In this context, I analyze the attitudes towards the Arabic and the Latin alphabet employed to write the Turkish language in the Balkan country, illustrating the reasons for the prohibition of the Turkish Latin alphabet, in an unprecedented combination of interests between Bulgarian authorities and Islamic religious leaders. In particular, I take into account the repercussions of Atatürk’s alphabetical reform in Bulgaria, demonstrating how the adoption of the Latin alphabet in Turkey represented a significant challenge for the country, triggering the fears of both the Bulgarian authorities and of the more conservative factions of the local Turkish community. Summary/Abstract: In this article, I will address the topic of the Turkish minority in Bulgaria in the interwar period through the interpretive lens of the “linguistic” or better “alphabetic” rights,1 placed in the context of the “Latinization” processes taking place in the wide Eurasian space, as well of the post-imperial sociopolitical dynamics.2To this aim, I describe the interesting and little known case of the writing practices of the Turkish community in Bulgaria in the period between the two world wars. Published by: Trakya Üniversitesi Balkan Araştırma Enstitüsü Keywords: Turkish Latin Alphabet Turks of Bulgaria Turkish Literacy in Bulgaria Turkish Newspapers in Bulgaria Arabic Alphabet Subject(s): Interwar Period (1920 - 1939), Turkic languages THE CLASH BETWEEN LATIN AND ARABIC ALPHABETS AMONG THE TURKISH COMMUNITY IN BULGARIA IN THE INTERWAR PERIOD Author(s): Giustina Selvelli They invite you to join their open conspiracy to underthrow the empire one puppet show at a time.THE CLASH BETWEEN LATIN AND ARABIC ALPHABETS AMONG THE TURKISH COMMUNITY IN BULGARIA IN THE INTERWAR PERIOD

Boxcutter Collective performs regularly in Brooklyn at the fabulous Jalopy Theater and beyond. Collective members have worked closely with Great Small Works, The People's Puppets of Occupy Wall Street, The Rude Mechanical Orchestra, Chinese Theater Works, Papel Machete, Redwing Blackbird Theater and Bread and Puppet Theater. Since then the Boxcutters have been hell-bent on making all kinds of shows to confront the humanity threatening dilemma of the status quo. It was established in 2016 by members who had met and worked together for years at the Bread and Puppet Theater. Bread and Puppet continues to be one of the oldest, nonprofit, political theatre companies in the country.īoxcutter Collective is a Brooklyn based puppet theater collective made up of 5 core members: Sam Wilson, Jason Hicks, Ali Dineen, Tom Cunningham and Joseph Therrien. Today the shows range from tightly composed theater pieces presented by members of the company to extensive outdoor pageants which require the participation of many volunteers. Our Domestic Resurrection Circus, a two day outdoor festival of puppetry shows, was presented annually through 1998.

In 1974 Bread and Puppet moved to a farm in Glover, Vermont. During the Vietnam War, Bread and puppet staged block-long processions and pageants involving hundreds of people. Many performances were done in the street.

The concerns of the first productions were rents, rats, police, and other problems of the neighborhood. The Bread and Puppet Theater was founded in 1963 by Peter Schumann on New York City’s Lower East Side. Creators: Peter Schumann, Sam Wilson, Tom Cunningham, Joe Therrien, Jason HicksĬast: Sam Wilson, Tom Cunningham, Joe Therrien, Jason Hicks, Ali Dineen, Amelia Castillo

The archive divinity 2