Etymology.

The English word "machine" comes through Middle French from Latin "machina", which in turn derives from the Greek (Doric, Ionic "contrivance, machine, engine", a derivation from "means, expedient, remedy"). The word "mechanical" (Greek: μηχανικός) comes from the same Greek roots. A wider meaning of "fabric, structure" is found in classical Latin, but not in Greek usage. This meaning is found in late medieval French, and is adopted from the French into English in the mid-16th century.  In the 17th century, the word could also mean a scheme or plot, a meaning now expressed by the derived machination. The modern meaning develops out of specialized application of the term to stage engines used in theater and to military siege engines, both in the late 16th and early 17th centuries. The OED traces the formal, modern meaning to John Harris' "Lexicon Technicum" (1704), which has:  The word "engine" used as a (near-)synonym both by Harris and in later language derives ultimately (via Old French) from Latin "ingenium" "ingenuity, an invention".

History.

The hand axe, made by chipping flint to form a wedge, in the hands of a human transforms force and movement of the tool into a transverse splitting forces and movement of the workpiece. The hand axe is the first example of a wedge, the oldest of the six classic simple machines, from which most machines are based. The second oldest simple machine was the inclined plane (ramp), which has been used since prehistoric times to move heavy objects.  The other four simple machines were invented in the ancient Near East. The wheel, along with the wheel and axle mechanism, was invented in Mesopotamia (modern Iraq) during the 5th millennium BC. The lever mechanism first appeared around 5,000 years ago in the Near East, where it was used in a simple balance scale, and to move large objects in ancient Egyptian technology. The lever was also used in the shadoof water-lifting device, the first crane machine, which appeared in Mesopotamia circa 3000 BC, and then in ancient Egyptian technology circa 2000 BC. The earliest evidence of pulleys date back to Mesopotamia in the early 2nd millennium BC, and ancient Egypt during the Twelfth Dynasty (1991-1802 BC). The screw, the last of the simple machines to be invented, first appeared in Mesopotamia during the Neo-Assyrian period (911-609) BC. The Egyptian pyramids were built using three of the six simple machines, the inclined plane, the wedge, and the lever, to create structures like the Great Pyramid of Giza.  Three of the simple machines were studied and described by Greek philosopher Archimedes around the 3rd century BC: the lever, pulley and screw. Archimedes discovered the principle of mechanical advantage in the lever. Later Greek philosophers defined the classic five simple machines (excluding the inclined plane) and were able to roughly calculate their mechanical advantage. Heron of Alexandria (ca. 10–75 AD) in his work "Mechanics" lists five mechanisms that can "set a load in motion"; lever, windlass, pulley, wedge, and screw, and describes their fabrication and uses. However, the Greeks' understanding was limited to statics (the balance of forces) and did not include dynamics (the tradeoff between force and distance) or the concept of work.  The earliest practical water-powered machines, the water wheel and watermill, first appeared in the Persian Empire, in what are now Iraq and Iran, by the early 4th century BC. The earliest practical wind-powered machines, the windmill and wind pump, first appeared in the Muslim world during the Islamic Golden Age, in what are now Iran, Afghanistan, and Pakistan, by the 9th century AD. The earliest practical steam-powered machine was a steam jack driven by a steam turbine, described in 1551 by Taqi al-Din Muhammad ibn Ma'ruf in Ottoman Egypt.  The cotton gin was invented in India by the 6th century AD, and the spinning wheel was invented in the Islamic world by the early 11th century, both of which were fundamental to the growth of the cotton industry. The spinning wheel was also a precursor to the spinning jenny, which was a key development during the early Industrial Revolution in the 18th century. The crankshaft and camshaft were invented by Al-Jazari in Northern Mesopotamia circa 1206, and they later became central to modern machinery such as the steam engine, internal combustion engine and automatic controls.  The earliest programmable machines were developed in the Muslim world. A music sequencer, a programmable musical instrument, was the earliest type of programmable machine. The first music sequencer was an automated flute player invented by the Banu Musa brothers, described in their "Book of Ingenious Devices", in the 9th century. In 1206, Al-Jazari invented programmable automata/robots. He described four automaton musicians, including drummers operated by a programmable drum machine, where they could be made to play different rhythms and different drum patterns. The castle clock, a hydropowered mechanical astronomical clock invented by Al-Jazari, was the first programmable analog computer.  During the Renaissance, the dynamics of the "Mechanical Powers", as the simple machines were called, began to be studied from the standpoint of how much useful work they could perform, leading eventually to the new concept of mechanical work. In 1586 Flemish engineer Simon Stevin derived the mechanical advantage of the inclined plane, and it was included with the other simple machines. The complete dynamic theory of simple machines was worked out by Italian scientist Galileo Galilei in 1600 in "Le Meccaniche" ("On Mechanics"). He was the first to understand that simple machines do not create energy, they merely transform it.  The classic rules of sliding friction in machines were discovered by Leonardo da Vinci (1452–1519), but remained unpublished in his notebooks. They were rediscovered by Guillaume Amontons (1699) and were further developed by Charles-Augustin de Coulomb (1785).  James Watt patented his parallel motion linkage in 1782, which made the double acting steam engine practical. The Boulton and Watt steam engine and later designs powered steam locomotives, steam ships, and factories.  The Industrial Revolution was a period from 1750 to 1850 where changes in agriculture, manufacturing, mining, transportation, and technology had a profound effect on the social, economic and cultural conditions of the times. It began in the United Kingdom, then subsequently spread throughout Western Europe, North America, Japan, and eventually the rest of the world.  Starting in the later part of the 18th century, there began a transition in parts of Great Britain's previously manual labour and draft-animal-based economy towards machine-based manufacturing. It started with the mechanisation of the textile industries, the development of iron-making techniques and the increased use of refined coal.

Simple machines.

The idea that a machine can be decomposed into simple movable elements led Archimedes to define the lever, pulley and screw as simple machines. By the time of the Renaissance this list increased to include the wheel and axle, wedge and inclined plane. The modern approach to characterizing machines focusses on the components that allow movement, known as joints.  Wedge (hand axe): Perhaps the first example of a device designed to manage power is the hand axe, also called biface and Olorgesailie. A hand axe is made by chipping stone, generally flint, to form a bifacial edge, or wedge. A wedge is a simple machine that transforms lateral force and movement of the tool into a transverse splitting force and movement of the workpiece. The available power is limited by the effort of the person using the tool, but because power is the product of force and movement, the wedge amplifies the force by reducing the movement. This amplification, or mechanical advantage is the ratio of the input speed to output speed. For a wedge this is given by 1/tanα, where α is the tip angle. The faces of a wedge are modeled as straight lines to form a sliding or prismatic joint.  Lever: The lever is another important and simple device for managing power. This is a body that pivots on a fulcrum. Because the velocity of a point farther from the pivot is greater than the velocity of a point near the pivot, forces applied far from the pivot are amplified near the pivot by the associated decrease in speed. If "a" is the distance from the pivot to the point where the input force is applied and "b" is the distance to the point where the output force is applied, then "a/b" is the mechanical advantage of the lever. The fulcrum of a lever is modeled as a hinged or revolute joint.  Wheel: The wheel is an important early machine, such as the chariot. A wheel uses the law of the lever to reduce the force needed to overcome friction when pulling a load. To see this notice that the friction associated with pulling a load on the ground is approximately the same as the friction in a simple bearing that supports the load on the axle of a wheel. However, the wheel forms a lever that magnifies the pulling force so that it overcomes the frictional resistance in the bearing. The classification of simple machines to provide a strategy for the design of new machines was developed by Franz Reuleaux, who collected and studied over 800 elementary machines. He recognized that the classical simple machines can be separated into the lever, pulley and wheel and axle that are formed by a body rotating about a hinge, and the inclined plane, wedge and screw that are similarly a block sliding on a flat surface.  Simple machines are elementary examples of kinematic chains or linkages that are used to model mechanical systems ranging from the steam engine to robot manipulators. The bearings that form the fulcrum of a lever and that allow the wheel and axle and pulleys to rotate are examples of a kinematic pair called a hinged joint. Similarly, the flat surface of an inclined plane and wedge are examples of the kinematic pair called a sliding joint. The screw is usually identified as its own kinematic pair called a helical joint.  This realization shows that it is the joints, or the connections that provide movement, that are the primary elements of a machine. Starting with four types of joints, the rotary joint, sliding joint, cam joint and gear joint, and related connections such as cables and belts, it is possible to understand a machine as an assembly of solid parts that connect these joints called a mechanism.  Two levers, or cranks, are combined into a planar four-bar linkage by attaching a link that connects the output of one crank to the input of another. Additional links can be attached to form a six-bar linkage or in series to form a robot.

Mechanical systems.

A mechanical system manages power to accomplish a task that involves forces and movement. Modern machines are systems consisting of (i) a power source and actuators that generate forces and movement, (ii) a system of mechanisms that shape the actuator input to achieve a specific application of output forces and movement, (iii) a controller with sensors that compare the output to a performance goal and then directs the actuator input, and (iv) an interface to an operator consisting of levers, switches, and displays.  This can be seen in Watt's steam engine (see the illustration) in which the power is provided by steam expanding to drive the piston. The walking beam, coupler and crank transform the linear movement of the piston into rotation of the output pulley. Finally, the pulley rotation drives the flyball governor which controls the valve for the steam input to the piston cylinder.  The adjective "mechanical" refers to skill in the practical application of an art or science, as well as relating to or caused by movement, physical forces, properties or agents such as is dealt with by mechanics. Similarly Merriam-Webster Dictionary defines "mechanical" as relating to machinery or tools.  Power flow through a machine provides a way to understand the performance of devices ranging from levers and gear trains to automobiles and robotic systems. The German mechanician Franz Reuleaux wrote, "a machine is a combination of resistant bodies so arranged that by their means the mechanical forces of nature can be compelled to do work accompanied by certain determinate motion." Notice that forces and motion combine to define power.  More recently, Uicker et al. stated that a machine is "a device for applying power or changing its direction." McCarthy and Soh describe a machine as a system that "generally consists of a power source and a mechanism for the controlled use of this power."

Power sources.

Human and animal effort were the original power sources for early machines.  Waterwheel: Waterwheels appeared around the world around 300 BC to use flowing water to generate rotary motion, which was applied to milling grain, and powering lumber, machining and textile operations. Modern water turbines use water flowing through a dam to drive an electric generator.  Windmill: Early windmills captured wind power to generate rotary motion for milling operations. Modern wind turbines also drives a generator. This electricity in turn is used to drive motors forming the actuators of mechanical systems.  Engine: The word engine derives from "ingenuity" and originally referred to contrivances that may or may not be physical devices. See Merriam-Webster's definition of engine. A steam engine uses heat to boil water contained in a pressure vessel; the expanding steam drives a piston or a turbine. This principle can be seen in the aeolipile of Hero of Alexandria. This is called an external combustion engine.  An automobile engine is called an internal combustion engine because it burns fuel (an exothermic chemical reaction) inside a cylinder and uses the expanding gases to drive a piston. A jet engine uses a turbine to compress air which is burned with fuel so that it expands through a nozzle to provide thrust to an aircraft, and so is also an "internal combustion engine."  Power plant: The heat from coal and natural gas combustion in a boiler generates steam that drives a steam turbine to rotate an electric generator. A nuclear power plant uses heat from a nuclear reactor to generate steam and electric power. This power is distributed through a network of transmission lines for industrial and individual use.  Motors: Electric motors use either AC or DC electric current to generate rotational movement. Electric servomotors are the actuators for mechanical systems ranging from robotic systems to modern aircraft.  Fluid Power: Hydraulic and pneumatic systems use electrically driven pumps to drive water or air respectively into cylinders to power linear movement.

Mechanisms.

The "mechanism" of a mechanical system is assembled from components called "machine elements". These elements provide structure for the system and control its movement.  The structural components are, generally, the frame members, bearings, splines, springs, seals, fasteners and covers. The shape, texture and color of covers provide a styling and operational interface between the mechanical system and its users.  The assemblies that control movement are also called "mechanisms." Mechanisms are generally classified as gears and gear trains, which includes belt drives and chain drives, cam and follower mechanisms, and linkages, though there are other special mechanisms such as clamping linkages, indexing mechanisms, escapements and friction devices such as brakes and clutches.  The number of degrees of freedom of a mechanism, or its mobility, depends on the number of links and joints and the types of joints used to construct the mechanism. The general mobility of a mechanism is the difference between the unconstrained freedom of the links and the number of constraints imposed by the joints. It is described by the Chebychev-Grübler-Kutzbach criterion.

Gears and gear trains.

The transmission of rotation between contacting toothed wheels can be traced back to the Antikythera mechanism of Greece and the south-pointing chariot of China. Illustrations by the renaissance scientist Georgius Agricola show gear trains with cylindrical teeth. The implementation of the involute tooth yielded a standard gear design that provides a constant speed ratio. Some important features of gears and gear trains are:

Cam and follower mechanisms.

A cam and follower is formed by the direct contact of two specially shaped links. The driving link is called the cam (also see cam shaft) and the link that is driven through the direct contact of their surfaces is called the follower. The shape of the contacting surfaces of the cam and follower determines the movement of the mechanism.

Linkages.

A linkage is a collection of links connected by joints. Generally, the links are the structural elements and the joints allow movement. Perhaps the single most useful example is the planar four-bar linkage. However, there are many more special linkages:

Planar mechanism.

A planar mechanism is a mechanical system that is constrained so the trajectories of points in all the bodies of the system lie on planes parallel to a ground plane. The rotational axes of hinged joints that connect the bodies in the system are perpendicular to this ground plane.

Spherical mechanism.

A spherical mechanism is a mechanical system in which the bodies move in a way that the trajectories of points in the system lie on concentric spheres. The rotational axes of hinged joints that connect the bodies in the system pass through the center of these circle.

Spatial mechanism.

A spatial mechanism is a mechanical system that has at least one body that moves in a way that its point trajectories are general space curves. The rotational axes of hinged joints that connect the bodies in the system form lines in space that do not intersect and have distinct common normals.

Flexure mechanisms.

A flexure mechanism consists of a series of rigid bodies connected by compliant elements (also known as flexure joints) that is designed to produce a geometrically well-defined motion upon application of a force.

Machine elements.

The elementary mechanical components of a machine are termed machine elements. These elements consist of three basic types (i) "structural components" such as frame members, bearings, axles, splines, fasteners, seals, and lubricants, (ii) "mechanisms" that control movement in various ways such as gear trains, belt or chain drives, linkages, cam and follower systems, including brakes and clutches, and (iii) "control components" such as buttons, switches, indicators, sensors, actuators and computer controllers. While generally not considered to be a machine element, the shape, texture and color of covers are an important part of a machine that provide a styling and operational interface between the mechanical components of a machine and its users.

Structural components.

A number of machine elements provide important structural functions such as the frame, bearings, splines, spring and seals.

Controllers.

Controllers combine sensors, logic, and actuators to maintain the performance of components of a machine. Perhaps the best known is the flyball governor for a steam engine. Examples of these devices range from a thermostat that as temperature rises opens a valve to cooling water to speed controllers such as the cruise control system in an automobile. The programmable logic controller replaced relays and specialized control mechanisms with a programmable computer. Servomotors that accurately position a shaft in response to an electrical command are the actuators that make robotic systems possible.

Computing machines.

Charles Babbage designed machines to tabulate logarithms and other functions in 1837. His Difference engine can be considered an advanced mechanical calculator and his Analytical Engine a forerunner of the modern computer, though none were built in Babbage's lifetime.  The Arithmometer and the Comptometer are mechanical computers that are precursors to modern digital computers. Models used to study modern computers are termed State machine and Turing machine.

Molecular machines.

The biological molecule myosin reacts to ATP and ADP to alternately engage with an actin filament and change its shape in a way that exerts a force, and then disengage to reset its shape, or conformation. This acts as the molecular drive that causes muscle contraction. Similarly the biological molecule kinesin has two sections that alternately engage and disengage with microtubules causing the molecule to move along the microtubule and transport vesicles within the cell, and dynein, which moves cargo inside cells towards the nucleus and produces the axonemal beating of motile cilia and flagella. "[I]n effect, the [motile cilium] is a nanomachine composed of perhaps over 600 proteins in molecular complexes, many of which also function independently as nanomachines. Flexible linkers allow the mobile protein domains connected by them to recruit their binding partners and induce long-range allostery via. " Other biological machines are responsible for energy production, for example ATP synthase which harnesses energy from proton gradients across membranes to drive a turbine-like motion used to synthesise ATP, the energy currency of a cell. Still other machines are responsible for gene expression, including DNA polymerases for replicating DNA, RNA polymerases for producing mRNA, the spliceosome for removing introns, and the ribosome for synthesising proteins. These machines and their nanoscale dynamics are far more complex than any molecular machines that have yet been artificially constructed. These molecules are increasingly considered to be nanomachines.  Researchers have used DNA to construct nano-dimensioned four-bar linkages.

Impact.

Mechanization and automation.

Mechanization or mechanisation (BE) is providing human operators with machinery that assists them with the muscular requirements of work or displaces muscular work. In some fields, mechanization includes the use of hand tools. In modern usage, such as in engineering or economics, mechanization implies machinery more complex than hand tools and would not include simple devices such as an un-geared horse or donkey mill. Devices that cause speed changes or changes to or from reciprocating to rotary motion, using means such as gears, pulleys or sheaves and belts, shafts, cams and cranks, usually are considered machines. After electrification, when most small machinery was no longer hand powered, mechanization was synonymous with motorized machines.  Automation is the use of control systems and information technologies to reduce the need for human work in the production of goods and services. In the scope of industrialization, automation is a step beyond mechanization. Whereas mechanization provides human operators with machinery to assist them with the muscular requirements of work, automation greatly decreases the need for human sensory and mental requirements as well. Automation plays an increasingly important role in the world economy and in daily experience.

Automata.

An automaton (plural: automata or automatons) is a self-operating machine. The word is sometimes used to describe a robot, more specifically an autonomous robot. A "Toy Automaton" was patented in 1863.

Mechanics.

Usher reports that Hero of Alexandria's treatise on "Mechanics" focussed on the study of lifting heavy weights. Today mechanics refers to the mathematical analysis of the forces and movement of a mechanical system, and consists of the study of the kinematics and dynamics of these systems.

Dynamics of machines.

The dynamic analysis of machines begins with a rigid-body model to determine reactions at the bearings, at which point the elasticity effects are included. The rigid-body dynamics studies the movement of systems of interconnected bodies under the action of external forces. The assumption that the bodies are rigid, which means that they do not deform under the action of applied forces, simplifies the analysis by reducing the parameters that describe the configuration of the system to the translation and rotation of reference frames attached to each body.  The dynamics of a rigid body system is defined by its equations of motion, which are derived using either Newtons laws of motion or Lagrangian mechanics. The solution of these equations of motion defines how the configuration of the system of rigid bodies changes as a function of time. The formulation and solution of rigid body dynamics is an important tool in the computer simulation of mechanical systems.

Kinematics of machines.

The dynamic analysis of a machine requires the determination of the movement, or kinematics, of its component parts, known as kinematic analysis. The assumption that the system is an assembly of rigid components allows rotational and translational movement to be modeled mathematically as Euclidean, or rigid, transformations. This allows the position, velocity and acceleration of all points in a component to be determined from these properties for a reference point, and the angular position, angular velocity and angular acceleration of the component.

Machine design.

Machine design refers to the procedures and techniques used to address the three phases of a machine's lifecycle:

A machine (or mechanical device) is a mechanical structure that uses power to apply forces and control movement to perform an intended action. Machines can be driven by animals and people, by natural forces such as wind and water, and by chemical, thermal, or electrical power, and include a system of mechanisms that shape the actuator input to achieve a specific application of output forces and movement. They can also include computers and sensors that monitor performance and plan movement, often called mechanical systems.

Stroj (hovorově také mašina) je obecné označení pro účelová, obvykle mechanická nebo elektromechanická zařízení na přeměny a využití energie, jimiž člověk rozšiřuje své síly a možnosti. Stroje neobyčejně ulehčily a zrychlily lidské činnosti v nejrůznějších oborech a významně se podílejí na bohatství moderních společností. Od jednodušších nástrojů se liší větší složitostí a obvykle i tím, že využívají jiné než svalové energie a často mají vlastní pohon. Jednoduché stroje jsou mechanická zařízení, která transformují mechanické síly a zachovávají si tradiční název, ačkoliv jsou to vlastně nástroje. Energetické stroje slouží k přeměně jednoho druhu energie (např. gravitační, tepelné, chemické) na jiný, nejčastěji na točivý mechanický pohyb (motory). Výrobní stroje se podílejí na výrobě různých statků, dopravní stroje obstarávají dopravu a podobně. Od 20. století nabývají na významu automatizované stroje a automaty, které "mechanizují" nejen pohyb nástroje, ale i jeho řízení.


Name.

"S. Samyro", a partial anagram of "Samy Rosenstock", was used by Tzara from his debut and throughout the early 1910s. A number of undated writings, which he probably authored as early as 1913, bear the signature "Tristan Ruia", and, in summer of 1915, he was signing his pieces with the name "Tristan".  In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the "Tzara" part of his pseudonym in 1915. Vinea also stated that Tzara wanted to keep "Tristan" as his adopted first name, and that this choice had later attracted him the "infamous pun" "Triste Âne Tzara" (French for

Biography.

Early life and "Simbolul" years.

Tzara was born in Moinești, Bacău County, in the historical region of Western Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language; his father Filip and grandfather Ilie were entrepreneurs in the forestry business. Tzara's mother was Emilia Rosenstock, "née" Zibalis. Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918.  He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school. It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College or as the Sfântul Gheorghe High School. In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing "Simbolul". Reputedly, Janco and Vinea provided the funds. Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer.  Despite their young

"Chemarea" and 1915 departure.

Tzara's career changed course between 1914 and 1916, during a period when the Romanian Kingdom kept out of World War I. In autumn 1915, as founder and editor of the short-lived journal "Chemarea", Vinea published two poems by his friend, the first printed works to bear the signature "Tristan Tzara". At the time, the young poet and many of his friends were adherents of an anti-war and anti-nationalist current, which progressively accommodated anti-establishment messages. "Chemarea", which was a platform for this agenda and again attracted collaborations from Chapier, may also have been financed by Tzara and Vinea. According to Romanian avant-garde writer Claude Sernet, the journal was "totally different from everything that had been printed in Romania before that moment." During the period, Tzara's works were sporadically published in Hefter-Hidalgo's "Versuri și Proză", and, in June 1915, Constantin Rădulescu-Motru's "Noua Revistă Română" published Samyro's known poem "Verișoară, fată de pension" ("Little Cousin, Boarding School Girl").  Tzara had enrolled at the University of Bucharest in 1914, studying mathematics and philosophy, but did not graduate. In autumn 1915, he left Romania for Zürich, in neutral Switzerland. Janco, together with his brother Jules, had settled there

Birth of Dada.

It was in this milieu that Dada was born, at some point before May 1916, when a publication of the same name first saw print. The story of its establishment was the subject of a disagreement between Tzara and his fellow writers. Cernat believes that the first Dadaist performance took place as early as February, when the nineteen-year-old Tzara, wearing a monocle, entered the Cabaret Voltaire stage singing sentimental melodies and handing paper wads to his "scandalized spectators", leaving the stage to allow room for masked actors on stilts, and returning in clown attire. The same type of performances took place at the Zunfthaus zur Waag beginning in summer 1916, after the Cabaret Voltaire was forced to close down. According to music historian Bernard Gendron, for as long as it lasted, "the Cabaret Voltaire was dada. There was no alternative institution or site that could disentangle 'pure' dada from its mere accompaniment [...] nor was any such site desired." Other opinions link Dada's beginnings with much earlier events, including the experiments of Alfred Jarry, André Gide, Christian Morgenstern, Jean-Pierre Brisset, Guillaume Apollinaire, Jacques Vaché, Marcel Duchamp or Francis

Dadaist promoter.

Before the end of the war, Tzara had assumed a position as Dada's main promoter and manager, helping the Swiss group establish branches in other European countries. This period also saw the first conflict within the group: citing irreconcilable differences with Tzara, Ball left the group. With his departure, Gendron argues, Tzara was able to move Dada vaudeville-like performances into more of "an incendiary and yet jocularly provocative theater."  He is often credited with having inspired many young modernist authors from outside Switzerland to affiliate with the group, in particular the Frenchmen Louis Aragon, André Breton, Paul

End of World War I.

The shows Tzara staged in Zürich often turned into scandals or riots, and he was in permanent conflict with the Swiss law enforcers. Hans Richter speaks of a "pleasure of letting fly at the bourgeois, which in Tristan Tzara took the form of coldly (or hotly) calculated insolence" ("see Épater la bourgeoisie"). In one instance, as part of a series of events in which Dadaists mocked established authors, Tzara and Arp falsely publicized that they were going to fight a duel in Rehalp, near Zürich, and that they were going to have the popular novelist Jakob Christoph Heer for their witness. Richter

Paris Dada.

In late 1919, Tristan Tzara left Switzerland to join Breton, Soupault and Claude Rivière in editing the Paris-based magazine "Littérature". Already a mentor for the French avant-garde, he was, according to Hans Richter, perceived as an "Anti-Messiah" and a "prophet". Reportedly, Dada mythology had it that he entered the French capital in a snow-white or lilac-colored car, passing down Boulevard Raspail through a triumphal arch made from his own pamphlets, being greeted by cheering crowds and a fireworks display. Richter dismisses this account, indicating that Tzara actually walked from Gare de l'Est to Picabia's home, without anyone expecting

Dada stagnation.

By 1921, Tzara had become involved in conflicts with other figures in the movement, whom he claimed had parted with the spirit of Dada. He was targeted by the Berlin-based Dadaists, in particular by Huelsenbeck and Serner, the former of whom was also involved in a conflict with Raoul Hausmann over leadership status. According to Richter, tensions between Breton and Tzara had surfaced in 1920, when Breton first made known his wish to do away with musical performances altogether and alleged that the Romanian was merely repeating himself. The Dada shows themselves were by then such common occurrences that audiences expected to be insulted by the performers.  A more serious crisis occurred in May, when Dada organized a mock trial of Maurice Barrès, whose early affiliation with the Symbolists had been shadowed by his antisemitism and reactionary stance: Georges Ribemont-Dessaignes was the prosecutor, Aragon and Soupault the defense attorneys, with Tzara, Ungaretti, Benjamin Péret and others as witnesses (a mannequin stood in for Barrès). Péret

"Evening of the Bearded Heart".

Tzara was openly attacked by Breton in a February 1922 article for "Le Journal de Peuple", where the Romanian writer was denounced as "an impostor" avid for "publicity". In March, Breton initiated the "Congress for the Determination and Defense of the Modern Spirit". The French writer used the occasion to strike out Tzara's name from among the Dadaists, citing in his support Dada's Huelsenbeck, Serner, and Christian Schad. Basing his statement on a note supposedly authored by Huelsenbeck, Breton also accused Tzara of opportunism, claiming that he had planned wartime editions of Dada works in such a manner as not to upset actors on the political stage, making sure that German Dadaists were not made available to the public in countries subject to the Supreme War Council. Tzara, who attended the Congress only as a means to subvert it, responded to the accusations the same month, arguing that Huelsenbeck's note was fabricated and that Schad had not been one of the original Dadaists. Rumors reported much later by American writer Brion Gysin had it that Breton's claims also depicted Tzara as an informer for the Prefecture of Police.  In May 1922, Dada staged its own funeral. According to Hans

Transition to Surrealism.

Tzara continued to write, becoming more seriously interested in the theater. In 1924, he published and staged the play "Handkerchief of Clouds", which was soon included in the repertoire of Serge Diaghilev's "Ballets Russes". He also collected his earlier Dada texts as the "Seven Dada Manifestos". Marxist thinker Henri Lefebvre reviewed them enthusiastically; he later became one of the author's friends.  In Romania, Tzara's work was partly recuperated by "Contimporanul", which notably staged public readings of his works during the international art exhibit it organized in 1924, and again during the

Affiliation with communism and Spanish Civil War.

Alarmed by the establishment of Adolf Hitler's Nazi regime, which also signified the end of Berlin's avant-garde, he merged his activities as an art promoter with the cause of anti-fascism, and was close to the French Communist Party (PCF). In 1936, Richter recalled, he published a series of photographs secretly taken by Kurt Schwitters in Hanover, works which documented the destruction of Nazi propaganda by the locals, ration stamp with reduced quantities of food, and other hidden aspects of Hitler's rule. After the outbreak of the Spanish Civil War, he briefly left France and joined the Republican forces. Alongside Soviet reporter Ilya Ehrenburg, Tzara visited Madrid, which was besieged by the Nationalists ("see Siege of Madrid"). Upon his return, he published the collection of poems "Midis gagnés" ("Conquered Southern Regions"). Some of them had previously been printed in the brochure "Les poètes du monde défendent le peuple espagnol" ("The Poets of the World Defend the Spanish People", 1937), which was edited by two prominent authors and activists,

World War II and Resistance.

During World War II, Tzara took refuge from the German occupation forces, moving to the southern areas, controlled by the Vichy regime. On one occasion, the antisemitic and collaborationist publication "Je Suis Partout" made his whereabouts known to the Gestapo.  He was in Marseille in late 1940-early 1941, joining the group of anti-fascist and Jewish refugees who, protected by American diplomat Varian Fry, were seeking to escape Nazi-occupied Europe. Among the people present there were the anti-totalitarian socialist Victor Serge, anthropologist Claude Lévi-Strauss, playwright Arthur Adamov, philosopher and poet René Daumal, and several prominent Surrealists: Breton, Char, and Benjamin Péret, as well as artists Max Ernst, André Masson, Wifredo Lam, Jacques Hérold, Victor Brauner and Óscar Domínguez. During the months spent together, and before some of them received permission to leave for America, they invented a new card game, on which traditional card imagery was replaced with Surrealist symbols.  Some time after his stay in Marseille, Tzara joined the French Resistance, rallying with the Maquis. A contributor to magazines published by the Resistance, Tzara also

International leftism.

Over the following decade, Tzara lent his support to political causes. Pursuing his interest in primitivism, he became a critic of the Fourth Republic's colonial policy, and joined his voice to those who supported decolonization. Nevertheless, he was appointed cultural ambassador of the Republic by the Paul Ramadier cabinet. He also participated in the PCF-organized Congress of Writers, but, unlike Éluard and Aragon, again avoided adapting his style to socialist realism.  He returned to Romania on an official visit in late 1946-early 1947, as part of a tour of the emerging Eastern Bloc during which he also stopped in Czechoslovakia, Hungary, and the Federal People's Republic of Yugoslavia. The speeches he and Sașa Pană gave on the occasion, published by "Orizont" journal, were noted for condoning official positions of the PCF and the Romanian Communist Party, and are credited by Irina Livezeanu with causing a rift between Tzara and young Romanian avant-gardists such as Victor Brauner and Gherasim Luca (who rejected communism and were alarmed by the Iron Curtain having fallen over Europe). In September of the same year, he was present at the conference of the pro-communist International Union of

1956 protest and final years.

In October 1956, Tzara visited the People's Republic of Hungary, where the government of Imre Nagy was coming into conflict with the Soviet Union. This followed an invitation on the part of Hungarian writer Gyula Illyés, who wanted his colleague to be present at ceremonies marking the rehabilitation of László Rajk (a local communist leader whose prosecution had been ordered by Joseph Stalin). Tzara was receptive of the Hungarians' demand for liberalization, contacted the anti-Stalinist and former Dadaist Lajos Kassák, and deemed the anti-Soviet movement "revolutionary". However, unlike much of Hungarian public opinion, the poet did not recommend emancipation from Soviet control, and described the independence demanded by local writers as "an abstract notion". The statement he issued, widely quoted in the Hungarian and international press, forced a reaction from the PCF: through Aragon's reply, the party deplored the fact that one of its members was being used in support of "anti-communist and anti-Soviet campaigns."  His return to France coincided with the outbreak of the Hungarian Revolution, which ended with a Soviet military intervention. On 24 October, Tzara was ordered to a PCF meeting, where activist Laurent Casanova reportedly

Literary contributions.

Identity issues.

Much critical commentary about Tzara surrounds the measure to which the poet identified with the national cultures which he represented. Paul Cernat notes that the association between Samyro and the Jancos, who were Jews, and their ethnic Romanian colleagues, was one sign of a cultural dialogue, in which "the openness of Romanian environments toward artistic modernity" was stimulated by "young emancipated Jewish writers." Salomon Schulman, a Swedish researcher of Yiddish literature, argues that the combined influence of Yiddish folklore and Hasidic philosophy shaped European modernism in general and Tzara's style in particular, while American poet Andrei Codrescu speaks of Tzara as one in a Balkan line of "absurdist writing", which also includes the Romanians Urmuz, Eugène Ionesco and Emil Cioran.

Symbolist poetry.

Tzara's earliest Symbolist poems, published in "Simbolul" during 1912, were later rejected by their author, who asked Sașa Pană not to include them in editions of his works. The influence of French Symbolists on the young Samyro was particularly important, and surfaced in both his lyric and prose poems. Attached to Symbolist musicality at that stage, he was indebted to his "Simbolul" colleague Ion Minulescu and the Belgian Maurice Maeterlinck. Philip Beitchman argues that "Tristan Tzara is one of the writers

Collaboration with Vinea.

The transition to a more radical form of poetry seems to have taken place in 1913–1915, during the periods when Tzara and Vinea were vacationing together. The pieces share a number of characteristics and subjects, and the two poets even use them to allude to one another (or, in one case, to Tzara's sister).  In addition to the lyrics were they both speak of provincial holidays and love affairs with local girls, both friends intended to reinterpret William Shakespeare's "Hamlet" from a modernist perspective, and wrote incomplete texts with this as their subject. However, Paul Cernat notes, the texts also evidence a difference in approach, with Vinea's work being "meditative and melancholic", while Tzara's is "hedonistic". Tzara often appealed to revolutionary and ironic images, portraying provincial and middle class environments as places of artificiality and decay, demystifying pastoral themes and evidencing a will to break free. His literature took a more radical perspective on life, and featured lyrics with subversive intent: In his "Înserează" (roughly, "Night Falling"), probably authored in Mangalia,

Dada synthesis and "simultaneism".

Tzara the Dadaist was inspired by the contributions of his experimental modernist predecessors. Among them were the literary promoters of Cubism: in addition to Henri Barzun and Fernand Divoire, Tzara cherished the works of Guillaume Apollinaire. Despite Dada's condemnation of Futurism, various authors note the influence Filippo Tommaso Marinetti and his circle exercised on Tzara's group. In 1917, he was in correspondence with both Apollinaire and Marinetti. Traditionally, Tzara is also seen as indebted to the early avant-garde and black comedy writings of Romania's Urmuz.  For a large part, Dada focused on performances and satire, with shows that often had Tzara, Marcel Janco and Huelsenbeck for their main protagonists. Often dressed up as Tyrolian peasants or wearing dark robes, they improvised poetry sessions at the Cabaret Voltaire, reciting the works of others or their spontaneous creations, which were or pretended to be in Esperanto or Māori language. Bernard Gendron

Dada and anti-art.

The Romanian writer also spent the Dada period issuing a long series of manifestos, which were often authored as prose poetry, and, according to Cardinal, were characterized by "rumbustious tomfoolery and astringent wit", which reflected "the language of a sophisticated savage". Huelsenbeck credited Tzara with having discovered in them the format for "compress[ing] what we think and feel", and, according to Hans Richter, the genre "suited Tzara perfectly." Despite its production of seemingly theoretical works, Richter indicates, Dada lacked any form of program, and Tzara tried to perpetuate this state of affairs. His Dada manifesto of 1918 stated: "Dada means nothing", adding "Thought is produced in the mouth." Tzara indicated: "I am against systems; the most acceptable system is on principle to have none." In addition, Tzara, who once stated that "logic is always false", probably approved of Serner's vision of a "final dissolution". According to Philip Beitchman, a core concept in Tzara's thought was that "as long as we do things the way we think we once did them we will be unable to achieve any kind of livable society."  Despite adopting such anti-artistic principles, Richter argues, Tzara, like many of his fellow Dadaists, did not initially

Plays of the 1920s.

Tristan Tzara's first play, "The Gas Heart", dates from the final period of Paris Dada. Created with what Enoch Brater calls a "peculiar verbal strategy", it is a dialogue between characters called Ear, Mouth, Eye, Nose, Neck, and Eyebrow. They seem unwilling to actually communicate to each other and their reliance on proverbs and idiotisms willingly creates confusion between metaphorical and literal speech. The play ends with a dance performance that recalls similar devices used by the proto-Dadaist Alfred Jarry. The text culminates in a series of doodles and illegible words. Brater describes "The Gas Heart" as a "parod[y] of theatrical conventions".  In his 1924 play "Handkerchief of Clouds", Tzara explores the relation between perception, the subconscious and memory. Largely through exchanges between commentators who act as third parties, the text presents the tribulations of a love triangle (a poet,

"The Approximate Man" and later works.

After 1929, with the adoption of Surrealism, Tzara's literary works discard much of their satirical purpose, and begin to explore universal themes relating to the human condition. According to Cardinal, the period also signified the definitive move from "a studied inconsequentiality" and "unreadable gibberish" to "a seductive and fertile surrealist idiom." The critic also remarks: "Tzara arrived at a mature style of transparent simplicity, in which disparate entities could be held together in a unifying vision." In a 1930 essay, Fondane had given a similar verdict: arguing that Tzara had infused his work with "suffering", had discovered humanity, and had become a "clairvoyant" among poets.  This period in Tzara's creative activity centers on "The Approximate Man", an epic poem which is reportedly recognized as his most accomplished contribution to French literature. While maintaining some of Tzara's preoccupation with language experimentation, it is mainly a study in social alienation and the search for an escape. Cardinal calls the piece "an extended meditation on mental and elemental impulses [...] with images of stunning beauty", while Breitchman, who notes Tzara's rebellion against

Legacy.

Influence.

Beside the many authors who were attracted into Dada through his promotional activities, Tzara was able to influence successive generations of writers. This was the case in his homeland during 1928, when the first avant-garde manifesto issued by "unu" magazine, written by Sașa Pană and Moldov, cited as its mentors Tzara, writers Breton, Ribemont-Dessaignes, Vinea, Filippo Tommaso Marinetti, and Tudor Arghezi, as well as artists Constantin Brâncuși and Theo van Doesburg. One of the Romanian writers to claim inspiration from Tzara was Jacques G. Costin, who nevertheless offered an equally good reception to both Dadaism and Futurism, while Ilarie Voronca's "Zodiac" cycle, first published in France, is traditionally seen as indebted to "The Approximate Man". The Kabbalist and Surrealist author Marcel Avramescu, who wrote during the 1930s, also appears to have been directly inspired by Tzara's views on art. Other authors from that generation to have been inspired by Tzara were Polish Futurist writer Bruno Jasieński, Japanese poet and Zen thinker Takahashi Shinkichi, and Chilean poet and Dadaist sympathizer Vicente Huidobro, who cited him as a precursor for his own "Creacionismo".  An immediate precursor of Absurdism, he was acknowledged as a mentor by Eugène Ionesco, who developed on his principles for his early essays of literary and social criticism, as well as in tragic farces such as "The Bald Soprano". Tzara's poetry influenced Samuel Beckett (who translated some of

Tributes and portrayals.

In France, Tzara's work was collected as "Oeuvres complètes" ("Complete Works"), of which the first volume saw print in 1975, and an international poetry award is named after him ("Prix International de Poésie Tristan Tzara"). An international periodical titled "Caietele Tristan Tzara", edited by the Tristan Tzara Cultural-Literary Foundation, has been published in Moinești since 1998.  According to Paul Cernat, "Aliluia", one of the few avant-garde texts authored by Ion Vinea features a "transparent allusion" to Tristan Tzara. Vinea's fragment speaks of "the Wandering Jew", a character whom people notice because he sings "La moară la Hârța", "a suspicious song from Greater Romania." The poet is a character in Indian novelist Mulk Raj Anand's "Thieves of Fire", part four of his "The Bubble" (1984), as well as in "The Prince of West End Avenue", a 1994 book by the American Alan Isler. Rothenberg dedicated several of his poems to Tzara, as did the Neo-Dadaist Valery Oișteanu. Tzara's legacy in literature also covers specific episodes of his biography, beginning with Gertrude Stein's controversial memoir. One of his performances is enthusiastically recorded by Malcolm Cowley in his autobiographical book of 1934, "Exile's Return", and he is also mentioned in Harold Loeb's memoir "The Way It Was". Among his biographers is the French author François Buot, who records some of the lesser-known aspects of Tzara's life.  At some point between 1915 and 1917, Tzara is believed to have played chess in a coffeehouse that was also frequented by Bolshevik leader Vladimir Lenin. While Richter himself recorded the incidental proximity of Lenin's lodging to the Dadaist milieu, no record exists of an actual conversation between the two figures. Andrei Codrescu believes that Lenin and Tzara did

Posthumous controversies.

The many polemics which surrounded Tzara in his lifetime left traces after his death, and determine contemporary perceptions of his work. The controversy regarding Tzara's role as a founder of Dada extended into several milieus, and continued long after the writer died. Richter, who discusses the lengthy conflict between Huelsenbeck and Tzara over the issue of Dada foundation, speaks of the movement as being torn apart by "petty jealousies". In Romania, similar debates often involved the supposed founding role of Urmuz, who wrote his avant-garde texts before World War I, and Tzara's status as a communicator between Romania and the rest of Europe. Vinea, who claimed that Dada had been invented by Tzara in Gârceni ca. 1915 and thus sought to legitimize his own modernist vision, also saw Urmuz as the ignored precursor of radical modernism, from Dada to Surrealism. In 1931 the young, modernist literary critic Lucian Boz evidenced that he partly shared Vinea's perspective on the matter, crediting Tzara and Constantin Brâncuși with having, each on his own, invented the avant-garde. Eugène Ionesco argued that "before Dadaism there was Urmuzianism", and, after World War II, sought to popularize Urmuz's work among aficionados of Dada. Rumors in the literary community had it

Tristan Tzara (; ; born Samuel or Samy Rosenstock, also known as S. Samyro; – 25 December 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine "Simbolul" with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's "Chemarea", he joined Janco in Switzerland. There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art manifestos, became a main feature of early Dadaism. His work represented Dada's nihilistic side, in contrast with the more moderate approach favored by Hugo Ball.

Tristan Tzara [Cara], vlastním jménem Samuel Rosenstock (16. dubna 1896, Moinești, Bacău, Rumunsko – 25. prosince 1963, Paříž, Francie) byl francouzský básník a dramatik rumunsko-židovského původu, jeden ze zakladatelů dadaismu.


Name.

The word "Ottoman" is a historical anglicisation of the name of Osman I, the founder of the Empire and of the ruling House of Osman (also known as the Ottoman dynasty). Osman's name in turn was the Turkish form of the Arabic name "ʿUthmān" (). In Ottoman Turkish, the empire was referred to as (), (literally "The Supreme Ottoman State") or alternatively (). In Modern Turkish, it is known as ("The Ottoman Empire") or ("The Ottoman State").  The Turkish word for "Ottoman" () originally referred to the tribal followers of Osman in the fourteenth century. The word subsequently came to be used to refer to the empire's military-administrative elite. In contrast, the term "Turk" () was used to refer to the Anatolian peasant and tribal population and was seen

History.

Rise (c. 1299–1453).

As the Seljuk Sultanate of Rum declined in the 13th century, Anatolia was divided into a patchwork of independent Turkish principalities known as the Anatolian Beyliks. One of these beyliks, in the region of Bithynia on the frontier of the Byzantine Empire, was led by the Turkish tribal leader Osman I (d. 1323/4), a figure of obscure origins from whom the name Ottoman is derived. Osman's early followers consisted both of Turkish tribal groups and Byzantine renegades, with many but not all converts to Islam. Osman

Expansion and peak (1453–1566).

The son of Murad II, Mehmed the Conqueror, reorganized both state and military, and on 29 May 1453 conquered Constantinople. Mehmed allowed the Orthodox Church to maintain its autonomy and land in exchange for accepting Ottoman authority. Due to tension between the states of western Europe and the later Byzantine Empire, the majority of the Orthodox population accepted Ottoman rule as preferable to Venetian rule. Albanian resistance was a major obstacle to Ottoman expansion on the Italian peninsula.  In the 15th and 16th centuries, the Ottoman Empire entered a period of expansion. The Empire prospered under the rule of a line of committed and effective Sultans. It also flourished economically due to its control of the major overland trade routes between Europe and

Stagnation and reform (1566–1827).

Revolts, reversals, and revivals (1566–1683).

In the second half of the sixteenth century, the Ottoman Empire came under increasing strain from inflation and the rapidly rising costs of warfare that were impacting both Europe and the Middle East. These pressures led to a series of crises around the year 1600, placing great strain upon the Ottoman system of government. The empire underwent a series of transformations of its political and military institutions in response to these challenges, enabling it to successfully adapt to the new conditions of the seventeenth century and remain powerful, both militarily and economically. Historians of the mid-twentieth century once characterized this period as one of stagnation and decline, but this view is now rejected by the majority of academics.  The discovery of new maritime trade routes by Western European states allowed them to avoid the Ottoman trade monopoly. The Portuguese discovery of the Cape of Good Hope in 1488 initiated a series of Ottoman-Portuguese naval wars in the Indian Ocean throughout the 16th century.

Military defeats.

Aside from the loss of the Banat and the temporary loss of Belgrade (1717–39), the Ottoman border on the Danube and Sava remained stable during the eighteenth century. Russian expansion, however, presented a large and growing threat. Accordingly, King Charles XII of Sweden was welcomed as an ally in the Ottoman Empire following his defeat by the Russians at the Battle of Poltava of 1709 in central Ukraine (part of the Great Northern War of 1700–1721). Charles XII persuaded the Ottoman Sultan Ahmed III to declare war on Russia, which resulted in an Ottoman victory in the Pruth River Campaign of 1710–1711, in Moldavia.  After the Austro-Turkish War of 1716–1718, the Treaty of Passarowitz confirmed the loss of the Banat, Serbia and "Little Walachia" (Oltenia) to Austria. The Treaty also revealed that the Ottoman Empire was on the defensive and unlikely to present any further aggression in Europe. The Austro-Russian–Turkish War (1735–1739), which was ended by the Treaty of Belgrade in 1739, resulted in the recovery of Serbia and Oltenia, but the Empire lost the port of Azov, north of the Crimean Peninsula, to the Russians. After this treaty the Ottoman Empire was able to enjoy a generation of peace, as Austria and Russia were forced to deal with the rise of Prussia.  Educational and technological reforms came about, including the establishment of higher education institutions such as the Istanbul Technical University. In 1734 an artillery school was established to impart Western-style artillery methods, but the Islamic clergy successfully objected under the grounds of theodicy. In 1754 the artillery school was reopened on a semi-secret basis. In 1726, Ibrahim Muteferrika convinced the Grand Vizier Nevşehirli Damat İbrahim Pasha, the Grand Mufti, and the clergy on the efficiency of the printing press, and Muteferrika was later granted by Sultan Ahmed III permission to publish non-religious books (despite opposition from some calligraphers and religious leaders). Muteferrika's press published its first book in 1729 and, by 1743, issued 17 works in 23 volumes, each having between 500 and 1,000 copies.  In North Africa, Spain conquered Oran from the Ottoman Empire (1732). The bey received an Ottoman army from Algiers, but it failed to recapture Oran; the siege caused the deaths of 1,500 Spaniards, and even more Algerians. The Spanish also massacred many Muslim soldiers. In 1792, Spain abandoned Oran, selling it to the Ottoman Empire.  In 1768 Russian-backed Ukrainian Haidamakas, pursuing Polish confederates, entered Balta, an Ottoman-controlled town on the border of Bessarabia in Ukraine, massacred its citizens, and burned the town to the ground.

Decline and modernization (1828–1908).

During the Tanzimat period (1839–1876), the government's series of constitutional reforms led to a fairly modern conscripted army, banking system reforms, the decriminalization of homosexuality, the replacement of religious law with secular law and guilds with modern factories. The Ottoman Ministry of Post was established in Istanbul in 1840. American inventor Samuel Morse received an Ottoman patent for the telegraph in 1847, which was issued by Sultan Abdülmecid who personally tested the new invention. The reformist period peaked with the Constitution, called the "Kanûn-u Esâsî". The empire's First Constitutional era was short-lived. The parliament survived for only two years before the sultan suspended it.  The Christian population of the empire, owing to their higher educational levels, started to pull ahead of the Muslim majority, leading to much resentment on the part of the latter. In 1861, there were 571 primary and 94 secondary schools for Ottoman Christians with 140,000 pupils in total, a figure that vastly exceeded the number of Muslim children in school

Defeat and dissolution (1908–1922).

Young Turk movement.

The defeat and dissolution of the Ottoman Empire (1908–1922) began with the Second Constitutional Era, a moment of hope and promise established with the Young Turk Revolution. It restored the Ottoman constitution of 1876 and brought in multi-party politics with a two-stage electoral system (electoral law) under the Ottoman parliament. The constitution offered hope by freeing the empire's citizens to modernize the state's institutions, rejuvenate its strength, and enable it to hold its own against outside powers. Its guarantee of liberties promised to dissolve inter-communal tensions and transform the empire into a more harmonious place. Instead, this period became the story

World War I.

The war began with the Ottoman surprise attack on the Russian Black Sea coast on 29 October 1914. Following the attack, Russia and its allies, France and Britain declared war on the Ottomans. There were several important Ottoman victories in the early years of the war, such as the Battle of Gallipoli and the Siege of Kut.

Historiographical debate on the Ottoman state.

Several historians such as British historian Edward Gibbon and the Greek historian Dimitri Kitzikis have argued that after the fall of Constantinople, the Ottoman state took over the machinery of the Byzantine (Roman) state and that in essence, the Ottoman Empire was a continuation of the Eastern Roman Empire under a thin Turkish Islamic guise. Kitzikis called the Ottoman state "a Greek-Turkish condominium". The American historian Speros Vryonis wrote that the Ottoman state was centered on "a Byzantine-Balkan base with a veneer of the Turkish language and the Islamic religion". Other historians have followed the lead of the Austrian historian Paul Wittek who emphasized the Islamic character of the Ottoman state, seeing the Ottoman state as a "Jihad state" dedicated to expanding the world of Islam. Many historians led in 1937 by the Turkish historian M. Fuat Koprulu championed the "Ghazi thesis" that saw the Ottoman state as a continuation of the way of life of the nomadic Turkic tribes who had come from East Asia to Anatolia via Central Asia and the Middle East on a much larger scale. They argued that the most important cultural influences on the Ottoman

Government.

Before the reforms of the 19th and 20th centuries, the state organisation of the Ottoman Empire was a system with two main dimensions, the military administration, and the civil administration. The Sultan was the highest position in the system. The civil system was based on local administrative units based on the region's characteristics. The state had control over the clergy. Certain pre-Islamic Turkish traditions that had survived the adoption of administrative and legal practices from Islamic Iran remained important in Ottoman administrative circles. According to Ottoman understanding, the state's primary responsibility was to defend and extend the land of the Muslims and to ensure security and harmony within its borders in the overarching context of orthodox Islamic practice and dynastic sovereignty.  The Ottoman Empire, or as a dynastic institution, the House of Osman, was unprecedented and unequaled in the Islamic world for its size and duration. In Europe, only the House of Habsburg had a similarly unbroken line of sovereigns (kings/emperors) from the same family who ruled for so long, and during the same period, between the late 13th and early 20th centuries. The Ottoman dynasty was Turkish in origin. On eleven occasions, the sultan was deposed (replaced by another sultan of the Ottoman dynasty, who were either the former sultan's brother, son, or nephew) because he was perceived by his enemies as a threat to the state. There were only two attempts in Ottoman history to unseat the ruling Ottoman dynasty, both failures, which suggests a political system that for an extended period was able to manage its revolutions without unnecessary instability. As such, the last Ottoman sultan Mehmed VI (r. 1918–1922) was a direct patrilineal (male-line) descendant of the first Ottoman sultan Osman I (d. 1323/4), which was unparallelled in both Europe (e.g., the male line of the House of Habsburg became extinct in 1740) and in the Islamic world. The primary purpose of the Imperial Harem was to ensure the birth of male heirs to the Ottoman throne and secure the continuation of the direct patrilineal (male-line) descendance of the Ottoman sultans.  The highest position in Islam, "caliphate", was claimed by the sultans starting with Murad I, which was established as the Ottoman Caliphate. The Ottoman sultan, "pâdişâh" or "lord of kings", served as the Empire's sole regent and was considered to be the embodiment of its government, though he did not always exercise complete control. The Imperial Harem was one of the most important powers of the Ottoman court. It was ruled by the Valide Sultan. On occasion, the Valide Sultan would become involved in state politics. For a time, the women of the Harem effectively controlled the state in what was termed the "Sultanate of Women". New sultans were always chosen from the sons of the previous sultan. The strong educational system of the palace school was geared towards eliminating the unfit potential heirs and establishing support among the ruling elite for a successor. The palace schools, which would also educate the future administrators of the state, were not a single track. First, the Madrasa (') was designated for the Muslims, and educated scholars and state officials according to Islamic tradition. The financial burden of the Medrese was supported by vakifs, allowing children of poor families to move to higher social levels and income. The second track was a free boarding school for the Christians, the "Enderûn", which recruited 3,000 students annually from Christian boys between eight and twenty years old from one in forty families among the communities settled in Rumelia or the Balkans, a process known as Devshirme (').  Though the sultan was the supreme monarch, the sultan's political and executive authority was delegated. The politics of the state had a number of advisors and ministers gathered around a council known as Divan. The Divan, in the years when the Ottoman state was still a "Beylik", was composed of the elders of the tribe. Its composition was later modified to include military officers and local elites (such as religious and political advisors). Later still, beginning in 1320, a Grand Vizier was appointed to assume certain of the sultan's responsibilities. The Grand Vizier had considerable independence from the sultan with almost unlimited powers of appointment, dismissal, and supervision. Beginning with the late 16th century, sultans withdrew from politics and the Grand Vizier became the "de facto" head of state.  Throughout Ottoman history, there were many instances in which local governors acted independently, and even in opposition to the ruler. After the Young Turk Revolution of 1908, the Ottoman state became a constitutional monarchy. The sultan no longer had executive powers. A parliament was formed, with representatives chosen from the provinces. The representatives formed the Imperial Government of the Ottoman Empire.  This eclectic administration was apparent even in the diplomatic correspondence of the Empire, which was initially undertaken in the Greek language to the west.  The Tughra were calligraphic monograms, or signatures, of the Ottoman Sultans, of which there were 35. Carved on the Sultan's seal, they bore the names of the Sultan and his father. The statement and prayer, "ever victorious", was also present in most. The earliest belonged to Orhan Gazi. The ornately stylized "Tughra" spawned a branch of Ottoman-Turkish calligraphy.

Administrative divisions.

The Ottoman Empire was first subdivided into provinces, in the sense of fixed territorial units with governors appointed by the sultan, in the late 14th century.  The Eyalet (also "Pashalik" or "Beylerbeylik") was the territory of office of a Beylerbey

Economy.

Ottoman government deliberately pursued a policy for the development of Bursa, Edirne, and Istanbul, successive Ottoman capitals, into major commercial and industrial centres, considering that merchants and artisans were indispensable in creating a new metropolis. To this end, Mehmed and his successor Bayezid, also encouraged and welcomed migration of the Jews from different parts of Europe, who were settled in Istanbul and other port cities like Salonica. In many places in Europe, Jews were suffering persecution at the hands of their Christian counterparts, such as in Spain, after the conclusion of Reconquista. The tolerance displayed by the Turks was welcomed by the immigrants.  The Ottoman economic mind was closely related to the basic concepts of state and society in the Middle East in which the ultimate goal of a state was consolidation and extension of the ruler's power, and the way to reach it was to get rich resources of revenues by making the productive classes prosperous. The ultimate aim was to increase the state revenues without damaging the prosperity of subjects to prevent the emergence of social disorder and to keep the traditional organization of the society intact. The Ottoman economy greatly expanded during the early modern period, with particularly high growth rates during the first half of the eighteenth century. The empire's annual income quadrupled between 1523 and 1748, adjusted for inflation.  The organization of the treasury and chancery were developed under the Ottoman Empire more than any other Islamic government

Demographics.

A population estimate for the empire of 11,692,480 for the 1520–1535 period was obtained by counting the households in Ottoman tithe registers, and multiplying this number by 5. For unclear reasons, the population in the 18th century was lower than that in the 16th century. An estimate of 7,230,660 for the first census held in 1831 is considered a serious undercount, as this census was meant only to register possible conscripts.  Censuses of Ottoman territories only began in the early 19th century. Figures from 1831 onwards are available as official census results, but the censuses did not cover the whole population. For example, the 1831 census only counted men and did not cover the whole empire. For earlier periods estimates of size and distribution of the population are based on observed demographic patterns.  However, it began to rise to reach 25–32 million by 1800, with around 10 million in the European provinces (primarily in the Balkans), 11 million in the Asiatic provinces, and around 3 million in the African provinces. Population densities were higher in the European provinces, double those in Anatolia, which in turn were triple the population densities of Iraq and Syria and five times the population density of Arabia.  Towards the end of the empire's existence life expectancy was 49 years, compared to the mid-twenties in Serbia at the beginning of the 19th century. Epidemic diseases and famine caused major disruption and demographic changes. In 1785 around one-sixth of the Egyptian population died from plague and Aleppo saw its population reduced by twenty percent in the 18th century. Six famines hit Egypt alone between 1687 and 1731 and the last famine to hit Anatolia was four decades later.  The rise of port cities saw the clustering of populations caused by the development of steamships and railroads. Urbanization increased from 1700 to 1922, with towns and cities growing. Improvements in health and sanitation made them more attractive to live and work in. Port cities like Salonica, in Greece, saw its population rise from 55,000 in 1800 to 160,000 in 1912 and İzmir which had a population of 150,000 in 1800 grew to 300,000 by 1914. Some regions conversely had population falls—Belgrade saw its population drop from 25,000 to 8,000 mainly due to political strife.  Economic and political migrations made an impact across the empire. For example, the Russian and Austria-Habsburg annexation of the Crimean and Balkan regions respectively saw large influxes of Muslim refugees—200,000 Crimean Tartars fleeing to Dobruja. Between 1783 and 1913, approximately 5–7 million refugees flooded into the Ottoman Empire, at least 3.8 million of whom were from Russia. Some migrations left indelible marks such as political tension between parts of the empire (e.g., Turkey and Bulgaria), whereas centrifugal effects were noticed in other territories, simpler demographics emerging from diverse populations. Economies were also impacted with the loss of artisans, merchants, manufacturers and agriculturists. Since the 19th century, a large proportion of Muslim peoples from the Balkans emigrated to present-day Turkey. These people are called "Muhacir". By the time the Ottoman Empire came to an end in 1922, half of the urban population of Turkey was descended from Muslim refugees from Russia.

Culture.

The Ottomans absorbed some of the traditions, art, and institutions of cultures in the regions they conquered and added new dimensions to them. Numerous traditions and cultural traits of previous empires (In fields such as architecture, cuisine, music, leisure, and government) were adopted by the Ottoman Turks, who developed them into new forms, resulting in a new and distinctively Ottoman cultural identity. Despite newer added amalgamations, the Ottoman dynasty, like their predecessors in the Sultanate of Rum and the Seljuk Empire, were thoroughly Persianised in their culture, language, habits, and customs, and therefore the empire has been described as a Persianate empire. Intercultural marriages also played a part in creating the characteristic Ottoman elite culture. When compared to the Turkish folk culture, the influence of these new cultures in creating the culture of the Ottoman elite was clear.  Slavery was a part of Ottoman society, with most slaves employed as domestic servants. Agricultural slavery, such as that which was widespread in the Americas, was relatively rare. Unlike systems of chattel slavery, slaves under Islamic law were not regarded as movable property, but maintained basic, though limited, rights. This gave them a degree of protection against abuse. Female slaves were still sold in the Empire as late as 1908. During the 19th century the Empire came under pressure from Western European countries to outlaw the practice. Policies developed by various Sultans throughout the 19th century attempted to curtail the Ottoman slave trade but slavery had centuries of religious backing and sanction and so slavery was never abolished in the Empire.  Plague remained a major scourge in Ottoman society until the second quarter of the 19th century. "Between 1701 and 1750, 37 larger and smaller plague epidemics were recorded in Istanbul, and 31 between 1751 and 1801."  Ottomans adopted Persian bureaucratic traditions and culture. The sultans also made an important contribution in the development of Persian literature.

Education.

In the Ottoman Empire, each millet established a schooling system serving its members. Education, therefore, was largely divided on ethnic

Literature.

The two primary streams of Ottoman written literature are poetry and prose. Poetry was by far the dominant stream. Until the 19th century, Ottoman prose did not contain any examples of fiction: there were no counterparts to, for instance, the European romance, short story, or novel. Analogue genres did exist, though, in both Turkish folk literature and in Divan poetry.  Ottoman Divan poetry was a highly ritualized and symbolic art form. From the Persian poetry that largely inspired it, it inherited a wealth of symbols whose meanings and interrelationships—both of similitude (مراعات نظير mura'ât-i nazîr / تناسب tenâsüb) and opposition (تضاد

Architecture.

Ottoman architecture was influenced by Persian, Byzantine Greek and Islamic architectures. During the Rise period (The early or first Ottoman architecture period), Ottoman art was in search of new ideas. The growth period of the Empire became the classical period of architecture when Ottoman art was at its most confident. During the years of the Stagnation period, Ottoman architecture moved away from this style, however. During the Tulip Era, it was under the influence of the highly ornamented styles of Western Europe; Baroque, Rococo, Empire and

Decorative arts.

The tradition of Ottoman miniatures, painted to illustrate manuscripts or used in dedicated albums, was heavily influenced by the Persian art form, though it also included elements of the Byzantine tradition of illumination and painting. A Greek academy of painters, the "Nakkashane-i-Rum", was established in the Topkapi Palace in the 15th century, while early in the following century a similar Persian academy, the "Nakkashane-i-Irani", was added.  Ottoman illumination covers non-figurative painted or drawn decorative art in books or on sheets in "muraqqa" or albums, as opposed to the figurative images of the Ottoman miniature. It was a part of the Ottoman Book Arts together with the Ottoman miniature ("taswir"), calligraphy ("hat"), Islamic calligraphy, bookbinding ("cilt") and paper marbling ("ebru"). In the Ottoman

Music and performing arts.

Ottoman classical music was an important part of the education of the Ottoman elite. A number of the Ottoman sultans were accomplished musicians and composers themselves, such as Selim III, whose compositions are often still performed today. Ottoman classical music arose largely from a confluence of Byzantine music, Armenian music, Arabic music, and Persian music. Compositionally, it is organised around rhythmic units called usul, which are somewhat similar to meter in Western music, and melodic units called makam, which bear some resemblance to Western musical modes.  The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the bağlama, the kemence), other Middle Eastern instruments (the

Cuisine.

Ottoman cuisine refers to the cuisine of the capital, Constantinople (Istanbul), and the regional capital cities, where the melting pot of cultures created a common cuisine that most of the population regardless of ethnicity shared. This diverse cuisine was honed in the Imperial Palace's kitchens by chefs brought from certain parts of the Empire to create and experiment with different ingredients. The creations of the Ottoman Palace's kitchens

Science and technology.

Over the course of Ottoman history, the Ottomans managed to build a large collection of libraries complete with translations of books from other cultures, as well as original manuscripts. A great part of this desire for local and foreign manuscripts arose in the 15th century. Sultan Mehmet II ordered Georgios Amiroutzes, a Greek scholar from Trabzon, to translate and make available to Ottoman educational institutions the geography book of Ptolemy. Another example is Ali Qushji – an astronomer, mathematician and physicist originally from Samarkand – who became a professor in two madrasas and influenced Ottoman circles as a result of his writings and the activities of his students, even though he only spent two or three years in Constantinople before his death.  Taqi al-Din built the Constantinople observatory of Taqi al-Din in 1577, where he carried out observations until 1580. He calculated the eccentricity of the Sun's orbit and the annual motion of the apogee. However, the observatory's primary purpose was almost certainly astrological

Sports.

The main sports Ottomans were engaged in were Turkish wrestling, hunting, Turkish archery, horseback riding, equestrian javelin throw, arm wrestling, and swimming. European model sports clubs were formed with the spreading popularity of football matches in 19th century Constantinople. The leading clubs, according to timeline, were Beşiktaş Gymnastics Club (1903), Galatasaray Sports Club (1905), Fenerbahçe Sports Club (1907), MKE Ankaragücü (formerly Turan Sanatkaragücü) (1910) in Constantinople. Football clubs were formed in other provinces too, such as Karşıyaka Sports Club (1912), Altay Sports Club (1914) and Turkish Fatherland Football Club (later Ülküspor) (1914) of İzmir.

The Ottoman Empire (; ', literally "The Sublime Ottoman State"; Modern Turkish:'or ""; ) was a state and caliphate that controlled much of Southeastern Europe, Western Asia, and Northern Africa between the 14th and early 20th centuries. It was founded at the end of the 13th century in northwestern Anatolia in the town of Söğüt (modern-day Bilecik Province) by the Oghuz Turkish tribal leader Osman I. Although initially the dynasty was of Turkic origin, it was Persianised in terms of language, culture, literature and habits. After 1354, the Ottomans crossed into Europe and with the conquest of the Balkans, the Ottoman beylik was transformed into a transcontinental empire. The Ottomans ended the Byzantine Empire with the 1453 conquest of Constantinople by Mehmed the Conqueror.

Osmanská říše (zastarale též "Otomanská říše", možno psát i malé písmeno, nebo, v Západní Evropě také známá jako Turecká říše nebo jednoduše Turecko) byla jedna z největších a nejmocnějších říší v prostoru při Středozemním moři. Říše existovala v letech 1299–1922 a během této doby zahrnovala oblasti Malé Asie, Balkánu, Černomoří, Blízkého a Středního východu a severní Afriky. Založena byla na konci 13. století v severozápadní Anatolii ve městě Söğüt (dnešní provincie Bilecik) oghuzským kmenovým vůdcem Osmanem I. Po roce 1354 se osmané dostali do Evropy a s dobytím Balkánu byly osmanské beyliky přeměněny na transkontinentální impérium. Osmané ukončili existenci Byzantské říše v roce 1453 pádem Konstantinopole za vlády Mehmeda Dobyvatele.


Early life and education.

Koch was born in Clausthal, Germany, on 11 December 1843, to Hermann Koch (1814–1877) and Mathilde Julie Henriette (née Biewend; 1818–1871). Koch excelled academically from an early age. Before entering school in 1848, he had taught himself how to read and write. He graduated from high school in 1862, having excelled in science and math. At the age of 19, Koch entered the University of Göttingen, studying natural science. However, after three semesters, Koch decided to change his area of study to medicine, as he aspired to be a physician. During his fifth semester of medical school, Jacob Henle, an anatomist who had published a theory of contagion in 1840, asked him to participate in his research project on uterine nerve structure. In his sixth semester, Koch began to research at the Physiological Institute, where he studied the secretion of succinic acid, which is a signaling molecule that is also involved in the metabolism of the mitochondria. This would eventually form the basis of his dissertation. In January 1866, Koch graduated from medical school, earning honors of the highest distinction.

Career.

Several years after his graduation in 1866, he worked as a surgeon in the Franco-Prussian War, and following his service, worked as a physician in in Prussian Posen (now Wolsztyn, Poland). From 1880 to 1885, Koch held a position as government advisor with the Imperial Department of Health. Koch began conducting research on microorganisms in a laboratory connected to his patient examination room. Koch's early research in this laboratory yielded one of his major contributions to the field of microbiology, as he developed the technique of growing bacteria. Furthermore, he managed to isolate and grow selected pathogens in pure laboratory culture.  From 1885 to 1890, he served as an administrator and professor at Berlin University.  In 1891, Koch relinquished his Professorship and became a director of the which consisted of a clinical division and beds for the division of clinical research. For this he accepted harsh conditions. The Prussian Ministry of Health insisted after the 1890 scandal with tuberculin, which Koch had discovered and intended as a remedy for tuberculosis, that any of Koch's inventions would unconditionally belong to the government and he would not be compensated. Koch lost the right to apply for patent protection.

Research.

Isolating pure bacterial cultures.

In an attempt to grow bacteria, Koch began to use solid nutrients such as potato slices. Through these initial experiments, Koch observed individual colonies of identical, pure cells. He found that potato slices were not suitable media for all organisms, and later began to use nutrient solutions with gelatin. However, he soon realized that gelatin, like potato slices, was not the optimal medium for bacterial growth, as it did not remain solid at 37 °C, the ideal temperature for growth of most human pathogens. As suggested to him by Walther and Fanny Hesse, Koch began to utilize agar to grow and isolate pure cultures, because this polysaccharide remains solid at 37 °C, is not degraded by most bacteria, and results in a transparent medium.

Koch's four postulates.

During his time as government advisor, Koch published a report, in which he stated the importance of pure cultures in isolating disease-causing organisms and explained the necessary steps to obtain these cultures, methods which are summarized in Koch's four postulates. Koch's discovery of the causative agent of anthrax led to the formation of a generic set of postulates which can be used in the determination of the cause of most infectious diseases. These postulates, which not only outlined a method for linking cause and effect of an infectious disease but also established the significance of laboratory culture of infectious agents, are listed here:

Anthrax.

Robert Koch is widely known for his work with anthrax, discovering the causative agent of the fatal disease to be "Bacillus anthracis". He discovered the formation of spores in anthrax bacteria, which could remain dormant under specific conditions. However, under optimal conditions, the spores were activated and caused disease. To determine this causative agent, he dry-fixed bacterial cultures onto glass slides, used dyes to stain the cultures, and observed them through a microscope. His work with anthrax is notable in that he was the first to link a specific microorganism with a specific disease, rejecting the idea of spontaneous generation and supporting the germ theory of disease.

Tuberculosis.

During his time as the government advisor with the Imperial Department of Health in Berlin in the 1880s, Robert Koch became interested in tuberculosis research. At the time, it was widely believed that tuberculosis was an inherited disease. However, Koch was convinced that the disease was caused by a bacterium and was infectious, and tested his four postulates using guinea pigs. Through these experiments, he found that his experiments with tuberculosis satisfied all four of his postulates. In 1882, he published his findings on tuberculosis, in which he reported the causative agent of the disease to be the slow-growing "Mycobacterium tuberculosis". Later, Koch's attempt at developing a drug to treat tuberculosis, tuberculin, led to a scandalous failure: he did not divulge the exact composition, and the claimed treatment success did not materialize; the substance is today used for tuberculosis diagnosis.  Koch and his relationship to Paul Ehrlich, who developed a mechanism to diagnose TB, were portrayed in the 1940 movie "Dr. Ehrlich's Magic Bullet".

Cholera.

Koch next turned his attention to cholera, and began to conduct research in Egypt in the hopes of isolating the causative agent of the disease. However, he was not able to complete the task before the epidemic in Egypt ended, and, after a short trip to Persia, traveled to India to continue with the study. In 1884 in Bombay state of India (the present day State of Maharastra, India), Koch resided and researched at Grant Medical College, (or by some accounts in Kolkata, formerly Calcutta in undivided British India) where he was able to determine the causative agent of cholera, isolating "Vibrio cholerae". The bacterium had originally been isolated in 1854 by Italian anatomist Filippo Pacini, but its exact nature and his results were not widely known.

Acquired immunity.

Koch observed the phenomenon of acquired immunity. On December 26, 1900, he arrived as part of an expedition to German New Guinea, which was then a protectorate of the German Reich. Koch serially examined the Papuan people, the indigenous inhabitants, and their blood samples and noticed they contained Plasmodium parasites, the cause of malaria, but their bouts of malaria were mild or could not even be noticed, i.e. were subclinical. On the contrary, German settlers and Chinese workers, who had been brought to New Guinea, fell sick immediately. The longer they had stayed in the country, however, the more they too seemed to develop a resistance against it.

Awards and honors.

In 1897, Koch was elected a Foreign Member of the Royal Society (ForMemRS). In 1905, Koch won the Nobel Prize in Physiology and Medicine for his work with tuberculosis. In 1906, research on tuberculosis and tropical diseases won him the Prussian Order Pour le Merite and in 1908, the Robert Koch Medal, established to honour the greatest living physicians.  Koch's name is one of 23, from the fields of hygiene and tropical medicine, featured on the frieze of the London School of Hygiene & Tropical Medicine building in Keppel Street, Bloomsbury.  A large marble statue of Koch stands in a small park known as Robert Koch Platz, just north of the Charity Hospital, in the Mitte section of Berlin. His life was the subject of a 1939 German produced motion picture that featured Oscar winning actor Emil Jannings in the title role. On 10 December 2017, Google showed a Doodle in celebration of Koch's birthday.

Personal life.

In July 1867, Koch married Emma (Emmy) Adolfine Josephine Fraatz, and the two had a daughter, Gertrude, in 1868. Their marriage ended after 26 years in 1893, and later that same year, he married actress Hedwig Freiberg (1872–1945).  On 9 April 1910, Koch suffered a heart attack and never made a complete recovery. On 27 May, three days after giving a lecture on his tuberculosis research at the Prussian Academy of Sciences, Koch died in Baden-Baden at the age of 66. Following his death, the Institute named its establishment after him in his honour. He was irreligious but born Jewish.

Heinrich Hermann Robert Koch (; ; 11 December 1843 – 27 May 1910) was a German physician and microbiologist. As one of the main founders of modern bacteriology, he identified the specific causative agents of tuberculosis, cholera, and anthrax and also gave experimental support for the concept of infectious disease, which included experiments on humans and animals. Koch created and improved laboratory technologies and techniques in the field of microbiology, and made key discoveries in public health. His research led to the creation of Koch's postulates, a series of four generalized principles linking specific microorganisms to specific diseases that proved influential on subsequent epidemiological principles such as the Bradford Hill criteria. For his research on tuberculosis, Koch received the Nobel Prize in Physiology or Medicine in 1905. The Robert Koch Institute is named in his honour.

Robert Koch (11. prosince 1843 – 27. května 1910) byl německý lékař a mikrobiolog, zakladatel bakteriologie a nositel Nobelovy ceny za fyziologii a lékařství (1905). Objevil původce tuberkulózy a potvrdil původce anthraxu a cholery (objevitelem bakterie cholery je Filippo Pacini).