Afşin Category:Alevi singers Category:Turkish folk poets Category:20th-century Turkish male singers Category:Turkish Alevis Category:Ashiks

Aşık Pasha Mausoleum () is a monument as the burial site of the 14th-century Turkish sufi poet Aşık Pasha (died 1332), located in Kırşehir, Turkey. ==References== Category:Mausoleums in Turkey Category:Buildings and structures in Kırşehir Category:Buildings and structures completed in the 14th century

Aşık Sümmani (1861–1915) was an Aşık, a singer who performed with a lute, from Narman, Erzurum Province, Ottoman Empire. His name Sümmani means "the last one" or "the one who completes", as well as "a very hard rock stone". Sümmani's works encompass a wide range of forms, from the hece form- kosma, semai, and destan- to works in aruz form- divani, musammat, gazel, and müstezat. According to legend, Sümmani was once in love with Gülperi, a princess of the legendary land of Badesah, possibly in current Uzbekistan. He supposedly searched for her all his life. Sümmani himself stated: : "Sebavetten beri bir yol gözlerim." ("From early morning, from my childhood, I am looking at this special path.") : "El zanneder uzaklarda kalan var." ("But the others think there is (a beauty) somewhere in the far distance waiting.") ==External links== * * Sümmani'nin Hayati ve Tavri, Istanbul Teknik Üniverstesi (UT Istanbul), Master thesis of Emsal Günaydin, 08.06.1998/23.06.1998, signed: Doc. Senal Önaldi, Prof. Dr. Selahadin Icli, Doc. Fikret Degerli Category:1861 births Category:1915 deaths category:Musicians from the Ottoman Empire

300px|thumb|Aşık Veysel Meslek Yüksekokulu Aşık Veysel Meslek Yüksekokulu (en. Vocational High School of Aşık Veysel) is a higher education provider vocational school in Şarkışla the district of Sivas Province in Turkey. It was established in 1994, and affiliated to Sivas Cumhuriyet University. The school was named after the folk poet Aşık Veysel."Students of the school named after Aşık Veysel" - Web News (Turkish: Aşık Veysel'in adını taşıyan okulun öğrencileri - Haber), 20/03/2020, Haberler.com It serves approximately over 700 students every year. ==Address== Yıldırım neighbourhood district, Hospital Street, 58400 Şarkışla/Sivas ===Transport=== Âşık Veysel Vocational School is located right across the Şarkışla State Hospital. ==Departments== * Banks and insurance companies, * Financial management, * Office management, * Child development, * Pharmacy services, * Public relations, * Veterinary laboratory. ===Research areas=== Practice-based research is given importance in the school, e.g. studies on poultry have made important contributions in this field.Articles about Poultry - Prof.Dr. Hasan EleroğluThe Consumption of Poultry Products in Sivas Province and Factors Affecting on the Consumption, Turkish Journal of Agriculture - Food Science and Technology, Vol: 5, No: 12 (2017) Furtherly studies have been made about "Attitude for Plastic Wastes and Recycling".Vocational School Students' Attitude for Plastic Wastes and Recycling, Dergipark, 2018, e-ISSN: 2564-7458 However, there are also studies based on theoretical or historical data. Important studies have been made on the accounting system of Sumerians.Driving Force Of Accountancy In The Invention Of Numerals: The Example For Sumerians Numeral System, International Journal Of Accounting And Finance Researches, May 2019From Tokens To Cuneiform Clay Tablets: Traces Of Accounting, Accounting and Financial History Research Journal 2019/January (16); (86 – 110)Effect of Accounting in The Emergence of Abstract Counting, Dergipark, 06/08/2018 ==Student Dormitory== thumb|Dormitory Building (Front Block -1) There is a state dormitory consisting of 4 blocks."Student Dormitory Opened" - Web News (Turkish: Öğrenci Yurdu Hizmete Açıldı - Haber), 12/12/2017, Newspaper Milliyet ==Events== A commemorate ceremony for folk poet Aşık Veysel is held every year on March 21, the anniversary of the poet's death."44th Anniversary of Aşık Veysel's Death" - News, Haberler.com, 21/03/2017 Students are transported to Sivrialan village by vehicles. The students sing his songs in choir. It has become a tradition to cut a cake and sing folk songs in the school building on Aşık Veysel's birthday."123rd Anniversary of Aşık Veysel's Birth" - Newspaper Milliyet, 25/10/2017 ==International cooperation== thumb|Painter Seyfeddin Soysal in his personal exhibition with Prof.Dr. Yaşar Serin A commemoration was held every year for Turkish-based Dutch painter (died in 2012)."Painter Seyfeddin Soysal was commemorated at his grave" - Newspaper Hürriyet, 05/02/2015 Students from Denmark's Marselisborg Gymnasium visited the school in March 2010."se1 i Tyrkiet" - School Newspaper, Marselisborg Gymnasium, 2010, Page: 12-14 ==Sources== * Cumhuriyet Üniversitesi - 2018 yılı faaliyet raporu / Cumhuriyet University - 2018 annual activity report (Turkish) * Aşık Veysel Meslek Yüksekokulu Tanıtım Broşürü / Aşık Veysel Vocational School Publicity Brochure, 2019 (Turkish) ==See also== * Aşık Veysel ==References== ==External links== * Aşık Veysel Meslek Yüksekokulu - Official Website * Aşık Veysel MYO - Photos (High resolution) * Aşık Veysel MYO - Logos (High resolution) * Âşık Veysel Commemorated on His Birthday (Cumhuriyet Üniversitesi, 31/10/2018) * Knowledge competition was organized (Newspaper İrade, 21/06/2019) * "Teaching Materials" exhibition opened (Haber7, 31/05/2018 Source: Anadolu Agency) Category:Sivas Province Category:Education in Sivas

{{Infobox writer | name = Aşık Çelebi | honorific_prefix = | honorific_suffix = | image = Meşâirü’ş- Şuarâ of Ottoman poet Aşık Çelebi.jpeg | image_size = 300px | alt = | caption = Senses of Poets | native_name = Pir Mehmed | native_name_lang = | pseudonym = | birth_name = | birth_date = 1520 | birth_place = Prizren, Ottoman Empire | death_date = 1572 | death_place = Üsküb, Ottoman Empire | resting_place = Gazi Baba, Skopje | occupation = | language = Ottoman Turkish | nationality = Ottoman | ethnicity = | citizenship = | education = | alma_mater = | period = | genre = Tezkire, Diwan Poetry | subject = | movement = | notableworks = Senses of Poets (Meşairü'ş-Şuara) | spouse = | partner = | relatives = | awards = | signature = | signature_alt = | years_active = }} Aşık Çelebi ("Gentleman Bard" in Turkish) was the name of Pir Mehmed ("Mehmed the Pir"; 1520-1572), an Ottoman biographer, poet, and translator. Born in Prizren, he served as kadi (judge) in many towns of the Rumelia. His major work Senses of Poets (Meşairü'ş-Şuara) of 1568 is of major importance. ==Life and work== Çelebi was born in Prizren,Ottoman Empire. His birth name was Pir Mehmed, and descended from a Turkish seyyid family. After his father's death in 1535 (941 in Ottoman calendar) he departed for Filibe and later to Istanbul. He studied in a medrese in Istanbul under best tutors of his time and received an excellent education. His first civil servant position was that of a court secretary in Bursa. There he was also a trustee of a vakif. He returned to Istanbul in 1546. There he obtained a clerical position of justice with the help of his tutor Emir Gisu. He applied for the position of the head cleric of the Imperial Council left vacant after the death of Receb Çelebi, but did not succeed, following with accepting a position as a cleric at the Fatwa Office. After that he would work in many cities of Rum as a judge, such as Pristina, Servia, Arta, Kratovo, Nikopol, Rousse, etc. In overall, he failed to get the position of his dreams which his father and grandfather had, the Nakibü'l-eşraf (MP, representative Sayyid and Sharif of the Empire). He translated into Turkish many poetry of prose works from Ottoman writers, originally in Arabic. His main work is Meşairü'ş-şuara (Senses of Poets), a tezkire (bibliographical dictionary of poets and poetry). It was published in 1568 and is an excellent source not only on the life and work of Ottoman poets, but also on social life and customs of the scholar-bureaucrat cast (to which he belonged) of Istanbul of those times. He completed it while working as a kadi in Kratovo, and presented it to the Sultan Selim II in 1568. 30 copies have been encountered which makes it the second most read tezkire of all times after that of Latifî (1491-1582) with 91 copies. It covers 427 poets, in poetry or prose. Among many example of his poems, the majority are placed strategically rather than for decoration purpose. Once a selected few exhibit his poetic skills. He used the rest (majority) to convey feelings of hardship, joy, and desire. Aşık was part of the shared culture of the Ottomans of the 16th century. His work in Arabic translations shows high proficiency and intrinsic gasp of the language. He shows himself in various situation as a master in Persian. To this is added his vast knowledge on the Ottoman literature. Aşık lived for many years as a kadi in Üsküb where he died in 1571 or 1572. He is buried there, which coincides in today's Gazi Baba Municipality. His türbe is known as Aşık Çelebi Türbe. It was severally damaged during the 1963 earthquake and was not repaired or reconstructed by the Yugoslav authorities. Today, only a few ruins remain. Religion: Muslim ==See also== *Alevism *Suzi Çelebi of Prizren ==Notes== a. E.J.W.Gibb mentions that both Latifî and Kınalızâde Hasan Çelebi describe Aşık Çelebi as "a native of Bursa". Riyazi, who came later, states in his Riyazü'ş Şuara that Çelebi was from Rumelia. Today's scholars accept Prizren as place of birth. ==References== Category:Divan poets from the Ottoman Empire Category:People from Prizren Category:1520 births Category:1572 deaths Category:16th-century writers from the Ottoman Empire Category:Turkish Alevis Category:Ottoman Sufis Category:Jurists from the Ottoman Empire Category:Civil servants from the Ottoman Empire Category:Turkish-language poets Category:Kosovan Turks Category:Ashiks

Aşıkbükü is a village in the Osmancık District of Çorum Province in Turkey.Köy, Turkey Civil Administration Departments Inventory. Retrieved 1 March 2023. Its population is 176 (2022). ==References== Category:Villages in Osmancık District

Aşıklar can refer to: * Aşıklar, Ardanuç * Aşıklar, Ilgaz

Aşıklar is a village in the Ardanuç District, Artvin Province, Turkey.Köy, Turkey Civil Administration Departments Inventory. Retrieved 30 January 2023. Its population is 42 (2021). ==References== Category:Villages in Ardanuç District

Aşıklar is a village in the Ilgaz District of Çankırı Province in Turkey.Köy, Turkey Civil Administration Departments Inventory. Retrieved 1 March 2023. Its population is 39 (2021). ==References== Category:Villages in Ilgaz District

thumb|Panorama made from top of the mound, facing north-west Aşıklı Höyük is a settlement mound located nearly south of Kızılkaya village on the bank of the Melendiz brook, and southeast of Aksaray, Turkey. Aşıklı Höyük is located in an area covered by the volcanic tuff of central Cappadocia, in Aksaray Province. The archaeological site of Aşıklı Höyük was first settled in the Pre-Pottery Neolithic period, around 8,200 BC. It is situated above sea level, a little higher than the region's average of c. . The site itself is about ,Esin, U., and S. Harmankaya. 1999. "Aşıklı". In Neolithic in Turkey: the cradle of civilization, edited by M. Özdoğan and N. Başgelen. Istanbul: Arkeoloji Ve Sanat Yayinlari. considerably smaller than the closely situated site of Çatalhöyük ().Hodder, I. 1996. On the surface: Çatalhöyük 1993–95, Monograph No 22. Ankara: McDonald Institute Monographs and British Institute of Archaeology at Ankara.Hodder, I., and C. Cessford. 2004. "Daily Practice and Social Memory at Çatalhöyük". American Antiquity 69 (1):17–40. The surrounding landscape is formed by erosion of river valleys into tuff deposits. The Melendiz Valley, where the Aşıklı Höyük is located, constitutes a favourable, fertile, and diverse habitat. The proximity to an obsidian source did become the base of a trade with the material supplying areas as far away as today's Cyprus and Iraq.Düring, B. S. 2006. "Constructing communities: clustered neighbourhood settlements of the Central Anatolian Neolithic ca. 8500–5500 Cal. BC", Nederlands Instituut voor het Nabije Oosten Faculty of Archaeology, Leiden University, Leiden. == Site history == Aşıklı Höyük was first investigated by Professor Ian A. Todd when he visited the site in the summer of 1964. Todd emphasised the importance of the obsidian in the area, based on over 6,000 obsidian pieces collected from the surface layer alone.Singh, P. 1974. Neolithic cultures of western Asia. London: Academic PressTodd, I. A. 1966. "Aşıklı Höyük – A Protonelolithic Site in Central Anatolia". Anatolian Studies 16:139–163. The site was classified as a medium sized mound and partly destroyed by the river situated next to it. On the basis of the lithics and animal bones located in the surface layers the site became known as a contemporary to the Palestine PPNB, which later was reinforced by 14C dates (based on five unstratified radiocarbon dates going from 7008 ± 130 to 6661 ± 108).Mellaart, J. 1975. The Neolithic of the Near East. London: Thames & Hudson. The first comprehensive excavations took place relatively late: first when the government launched a plan that would result in the rise of the waters of the Mamasın Lake located close to Aşıklı Höyük, Professor Ufuk Esin (University of Istanbul) started the salvage excavations in 1989.Esin, U., E. Bıçakçı, M. Özbaşaran, N. Nalkan-Atlı, D. Berker, I. Yağmur, and A. Korkut-Atlı. 1991. "Salvage excavations at the Pre-Pottery Neolithic site of Aşıklı Höyük in Central Anatolia". Anatolica 17:123–174. Nine excavations have been undertaken up to 2003, uncovering approximately on the horizontal plain, making it one of the largest scale excavations in the region. thumb|Aşıklı Höyük excavations in 2009 == Dates == The newest dates for Aşıklı Höyük show that the occupational period was from 8200 to 7400 BC,Thissen, L. 2002. Appendix I, "The CANeW 14C databases, Anatolia 10,000-5000 cal. BC". In "The Neolithic of Central Anatolia. Internal developments and external relations during the 9th–6th millennia cal BC", Proc. Int. CANeW Round Table, Istanbul 23–24 November 2001, edited by F. Gérard and L. Thissen. Istanbul: Ege Yayınları. extracted from 3 layers with a total of 13 phases; which places it in phase ECA II (correlating with the E/MPPNB in the Levant). It is known as one of the earliest Aceramic Neolithic sites on the Anatolian plateau, and the prior mentioned extraction of the obsidian source was likely to be frequented as far back as the Paleolithic nomadic hunter-gatherers.Steadman, S. R. 2004. "Heading Home: The Architecture of Family and Society in Early Sedentary Communities on the Anatolian Plateau". Journal of Anthropological Research 60 (4):515–558. Due to its date and structural organization Aşıklı Höyük is known to be "a prime example of a first foray into sedentism".Steadman, S. R. 2004. "Heading Home: The Architecture of Family and Society in Early Sedentary Communities on the Anatolian Plateau". Journal of Anthropological Research 60 (4):515–558. p. 537. == Burials == After more than 400 rooms had been excavated, the total number of individual found to have been buried within the settlement did not surpass 70. All these burials were under building floors. The dead were placed in pits cut through the floor during the occupation of the building. The buried are people of both sexes and all ages. There is a variety of skeletal body postures, from burials in a hocker (fetal) position to extended skeletons facing upwards. Others are lying on one side, occasionally with the legs bent at the knees. The orientation of the burials varies within the buildings, as does the number of individuals buried inside them. The male population had individuals up to the age of 55–57 years of age, while the majority of females died between the ages of 20 and 25. The skeletal remains of these women show spinal deformities indicating that they had to carry heavy loads. This does not itself prove that there was a division of labour between the sexes. The fact that the men seem to have outlived the women might be interpreted as sign that the women were subject to more strenuous physical labour than their male counterparts.Esin, U., and S. Harmankaya. 1999. "Aşıklı". In Neolithic in Turkey: the cradle of civilization, edited by M. Özdoğan and N. Başgelen. Istanbul: Arkeoloji Ve Sanat Yayinlari. p. 130 From Natufian Abu Hureyra there are similar osteological signs, such as pathologies in metatarsals, phalanges, arm, and shoulder joints, being specific to females resulting from habitual kneeling in the use of saddle querns (grinding stones).Molleson, T. 1989. Seed preparation in the Mesolithic: the osteological evidence. Antiquity 63:356–362. The Neolithic evidence show indications of increased physical workload in the osteological material on both genders, where the male skeletons show signs of joint disease and trauma arguably caused by cutting timber and tilling.Wright, K. I. 2000. "The Social Origins of Cooking and Dining in Early Villages of Western Asia". Proceedings of the Prehistoric Society 66:89–121. thumb|Hocker positioned burial found at Aşıklı Höyük thumb|General view of Aşıklı Höyük. Children represent 37.8% of the deceased, with 43.7% mortality within a year of birth. The skeletal remains are complete and with articulations intact, indicating that the burials have been primary. The graves contain either single or double burials. On one occasion two graves were found under the floor of room AB, belonging to an adjacent court (HG) with a large domed mudbrick oven paved with blocks of basalt. In one of the graves were the skeletons of a young woman and an elderly man; in the other a young woman buried together with her baby. The young woman had apparently undergone trepanation and survived only a few days after the operation. All skeletons were buried in the hocker position, a fetal-like positioning were the arms are embracing the lower limbs.Esin, U., and S. Harmankaya. 1999. "Aşıklı". In Neolithic in Turkey: the cradle of civilization, edited by M. Özdoğan and N. Başgelen. Istanbul: Arkeoloji Ve Sanat Yayinlari. p. 124 From a different grave a woman shows signs of being scalped immediately after her death, according to the cut marks on her skull. As many as 55% of the skeletons show signs of being burned. The burial under the floor AB is accommodated by walls with the interior side were painted in a purplish red colour. The oven in HG indicates that this was indeed "special individuals of an elite class", claiming it can be compared to the "Terrazzo" Building at Çayönü and the "Temple" Building at Nevalı Çori and therefore have been a shrine used for religious ceremonies. Many of the burials contain burial goods consisting of necklaces and bracelets made of beads of various sorts.Düring, B. S. 2006. "Constructing communities: clustered neighbourhood settlements of the Central Anatolian Neolithic ca. 8500-5500 Cal. BC", Nederlands Instituut voor het Nabije Oosten Faculty of Archaeology, Leiden University, Leiden. pp. 86–87 70 burials in over 400 rooms suggest that some form of selection took place of who was buried at the site, implying that AB indeed could be the residence or resting place of people influential in terms of both economy and political power. Rooms containing hearths are more likely to contain burials; as many as 77%. It has been argued that the number of burials could be an underrepresentation inhered at the site, since a large part of the settlement remain unexcavated beneath the baulks. Later excavations which have been published suggest on the other hand that burials were not a general feature at Aşıklı Höyük and therefore the suggestions of burials being a privilege of the elite class do seem plausible. There has not been found a cemetery or any other sign of where the rest of the population might have been disposed of post mortem. This issue is not only limited to Aşıklı Höyük: there is also a lack of cemeteries on the PPNB "mega-sites" in the Levant, such ‘Ain Ghazal in the Jordan Valley. It seems that in Aşıklı Höyük, as in the rest of the Anatolian and Levantine area,Bienert, H. D., M. Bonogofsky, H. G. K. Gebel, I. Kuijt, and G. O. Rollefson. 2004. "Where are the dead?" Paper read at Central Settlements in Neolithic Jordan. Studies in Early Near Eastern Production, Subsistence, and Environment 5, 1998, at Wadi Musa, Jordan. the burial and any other post mortem treatment was arguably an "upper class" phenomenon. This interpretation has been opposed, referring to the diversity of individuals in both sex and age in the graves. The burials including such a wide range of individuals do not directly coherent with the image of an "upper class" phenomenon. Burials could have been removed or replaced over time, giving a wrong image of the burials as belonging to the elite. An alternative perspective has been suggested: "the Neolithic dead are not under-represented: rather, it is the architecture in settlements that are over- represented",Bienert, H. D., M. Bonogofsky, H. G. K. Gebel, I. Kuijt, and G. O. Rollefson. 2004. Where are the dead. Paper read at Central Settlements in Neolithic Jordan. Studies in Early Near Eastern Production, Subsistence, and Environment 5, 1998, at Wadi Musa, Jordan. PP 167. meaning that in many cases archaeologists have drastically overestimated the extent to which all areas of Neolithic sites were occupied simultaneously. As for Aşıklı Höyük and other sites in the area: low numbers of burials in comparison with occupation span does not directly indicate a cult of the elite. == Hearths == File:Reconstructed ladder Asikli Hoyuk.JPG|Reconstructed ladder entrance File:Deep Sounding Asikli Hoyuk.JPG|Deep sounding File:Hearth in house Asikli hoyuk.JPG|Hearth in house File:Hearth in house 2 Asikli hoyuk.JPG|Hearth in partly destroyed house At Aşıklı Höyük the hearths are rectangular and usually placed in one of the corners of the rooms, ranging in size from .Düring, B. S. 2006. "Constructing communities: clustered neighbourhood settlements of the Central Anatolian Neolithic ca. 8500-5500 Cal. BC", Nederlands Instituut voor het Nabije Oosten Faculty of Archaeology, Leiden University, Leiden. p. 84 thumb|Reconstructed hearth Large stones with a suitable flat shape were used to create an upright edge that stood approximately above the level of the floor. On the short side of the hearth the upright edge is missing to make a fire mouth. It is also here the ash is the most concentrated. Pebbles along the edges and base of the hearth seem to have been covered by a thin layer of plaster. Only in a few cases there is a trace of something recognized as a flue.Özbaşaran, M. 1998. "The Heart of a House: The Hearth". In Light on top of the black hill: studies presented to Halet Çambel, edited by M. J. Mellink, G. Arsebük and W. Schirmer. Istanbul: Ege Yayınları.Sey, Y. 1999. Housing and settlement in Anatolia: a historical perspective. Istanbul: Tepe Architectural Culture Centre. An estimated 30–40% of all the rooms at Aşıklı Höyük have hearths. This estimate is based on partially damaged and eroded structures possibly giving a number lower than accurate. Based on a limited group of fully exposed buildings 54% of single room units contained a hearth, while only 29% of the multiple room units. The average percentage on base of these building units is 47%, probably a more realistic estimate for the site in total.Düring, B. S. 2006. "Constructing communities: clustered neighbourhood settlements of the Central Anatolian Neolithic ca. 8500-5500 Cal. BC", Nederlands Instituut voor het Nabije Oosten Faculty of Archaeology, Leiden University, Leiden. p. 85 Hearths do not occur in a courtyard context, and are more represented in single room dwellings than multiple room units. Still, multiple room units do have a substantial number of hearths. It has been suggested that the "multiroom dwellings may have functioned as 'incomplete' houses for new families still heavily dependent on the larger extended group".Steadman, S. R. 2004. "Heading Home: The Architecture of Family and Society in Early Sedentary Communities on the Anatolian Plateau". Journal of Anthropological Research 60 (4):515–558. p. 539. The buildings containing the hearths do not show particular characteristics that distinguish them from structures without hearths; neither do they differ in size or special orientation. Even the hearth itself does not follow an apparent norm in terms of size or location. The position varies considerably, but it always has one side to the wall. The positioning of the hearth does not seem to be determined by general macro-ecological factors, such as prevailing wind directions, nor determined by cultural norms regarding spatial features within buildings. The hearth does not seem to be subject to a random placement inside the buildings: it is consistently located at the same spot throughout a very long building sequence. This indicates that their positions were not chosen arbitrarily. When a location for the hearth was chosen it was important that the placement did not change in later rebuilding sequences of the structure (see picture: Deep sounding). There is no evidence for ladderpost scars due to the assumed use of freestanding ladders, making the location of the entrance uncertain. Aşıklı Höyük does not seem to have any evidence for ovens. == Buildings == Aşıklı Höyük had a tradition to reconstruct or rebuild earlier structures. It followed a pattern where the structures were built "exactly on the same spot and with the same alignment as earlier buildings, using older walls as a foundation".Düring, B. S. 2006. "Constructing communities: clustered neighbourhood settlements of the Central Anatolian Neolithic ca. 8500-5500 Cal. BC", Nederlands Instituut voor het Nabije Oosten Faculty of Archaeology, Leiden University, Leiden. p. 93 The structural continuity at Aşıklı Höyük is outstanding, but there is no information to how long the use-life of a building was. If one estimates the same lifespan for a structure at Aşıklı Höyük as it was in Çatalhöyük, one could look at an age of 30 to 60 years before reconstruction occurred.Mellaart, J. 1964. lAnatolia before c. 4000 BC and c. 2300–1750 BC". Cambridge University Press. p. 64 If this assumption is correct, the deep sounding 4H/G from phases 2I up to 2B (eight layers in total) show that the time span of a structure could be from 240 to 480 years. Looking outside of Central Anatolian Neolithic, this type of building continuity is unparalleled both in ethnography and archaeology.Hodder, I. 1998. "The domus, some problems reconsidered". In Understanding the Neolithic of north-western Europe, edited by M. Edmonds and C. Richards. Glasgow: Cruithne Press. This remarkable structural continuity may suggest a social system in which buildings were not privately owned, since one would expect them to be modified on a regular basis. It can be assumed that the rooms were distributed amongst the community members according to the change in both needs and statuses.Düring, B. S., and A. Marciniak. 2006. "Households and communities in the central Anatolian Neolithic". Archaeological Dialogues 12 (02):165–187. The building practices maintained their characteristics throughout the centuries. It has been claimed that the building continuity is a self-evident feature, since it is deriving from a particular set of foundation practices that can be explained in a functionalistic way.Esin, U., E. Bıçakçı, M. Özbaşaran, N. Nalkan-Atlı, D. Berker, I. Yağmur, and A. Korkut-Atlı. 1991. "Salvage excavations at the Pre- Pottery Neolithic site of Aşıklı Höyük in Central Anatolia". Anatolica 17:123–174. p. 130 It has otherwise been argued that the extreme degree of continuity is inadequately explained by functionalism alone, since the structures located adjacent to open spaces could have easily been expanded or shrunk according to the specific needs, but instead remained identical. These functionalist parameters can also not explain the continued rebuilding of the hearths, which are always built on the same spot. Individual hearth sequences are often separated with of soil, and therefore there is no apparent reason (unlike the buildings) why the hearths should consistently be constructed in the same corner as in the successive buildings. In many cases neighbouring buildings do place their respective hearths in different corners. Micro- cosmological special codes or wind direction does not seem to be decisive for the positioning of the hearth. The structural and material remains indicate that the buildings were continuous entities with some form of fixed special identity where the special organization could not be changed by the temporary occupant. File:Original Structures Asikli Hoyuk.JPG|Excavated buildings File:Asikli Hoyuk sarah c murray 6176.jpg|Reconstructed buildings File:Reconstructed Structures Asikli Hoyuk.JPG|Reconstructed buildings Structural continuity was of great importance to the inhabitants of Aşıklı Höyük. The reason for this has partly been explained because they (the people) had a rigid adherence to traditions in terms of structural reproduction.Özdoğan, M. 2002. "Defining the Neolithic of Central Anatolia". In "Proposal for a regional terminology for Central Anatolia". In "The Neolithic of Central Anatolia. Internal developments and external relations during the 9th–6th millennia cal BC", Proc. Int. CANeW Round Table, Istanbul 23–24 November 2001, edited by F. Gérard and L. Thissen. Istanbul: Ege Yayınları. The "traditional view" has been disputed because "[In short,] labelling a society as conservative does not answer the question why the people under consideration were conservative".Düring, B. S. 2006. "Constructing communities: clustered neighbourhood settlements of the Central Anatolian Neolithic ca. 8500-5500 Cal. BC", Nederlands Instituut voor het Nabije Oosten Faculty of Archaeology, Leiden University, Leiden. p. 96 An alternative approach refers to the historical dimension of the building to be of such great importance that "people came to be bound between walls, metaphorically domesticated".Hodder, I. 1998. "The domus, some problems reconsidered". In Understanding the Neolithic of north-western Europe, edited by M. Edmonds and C. Richards. Glasgow: Cruithne Press. p. 89. The interpretation is that the walls are giving historical associations to the people living within them, giving a collective conscience lasting through time. The difference between this interpretation and the "conservative approach" is the potential explanation to why structural reproduction could have been important for the inhabitants of Aşıklı Höyük. The identities of the inhabitants were projected to the structural outcome of the buildings. The generality of this position is not meaningful on its own. It is not certain that the inhabitants of Aşıklı Höyük were aware of the total amount of building there was in the sequence in total. Perhaps the history of a building did not concern them in the same way as archaeologists like to think. thumb|Inside reconstructed building The lack of change over time suggests that the inhabitants of Aşıklı Höyük had a view of the past as a precedent for the present: a vital part of society that was 'reborn' in each reproduction, manifested in its building continuity. The structural reconstruction is a regional feature for Central Anatolia. With the exception of Jericho, most of the evidence from PPNB sites in the Levant indicates that structures were not reconstructed in the same loci, and some location structures differ in dates by several hundred years. The buildings at Aşıklı Höyük are clustered into what has been interpreted as neighbourhoods. As this is a vague perception of the structural outlay of the community it describes them as clustered single and multiroom houses forming compounds, apparently sharing courtyard space for production activities and practising joint cooking and food consumption. Little can be said on the food storage, since there were no remains after storage bins, although storage rooms may be identified due to comparing structures on other sites (e.g. Çatalhöyük).Bogaard, A. 2009. "Private pantries and celebrated surplus: storing and sharing food at Neolithic Catalhoyuk, Central Anatolia". Antiquity 83:649–668 The average room size is (at this time humans were tall). From two or three up to five or six clustered dwelling formed a 'neighbourhood' or compound. The interpretation of the borders of these 'neighbourhoods' is problematic, since much of the site still lies under the baulks, is in situ or eroded. The distribution of single- and multi-room buildings does not seem to follow a pattern other than that the residential clusters seem to be divided by narrow alleys wide,Esin, U., and S. Harmankaya. 1999. "Aşıklı". In Neolithic in Turkey: the cradle of civilization, edited by M. Özdoğan and N. Başgelen. Istanbul: Arkeoloji Ve Sanat Yayinlari. p. 125 or open courtyard areas up to a diameter of . The interior of multiroom buildings had openings in the partitioned walls, providing access to the individual rooms. Between the one building and the next there seems to be no communication, since there was no indication of doors in the exterior mudbrick walls. Since the buildings themselves do not have an entrance that can be traced archaeologically on the base of the walls, access had to be provided either through window-like openings high on the walls or from the flat roofs. Roof access is also known from Çatalhöyük,Hodder, I. 2006. Çatalhöyük: the leopard's tale – revealing the mysteries of Turkey's ancient "town". London: Thames & Hudson. making this entrance more plausible. Aşıklı Höyük does also have buildings that are bigger in size but without hearths. These are interpreted as public buildings or 'building complexes'. These are seen as some of the most enigmatic buildings found at the site, and diverge both in size and spatial organization. One of them (complex HV) being at up to 20 times larger than the largest loam buildings (i.e. = ).Düring, B. S. 2006. "Constructing communities: clustered neighbourhood settlements of the Central Anatolian Neolithic ca. 8500-5500 Cal. BC", Nederlands Instituut voor het Nabije Oosten Faculty of Archaeology, Leiden University, Leiden. p. 101 They have a multitude of rooms and encompass elaborate and large internal courts; something that is not found in any other buildings. The walls are more robust and massive than other buildings, in some cases being referred to as "monumental walls", accompanied by parallel outer walls with relatively narrow space in between. The interpretation of these buildings is difficult. The fact that they clearly differentiate from the domestic loam buildings indicates that they had special value in the society. They also do not incorporated into the clustered 'neighbourhoods', indicating that they served several neighbourhoods or the local community at large. With the range of activities that could have taken place in this space could easily incorporate several hundred people. Yet, given that the estimated population of Aşıklı Höyük may have run into the thousands, only a selected group in the total population could have used the building at a given occasion. There is a variety of hypotheses regarding the nature of these monumental structures. There are other examples of these restricted monumental spaces on other sites in the Levantine PPNB (such as Nevali Çori, Behida, ‘Ain Ghazal), suggesting that they were used by an elite or for practising different social initiation rites.Rollefson, G. O. 2001. "The Neolithic Period". In The archaeology of Jordan, edited by B. MacDonald, R. Adams and P. Bienkowski. London: Sheffield Academic Press.Verhoeven, M. 2002. "Ritual and ideology in the Pre-Pottery Neolithic B of the Levant and southeast Anatolia". Cambridge Archaeological Journal 12 (2):233–258. == Other material == There are no finds of any artefacts carrying religious connotations, symbolic or imagery, at Aşıklı Höyük, in the buildings, courtyards, dumps or open-workshop areas. The only finds include flint tools, which are counted as imports. Other than this there is found one single animal figurine made of clay that can hardly tell us anything of the religious belief of the inhabitants. The limited amount of burials compared to the estimated population makes it very likely that there may have been a cemetery where the deceased were buried, but it has not been found. There is also an absence of storage bins, making the distinction on autonomous households difficult. == Relative chronology == == See also == * Neolithic Revolution * Neolithic architecture * List of largest cities throughout history * Çatalhöyük * Göbekli Tepe * Ancestral Puebloans == References == == External links == * official Aşıklı Höyük website * The Megalithic Portal — Aşıklı Höyük Category:Populated places established in the 9th millennium BC Category:Populated places disestablished in the 8th millennium BC Category:Archaeological sites of prehistoric Anatolia Category:Former populated places in Turkey Category:Buildings and structures in Aksaray Province Category:Tourist attractions in Aksaray Province Category:Neolithic settlements Category:Pre-Pottery Neolithic

Aşıkoğlu is a neighbourhood in the municipality and district of Bala, Ankara Province, Turkey.Mahalle, Turkey Civil Administration Departments Inventory. Retrieved 22 May 2023. Its population is 103 (2022). ==References== Category:Neighbourhoods in Bala District

Dervish Ahmed (; "Ahmed the Dervish; 1400–1484), better known by his pen name Âşıki or family name Aşıkpaşazade, was an Ottoman historian, a prominent representative of the early Ottoman historiography. He was a descendant (the great-grandson) of mystic poet dervish Aşık Pasha (1272–1333). He was born in the region of Amasya and studied in various Anatolian towns before going to Hajj and stayed some time in Egypt. He later took part in various Ottoman campaigns, such as the Battle of Kosovo (1448), Fall of Constantinople and witnessed the circumcision festivities of Mustafa and Bayezid II the sons of Mehmed the Conqueror. Later in his life he started to write his famous history work Tevārīḫ-i Āl-i ʿOsmān. ==Works== His main works are known under two names: Menâkıb-ı Âli-i Osman and Tevārīḫ-i Āl-i ʿOsmān. The works deals with Ottoman history from the beginning of the Ottoman state until the time of Mehmed II. It is a chronological history of the Ottoman Empire between the years 1298 and 1472. The work is written in Ottoman Turkish and is partially based on older Ottoman sources, it is more detailed at the events he witnessed personally. His work was used by later Ottoman historians and became a fashion. == Criticism == According to Halil Inalcik, in his works Aşıkpaşazade twisted his interpretation of the actual events to match his preconceptions. It was typical for him to simply merge two different stories to forge a new description of the battle. Some parts of "Cosmorama" or "Cihan-Nümâ", written by Neşri who was another prominent representative of early Ottoman Historiography, were based on the work of Aşıkpaşazade. == References == ==Bibliography== * Aşıkpaşazade: Vom Hirtenzelt zur hohen Pforte; Frühzeit und Aufstieg des Osmanenreiches nach der Chronik "Denkwürdigkeiten und Zeitläufte des Hauses ʻOsman" vom Derwisch Ahmed, genannt ʻAsik-Paşa-Sohn. Trans. Richard F. Kreutel. Graz: Styria, 1959. * Franz Babinger. Die Geschichtsschreiber der Osmanen und ihre Werke. Leipzig 1927, p. 35–38. * Cemal Kafadar. Between Two Worlds: The Construction of the Ottoman State. Berkeley, 1995. * * == Further reading == * Halil Inalcik, "How to Read 'Ashik Pasha-zade's History", in Essays in Ottoman History (Istanbul: Eren, 1998) pp. 139–156 Category:1400 births Category:1484 deaths Category:15th-century historians from the Ottoman Empire

Aşıkzülali is a village in the Posof District, Ardahan Province, Turkey.Köy, Turkey Civil Administration Departments Inventory. Retrieved 15 January 2023. Its population is 212 (2021). ==References== Category:Villages in Posof District

Aşıküzeyir is a village in the Posof District, Ardahan Province, Turkey.Köy, Turkey Civil Administration Departments Inventory. Retrieved 15 January 2023. Its population is 20 (2021). ==References== Category:Villages in Posof District

Aşıkşenlik, formerly Yakınsu and historically Sukara, is a neighbourhood of the town Çıldır, Çıldır District, Ardahan Province, Turkey.Mahalle, Turkey Civil Administration Departments Inventory. Retrieved 16 January 2023. Its population is 277 (2021). Before the 2013 reorganisation, it was a town (belde).Law No. 6360, Official Gazette, 6 December 2012 . It is populated by Karapapakhs. ==Geography== Aşıkşenlik is from Çıldır, from Ardahan and from the Georgia border check point. It is situated in a high altitude wetland. ==History== Aşıkşenlik is an old settlement. It was captured by Seljukid sultan Alp Arslan in 1064. After Harzemshah, Kipchaks and Mongols dominations it was annexed by the Ottoman sultan Süleyman I in 1546. According to Evliya Çelebi who lived in the 17th century, Aşıkşenlik (then known as Sukara) was one of the wealthiest towns of the Ottoman Empire in the east. In 1877 Russians captured Aşıkşenlik during the Russo-Turkish War (1877-1878). But in 1921 it was returned to Turkey.Mayor’s page ==References== Category:Neighbourhoods in Ardahan Province Category:Çıldır District Category:Karapapakh settlements in Turkey

Aşılıarmut is a village in the Uğurludağ District of Çorum Province in Turkey.Köy, Turkey Civil Administration Departments Inventory. Retrieved 1 March 2023. Its population is 295 (2022). ==References== Category:Villages in Uğurludağ District

Aşıq Məlikli () is a village in the Jabrayil District of Azerbaijan. == References == Category:Populated places in Jabrayil District

Aşıq Pəri (ca. 1811-ca. 1847), also known as Ashiq Peri or Ashig Pari, was an Azerbaijani poet and folk singer. She is remembered as one of the pioneering women to participate in the tradition of Ashik and for her skill of composition. ==Early life== Adolf Bergé, an Orientalist who traveled throughout The Caucasus, first described Aşıq Pəri as he encountered her in 1829. He noted an 18-year-old girl poet which he discovered in Maralyan on the banks of the Aras River and identified her as Ashiq Pari. An Ashik or Aşıq is a lyric poet who composes and sings the oral traditions of a region, similar to the western custom of bards or troubadours. Pəri is the Azerbaijani word for faery and thus the name is a pen name, leaving the poets' origins and real name obscured. It is generally assumed based on Bergé's account that she was born between 1811 and 1813 in the Maralyan village of Jabrayil. Her father, Haji Sajad, was a merchant who peddled goods and her mother, Gulustan, taught her daughter Arabic-Persian traditions. She studied with to learn the art of Ashik, evaluating the masterpieces of the art known at the time. Pəri was very gifted in singing and spinning fairy tales in a free spirited free flow of poetry. ==Career== Pəri moved to Shusha, the capital of the Karabakh Khanate around 1830. She traveled throughout Karabakh and became noted for her talent and skill in composition. From the middle of the nineteenth century, literary critics praised her work and cited her lyric poems as significant examples of the genre. In 1856, Mirza Yousif Nersesov (also known as Mirza Yusif Garabaghi) published an anthology, Məcmueyi-Vaqif və müasirani-digər, one of the first works to print and discuss her poems. Bergé, published his information about her the magazine Məcmueyi-əşari-şüəarayi-Azərbaycan in Leipzig in 1867. The literary scholar Firidun bey Kocharli, praised her work in 1903 and wrote of the attention she created among the literary elite of her time. Contemporaries of Kocharli and Pəri, such as Mohammad bey Ashiq, Jafargulu agha Javanshir and Assad Bey dedicated poems to her. ==Death and legacy== Pəri's death is variously reported as having occurred in 1847 or 1848 in Shusha. She is remembered as the first woman to compose in the Ashik tradition and for the wisdom, lyric beauty and skill portrayed in her works. == References == ===Citations=== ===Bibliography=== * * * * * * * Category:1811 births Category:1847 deaths Category:Azerbaijani-language poets Category:19th-century women writers

Aşıq Ümer (1621 — 1707) was a Crimean Tatar medieval poet of ashik, and is one of the most famous representatives of the Turkic-speaking ashik poetry in general. Ashik poetry (; ) is a special kind of literary oeuvre, the representatives of which — folk poets-singers — accompany their performances with playing the string-plucked musical instrument bağlama. Hence another name for this poetry — "bağlama poetry". He wrote mainly lyric poems (on mystical content and related to a soldier's theme) in the forms of Turkic folk poetry. Aşıq Ümer is also an author of the poems that are traditional for classical oriental poetry — ghazals, rubaʿi etcetera. He greatly influenced the later poets-improvisers (ashiks).Ашик Омер. Краткая литературная энциклопедия. Т. 1. — 1962 (in Russian)Mustafa Altuğ Yayla Yüzyıl osmanlı imparatorluğunda aşık ömer ve popüler kültür — Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü // Ankara, 2013 (English: YAYLA, Mustafa Altuğ. Aşık Ömer and Popular Culture in 17th Century Ottoman Empire, Master Thesis, Ankara, 2013) == References == == Sources == *Ergun, Sadettin Nüzhet, Aşık Ömer. Hayatı ve şiirleri, Istanbul, 1936; Banarlı, Nihat Sami, Resimli Türk edebiyatı tarihi, Istanbul, 1949. *Ашик Омер. Краткая литературная энциклопедия. Т. 1. — 1962 *Ашик Умер – самый известный в мире крымский певец любви — Крым.Реалии // RFEL *Mustafa Altuğ Yayla Yüzyıl osmanlı imparatorluğunda aşık ömer ve popüler kültür — Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü // Ankara, 2013 Category:Crimean Tatar writers Category:Crimean Tatar poets Category:1621 births Category:1707 deaths

Aşıqalılar (also, Ashgalar, Ashkallar, Ashygalylar, and Gadzhi-Kharrar) is a village and municipality in the Beylagan Rayon of Azerbaijan. It has a population of 2,016. == References == * Category:Populated places in Beylagan District

Aşıqbayramlı (also, Ashygbayramly and Ashykhbayramly) is a village and municipality in the Ismailli Rayon of Azerbaijan. It has a population of 765. == References == * Category:Populated places in Ismayilli District

Aşıqlı, Beylagan or Ashykhly may refer to: *Birinci Aşıqlı, Azerbaijan *İkinci Aşıqlı, Azerbaijan

Aşırallar is a village and municipality in the Tovuz Rayon of Azerbaijan. It has a population of 217. ==References== Category:Populated places in Tovuz District

Aşıtbaş () is a rural locality (a selo) in Arça District, Tatarstan. The population was 613 as of 2010. Aşıtbaş is located 30 km from Arça, district's administrative centre, and 95 km from Ԛazan, republic's capital, by road.https://www.avtodispetcher.ru/distance/?from=%D0%90%D1%88%D0%B8%D1%82%D0%B1%D0%B0%D1%88&to;=%D0%9A%D0%B0%D0%B7%D0%B0%D0%BD%D1%8C+%28%D0%A2%D0%B0%D1%82%D0%B0%D1%80%D1%81%D1%82%D0%B0%D0%BD%29&v;=&vt;=car&rm;=110&rp;=90&rs;=60&ru;=40&fc;=8&fp;=42&ov;=&atn;=&aup;=&atr;=&afd;=&ab;=&acb;= The earliest known record of the settlement dates from 1678. There are 7 streets in the village.https://egrp365.org/reestr?id=g294Ba == References == == External links == * Category:Rural localities in Arsky District

Aşıtlar is a neighbourhood in the Pasinler District of Erzurum Province in Turkey. ==References== Category:Villages in Pasinler District

AŠK Maria Huta is a Slovak football team, based in the town of Gelnica. ==Current squad== ==Colours== Club colours are orange and black. ==References== ==External links== *Club website * *Club profile at Futbalnet.sk Category:Football clubs in Slovakia Category:Association football clubs established in 2009

Aš (; ) is a town in Cheb District in the Karlovy Vary Region of the Czech Republic. It has about 13,000 inhabitants. ==Administrative parts== Villages of Dolní Paseky, Doubrava, Horní Paseky, Kopaniny, Mokřiny, Nebesa, Nový Žďár and Vernéřov are administrative parts of Aš. ==Geography== Aš is located about northwest of Cheb, on the border with Germany. With the neighbouring municipalities Hranice, Krásná, Podhradí and Hazlov, it lies in the westernmost area of the Czech Republic known as the Aš Panhandle. This area is a salient surrounded by German territory in the east, north and west. It lies in the historical Egerland region. Aš is situated in the Fichtel Mountains. The highest point of Aš and of the whole Czech part of the Fichtel Mountains is Háj, at . The upper course of the White Elster river shortly after its source flows across the central part of the municipal territory, outside the town proper. ==History== ===11th–18th centuries=== Previously uninhabited hills and swamps, the town of Aš was founded in the early 11th century by German colonists descending from the Bavarian march of the Nordgau in the course of the Ostsiedlung. So far, previous Slavic settlements in the area are not known.Frühgschichte The first recorded rulers were the Vogt ministeriales from Weida, Thuringia, who gave the entire Vogtland region its name. In 1281, they officially received the estates as an immediate fief at the hands of King Rudolph I of Germany. Emperor Louis IV elevated them to Princes of the Holy Roman Empire in 1329. Nevertheless, two years later, they sold Aš land to King John of Bohemia, who since 1322 also held the adjacent Egerland in the south. Together with neighbouring Selb and Elster, Aš was enfeoffed to the Freiherren of Neuberg (Podhradí).Rüdesheimer Erklärung When in 1394 Konrad von Neuburg died without a male heir, by virtue of Hedwig von Neuburg's marriage to Konrad von Zedtwitz, Aš passed into the control of the noble House of Zedtwitz. thumb|160px|Church attendance in Aš, 19th century In 1557, the Aš region was incorporated into the Lands of the Bohemian Crown by the Habsburg king Ferdinand I. Like the neighbouring Egerland, it remained Protestant until the Thirty Years' War, as the Counter Reformation did not stretch to the West Bohemian borderlands. In the 1648 Peace of Westphalia, the Protestant confession of the citizens was confirmed. In 1774, Empress Maria Theresa officially mediatised Aš as part of the Bohemian crown land within the Habsburg monarchy, against the delaying resistance by the Zedtwitz noble family. Nevertheless, she granted its Protestant citizens freedom of religion, confirmed in the 1781 Patent of Toleration, issued by her son Emperor Joseph II. ===19th–20th centuries=== From 1806, Aš with Bohemia belonged to the Austrian Empire and Cisleithanian Austria after the Compromise of 1867. Until 1918, the town remained part of Austria-Hungary, head of the Asch district, one of the 94 Bezirkshauptmannschaften in Bohemia.Die postalischen Abstempelungen auf den österreichischen Postwertzeichen-Ausgaben 1867, 1883 und 1890, Wilhelm KLEIN, 1967 In 1854 a county legal code was granted to the region, ending five centuries of legal control by the Zedtwitz family. Aš was linked to the Eger (Cheb)–Hof railway line in 1864, with a branch-off to Saxon Adorf opened in 1885. It obtained the status of a town in 1872, as the population grew due to a flourishing textile industry. By 1910 the population had risen to 21,880, from 9,405 in 1869. Upon the dissolution of the Austro- Hungarian monarchy at the end of the World War I, a soldiers' council seized power and rejected the demands of separatists from Eger for annexation to the Bavarian lands of the German Weimar Republic, preferring to remain with the Republic of German-Austria, which was however soon denied by the 1919 Paris Peace Conference. During the negotiations of the Treaty of Saint-Germain-en- Laye the Americans, like Allen Welsh Dulles, had failed to persuade other powers to make at least the Bohemian peninsulas within Germany, like Aš Land or Rumburk in the Šluknov Hook, legal parts of Weimar Germany. Thus the area became part of newly established state of Czechoslovakia, and received its current Czech nameCz. Republik On 18 November 1920, Czech militia toppled the monument of Emperor Joseph II against local protest, whereby three citizens were shot.Chronik A 1921 Czechoslovak census counted 183 ethnic Czechs, in a population of 40,000 in the district, a 1930 census 520 Czechs, in a population of 45,000 in the district. thumb|Wehrmacht soldiers parading in Aš, 1938 In 1937, the Sudeten German Party took over in Aš, led by Konrad Henlein, who for several years had worked in the town as a gym teacher. Henlein openly advocated the annexation of the Sudetenland territories to Nazi Germany, while Czech residents, mainly officials, were forced to leave the town. On 22 September 1938, a few days before the Munich Agreement, a Sudeten German Freikorps proclaimed a "Free State of Asch". Upon the German occupation of Czechoslovakia in October, according to the Agreement, Wehrmacht troops officially arrived, unopposed. By 1939 a German census counted a population of 23,130 in the town, almost 100% German Lutherans. From 1938 to 1945, Aš was administered as part of Reichsgau Sudetenland. At the end of World War II, the town was occupied by U.S. Army forces on 20 April 1945. Czech officials arrested 64 men on 7 June and took them to Bory Prison in Plzeň, where half of them perishedDie Verfolgung Due to the Expulsion of Germans from Czechoslovakia in 1946 by the Beneš decrees, the town's population was reduced to "half of the pre-war number of inhabitants"."Because of the removal of German inhabitants in 1946, Aš had only a half of the pre-war number of inhabitants" https://web.archive.org/web/20060715090423/http://www.muas.cz/html/e_historie.htm A German expellee website states that 30,327 Germans have been expelled from March to November in 27 trains.Die Vertreibung In 1949, 3,000 expellees met in far away Rüdesheim am Rhein, to protest, stating that their area never was inhabited by Slavs other than as a tiny minority. The population shrank further in 1950 due to the establishment of the Iron Curtain and the Czechoslovak border fortifications during the Cold War by the ruling Communists, as the whole Aš district was included into the border zone which made many people move out. Because of the lowering number of inhabitants some houses remained uninhabited. There was lack of money for their renovation and it was necessary to demolish them. ==Demographics== The present-day population in the town is roughly half of the pre-war population. ==Transport== thumb|Main station There are three road border crossings and one railway border crossing. Road border crossings lead to Bad Elster and Bad Brambach in Saxony in the east, as well as to Selb in Bavaria in the west. The railway border crossing leads to Selb. The Cheb–Hranice v Čechách railway goes through the town. There are three train stations: Aš (the main train station), Aš- město and Aš-předměstí (currently just a shelter). This railway and the first station were built in 1865. In 1968, the old Royal Bavarian State Railways station building was demolished, and the current one was built in 1969. Aš station also lies on the Cheb–Oberkotzau railway. This railway was closed during the Cold War, but reopened in 2015. ==Education== There are five kindergartens, four elementary schools, a gymnasium, a special school and a school of art located in Aš. A high school of textile also existed here. ==Sights== thumb|Goetheho Square with the town hall thumb|Aš Museum thumb|140px|Luther monument The main square of the town is Goethovo Square named after J. W. Goethe, who often visited the town. In the middle of the square is the Memorial of J. W. Goethe from 1932, designed by Johannes Watzal. The landmark of the square is the town hall. It was built in 1733 in the Baroque style, but in 1814 was burned out. In 1816 it was built again, according to the original plans. The Aš Museum was founded in 1892 and is subtitled "Ethnography and Textile Museum of Aš". It is housed in a building on the site of a former manor house, today called Zámeček ("Little Castle"). The most important textile collection is the collection of 22,000 pairs of gloves. Under the administration of the museum also operates "The stone crosses research society" which maintaints the central register of these monuments. The museum also includes gardens open to the public. Into the corner pillar of the garden is built the Salva Guardia stone relief with imperial symbols. The town firehouse is a significant building from 1930 designed by Emil Rösler. In 2014, it was reconstructed. Today it houses part of the town museum. The Evangelical Church of the Good Shepherd is located on the site of a former church from 1480–1490. The original church was rebuilt in the Baroque style and only the tower was preserved. The Church of Saint Nicholas is a Roman Catholic church built in 1867–1871 that replaced a late Baroque church from 1780. It has a high tower. The Memorial of Dr. Martin Luther was erected in 1883 and re-erected in 2008. It is the only Luther Monument in the country and in the whole of the former Austria-Hungary. It was located next to the evangelical church, which was one of the most important monuments of the region. The church burned down in 1960 and today is commemorated by perimeter wall and wooden cross. On Háj, there is an eponymous observation tower. It was designed by Wilhelm Kreis and built in 1902–1903. The tower is high. Gustav Geipel Memorial from 1924 is dedicated to this factory owner and patron of Aš, who sponsored children, poor and old people. Gustav Geipel's villa from 1888 is an architectural monument. ==Trivia== Alongside with the municipality of Eš, Aš has the shortest place name in the Czech Republic with only two letters. ==Notable people== *Sebastian Knüpfer (1633–1676), German composer *Friedrich Wettengel (1750–1824), Lutheran theologian *Andreas Leonhardt (1800–1866), Austrian composer *Ernst Bareuther (1838–1905), Austrian politician *Karl Alberti (1856–1953), German historian *Emil Baumgärtel (1885–1939), Austrian politician *Otto Jäger (1894–1917), German flying ace *Wilhelm Ludwig (1901–1959), German geneticist *Karl Fritzsch (1903–1945), German KZ-commander *Hermann Fischer (1912–1984), German athlete and Communist resistance fighter against Nazism *Karl Komma (1913–2012), German composer *Herbert Bareuther (1914–1945), German flying ace *Rudolf Hilf (1923–2011), German historian and political scientist *Ernst Wilfer (1923–2014), German engineer *Oskar Fischer (1923–2020), German politician *Anton Bodem (1925–2007), German theologian *Gerhard Hahn (born 1933), German professor of medieval studies *Horst Tomayer (1938–2013), German writer and actor *Markéta Zinnerová (born 1942), children's book writer *Charly Höllering (1944–2009), German jazz musician *Wolf Stegemann (born 1944), German journalist, author and poet *Rüdiger Bartelmus (born 1944), German theologian and professor *Milan Bokša (born 1951), football manager *Petr Sepéši (1960–1985), singer *Jiří Plíšek (born 1972), football player and manager *Lukáš Rešetár (born 1984), futsal player *Lenka Marušková (born 1985), athlete *Jiří Sekáč (born 1992), ice hockey player ==Twin towns – sister cities== Aš is twinned with: * Fiumefreddo di Sicilia, Italy * Marktbreit, Germany * Oelsnitz, Germany * Plauen, Germany * Rehau, Germany ==See also== *NSTG Asch ==References== ==External links== * Category:Populated places in Cheb District Category:Cities and towns in the Czech Republic

The cuneiform Aš sign, is found in both the 14th century BC Amarna letters and the Epic of Gilgamesh. In the Epic, it has the following meanings, besides aš:Parpola, 1971. The Standard Babylonian Epic of Gilgamesh, Sign List, pp. 155-165, no. 001, AŠ, p. 155. :aš :dil :ina :ṭel :AŠ Some special considerations for a single "cuneiform sign" are as follows. In Egyptian hieroglyphs, the space for a group of signs (in cuneiform, a group of individual strokes), is called (quadrat)-block. Among cuneiform signs, only a handful of signs (specifically the individual 'strokes', horizontal, vertical, "wedge", 'half-strokes', etc.) are found in single usage. For aš specifically, (the full-length, horizontal stroke) its highest usage in the Epic of Gilgamesh is for the preposition ina (for in, into, etc.; confer for a specific "ina" usage (by Kovacs), Gilgamesh flood myth#Alternative translations). The specific usage numbers for the sign's meaning in the Epic is as follows: aš-(4), dil-(3), ina-(284), ṭel-(1), AŠ-(1).Parpola, 1971. The Standard Babylonian Epic of Gilgamesh, Sign List, pp. 155-165, no. 001, AŠ, p. 155. The high usage as the preposition may be for space considerations, but it should be considered that the Epic of Gilgamesh was also a "training document" for scribes, over hundreds of years, so the multi-functioning of signs may also have been in issue, (one cuneiform sign substituted for the preposition: i-na, of two signs.) ==Usage in the Amarna letters== The most common use of cuneiform aš in the Amarna letters is for the spelling of "šapāru", for to send, to send in writing.Rainey, 1970. El Amarna Tablets, 359-379, Glossary:Vocabulary, šapāru, pp. 55-87, p. 81. Besides the usage for "šapāru" in EA 362 (pictured), it is also used to spell šapāru in EA 34, titled The Pharaoh's reproach Answered, Moran, William L. 1987, 1992. The Amarna Letters. EA 34, The Pharaoh's reproach Answered, pp. 105-107. line 8, Obverse--spelled, ta-aš--tap-ra. Amarna letter EA 28, titled Messengers Detained and a Protest,Moran 1987, 1992. The Amarna Letters. EA 28, Messengers detained and a protest, pp. 90-92. uses aš for the spelling of "aššum",Parpola, 1971. The Standard Babylonian Epic of Gilgamesh, Glossary, pp. 119-145, aššum, p. 122. Akkadian language because of-(concerning, regarding), and in EA 28, line 24, obverse, Paragraph III, Tushratta, (of Mitanni) continues in his letter: ... "regarding" (the)-Messengers (i.e. Pirissi and Tulubri).... ==References== *Moran, William L. 1987, 1992. The Amarna Letters. Johns Hopkins University Press, 1987, 1992. 393 pages.(softcover, ) * Parpola, 1971. The Standard Babylonian Epic of Gilgamesh, Parpola, Simo, Neo-Assyrian Text Corpus Project, c 1997, Tablet I thru Tablet XII, Index of Names, Sign List, and Glossary-(pp. 119–145), 165 pages. *Rainey, 1970. El Amarna Tablets, 359-379, Anson F. Rainey, (AOAT 8, Alter Orient Altes Testament 8, Kevelaer and Neukirchen -Vluyen), 1970, 107 pages. Category:Cuneiform signs

() is a Lithuanian television mystery music game show based on the South Korean programme of the same name. It premiered on LNK on 13 March 2022 before moving to its sister channel BTV on 30 April 2022. ==Gameplay== ===Format=== Presented with a group of six "mystery singers" identified only by their occupation, a guest artist and contestant must attempt to eliminate bad singers from the group without ever hearing them sing, assisted by clues and a celebrity panel over the course of four rounds. At the end of the game, the last remaining mystery singer is revealed as either good or bad by means of a duet between them and one of the guest artists. ====Rewards==== The contestant must eliminate one mystery singer at the end of each round, receiving if they eliminate a bad singer. At the end of the game, the contestant may either end the game and keep the money they had won in previous rounds, or risk it for a chance to win a jackpot prize of by correctly guessing whether the last remaining mystery singer is good or bad. If the singer is bad, the contestant's winnings is given to the bad singer instead. ===Rounds=== Each episode presents the guest artist and contestant with six people whose identities and singing voices are kept concealed until they are eliminated to perform on the "stage of truth" or remain in the end to perform the final duet. ==Production== ===Background and development=== In a joint agreement with CJ ENM and Fremantle, formally announced its development of the show in November 2020, as it follows the successful broadcasts of Kaukės. It is co- produced by Kaunas Television Services and Elitaz; the staff team is managed by executive producer Agneta Gabalytė, producer Gediminas Jaunius, and director Jurgis Jefremovas. ===Filming=== Tapings for the programme took place at Avia Solutions Group Arena in Vilnius. Due to the COVID-19 pandemic, it was filmed under health and safety protocols being implemented. Originally, nine episodes were completed production except one episode involving guest artist and celebrity panelist , which was never aired according to LNK spokesperson Gediminas Malaškevičius in March 2022 due to their controversial comments related to the Russian invasion of Ukraine. ==Episodes== ===Guest artists=== Legend: The contestant chose to risk the money. The contestant chose to walk away with the money. Episode Guest artist Contestants Mystery singers Elimination order Winner 1 13 March 2022 Vaidas Baumila Aurelijus Laurinavičius width="11%" width="11%" width="11%" width="11%" width="11%" width="11%" Special 20 March 2022 and 2 27 March 2022 Evaldas Venskutonis 3 3 April 2022 Viktorija Laksaitė 4 10 April 2022 Saulius Ramoška 5 17 April 2022 and Ernest Ekhardt 6 23 April 2022 and Violeta Riaubiškytė-Tarasovienė Aivaras Povilionis and Brigita Povilionis Special 30 April 2022 3d Diana Stalioraitė ===Panelists=== Legend: Episode Panelists Panelists Panelists Panelists Episode 1 rowspan=3 rowspan=8 Special 2 3 4 rowspan=2 5 6 Vacant Special colspan=2 Vacant ==Notes== ==References== Category:International versions of I Can See Your Voice Category:2020s Lithuanian television series Category:2022 Lithuanian television series debuts Category:BTV (Lithuania) original programming Category:Lithuanian television series based on South Korean television series Category:LNK (television station) original programming

Ašanja () is a village in Serbia. It is situated in the Pećinci municipality, in the Srem District, Vojvodina Province. The village has a Serb ethnic majority, with a population of 1,365 people (2011 census). ==See also== *List of places in Serbia *List of cities, towns and villages in Vojvodina == References == Category:Populated places in Syrmia Category:Populated places in Srem District Category:Pećinci

The Ašarėna is a river of Kėdainiai district municipality, Kaunas County, central Lithuania. It flows for 6.4 kilometres and has a basin area of 8.8 km². It is a left tributary of the Nevėžis. It starts in the Pašiliai Forest, from Medekšiai. It meets the Nevėžis next to Pelėdnagiai. There are two ponds on Ašarėna in Pelėdnagiai. The hydronym possibly derives from Lithuanian word ešerys (or ašarys in local dialect, 'perch'). Its original form could have been *Ešerinė. ==References== Category:Rivers of Lithuania Category:Kėdainiai District Municipality

Ašašninkai is a village in Varėna district municipality, in Alytus County, in southeastern Lithuania. According to the 2021 census, the village has a population of 27 people. In the years 1921-1945 the village was within the borders of Poland. Ašašninkai village is located c. from Druskininkai, from Marcinkonys, from Kabeliai (the nearest settlement), from the Belarusian border. ==References== Category:Villages in Varėna District Municipality

Ašelice (; Leksikon občin kraljestev in dežel zastopanih v državnem zboru, vol. 6: Kranjsko. 1906. Vienna: C. Kr. Dvorna in Državna Tiskarna, p. 152.Ferenc, Mitja. 2007. Nekdanji nemški jezikovni otok na kočevskem. Kočevje: Pokrajinski muzej, p. 4. or AschletzPetschauer, Erich. 1980. "Die Gottscheer Siedlungen – Ortsnamenverzeichnis." In Das Jahrhundertbuch der Gottscheer (pp. 181–197). Klagenfurt: Leustik.) is a remote abandoned settlement in the Municipality of Semič in southern Slovenia. The area is part of the traditional region of Lower Carniola and is now included in the Southeast Slovenia Statistical Region.Semič municipal site Its territory is now part of the village of Mašelj.Slovenian Ministry of Culture register of national heritage reference number ešd 11138 Ašelice lies high on a slope alongside an unpaved road east of Črmošnjice. ==Name== The name Aschelitz is believed to be derived from German Aschnitz, a name for the herb lady's mantle,Simonič, Ivan. 1935. "Kočevarji v luči krajevnih in ledinskih imen." Glasnik Muzejskega društva za Slovenijo 16: 61–81 and 106–123, p. 70. thus referring to the local vegetation. However, other sources state that the name is of Slovene origin.Grothe, Hugo. 1931. Die deutsche Sprachinsel Gottschee in Slowenien. Ein Beitrag zur Deutschtumskunde des europäischen Südostens. Münster: Aschendorff. (cited in Petschauer 1980: 181). ==History== Ašelice was one of only three Gottschee German villages mentioned in the land registers of the Dominion of Mihovo in 1603 and 1623.Simonič, Ivan. 1934. "Migracije na Kočevskem v luči priimkov". Etnolog 7: 107–138, p. 134. However, it was not included in the land registry of 1770. The village consisted of eight houses and 29 inhabitants in 1931,Glonar, Joža. 1931. Poučni slovar. Ljubljana: Umetniška propaganda, p. 74. and 37 inhabitants in 1937.Krajevni leksikon Dravske Banovine. 1937. Ljubljana: Zveza za tujski promet za Slovenijo, p. 470. The Gottschee Germans were evicted from the village in the fall of 1941. Italian troops burned the village during the Rog Offensive in 1942.Savnik, Roman, ed. 1971. Krajevni leksikon Slovenije, vol. 2. Ljubljana: Državna založba Slovenije, p. 22. ==References== ==External links== *Ašelice on Geopedia *Pre–World War II map of Ašelice with oeconyms and family names Category:Former populated places in the Municipality of Semič

Ašikovci is a village in Požega-Slavonia County, Croatia. The village is administered as a part of the City of Pleternica. According to national census of 2011, population of the village is 91. == Sources == Category:Populated places in Požega-Slavonia County

In ancient Mesopotamia, the ašipu (also āšipu or mašmaššu) acted as priests. They were scholars and practitioners of diagnosis and treatment in the Tigris- Euphrates valley of Mesopotamia (modern-day Iraq) around 3200 BC. ==Etymology== Sumerian and Akkadian ritual and incantation texts were associated with one specific profession, the expert called in Akkadian āšipu or mašmaššu, is translated as “exorcist". The cuneiform record formed the lore of their practice translating āšipūtu as “exorcistic lore” or, simply, “magic”. Schwemer explains that Babylonian tradition itself "considered this corpus of texts to be of great antiquity, ultimately authored by Enki-Ea himself, the god of wisdom and exorcism."Daniel Schwemer 2014 article: "Healing and Harming: Mesopotamian Magic" section "Mesopotamian magic: āšipūtu" › magic-witchcraftFrom the Encyclopedia Britannica – "Ea, the Akkadian counterpart of Enki, was the god of ritual purification: ritual cleansing waters were called 'Ea’s water'. Ea governed the arts of sorcery and incantation." ==Expertise== Some have described ašipu as experts in white magic. At the time, ideas of science, religion and witchcraft were closely intertwined and formed a basis of ašiputu, the practice used by ašipu to combat sorcery and to heal disease. The ašipu studied omens and symptoms to formulate a prediction of the future for a subject and then performed apotropaic rituals in an attempt to change unfavorable fate. ==Roles and tasks== Ašipu directed medical treatment at the Assyrian court, where they predicted the course of the disease from signs observed on the patient's body and offered incantations and other magic as well as the remedies indicated by diagnosis. Ašipu visited sick people's houses and were tasked with predicting the patient's future (e.g. he will live or she will die) and also to fill in details about the symptoms that the patients may have disregarded or omitted. The purpose of the visit was to identify the divine sender of the illness based on the symptoms of a specific ailment. Ašipu also acted as advisers on risky, uncertain and difficult decisions. Ašiputu was unusual for that period in history because ašipu did not claim to foresee the future but rationally approached the construction of advice through a repeatable, consistent process of identifying important dimensions of the problem, considering alternatives and collecting data. == References == Category:Mesopotamian priests

Aškašepa was a Hittite deity presumed to be a deified mountain, possibly Mount Erciyes. He is first attested in a treaty from Kanesh, and continued to be regarded as one of the deities associated with this city in later sources. He was worshiped in cities such as Hattusa, and . He also appears in a number of international treaties between the rulers of the Hittite Empire and other contemporary monarchs as one of the invoked divine witnesses. ==Name and character== Aškašepa's name can be translated as "genius of the gate". The word aška- means "door" in Hittite. It could be represented in cuneiform by the Sumerogram KÁ, similarly meaning gate. The suffix -šepa and its variants, -šipa, -zipa and -zepa according to Gojko Barjamovic was used to form theonyms which all can be interpreted as the "female deifications of the basic word". However, according to Alice Mouton, Aškašepa was male, and the assumption on the contrary relied on incorrect reading of the phrase MUNUS.LUGAL as a title of this deity, rather than a separate theonym. In contrast with most of the other deities with similarly constructed names such as Daganzipa, or , Aškašepa can be considered a major member of the Hittite pantheon. The name Aškašepa also referred to a mountain, according to Volkert Haas most likely Mount Erciyes. Barjamovic accepts this as a possibility, but additionally suggests identification with an unspecified high point of the Taurus range located close to the route of Assyrian trade caravans as another option. Aškašepa's presumed character as a mountain deity in the light of Hittite views on the nature of divine representations of such landmarks would make it plausible that the name referred to a male figure. ==Worship== Hittites celebrated Aškašepa with the songs of the so-called "singer of Kanesh". However, according to Oguz Soysal none of the attestations of this deity come from texts from the period of Old Assyrian trading colony's existence at the site or from the subsequent era of the so-called "Hittite Old Kingdom". Gojko Barjamovic in a more recent publications states the name occurs in a list of divine witnesses in a treaty between Kanesh and Assur. Alfonso Archi, following earlier studies, notes that regardless of the origin of its individual members, the group of "gods of Kanesh" in Hittite sources was seemingly a conglomerate only formed in the thirteenth century BCE. In Hittite ritual texts, Aškašepa appears alongside its other members, such as Maliya and Pirwa. In a ritual meant to guarantee the prosperity of a vineyard, KUB 35.2, Aškašepa and Pirwa were honored with a song in Luwian. Aškašepa was worshiped as one of the deities belonging to the circle associated with Kanesh in Hattusa in the so-called "Great Temple". He apparently also had a temple of his own, as indicated by texts pertaining to the spring festival. As a member of the same group, he was venerated in as well. Additionally, he is attested among deities worshiped during local festivals in , a city located on the middle run of the river Zuliya (Çekerek River). In treaties between Šuppiluliuma I and Šattiwaza, Muršili II and and Tudḫaliya IV and , Aškašepa appears as one of the divine witnesses. ==References== ===Bibliography=== * * * * * * * Category:Hittite deities Category:Mountain gods

Ašmu-nikal was a Queen consort of the Hittite empire. == Biography == Ašmu- nikal was born as a princess, the daughter of King Tudhaliya I and Queen Nikal-mati. She married a man called Arnuwanda, who later became a king. She had two sons with him: Prince Ašmi-Šarruma and King Tudhaliya II. She is mentioned in one prayer as a Great Queen. She was also a grandmother of Tudhaliya III and Suppiluliuma I. ==Gallery== File:Prayers of Arnuwanda and Asmu-Nikkal, 14th century BC, from Hattusa, Istanbul Archaeological Museum.jpg|Prayers of Arnuwanda and Asmu-Nikkal, 14th century BC, from Hattusa, Istanbul Archaeological Museum File:Gifts given by Arnuwanda and Asmu-Nikkal, 14th century BC, from Hattusa, Istanbul Archaeological Museum.jpg|Gifts given by Arnuwanda and Asmu-Nikkal, 14th century BC, from Hattusa, Istanbul Archaeological Museum == Sources == Category:Hittite queens Category:14th-century BC women Category:Ancient princesses

Ašok Murti (; born 1962) is a Serbian wardrobe stylist, considered to be the country's most famous wardrobe stylist.Modni vodič Ašoka Murtija: IN i OUT ove sezone (in Serbian). Žena. Olivera Vučetić; 06-11-2009 Murti began to draw at a very young age, which was soon recognized by his grandfather and his teachers in school. His teachers decided to register him at a special school for talents in Šabac, where he finished primary and secondary school.Ašok Murti (Ashok Murty), stilista - Ostao sam ovde iz inata (in Serbian). eKapija. After serving in the Yugoslav army he came to the capital city Belgrade, without an idea that he would stay to live there. Murti's mother is Serbian, while his father comes from India. He identifies as Yugoslav.Arhitekta sa stilom (in Serbian). Politika. Dana Stanković; 13-06-2010Ostao sam ovde iz inata (in Serbian). Blic. Žiža Antonijević; 23-03-2008 His parents were friends of former Prime Minister of India Indira Gandhi. He later studied architecture and actually worked as an architect until 1994. Between 1994 and 2001 he worked as a wardrobe stylist for BK Television. After that he worked for RTV Pink between 2001 and 2007. Today, he is a freelancer. ==References== Category:1966 births Category:Living people Category:People from Šabac Murti Category:Serbian fashion

Ašratum ( dAš-ra-tum, in Larsa dA-ši-ra-tum) was a Mesopotamian goddess of Amorite origin. She was regarded as the wife of the god Amurru. Her name is a cognate of Ugaritic Athirat, but despite likely sharing the same origin these two goddesses occupied different positions in the respective pantheons. ==Character== Ašratum was a deity of Amorite origin. Her name is a cognate of Ugaritic Athirat, and it is likely they developed from a common source. Multiple etymologies have been proposed for the name, including "holy place" or "sanctuary" (based on the root 'ṯr, "place," attested in both Akkadian and Ugaritic, as well as other Semitic languages) and "wife." However, due to Ašratum's position in the Mesopotamian pantheon and distinct circumstances of her development, information pertaining to her character cannot be necessarily assumed to apply to Athirat, and vice versa. For example, while it is possible Ašratum was associated with eroticism and voluptuousness, no analogous evidence exists for Athirat. In a bilingual Akkadian-Amorite lexical list from the Old Babylonian period which presumably originated in southern Mesopotamia, an Amorite deity named ʔAṯeratum (a-še-ra-tum) is equated with DIĜIR.MAḪ (Bēlet-ilī), but according to Andrew R. George and in this context the name designates the goddess also known from Ugarit. An Old Babylonian votive inscription of a man bearing the name Itur-ašdum is considered to be the most significant source for the study of Ašratum's character. It refers to her as "mistress of voluptuousness and joy" (Sumerian: nin ḫi-li ma-az-bi) and "mistress with patient mercy" (nin ša3-la2-su3). The former epithet might possibly point at erotic connotations. The term ḫili (and its Akkadian equivalent ) denoted a quality of both male and female deities, for example Shamash, Aya, Nanaya and Nisaba. Joan Goodnick Westenholz favors "sensuality" in translations of epithets including it, while Paul-Alain Beaulieu - "voluptuousness." Steve A. Wiggins additionally lists "luxury" as a possible translation. While in past scholarship the latter epithet was used to argue that Ašratum was confused or conflated with Ishtar, more recent research shows that many deities, both male and female (the word nin is grammatically neutral), could be described as nin ša3-la2-su3. It is attested as an epithet not only Ašratum and Ishtar, but also Marduk, Nergal, Ninurta and Sin. It is therefore insufficient evidence for assuming that its use reflected a case of syncretism. Epithets were commonly shared by multiple deities in Mesopotamian religion, and it was not necessarily the result of confusion or conflation. The only evidence for association between Ašratum and Ishtar is an esoteric text from the second century BCE, meant to explain the relationship between the names Ašratum and Gubarra. It has been pointed out that due to its late date and character the text is unlikely to provide information relevant to earlier references to Ašratum. Ašratum was also one of the goddesses who could be described with the epithet Belet-Seri, most commonly associated with Geshtinanna. It has been argued that it might point at an association with the underworld, though it is also possible the term can be understood as a reference to an ordinary steppe, rather than a euphemism for the land of the dead. In the Nippur god list from the Old Babylonian period, Ašratum nonetheless occurs among underworld deities. Jeremiah Peterson proposes that this might have been the result of her husband Amurru/Martu sometimes being grouped with underworld deities such as Ningishzida, Nergal and Ninazu. Further evidence for Ašratum's possible association with the underworld include the mention of a "corpse star" (múlADDA) in connection with her in a late mystical text and the use of the epithet ekurrītum, which might have such connotations, to refer to her in the god list An = Anum. Ekurritum was also the name of a goddess in one case listed as a wife of Ningishzida. Another of Ašratum's epithets, "tenderly cared for by a mountain", is likely connected to her status as wife of Amurru, who was called bēl šadī, "lord of the mountain". ==Worship== Oldest attestations of Ašratum are Amorite personal names from the first half of the second millennium BCE, such as Ašratum-ummi, "Ašratum is my mother." Four administrative documents from the reign of Rim-Sîn I of Larsa were signed with seals inscribed with the name Aširatum (dA-ši-ra-tum), a spelling of this goddess' name apparently exclusive to this city. Another early piece of evidence for her worship is a limestone slab which a certain Itur-ašdum, apparently a devotee of this goddess and an official in charge of the Silakku canal district,dedicated for the life of Hammurabi of Babylon. The accompanying text is written in Sumerian. While the provenance of this artifact is not known, it has been proposed that it originated in Sippar. As the inscription mentions the dedication of a protective deity (dlamma), it has been proposed that it was originally a fragment of a figure depicting a lamma goddess. A gudu priest of Ašratum is mentioned in a document from the reign of Samsu-iluna. Ašratum continued to be worshiped in Babylon in the first millennium BCE. Her temple from that city, Eḫilikalama (Sumerian: "house of the luxuriance of the land") has been dated to the neo-Babylonian period. It has been proposed that it can be identified with a building designated as temple D II during excavations. Ašratum was also still worshiped in Uruk in the Hellenistic period, as indicated by a text enumerating deities partaking in a New Year parade alongside Antu, which also features Amasagnudi, Sadarnunna (the wife of Nuska), Gula, Aya and Shala. It has been pointed out that these deities were not otherwise associated with Antu, and therefore it is assumed the formation of this group was most likely a late, synthetic development. ==Associations with other deities== Ašratum was commonly regarded as the wife of Amurru, also known as Martu. However, there are also instances where he was described as married to goddesses usually associated with Ningishzida, such as Azimua, possibly due to conflation or confusion between him and this god. No children of Ašratum and Amurru are known. The Itur-ašdum inscription calls her the "daughter in law of An." Some early translations referred to her as the "bride of An", but this is now considered to be a mistake. The Sumerian term used in this text, é-gi4-a, equivalent of Akkadian kallatum, meant both "daughter in law" and "bride", but the latter meaning relied on the social practice of fathers picking the brides of their sons. As an epithet of goddesses, it denotes their status as a daughter in law of a specific deity. For example, Aya was often called kallatum in relation to her position as the daughter in law of Sin and wife of his son Shamash. Ašratum could be referred to with the Sumerian name Gubarra. In some bilingual texts, Ašratum and Amurru appear in the Akkadian version, side by side with Gubarra and Martu in the Sumerian passages. Steve A. Wiggins assumes that Gubarra was a distinct goddess in origin, but came to be identified with Ašratum. In the so-called Canonical Temple List (CTL) known from the Library of Ashurbanipal, there is a reference to a temple of Gubarra, but neither its name nor location are presently known. A similar theonym, Nin-gubara (Sumerian: "mistress with loose hair"), is explained as an epithet of Inanna in the god list An = Anum, but it is uncertain if she corresponds to the deity identified with Ašratum. Ašratum could also be identified with Šarrāḫītu (Akkadian: "the glorified one"), a goddess only attested in late sources from the first millennium BCE. An esoteric text from the second century BCE explains her name as Ašrat aḫītu, "Ašratum the foreigner" or "the other Ašratum." It has been proposed Ašratum could be associated with the Sebitti due to their placement next to each other in the Nippur god list and a possible reference to such a connection in a lexical text. However, Andrew R. George and tentatively suggest that since the former of these two texts is difficult to reconcile with other attestations of her, a different similarly named deity might be meant in this case instead. ==References== ===Bibliography=== * * * * * * * * * * * Category:Mesopotamian goddesses

Aštabi (, aštb), also known as Aštabil, was a god worshiped in the third millennium BCE in Ebla, later incorporated into Hurrian beliefs in locations such as Alalakh and Ugarit and as a result also into the religion of the Hittite Empire. == Name and origin == The attested writings of the name are Aštabi (in Alalakh and Hattusa), Aštabil/Ašdabil (in Ebla and Mari), aštb and possibly `ṭtpl and `ṭtpr (alphabetic spellings from Ugarit). Aštabi is regarded as one of the so-called "Syrian substrate deities" by researchers. While present in the Hurrian pantheon and in earlier documents from Ebla, names of members of this group are assumed to have pre-Hurrian and most likely pre-Semitic origin. Initially Hurrian origin had been ascribed to Aštabi by researchers based on the similarity of his name to those of Kumarbi and Nabarbi, but this is no longer regarded as plausible due to the existence of earlier forms ending with -bil rather than -bi. While a Semitic origin of the name has also been proposed, with a reconstructed hypothetical original form Yaštabi-El ("El has satisfied himself"), it is regarded as implausible due to reliance on assigning presently unattested sign values to Eblaite spellings of the name. == Functions== In the Hurrian (and by extension Hittite) pantheon Aštabi was a war god. This aspect of his character is also well attested in Ugaritic texts. However, despite a considerable number of mentions in known documents, his original role in the pantheon of Ebla cannot be presently determined. The available information does not point at the warlike character known from later sources, as unlike Adad he did not receive weapons as offerings, though Alfonso Archi does not consider it fully implausible that theoretically he could have been a war god in the third millennium BCE already. ==Worship== The worship of Aštabi is well attested in documents from Ebla, and it was widespread in the area under the control of the city, with the names of at least three cult centers of this god appearing in records: Ba- šeki, Du-ubki (later Tuba), and Ìr-kuki. However, it is Ebla itself which was the primary site associated with him. One Eblaite document mentions statues of Aštabi and Baradu-madu. Both of them are also involved in a purification ceremony meant to return the health of the prince Ir'aq-Damu. According to Alfonso Archi, after the fall of Ebla Aštabi was among the gods who did not retain their former position in the religion of the Amorites, who became the dominant culture in Syria. He lists Adamma, Ammarik, Šanugaru and Halabatu as other similar examples. He assumes that they were reduced to the status of deities of at best local significance, and as a result were easily incorporated into the religion of the Hurrians when they arrived in the same area a few centuries later. In some cases, direct influence of earlier Eblaite tradition was nonetheless still present in later tradition, for example a "month of Aštabi" known from the Eblaite calendar is still attested in texts from Alalakh from the second millennium BCE. In Yazilikaya he's represented as one of the gods following Teshub in procession (figure 33); in front of him stands Šimige and behind him Nupatik. == Associations with other deities == In 3rd millennium BCE Ebla he was sometimes associated with dBa-ra-du ma-du, possibly to be read /BarD-u(m)/, who was possibly his spouse. She is sparsely attested in known texts, but Alfonso Archi notes this stands true for spouses of other gods as well, Barama associated with Kura and Halabadu (Hebat) associated with Adad. While her character is uncertain, it is possible she was a divine representation of a river flowing near the city of Ebla, possibly Queiq. In Hurrian sources he sometimes formed a triad with Ugur (who in this context appears under the epithet "Šaumatar") and Nupatik, according to Volkert Haas based on their shared association with warfare. The character of Nupatik is generally regarded as uncertain, though Haas is not the only author to ascribe the role of a warrior god to him, and especially the fact he received items related to archery as offerings is considered to be possible evidence supporting this theory. In god lists Aštabi was equated with a variety of other deities of similar characters. An Ugaritic "polyglot" list equated him with the local god Attar and Mesopotamian Lugal-Marada (a war god whose cult center was Marad, analogous in part to both Nergal and Ninurta), while a Babylonian god list equated "Aštabinu" with the war god Zababa. In Yazilikaya he's identified by the logogram "NIN.URTA." According to Meindert Dijkstra, in Hittite sources he was sometimes equated with Tašmišu, older brother and sukkal of Teshub. However, both appear in the procession of deities in Yazilikaya. Alfonso Archi considers it possible that Nergal's name, found in early Hurrian inscriptions from Urkesh, could be an ideographic stand-in for Aštabi's (similar to how Shaushka's name was ideographically represent as dIŠTAR and Teshub's as dIŠKUR), though he notes that it's also been proposed that the god represented by it might be Kumarbi, and that it cannot be ruled out the Mesopotamian god might not merely be a logogram, as his sukkal Ugur is well attested in the Hurrian pantheon, making it plausible he was himself worshiped by the Hurrians. A number of ritual texts from Ugarit feature both Attar and a god bearing the name 'ṭtpl or 'ṭtpr, commonly identified as Aštabi by researchers. It has been proposed that their origin is not necessarily Hurrian, but rather Semitic, and that they are responsible for the equation of these two deities in god lists. == Mythology== Aštabi appears in only one Hurro-Hittite myth, the so-called Song of Ullikummi, part of the cycle of myths centered on the struggle between Teshub and Kumarbi. After the initial defeat of Teshub in combat with the eponymous stone monster, the other gods provide Aštabi with chariots. Alongside his 70 unnamed allies he confronts the monster, but fails and as a result falls into the sea, while his adversary continues to grow until he reaches the city of the storm god, Kummiya. Eventually Teshub, rather than the war god, vanquishes Ullikummi. The reference to "seventy gods" is unique in the light of known Hurrian and Hittite sources, and according to Noga Ayali-Darshan most likely represents a borrowing from western Semiticliterature, as similar terms are known from Ugarit ("seventy sons of Athirat") and Emar ("seventy gods of Emar"). == References == ===Bibliography=== * * * * * * * * Category:Eblaite deities Category:Hurrian deities Category:Hittite deities Category:Ugaritic deities Category:War gods

Aštrioji Kirsna Manor (English: Spicy Kirsna Manor) is a former residential manor in Aštrioji Kirsna village, Lazdijai district, Alytus County, Lithuania.Aštriosios Kirsnos dvaro sodyba (Kultūros vertybių registras) ==References== Category:Manor houses in Lithuania Category:Classicism architecture in Lithuania

Ašvieniai are divine twins in the Lithuanian mythology, identical to Latvian Dieva dēli and the Baltic counterparts of Vedic Ashvins. Both names derive from the same Proto-Indo-European root for the horse – *ék̂wos: Old Lithuanian ašva and Sanskrit ashva mean "horse". Like the Greek Dioscuri Castor and Pollux, they are reflexes of a common Indo-European mytheme, the Divine Twins. Ašvieniai are represented as pulling a carriage of Saulė (the Sun) through the sky. Ašvieniai, depicted as žirgeliai or little horses, are common motifs on Lithuanian rooftops,Tumėnas, Vytautas. ""Žirgelių" ornamento semantinis laukas" [Semantic field of „žirgeliai“ (gable decoration resembling horse’s head)]. In: Liaudies kultūra, 1997, Nr. 2 (53). pp. 22–35. placed for protection of the house. Similar motifs can also be found on beehives, harnesses, bed frames, and other household objects. Ašvieniai are related to Lithuanian Ūsinis and Latvian Ūsiņš (cf. Vedic Ushas), gods of horses. Usins, one of the Ašvieniai, is described as driving a solar chariot pulled across the sky by a pair of white horses. ==See also== * Hengist and Horsa * Thracian horseman ==References== ==See also== * Proto-Indo-European mythology * Baltic mythology * Prussian mythology * Lithuanian mythology Category:Lithuanian gods Category:Horses in mythology Category:Divine twins

Aššur-etil-ilāni, also spelled Ashur-etel-ilani and Ashuretillilani (Neo- Assyrian cuneiform: , meaning "Ashur is the lord of the Tree"), was the king of the Neo-Assyrian Empire from the death of his father Ashurbanipal in 631 BC to his own death in 627 BC. Aššur-etil-ilāni is an obscure figure with a brief reign from which few inscriptions survive. Because of this lack of sources, very little concrete information about the king and his reign can be deduced. It is possible that Aššur-etil-ilāni was a weak ruler as there are no records of the king ever undertaking a military campaign or going on a hunt, activities previous Assyrian kings would famously do very often; this, in turn, may have helped to entice some of Assyria's vassals, such as the Kingdom of Judah, to break free from Assyrian control and begin to act independently. Aššur-etil-ilāni was succeeded by his brother Sîn-šar-iškun under uncertain, though not necessarily violent, circumstances. == Background and chronology == There is a distinct lack of available sources in regards to the last few years of Ashurbanipal's reign and the reign of Aššur-etil-ilāni. The annals of Ashurbanipal, the primary sources for his reign, go no further than 636 BC. Although Ashurbanipal's final year is often repeated as 627 BC, this follows an inscription at Harran made by the mother of the Neo-Babylonian king Nabonidus nearly a century later. The final contemporary evidence for Ashurbanipal being alive and reigning as king is a contract from the city of Nippur made in 631 BC. To get the attested lengths of the reigns of his successors to match, most scholars agree that Ashurbanipal either died, abdicated or was deposed in 631 BC. Of the three options, a death in 631 BC is the most accepted. If Ashurbanipal's reign would have ended in 627 BC, the inscriptions of his successors Aššur-etil-ilāni and Sîn-šar-iškun in Babylon, covering several years, would have been impossible since the city was seized by the Neo-Babylonian king Nabopolassar in 626 BC to never again fall into Assyrian hands. Ashurbanipal had named his successor as early as 660 BC, when documents referencing a crown prince were written. He had been the father of at least one son, and probably two, early on in his reign. These early sons were likely Aššur-etil-ilāni and Sîn-šar-iškun. The common assumption that Aššur-etil-ilāni came to the throne at a young age is based on the phrase "my father did not rear me" ("rear" meaning to care for someone until they're fully grown), found in one of his inscriptions. However, the same phrase appears in a prayer by Ashurbanipal and Aššur-etil-ilāni is unlikely to have been very young as he is attested to have had male children during his reign. == Reign == Aššur-etil-ilāni ascended the throne after the death of his father Ashurbanipal in 631 BC. A land grant from Aššur-etil-ilāni to his (a general serving him since he was a young boy) Sîn-šumu-līšir suggests that Ashurbanipal died a natural death. As in many other successions in Assyrian history, Aššur-etil-ilāni's rise to the Assyrian throne was initially met with opposition and unrest. The same land grant to Sîn-šumu-līšir references the actions of an Assyrian official called Nabu-riḫtu-uṣur who with the help of another official, Sîn-šar-ibni, attempted to usurp the Assyrian throne. Sin- shum-lishir probably assisted the king with stopping Nabu-riḫtu-uṣur and Sîn- šar-ibni. As no sources indicate the opposite, the conspiracy appears to have been crushed relatively quickly. Excavations at Nineveh from the time around Ashurbanipal's death show fire damage, indicating that the plot perhaps resulted in some violence and unrest within the capital itself. The spread of inscriptions by Aššur-etil-ilāni in Babylonia suggest that he exercised the same amount of control in the southern provinces as his father Ashurbanipal had, having a vassal king (Kandalanu) but exercising actual political and military power there himself. His inscriptions are known from all the major cities, including Babylon, Dilbat, Sippar and Nippur. Too few inscriptions of Aššur-etil-ilāni survive to make any certain assumptions about his character. Excavations of his palace at Kalhu, one of the more important cities in the empire and a former capital, may indicate that he was less boastful than his father as it had no reliefs or statues similar to those that his predecessors had used to illustrate their strength and success. The lack of such depictions may partly be because there are no records of Aššur-etil-ilāni ever conducting a military campaign or going on a hunt. His Kalhu palace was quite small with unusually small rooms by Assyrian royal standards. It is possible that some of Assyria's vassals used the reign of what they perceived to be a weak ruler to break free of Assyrian control and even attack Assyrian outposts. In 628 BC, Josiah, ostensibly an Assyrian vassal and the king of Judah in the Levant, extended his land so that it reached the coast, capturing the city of Ashdod and settling some of his own people there. It is frequently assumed, without any supporting evidence, that Aššur-etil-ilāni's brother Sîn-šar-iškun fought with him for the throne. Although the exact circumstances of Aššur-etil- ilāni's death and the rise of his brother Sîn-šar-iškun to the throne are unknown, there is no evidence to suggest that Aššur-etil-ilāni was deposed and/or killed in a coup. == Titles == Very few inscriptions survive from Aššur-etil-ilāni's brief reign. Preserved on bricks of the temple of Nabu at Kalhu, the following titles can be read: == See also == * Sargonid dynasty * List of Assyrian kings == Notes == == References == === Bibliography === * * * * * * * * * === Web sources === * * == External links == * Daniel David Luckenbill's Ancient Records of Assyria and Babylonia Volume 2: Historical Records of Assyria From Sargon to the End, containing translations of Aššur- etil-ilāni's inscriptions. Category:Sargonid dynasty Category:7th-century BC Assyrian kings Category:Kings of the Universe Category:627 BC deaths Category:Year of birth unknown

Aššur-nādin-šumi (Neo-Assyrian cuneiform: , meaning "Ashur gives a name") was a son of the Neo-Assyrian king Sennacherib and was appointed by him as the king of Babylon, ruling southern Mesopotamia from 700 BC to his capture and execution by the Elamites in 694 BC. Aššur-nādin-šumi was probably Sennacherib's firstborn son and his first crown prince and thus the designated successor to the Assyrian throne. == Biography == Babylonia had been conquered by the Neo-Assyrian Empire by Tiglath-Pileser III (745–727 BC) less than thirty years before Aššur-nādin-šumi became its king. During these thirty years, Babylonia had repeatedly attempted to once more become an independent kingdom. Babylonian revolts became an especially frequent nuisance during the reign of Sennacherib, who had to defeat numerous southern revolts throughout his reign. After defeating uprisings in 700 BC, Sennacherib named his own son, Aššur-nādin-šumi, as the new king of Babylon. Aššur-nādin-šumi was also titled as , a title that could be interpreted either as the "pre-eminent son" or the "firstborn son". His appointment as King of Babylon and the new title suggests that Aššur-nādin-šumi was being groomed to also follow Sennacherib as the King of Assyria upon his death. Aššur-nādin-šumi being titled as the likely means that he was Sennacherib's crown prince; if it means "pre-eminent" such a title would be befitting only for the crown prince and if it means "firstborn", it also suggests that Aššur-nādin-šumi was the heir as the Assyrians in most cases followed the principle of primogeniture (the oldest son inherits). More evidence in favor of Aššur-nādin-šumi being the crown prince is Sennacherib's construction of a palace for him at the city of Assur, something Sennacherib would also do for the later crown prince Esarhaddon. As an Assyrian king of Babylon, Aššur-nādin-šumi's position was politically important and highly delicate and would have granted valuable experience to him as the intended heir to the entire Neo-Assyrian Empire. However, Aššur-nādin-šumi's tenure as Babylonian king would not last long and he was unable to handle the volatile political situation in the south. In 694 BC, Sennacherib campaigned against Elam (modern day southern Iran) to chase after Chaldean rebels which had fled there. In response to this incursion into their territory, the Elamites invaded the southern parts of the Neo-Assyrian Empire and in 694 BC, probably encouraged by the Babylonians themselves, successfully captured Aššur-nādin- šumi at the city of Sippar. The prince was taken back to Elam and probably executed. == See also == * Sargonid dynasty * List of kings of Babylon * Military history of the Neo-Assyrian Empire == References == === Cited bibliography === * * * * * Category:Sargonid dynasty Category:694 BC deaths Category:7th-century BC Babylonian kings Category:Year of birth unknown

Aššur-uballiṭ II, also spelled Assur-uballit II and Ashuruballit II (Neo- Assyrian cuneiform: , meaning "Ashur has kept alive"), was the final ruler of Assyria, ruling from his predecessor Sîn-šar-iškun's death at the Fall of Nineveh in 612 BC to his own defeat at Harran in 609 BC. He was possibly the son of Sîn-šar-iškun and likely the same person as a crown prince mentioned in inscriptions at the Assyrian capital of Nineveh in 626 and 623 BC. Over the course of Sîn-šar-iškun's reign, the Neo-Assyrian Empire had been irreversibly weakened. A revolt in 626–620 BC had seen the loss of the empire's southern provinces to the newly formed Neo-Babylonian Empire and war against its king Nabopolassar and the Medes proved disastrous for Assyria; leading to sacks and destructions of the important cities of Assur and Nineveh in 614 BC and 612 BC respectively. After the loss of these cities and the death of Sîn-šar-iškun, Aššur-uballiṭ II rallied what remained of the Assyrian army at Harran where, bolstered by an alliance with Egypt, he ruled for three years. His identification as "king of Assyria" comes from Babylonian sources. Contemporary Assyrian inscriptions suggest that the Assyrians saw Aššur- uballiṭ as their legitimate ruler, but continued to refer to him as "crown prince" seeing as he could not undergo the traditional Assyrian coronation ceremony at Assur and thus hadn't formally been bestowed with the kingship by the Assyrian chief deity, Ashur. His rule at Harran came to an end when the city was seized by Medo-Babylonian forces in 610 BC. Aššur-uballiṭ's attempt at retaking it in 609 BC was repulsed whereafter he is no longer mentioned in contemporary chronicles, signalling the end of the ancient Assyrian monarchy. == Background == In the beginning of the 7th century BC, Assyria was at the height of its power. The entire Fertile Crescent was under the rule of the Assyrian king and due to the flourishing of trade and culture, the era has been described as the (a term coined to parallel the ). By the end of the same century, Assyria had fallen and disappeared from history, never to rise again. One of the major reasons for its fall was Assyria's failure to efficiently solve the so-called "Babylonian problem", the near constant rebellions in its southern provinces, especially in the ancient and prestigious city of Babylon. Although some kings had ruled successfully without revolts in Babylonia, such as Esarhaddon, the revolts in the region had intensified during the rule of Sîn-šar-iškun (reigned 627–612 BC). Sîn-šar-iškun had come to the throne in 627 BC following the death of his brother Aššur-etil-ilāni and was almost immediately faced by a revolt by the general Sîn-šumu-līšir in 626 BC, who successfully seized some cities in northern Babylonia, including Babylon itself and Nippur. Although Sîn-šumu-līšir was defeated after only three months, his revolt weakened Assyrian control in Babylonia. Almost immediately afterwards, another revolt sprung up in Babylonia, this one by Nabopolassar, who successfully seized both Babylon and Nippur. The defeat of Sîn-šar-iškun's attempted reconquest of these cities in October of 626 BC was the final Assyrian campaign for the city of Babylon. On 22/23 November of that year, Nabopolassar was formally crowned as king of Babylon, founding the Neo- Babylonian Empire. Sîn-šar-iškun attempted to reconquer cities in northern Babylonia in 625–624 BC but was repeatedly repelled. In 622 BC, Nabopolassar seized the last Assyrian outposts in Babylonia. The Babylonians scored repeated victories against the Assyrians and by 616 BC Babylonian troops had even reached as far north as the Balikh River. Assyria's ally, Pharaoh Psamtik I of Egypt, who saw Assyria as a useful buffer state between his own empire and those of the Babylonians and Medes in the east, rushed to Sîn-šar-iškun's aid, but a joint Egyptian-Assyrian campaign into Babylonia was unsuccessful. In 614 BC, the city of Assur, once the capital and still the ideological and religious center of Assyria, was captured, plundered and sacked by the Medes under Cyaxares, allies of Nabopolassar. The Babylonian army under Nabopolassar had been late to the battle, only arriving after the Medes had already killed many of the city's inhabitants and begun plundering it. Two years later, the Assyrian capital itself, Nineveh, fell. The fate of Sîn-šar-iškun is not certain, but it is commonly accepted that he died in defense of Nineveh in 612 BC. Aššur-uballiṭ 's background is uncertain. It is known that he was an Assyrian general and he might have been the son of Sîn-šar-iškun. Aššur- uballiṭ is likely the same person as the unnamed crown prince (designated heir) attested in inscriptions from Nineveh dated to 626 and 623 BC. Sîn-šar- iškun's appointment of a crown prince so early in his reign (having only become king in 627 BC) was likely to avoid the succession problems which had been common in Assyria since the reign of Sennacherib (reigned 705–681 BC). == Reign == === Rule at Harran and status === In Assyrian tradition, the king was appointed to his position by the Assyrian national deity, Ashur, during the New Year festivals in Assur. The last king to be crowned at the temple of Ashur at Assur had been Sîn-šar-iškun and with the city's destruction in 614 BC, the traditional Assyrian coronation ritual was now impossible. The coronation ritual in Assur saw the god Ashur invest the king with royal power, affirming his status as Ashur's earthly representative. Aššur-uballiṭ did have a coronation ceremony in late 612 BC, but instead of conducting it in Assur, it was conducted in the temple of the moon god Sin, another important deity in the empire, at Harran. At Harran, the Assyrian Empire continued to endure under the rule of Aššur-uballiṭ. His identification as Sîn-šar-iškun's successor and the king of Assyria comes from Babylonian chronicles. The Babylonians thus saw him as the Assyrian king, but the few subjects Aššur- uballiṭ governed himself probably did not share this view. Instead, Aššur- uballiṭ's formal title was crown prince (, literally meaning "son of the king"), which can be inferred from preserved documents, such as the following portion of a legal document from the city Dur-Katlimmu: The portion of the document that is important in regards to Aššur-uballiṭ's status is the mention of the "covenant of the crown prince" (). This phrase is common in legal documents, appearing frequently since the reign of Esarhaddon in 672 BC, but always in the form of "covenant of the king" (), showing that the office of king was vacant and the crown prince filled that role instead. Inscriptions from this time also record the name of the final Commander-in-Chief of the Assyrian army, Nabû-mar-šarri-uṣur, which means "O Nabu, protect the crown prince!". Such names were common in Assyria but usually referred to the king, not the crown prince. Aššur-uballiṭ not formally being king does not indicate that his claim to the throne was challenged, only that he had yet to go through with the traditional ceremony. The appointment of a crown prince required the formal recognition of all subjects and of the gods. Should the king be unable to exercise his duties, the crown prince was a competent substitute, exercising similar legal and political power. Aššur-uballiṭ was the recognized legitimate ruler, and his title was only a provisional arrangement until he could undergo the proper coronation. The choice of as a regnal name was probably a highly conscious one. The meaning of the name, "Ashur has kept alive", suggests that Assyria's chief deity and its empire would be ultimately successful in their battle against their enemies. It also connects him to the earlier Assyrian king of the same name, Aššur-uballiṭ I of the 14th century BC. Aššur-uballiṭ I had been the first Assyrian ruler to abandon the old religious title of ("governor") in favor of the title ("king"), signifying his role as an absolute monarch. In Assyria, each year was assigned an eponym name. The name used for the year noted in the Dur- Katlimmu legal document, "Seʾ-ilaʾi", only appears in this source and demonstrates that it is from after the Assyrian heartlands had fallen to invaders, when eponym names, in the absence of central authority, became local and often confined to single cities. The Šulmu-šarri, whose son is mentioned, also appears in inscriptions dating to the reign of Ashurbanipal a little over a decade prior. Although the document uses traditional Assyrian titles such as Companion (, literally meaning "he who is close to the king") and cohort commander (), suggesting that they still carried their traditional importance, the document also calls the local leader Iadiʾ-il by the title of city lord (Akkadian: ) a title formerly only associated with members of the Assyrian ruling dynasty. A non-dynastic appointed official for the government of a city was usually titled as (usually translated as "mayor") or (meaning "city oversser") and the use of the title indicates that parts of the Assyrian administrative framework were no longer functioning. === Fall of Harran and attempted recapture === At the time Aššur-uballiṭ became the ruler of Assyria in 612 BC, his main objective would have been to retake the Assyrian heartland, including Assur and Nineveh. Bolstered by the forces of his allies, Egypt (a leading military power in the region) and Mannea, this goal was probably seen as quite possible and his rule at Harran and role as crown prince (and not legitimately crowned king) probably seemed like a mere temporary retreat. Instead, Aššur-uballiṭ's rule at Harran composes the final years of the Assyrian Empire, which at this point had effectively ceased to exist. In 611 BC, Nabopolassar's army consolidated his rule throughout northern Mesopotamia, going as far as to the border of Harran itself. After Nabopolassar himself had travelled the recently conquered Assyrian heartland in 610 BC in order to ensure stability, the Medo-Babylonian army embarked on a campaign against Harran in November of 610 BC. Intimidated by the approach of the Medo-Babylonian army, Aššur-uballiṭ and a contingent of Egyptian reinforcements fled the city into the deserts of Syria. The siege of Harran lasted from the winter of 610 BC to the beginning of 609 BC and the city eventually capitulated. Aššur-uballiṭ's failure at Harran marks the end for the ancient Assyrian monarchy, which would never be restored. After the Babylonians had ruled Harran for three months, Aššur-uballiṭ and a large force of Egyptian soldiers attempted to retake the city, but this campaign failed disastrously. Beginning in July or June 609 BC, Aššur-uballiṭ's siege lasted for two months, until August or September, but he and the Egyptians retreated when Nabopolassar again led his army against them. It is possible that they had retreated even earlier. == Fate == The eventual fate of Aššur-uballiṭ is unknown and his siege of Harran in 609 BC is the last time he, or the Assyrians in general, are mentioned in Babylonian records. After the battle at Harran, Nabopolassar resumed his campaign against the remainder of the Assyrian army in the beginning of the year 608 or 607 BC. It is thought that Aššur-uballiṭ was still alive at this point, for in 608 BC the Egyptian Pharaoh Necho II, Psamtik I's successor, personally led a large Egyptian army into former Assyrian territory to rescue his ally and turn the tide of the war. Because there is no mention of a large battle between the Egyptians, Assyrians, Babylonians and Medes in 608 BC (a battle between the four greatest military powers of their day is unlikely to have been forgotten and left out of contemporary sources) and no later mentions of Aššur-uballiṭ, it is possible that he died at some point in 608 BC before his allies and his enemies could clash in battle. M.B. Rowton speculates that Aššur-uballiṭ could have lived until 606 BC, but by then the Egyptian army is mentioned in Babylonian sources without any references to the Assyrians or their king. Although Aššur-uballiṭ is no longer mentioned after 609 BC, the Egyptian campaigns in the Levant continued for some time until a crushing defeat at Battle of Carchemish in 605 BC. Throughout the next century, Egypt and Babylon, brought into direct contact with each other through Assyria's fall, would frequently be at war with each other over control in the Fertile Crescent. == See also == * Sargonid dynasty * List of Assyrian kings * Military history of the Neo-Assyrian Empire == Notes == == References == === Cited bibliography === * * * * * * * === Cited web sources === * Category:Sargonid dynasty Category:7th-century BC Assyrian kings Category:640s BC births Category:600s BC deaths Category:Year of birth uncertain Category:Year of death uncertain Category:Dethroned monarchs

Ať se dobré děje (Whatever happens, Come the Good) is the fifth studio album by Slovak vocalist Szidi Tobias released on Studio DVA in 2011. == Track listing == ==Credits and personnel== * Szidi Tobias - lead vocal * Milan Vyskočáni - music * Peter Lipovský - lyrics * Martin Gašpar - guitar * Martina Zajko - guitar * Marcel Buntaj - drums * Andrej Szabo - percussion * Michal Hrubý - producer * Pavla Hodková - photography ==Charts== Chart (2011) Peakposition Czech Albums Chart 23 ==References== ;General * * ;Specific == External links == * SzidiTobias.cz > Discography > Ať se dobré děje Category:2011 albums Category:Szidi Tobias albums

Aťka Janoušková (March 16, 1930 – March 7, 2019) was a Czechoslovakian/Czech actress, singer and dubber. ==Life== Janoušková was born in 1930 in Prague to Rudolf Janoušek, a jeweller. She was enthused by ballet and acting. While she was a grammar school student, her parents were sent to a concentration camp and only her mother returned. During the Second World War she performed at the Czechoslovak National Theatre from the age of eleven and then she joined Disman's radio ensemble. Her mother, Hedvika Janoušková (née Neumannová), married again after the war. Her new husband, like her father, was also a jeweler. After the war, Janoušková made a living as a clerk-correspondent for some time. Lucerna manager František Spurný brought her to perform at domestic and foreign shows. For example, she worked with Eman Fiala on a cabaret. She was able to perform in German and French films. From 1981 to 1989 she performed at the National Theatre in the role of Barbara in the opera Zuzana Vojířová . In 1983 she was in the TV film of Zuzana Vojirova. In 2009 she received the František Filipovský Award for her long work dubbing films. She was particularly known for her work dubbing animated films for children. She was known particularly as Maya the Bee. Janoušková died in Strašnice in 2019. She had been living alone and had few visitors. ==Filmography== Year Title Role Notes 1964 Deváté jméno Ivanka Voice 1977 Long Live Ghosts! Malický Voice, Uncredited 1978 Proč nevěřit na zázraky Pepa Voice 1979 Hodinárova svatební cesta korálovým morem 1984 Amadeus 1992 schneewittchen und das Geheimnis der 7 Zwerge ==References== Category:1930 births Category:2019 deaths Category:Actresses from Prague Category:Czechoslovak women singers

Až po uši (English: Head Over Heels) is a Czech romantic television series from 2014-2018, directed by Jan Hřebejk and produced by HBO. Anna Geislerová, Jiří Havelka, Jitka Čvančarová, Hynek Čermák, Anna Polívková, Jana Kolesárová, Lenka Krobotová and Radek Holub appeared in the main roles. In the second row, Zuzana Šulajová, Stanislav Majer, Taťjana Medvecká and František Němec joined the main characters. The music for the series, including the theme song called "Girl", was composed by Vladivojna La Chia. She sang the theme song together with singer Matěj Ruppert. The series has a total of twenty-three episodes, each lasting an average of thirty-five minutes. It is based on Israeli series Matay Nitnashek. ==Plot== The focuses on various romantic relationships. Šárka is in love with Jakub but Jakub's ex-girlfriend Markéta stands in her way. Zuzana has problems with her philandering husband Milan and she herself later finds love with the masseuse Linda . Zuzana's friend Ema has problems with her appearance and ignores the interest of her colleague Karel. ==Cast== *Anna Geislerová as Šárka *Jiří Havelka as Jakub *Jitka Čvančarová as Zuzana *Hynek Čermák as Milan *Anna Polívková as Ema *Radek Holub as Karel *Lenka Krobotová as Markéta *Jana Kolesárová as Linda ==External links== *IMDb.com == References == Category:Czech romantic television series Category:2014 television series debuts Category:2018 television series endings Category:Czech-language HBO original programming Category:Czech LGBT-related television shows

Ažbe Jug (born 3 March 1992) is a Slovenian footballer who plays for Maribor as a goalkeeper. ==Notes== ==References== ==External links== * NZS profile * Category:1992 births Category:Living people Category:Footballers from Maribor Category:Slovenian footballers Category:Men's association football goalkeepers Category:Slovenian PrvaLiga players Category:Slovenian Second League players Category:Championnat National 2 players Category:Ligue 1 players Category:Liga Portugal 2 players Category:NK IB 1975 Ljubljana players Category:FC Girondins de Bordeaux players Category:Sporting CP footballers Category:Fortuna Sittard players Category:NK Maribor players Category:Slovenian expatriate footballers Category:Slovenian expatriate sportspeople in France Category:Expatriate footballers in France Category:Slovenian expatriate sportspeople in Portugal Category:Expatriate footballers in Portugal Category:Slovenian expatriate sportspeople in the Netherlands Category:Expatriate footballers in the Netherlands Category:Slovenia men's youth international footballers Category:Slovenia men's under-21 international footballers

Aženski Vrh (, ) is a settlement in the Municipality of Gornja Radgona in northeastern Slovenia.Gornja Radgona municipal site == References == == External links == *Aženski Vrh on Geopedia Category:Populated places in the Municipality of Gornja Radgona

Ažulaukė is a village in Vilnius District Municipality, in Riešė Eldership.Ažulaukė. Mažoji lietuviškoji tarybinė enciklopedija, T. 1 (A–J). Vilnius, Vyriausioji enciklopedijų redakcija, 1966, p. 135 none|thumb|National road 103 at Ažulaukė == References == Category:Villages in Vilnius County

Ažuožeriai (or Užuožeriai) is a village in Anykščiai district municipality, in Utena County, in northeast Lithuania. According to the 2011 census, the village has a population of 383 people. Prevailing agricultural branch of local farming is gardening. Surroundings feature wood carvings commemorating spot of writer A. Vienuolis' native homestead and his creative folk heroes of stargazer Šmukštaras, drowned myrmidon Veronika. Nearby- Ilgis Lake, Šventoji River, Queen's Quagmire, Brother of Puntukas Stone. ==Famous villagers== *Antanas Vienuolis (1882–1957), writer *Janina Cibienė (1932–2003), writer ==References== Category:Anykščiai District Municipality Category:Villages in Utena County

The Ažytė is a river of Raseiniai district municipality and Kėdainiai district municipality, central Lithuania. It is a right tributary of the Šušvė river. It flows for 20 kilometres and has a basin area of 98 km². It originates near Betygala town and flows mostly eastwards. It meets Šušvė near Antkalnis village. The river valley is 10 depth. The river channel is canalized in the upper course. Its width is 6–7 meters, depth 0.5–0.6 meters. Rapidness of the flow is 0.1 meters per second. The Ažytė runs through Barsukinė, Lenčiai, Ažytėnai, Antkalnis villages. Its name possibly comes from the Lithuanian word ežia ('a boundary'). thumb|left|240px|Ažytė next to Antkalnis village ==References== Category:Rivers of Lithuania Category:Kėdainiai District Municipality Category:Raseiniai District Municipality

Ažytėnai (formerly , ) is a village in Kėdainiai district municipality, in Kaunas County, in central Lithuania. According to the 2011 census, the village had a population of 239 people. It is located from Krakės, by the Ažytė river and its tributary Ažytėlė. There are library, school, medicine station, agriculture cooperative. Ažytėnai is famous for being a living place of Lithuanian writer, agronomist Mikalojus Katkus (1852–1944). His house now is a memorial museum. ==History== On 1 April 1863 a big battle of the January Uprising occurred between Ažytėnai and Lenčiai villages. About 600 insurgents, led by Bolesław Kajetan Kolyszko, Bolesław Roman Dłuski and K. Ciszkewicz had confronted Russian imperial army. In 1910 the first school was opened in Ažytėnai. During the Soviet era, Ažytėnai was a kolkhoz center and between 1950 and 1963 a selsovet center. ==Demography== ==Images== Ažytėnai 1.JPG|Mikalojus Katkus house Ažytėnai 2.JPG|A barn in the Mikalojus Katkus homestead Ažytėnai, sodyba.JPG|Traditional house in Ažytėnai Ažytėnai, kryžius.JPG|Village cross ==References== Category:Villages in Kaunas County Category:Kėdainiai District Municipality

Așchileu (; ) is a commune in Cluj County, Transylvania, Romania. It is composed of five villages: Așchileu Mare (the commune center; Nagyesküllő), Așchileu Mic (Kisesküllő), Cristorel (Ördögkeresztúr), Dorna (Dorna) and Fodora (Magyarfodorháza). After the death of Gelou, the peace between the Romanians and Tuhum, the leader of the Hungarian invaders in the 10th century, was arranged at Așchileu.Ioan-Aurel Pop, "Rădăcinile medievale ale regiunii (provinciei) istorice Transilvania : (secolele IX-XIII)", p. 150, in Economia regională: ipostaze rurale şi urbane, ed. Iosif Marin Balog, Rudolf Gräf, Ioan Lumperdean. Presa Universitară Clujeană, Cluj-Napoca, 2011 ==Demographics== According to the 2002 census, Romanians made up 83.7% of the population, Hungarians made up 10.86% and Roma made up 5.43%.2002 census data for Aşchileu Mare, Cluj ==Notes== Category:Communes in Cluj County Category:Localities in Transylvania

Aștileu () is a commune in Bihor County, Crișana, Romania, 45 km from the border with Hungary. It is composed of four villages: Aștileu, Călățea (Kalota), Chistag (Keszteg) and Peștere (Körösbarlang). At the 2011 census, 87.94% of the population were Romanians, 5.2% Roma, 4.48% Slovaks, 1.55% Hungarians and 0.23% Germans. The closest town to Aștileu is Aleșd, on the opposite bank of the Crișul Repede. There is a small church. Aștileu is located on the Aleșd-Beiuș route. thumb|Orthodox Christian Church ==References== Category:Communes in Bihor County Category:Localities in Crișana

The Ața is a left tributary of the river Tarcău in Romania.Ovidiu Gabor - , map page 10 It discharges into the Tarcău near Brateș.Ata (jud. Neamt), e-calauza.ro Its length is . ==References== Category:Rivers of Romania Category:Rivers of Neamț County

Ațel (; Transylvanian Saxon: Hätselderf; ) is a commune in Sibiu County, Transylvania, Romania. It is composed of two villages, Ațel and Dupuș (Tobsdorf; Táblás). The commune first appears in written history in 1283 as villa Echelini. Later appearances in written documents are villa Heclini (1289), Hetzelini villa and villa Eczlen (1359), Ecczel (1365), and Heczeldorf (1548). A church is mentioned as of 1380.Léstyán, Ferenc: Megszentelt kövek. A középkori erdélyi püspökség templomai, Budapest, Arcanum, 2003, == Demographics == Population number (grouped by ethnicity) from 1850 to 2011: Year Romanians Roma Hungarians Germans (more specifically Transylvanian Saxons) Jews Slovaks Russians Other/ Unknown Total 1850 2,078 152 454 1,359 19 - - - 4,062 1992Varga E. Árpád: Erdély etnikai és felekezeti statisztikája (1850–1992) 2,672 205 585 263 - - - - 3,726 2002Aţel Commune Hall 1,288 118 34 92 - 6 - 2 1,540 2011National Institute of Statistics 1,138 154 20 77 - - 3 37 1,429 == Local architecture == The local medieval Evangelical Lutheran fortified church of Ațel was built by the native Transylvanian Saxon community and completed by the end of the 15th century; it is surrounded by double walls. Above the entrance rises the Old School tower, and close by is the Oat Tower. The fortified church of Dupuș was also built during the 15th century. ==Notes== ==References== * * Edroiu, Nicolae, Comuna Ațel : Studiu monografic complex, Editura Eurodidact, 2002 * Augustin Ioan, Hanna Derer. The Fortified Churches of the Transylvanian Saxons. Noi Media Print, 2004 ==External links== * Information and photographs Category:Communes in Sibiu County Category:Localities in Transylvania

The Ațel is a left tributary of the river Târnava Mare in Romania. It flows into the Târnava Mare near the village Alma. Its length is and its basin size is . ==References== Category:Rivers of Romania Category:Rivers of Sibiu County

Ațintiș (, Hungarian pronunciation: ) is a commune in Mureș County, Transylvania, Romania. It is composed of six villages: Ațintiș, Botez (Batizháza), Cecălaca (Csekelaka), Iștihaza (Istvánháza), Maldaoci (Madavölgytanya), and Sâniacob (Marosszentjakab). The commune lies on the Transylvanian Plateau, on the banks of the river Mureș and its left tributary, the river Ațintiș. It is located in the western part of the county, from the county seat, Târgu Mureș, on the border with Alba County. As of the 2011 census, Ațintiș had a population of 1,575; of those, 59.2% were Romanians, 32% Hungarians, and 6.7% Roma. ==See also== *List of Hungarian exonyms (Mureș County) ==References== Category:Communes in Mureș County Category:Localities in Transylvania Category:Székely communities

The Ațintiș (also: Ozd, ) is a small river in the Gurghiu Mountains, Mureș County, northern Romania. It is a left tributary of the river Mureș. It flows through the municipality Bichiș, and joins the Mureș in the village Ațintiș. Its length is and its basin size is . ==References== Category:Rivers of Romania Category:Rivers of Mureș County

Aakapa is a small village on Nuku Hiva, in the Marquesas Islands. It lies on Aakapa Bay. ==References== Category:Populated places in the Marquesas Islands Category:Nuku Hiva

thumb|upright=1.2|Aana district on the map of 1924 Aana is a district of Samoa. It is on the western third of Upolu island, with a small exclave (Satuimalufilufi village) surrounded by Aiga-i-le-Tai. It has an area of 193 km² and a population (2016 Census) of 23,265. The main centre is Leulumoega. ==Overview== The Aana District comprises approximately 18 villages from Faleasiu in the North to Matautu in the South. The district encompasses the western portion of Upolu except for the extreme Western promontory, belonging to Aiga i le Tai district. Traditionally the northern part of the district was known as 'Itu Alofi', (Gathering side or Assembly side), as the Northern villages held a lot of the political power in historical times, whilst the Southern side was known as 'Itu Tufanua', (the backward side or the uncivilised side). It is a common occurrence in Samoa that the northern areas of both Upolu and Savaii usually held a lot of the political power especially as many of the principal villages being located in the Northern areas. Traditionally the principal village is Leulumoega, in ancient times the gathering place for the entire district. The villages are located at the coast with the exception of small inland enclaves. Also located within the district is Faleolo International Airport, the main airport within Samoa. The district although having no industrial business or enterprises, contains the usual family operated stores as well as one petrol station in Fasitoouta. The mountain inland is Mt Tafua-upolu, with a number of foothills at its base. The lagoon s around the entire Aana district is encompassed by the great reef that surrounds the entire island of Upolu. The soil is mostly volcanic as the past testifies, many of the old German plantation lands are located within Aana, as the soil is fertile.thumb|left|255x255px|Lefaga coastline, 'Return to Paradise' beach, south coast Upolu 2009 == History == According to legend, Tagaloa-a-lagi (Samoan's supreme god), entered Upolu, Savaii and Tonga from Manua island on the eastern tip of the Samoan archipelago.Meleisea, M. 1987b. 'Ideology in Pacific Studies: A personal view' , In: A Hooper, et al., eds., Class ad Culture in the Pacific. Centre for Pacific Studies, University of Auckland, NZ and Institute of Pacific Studies, University of the South Pacific, Fiji. The political divisions of Upolu are said to be traced to his son, Pili. Pili had three sons - Tua, 'Ana (who were twins) and Saga, after whom the political divisions of Upolu are named. Tua founded the political district of Ātua (literally, 'that of Tua'), which comprised the eastern third of Upolu island. 'Ana founded Ā'ana ('that of Ana), a political district on the western third of the island. The third son, Saga, was born after the twins and so the district he founded was called Tuamasaga ('after the twin').So'o, Asofou (2008). Democracy and Custom in Samoa: An uneasy alliance. Suva, Fiji: IPS Publications, The University of the South Pacific. p. 2. . This was the geographical region between Ā'ana and Ātua districts. Since then, the three political districts of Upolu have been called Ātua, Ā'ana and Tuamasaga. Historically, Aana and Atua have been allies, save for a few instances when political maneuvering of ambitious chiefs and the pressures of one Tamafaiga of Manono led to a long period of tension between the two. The paramount pāpā title is Tuiaana, whose residence is Nuuausala in Leulumoega, also the location of one of the main centres of Tumua. Ever since the end of the Tongan period of dominance, Aana held a lot of the political power. This began with the kidnap of the aristocratic linked infant Tamalelagi, by the orators Tutuila and Ape, (Fasitootai and Fasitoouta respectively). Tamalelagi was bestowed with the Tuiaana with assistance of the warrior goddess Nafanua and from him are descended many of the high ranking chiefs of Samoa. His daughter, Salamasina is recognised as one of Samoa's most celebrated rulers, having been the first person ever to unite the papa titles, Tuiaana, Tuiatua, Gatoaitele, Vaetamasoalii. This made her Tafaifa being the most paramount chief in Samoa especially in Upolu. Through her many of the ancient and royal lineages trace descent from her. Her residence was at Nuuausala in Leulumoega and with her royal linkage, she made Aana powerful. The prestige and power of Aana however vanished having not paying heed to Nafanua's instructions to be prepared for the day when she came to install the government at Leulumoega. Having been badly received by Leulumoega, she returned to Savaii via Manono and instead gave the government to Leiataua of Manono who therefore passed his government to his son, the famous Tamafaiga. Tamafaiga's assassination by the men of Fasitoouta initiated the Great Aana War of 1828 - 1830, which led to the complete decimation of A'ana and subjugation under the Manono-based Tamafaiga malo for many years. The war involved Aiga i le tai, the northern districts of Savaii as well as Tuamasaga as Malietoa was akin with Tamafaiga and was obliged to seek vengeance. This meant devastation for Aana, especially the Itu Alofi. This coincided with the arrival of John Williams in Sapapalii in Savaii and was a fitting end to the great ancient wars of Samoa. The many prisoners caught of Aana were burned in a great bonfire lit at Maota in Fasitootai and ended the long period of prominence A'ana had held in Samoa, until its resurgence in the late 19th century. At a national level, the district is home to one of the four Tama-a-Aiga titles in the Tuimalealiifano title based at Falelatai. Aana is divided into 5 electoral constituencies. ==References== Category:Districts of Samoa

Anowarako꞉wa Arena is a 3,000-seat multi-purpose arena in Cornwall Island, Ontario on the Akwesasne reservation. == History == Built in 1995, it is home to several hockey and lacrosse games. Current tenants include the Akwesasne Indians of the Ontario Junior B Lacrosse League. The Akwesasne Warriors of the Federal Hockey League played at the arena until the team dissolved in 2012. The National Lacrosse League will host three preseason games at the arena in November 2022. ==External links== *Anowarako꞉wa Arena website ==References== Category:Indoor arenas in Ontario Category:Indoor ice hockey venues in Ontario Category:Sport in Cornwall, Ontario Category:Sports venues in Ontario Category:Community centres in Canada Category:Indoor lacrosse venues in Canada Category:1995 establishments in Ontario Category:Sports venues completed in 1995 Category:Akwesasne

Aʿazzu Mā Yuṭlab (), also known as al-ʿAqīda (, ), is a 12th-century book containing the teachings of Ibn Tumart, self-proclaimed Mehdi and founder of the Almohad movement. According to the text of the book itself, it was compiled by a scribe to whom Abd al-Mu'min dictated his notes from Ibn Tumart's teachings. == Content == Aʿazzu Mā Yuṭlab contains a variety of topics, commentaries, summaries, and essays representing the foundation Ibn Tumart's movement. It deals with hadith, fiqh, usūl ad-din, tawhid, politics, jihad, calls for reform, and promoting beneficence and discouraging maleficence. At the basis of Ibn Tumart's message and teachings is the concept of "tawhid," from which the Almohads got their name: al-muwaḥḥidūn (). == Editions == al-ʿAqīda was translated into Latin by the deacon Mark of Toledo in 606/1209–10, after Almohad military successes in al-Andalus, especially the Battle of Alarcos. The Hungarian Orientalist Ignác Goldziher studied the book and published an introduction to an edition published in occupied Algeria in 1903. The original text is preserved in two manuscript copies, dated 579/1183 and 595/1199. == References == Category:Literature of the Almohad Caliphate Category:Islamic manuscripts Category:Manifestos Category:12th-century Arabic books

A̍, or a̍, called "A with vertical line", is a letter used in the standard, unified spelling in the Democratic Republic of Congo and the pe̍h-ōe-jī romanization system for writing Taiwanese Minnan. It consists of the letter A with a vertical line appearing as a diacritic above it. == Uses == === Democratic Republic of the Congo === The standard, unified spelling of Democratic Republic of the Congo uses the vertical line to indicate the middle tone in tonal languages needing to distinguish it. The 'a̍' represents an 'a' with a medium tone. === Taiwan === In the pe̍h-ōe-jī and the Taiwanese romanization system used to write Minnan, the 'a̍' represents an 'a' with tone 8 a˥˥. == Digital encoding == The A with vertical line can be represented in Unicode as a breakdown into the following pairs of characters, each consisting of a Latin letter followed by a diacritic. Form Representation Code points Descriptions upper case A̍ `U+0041``U+030D` Latin Capital Letter A Combining Vertical Line Above lower case a̍ `U+0061``U+030D` Latin Small Letter A Combining Vertical Line Above == See also == * Latin script * A == Sources == * Draft of Proposal to add Latin characters required by Latinized Taiwanese Holo Language to ISO/IEC 10646 Category:Latin letters with diacritics