#Colette Audry

[sensitiveuser]

Criticism of Non-Intervention in Spain (1936): The Role of the Press.

In this post, I will base myself on the various criticisms of the policy of non-intervention in Spain, appearing in the press.

Without giving you a classic lesson, I will quote a lot from the various interventions of journalists and editorialists. This post is a bit long, but as long as I make myself clear, everything is fine...

From mid-July 1936, the editorialists of the newspaper L’Humanité (central organ of the French Communist Party since 1920) denounced the “interventionism” of Nazi Germany and Fascist Italy, that is to say the delivery of weapons to the rebels. The editorialists of L’Humanité rely on the information collected by Paul Vaillant-Couturier in August. This communist reporter witnessed the presence at Franco’s home of twenty Junker bombers, five planes displaying the swastika, and many German and Italian officers. The editorialists of L’Humanité rely on information gathered by Paul Vaillant-Couturier in August. This reporter (a member of the French Communist Party) witnesses the presence at Franco’s home of twenty Junker bombers, five planes displaying the swastika, and many German and Italian officers.

In the magazine Europe (founded by Romain Rolland), Jean-Richard Bloch shares his analysis of what is happening in Spain: “under our noses, with an impudence, a cynicism and almost a publicity that gave the measure of their contempt, Germans and Italians continued to supply the rebels”. Similarly, La Révolution espagnole also bears witness to the delivery of weapons for Franco’s militia.

La Révolution espagnole, as the weekly French edition of the POUM, was created on September 3, 1936. Colette Audry, an activist in the CGTU (the communist branch of the CGT from 1920 to 1936), editor at L’Ecole émancipée, member of the Comité de Vigilance des Intellectuels Antiascistes, was present in Spain throughout the summer of 1936.

She met Julian Gorkin and other POUM activists. Colette Audry was the main translator of La Révolution espagnole and the newspaper’s French correspondent. Responsible for distributing it, she played an important role in recruiting volunteers to fight. La Révolution espagnole, as a Franco-Spanish magazine, published only in the first months of the Spanish Civil War, was totally militant in its distribution. Its first page states: “Please reproduce” (in order to break a certain confidentiality, certainly…). The editorials of The Spanish Revolution are mostly anonymous, although the first issue is signed by Julian Gorkin. Gorkin denounces the moral and material support of the fascist military leaders by Hitler and Mussolini, going beyond international regulations.

On August 10, in The Proletarian Revolution (magazine of the "CGT - Syndicalist and Revolutionary"), Ida Mett comments on the situation: She mentions the lack of weapons, planes and gasoline for the Spanish antifascists (CNT, POUM), and specifies that "Every day of delay can cause disasters". The revolutionary syndicalists (CGT-SR) are the only ones to mention the idea of ​​delivering weapons to the comrades in Spain.

At the end of August, in L’Humanité, Marcel Cachin proclaimed that if the Spanish Republicans, Socialists and Communists had received the same armed support “that Franco and Llano enjoyed” (the latter being a commander of the Carabinieri who took possession of Seville on July 18), “our friends would already be victorious and the murderous fascism of Franco and Llano would be on the ground! That is the truth! And that is why, while pursuing a prudent and resolutely peaceful policy, the French Popular Front has the duty to take the greatest account of the energetic wishes of the workers who have entrusted them with power.” (L’Humanité, August 23).

The term “blockade” is the first term that becomes recurrent in communist speeches strongly opposed to non-intervention. Paul Vaillant-Couturier denounces “the unbearable blockade” and calls for a demonstration to protest against the “blockade.” After Blum's speech at Luna-Park, Vaillant-Couturier published an editorial entitled "Down with the blockade!". The next day, Maurice Thorez published his editorial entitled "We must stop the blockade". On September 20, it was written in L'Humanité "The Spanish Republic must not be a victim of the blockade!". "Neutrality" is the second term that causes controversy. For example, the editorial of September 17 of La Révolution espagnole, is very critical of this neutrality advocated by Blum. "After having denied the existence of international law, Blum arrives at the logical consequence: while France helps the regular government of Spain, the fascist countries support the rebels.

The "neutrality" advocated by Léon Blum is the second controversial term. For example, the September 17 editorial of La Révolution espagnole is very critical of this neutrality advocated by Blum. "After denying the existence of international law, Blum arrives at the logical consequence: while France helps the regular government of Spain, the fascist countries support the rebels. This is the competition of armaments, and in Blum's thinking this competition would inevitably lead to a European war. One can be all the more surprised by this simplistic logic since, in another part of his speech, Blum affirms that war is possible when it is admitted as possible: fatal, when it is proclaimed fatal. Thus Blum himself inflicts a denial on his attitude in the Spanish revolution. Blum refuses aid to Madrid because he believes war to be fatal. However, nothing could be further from the truth. Despite tremendous heroism, it is the lack of high-powered weapons that forces the workers' militias to advance slowly. It is the lack of planes and cannons that prolongs the war and thus allows the fascists to receive German and Italian reinforcements, despite their poor geographical situation. Thousands of dead workers and peasants massacred in the provinces occupied by the rebels are the terrible price of false neutrality" (The Spanish Revolution, September 17, 1936).

On the side of the Human Rights League, Emile Kahn published three articles in La Lumière, a month after the Luna-Park speech: "This solemn declaration is sincere. This entire Luna-Park speech is of a pathetic and poignant sincerity. But Léon Blum is mistaken: the commitments made have been violated. These acts of interference, contrary to the commitments made, Blum ignored them when he spoke on September 6. But, at this date, was Yvon Delbos unaware of them? Did his agents in Spain fail to report them? The following week, Emile Kahn hammered home in anaphora that it was “morally impossible” to continue to practice this policy of “neutrality”, due to the “protests of interference that were multiplying”.

Even in Le Populaire (official journal of the SFIO), some articles questioned Blum’s policy of neutrality. Jean Zyromski, founder of the Bataille socialiste (left wing of the SFIO), appealed to the facts: “But can we maintain today, in the face of the obvious, tangible, concrete facts of continued supply of the rebels, in the face of the position taken by Portugal, that the position of the French government cannot be modified?” (Le Populaire, September 15, 1936). Then, Jean Zyromski left for the mission of the European Conference for Aid to the Spanish People with Jacques Duclos, Eugène Hénaff, and Georg Branting (Swedish MP). On his return, Zyromski said that he had no intention of attacking the Popular Front government, but he maintained that he had the right (and the duty, he said) to indicate the necessary corrections in the orientation of a policy. Even within the Socialist Battle, there were divergences. Zyromski had to distance himself from his comrades who had fully approved of Léon Blum’s position, and which according to him “compromises the existence of the Spanish Republic.”

It must be said that the term "neutrality" is well and truly emptied of its meaning... On August 15, 1936, Paul Nizan questions the term "neutrality" in the Correspondance internationale (journal of the Communist International), "So that everything is currently happening as if this "neutrality", which is moreover completely incontestable from the point of view of international law, since it is not at all a question of the conflict of two sovereign powers, but of the struggle of a legitimate government against factious people, was only a neutrality of facade". The editorial of October 14 of La Révolution espagnole returns to this "lexical degradation", associating it with the "equally false" exercise of diplomacy: "The diplomatic farce of neutrality is in the process of being denounced". In La Voix libertaire, Jules Goirand, alias Trencoserp, rails: "The diplomatic farce of neutrality is being denounced." In October, the journalist Gabriel Péri, who was in Spain in August 1936, also denounces the absurdity of "neutrality": "The impotent Non-intervention Committee, which holds a weekly session in London, refuses to examine Spanish grievances! When will this odious comedy end?" (Gabriel Péri, L'Humanité, October 7, 1936).

After the words "blockade", "neutrality", "comedy", another related term, that of "deception", appeared in the interventionist press. As early as mid-August, Georges Boris, in La Lumière, called for caution: "But this solution, which in so many respects hurts us painfully, is only one if the fascist countries quickly take and rigorously keep the commitment of neutrality. Otherwise it would be a terrible, deadly deception" (Georges Boris, La Lumière, August 15, 1936). In L'Humanité of September 3, Paul Nizan wonders: "Will the great deception stop? Each day that passes means more blood."

Julio Alvarez del Vayo, Spanish Minister of Foreign Affairs, sent the Non-Intervention Committee a note of protest reporting the supply of weapons to the rebel camp. In October 1936, in the CVIA bulletin “Vigilance”, Pierre Bicquart once again described the non-intervention as “deception”.

Gabriel Péri reports, in La Correspondance internationale, on the USSR's denunciation of "the hypocrisy of the so-called non-intervention"; according to Gabriel, "the fascist rebellion bears the Hitlerian hallmark" (La Correspondance internationale, October 17).

On October 23, the USSR announced its break with the non-intervention pact. From then on, the USSR would intensify its aid to Spain. For communist activists, the USSR had shown courage. Gabriel Péri in L’Humanité and Jean-Richard Bloch in Europe were very enthusiastic. According to Gabriel Péri, “For the honor of Europe, the USSR broke the contract which, violated by some of the contracting parties, was nothing more than a scam.”

Paul Nizan, in La Correspondance internationale, emphasized that “it was in no way a conflict between two sovereign powers, but the struggle of a legitimate government against factious people,” establishing a dichotomy between legitimate government and rebellion.

André Marty considered the policy of non-intervention to be contrary to international law. He insisted on the importance of providing equipment necessary for defense. According to this PCF militant fighting for the International Brigades, the "appeasement" policy of the "European democracies" was ineffective. In August 1936, the Comintern appointed André Marty as a delegate to the "Frente Popular", "to consider the help that could be provided by the international communist movement" (cf. "André Marty", according to Jean Maitron and Claude Pennetier). He concluded with this sentence: "The Spanish people do not ask for help, they demand it". André Marty was appointed "inspector general of the International Brigades", based in Albacete.

On November 5, Gabriel Péri, in L’Humanité, refused to use the term “civil war.” In this, he contradicted Paul Nizan’s comments. In August 1936, in the journal Clarté (belonging to the World Committee Against War and Fascism) directed by Paul Langevin and Romain Rolland, Paul Nizan analyzed the situation in Spain as a “civil war pitting the working people and peasants against rebel troops and fascist bands,” with all the artillery, aviation, automatic weapons, and means of guerrilla warfare. François Delaisi (journalist, CGT activist, member of the LDH and the CVIA), in his work L’Homme réel, asserts that the Spanish conflict cannot be reduced to an internal conflict between two factions of the same people, but a conflict whose character goes beyond the narrow framework in which it initially arose.

In Le Libertaire, July 31, Sébastien Faure virulently condemns the inept expression of "fratricidal war", mentioned by both reactionaries and radicals! "Be quiet, hypocrites! Yesterday's was and tomorrow's will be a fratricidal war, since it will determine the most monstrous atrocities between humans condemned to kill each other, when (...) they should live as brothers. But the war which, on the other side of the Mediterranean, arms workers against the lazy, slaves against masters, those who aspire to break their chains against those who try to make them heavier, that war is liberating and holy!".

On November 5, Gabriel Péri, in L’Humanité, refused to use the term “civil war.” In this, he contradicted the remarks made by Paul Nizan three months earlier. In August 1936, in the journal Clarté (belonging to the World Committee Against War and Fascism) edited by Paul Langevin and Romain Rolland, Paul Nizan analyzed the situation in Spain as a “civil war opposing the working people and peasants to rebel troops and fascist bands,” with all the artillery, aviation, automatic weapons, and means of guerrilla warfare. François Delaisi (journalist, CGT activist, member of the LDH and the CVIA), in his work L’Homme réel, asserts that the Spanish conflict cannot be reduced to an internal conflict between two factions of the same people, but a conflict whose character goes beyond the narrow framework in which it was initially posed.

In Le Libertaire of July 31, 1936, Sébastien Faure virulently condemns the inept expression of "fratricidal war", mentioned by both reactionaries and radicals! "Shut up, hypocrites! Yesterday's was and tomorrow's will be a fratricidal war, since it will determine the most monstrous atrocities between humans condemned to kill each other, when (...) they should live as brothers. But the war that, on the other side of the Mediterranean, arms workers against the lazy, slaves against masters, those who aspire to break their chains against those who try to make them heavier, that war is liberating and holy!"

Calls for armed aid are becoming more and more pressing. In opposition to Luna-Park's speech, the now famous slogan "Cannons, planes for Spain!" is chanted during the demonstrations. According to Adrienne Montégudet, editor at La Révolution prolétarienne, "Only Mexico has done its duty !" The slogan "Cannons, planes for Spain !" is taken up by La Révolution espagnole, Le Libertaire, and La Voix Libertaire.

[byneddiedingo]

Frank Villard and Danièle Delorme in Gigi (Jacqueline Audry, 1949)

Cast: Danièle Delorme, Yvonne de Bray, Gaby Morlay, Jean Tissier, Frank Villard, Paul Demange, Madeleine Rousset, Pierre Juvenet, Michel Flamme, Colette Georges, Yolande Laffon, Hélène Pépée. Screenplay: Pierre Laroche, based on a novel by Colette. Cinematography: Gérard Perrin. Set decoration: Raymond Druart. Film editing: Nathalie Petit-Roux. Music: Marcel Landowski.

The print I saw of Jacqueline Audry’s Gigi was not very good, the images having shifted into high contrast with little variation in the grays, so that the subtitles were often an unreadable white on white. But anyone familiar with either the Colette novella or the 1958 Lerner and Loewe musical version directed by Vincente Minnelli would have little trouble following the story. It’s a movie that retains much of the charm and a little of the bite of the original, and Danièle Delorme is a fetching Gigi, the girl raised to be a grande horizontale who wins the heart and hand of the wealthy Gaston Lachaille (Frank Villard). Delorme and Villard don’t erase memories of Leslie Caron and Louis Jourdan in the musical, but they have their own contributions to make, especially Villard, who is particularly strong in the scenes in which Gaston comes to realize the true nature of his feelings for Gigi. You sense his rising queasiness when she accepts his proposal to become his mistress, especially in the scene in the private room at the restaurant where they are about to consummate their relationship. When she naively asks why the couches in the room have slipcovers and when she chooses his cigar by rolling it between her fingers as she has been taught, the full obscenity of the situation becomes apparent to him. It has been apparent to us from the moment at the beginning of the film when we meet his uncle, Honoré, whom Jean Tissier plays as far more a dirty old man than the elegant Maurice Chevalier did in the musical. Which is not to say that the movie’s moral stance is heavy-handed: Director Audry has a very light touch, the product of a close collaboration with Colette. There are some wonderful period touches throughout the film, including Gaston’s automobile, Aunt Alicia’s (Gaby Morlay) telephone, and the bathing machine that is pulled by a mule into the waves at Deauville. The movie also reminded me that Gigi is a nickname for Gilberte, which is also the name of Swann’s daughter and the narrator’s first infatuation in Proust's À la recherche du temps perdu. There’s also a scene in which Gigi plays hide-and-seek with other schoolgirls in the park, that echoes for me Albertine and her little band of girls in À l'ombre des jeunes filles en fleurs. Proust was only two years older than Colette, and the Recherche and  Gigi very much share the same milieu.

[colesmurf23]

(OC) Marlin The Yoshi

Bio: Marlin Yoshi

Name: Marlin

Gender: Male

Age: 25

Sexuality: Straight

Birthday: January 1st

Species: Yoshi

Relationship/Wife: Arilyn

Family Members: Cole (Mother) Micole (Mother) Nivian (Grandma) Midnight (Grandpa) James (Grandpa) Tori (Grandma) Vicktoria (Aunt) Jamarr (Uncle) Victorio (Uncle) Jamell (Uncle) Jamesie (Uncle) Victoire (Aunt) Toree (Aunt) Jame (Uncle) Noora (Sister) Maxwell (Brother) Noel (Sister) Manfried (Brother) Marlyssa (Brother) Moses (Brother) Nerissa (Sister) Nuna (Sister) Nea (Sister) Micoletta (Sister) Mickey (Brother) Luiggi (Brother) Luigina (Sister) Clo (Sister) Coe (Brother) Cloris (Younger Sister) Madea (Younger Sister) Olivia (Younger Sister) Hailee (Youngest Sister) Cube (Youngest Brother) Starr (Youngest Sister) Aryan (Son) Aryeh (Son) Marabella (Daughter) Marabelle (Daughter) Arysta (Daughter) Marcelo (Son) Marcel (Son) Malin (Favorite Son) Arilla (Daughter) Arielle (Daughter) Arietta (Adopted Daughter) Maryn (Adopted Son) Zavier (Piplup Pokemon) Evan (Brother in law) Evans (Nephew) Maxima (Niece) Margolette (Niece) Margo (Nephew) Evanam (Nephew) Maxon (Nephew) Maxton (Nephew) Evanne (Niece) Evander (Nephew) Evanna (Niece) Danny (Brother in law) Delora (Niece) Dallan (Nephew) Dallin (Nephew) Nova (Niece) Nikolas (Nephew) Danae (Niece) Danni (Niece) Danna (Niece) Nooriel (Nephew) Darry (Nephew) Dooley (Nephew) Noah (Younger Nephew) Noa (Younger Niece) Noire (Younger Niece) Donny (Younger Nephew) Noor (Youngest Niece) Norah (Youngest Adopted Niece) Daniyal (Youngest Adopted Nephew) Ryder (Brother in law) Nollan (Nephew) Rylan (Nephew) Ryland (Nephew) Renae (Niece) Noeletta (Niece) Ryden (Nephew) Nohl (Nephew) Noella (Niece) Ryenne (Niece) Noely (Niece) Clover (Sister in law) Clovis (Nephew) Marcie (Niece) Marcy (Niece) Claude (Nephew) Claud (Nephew) Marcellus (Nephew) Cloud (Nephew) Mearl (Nephew) Cova (Niece) Clarke (Niece) Clark (Nephew) Malik (Nephew) Mali (Nephew) Cove ((Niece) Manfred (Nephew) Karl (Brother in law) Marly (Niece) Marlis (Niece) Mirabela (Niece) Carlyle (Nephew) Carlus (Nephew) Carlin (Niece) Cal (Nephew) Karl (Brother in law) Marly (Niece) Marlis (Niece) Mirabela (Niece) Carlyle (Nephew) Carlus (Nephew) Carlin (Niece) Cal (Nephew) Miggy (Niece) Mariam (Niece) Kiri (Nephew) Kerri (Niece) Embo (Nephew) Audrina (Sister in law) Marlo (Nephew) Audey (Nephew) Adya (Nephew) Audley (Nephew) Adney (Nephew) Marrin (Niece) Marry (Niece) Morris (Nephew) Audric (Nephew) Auden (Nephew) Austen (Nephew) Marten (Nephew) Moselle (Niece) Audry (Youngest Niece) Moshe (Youngest Nephew) Marco (Brother in law) Nessa (Niece) Maci (Niece) Marco (Nephew) Neela (Niece) Marc (Nephew) Nestor (Nephew) Marcella (Niece) Marcelle (Niece) Nero (Nephew) Nerian (Nephew) Sunset (Sister in law) Elaine (sister in law) Sandra (Sister In law) Micola (Niece) Sander (Nephew) Sandro (Nephew) Sammy (Nephew) Micolette (Niece) Suzette (Niece) Sandriana (Niece) Michelette (Niece) Michela (Niece) Sanderson (Nephew) Michel (Nephew) Michele (Nephew) Melissa (Sister in law) Mellisa (Niece) Mick (Nephew) Melissza (Niece) Melisha (Niece) Mel (Niece) Micki (Niece) Mickie (Niece) Mike (Nephew) Mikko (Nephew) Melvyn (Nephew) Virginna (Sister in law) Candace (Sister in law) Lydia (Sister in law) Peasly (Brother in law) Tiffiny (Sister in law) Toren (Brother in law) Boone (Uncle) Amarah (Aunt) Nikson (Uncle) Nirvana (Aunt) King Coal (Uncle) Nicole (Aunt) Katie (Cousin) Kylar (Cousin) Coal Jr (Cousin) Aleiza (Cousin) Zeke (Cousin) Tabarious (Cousin) Tavio (Cousin) Adalley (Cousin) Tamburlaine (Cousin) Fuzzy (Cousin) Sabrina (Younger Cousin) Ayden (Younger Cousin) Nikole (Younger Cousin) Koal (Younger Cousin) Cortney (Youngest Cousin) Nicoletta (Youngest Cousin) Nicola (Youngest Cousin) Nicco (Youngest Cousin) Colette (Aunt) Colleen (Cousin) Cox (Cousin) Coxe (Cousin) Clarette (Cousin) Coleta (Cousin) Colley (Cousin) Robley (Cousin) Colie (Cousin) Coline (Cousin) Conrad (Cousin) Conran (Cousin) Coelee (Cousin)

Personality: Clumsy, Active, Shy, Caring, Helpful, Creative, Gamer, And Sensitive

Friends: Clumsy Smurf Nat Smurfling Smurfette Smurf Painter Smurf Cookie (My bestie's oc and Best Friend) Karlie (2nd Best Friend) Javon (3rd Best friend) Boston (4th Best friend) Forest (5th Best friend) Ebbe Muffin (My Bestie's oc and 6th best friend) Laura (My bestie's oc and 7th best friend) Clova (My bestie's oc) Myron (My bestie's oc and 8th best friend) Finnley (My bestie's oc) Julyana (Our oc and 9th best friend) Kaitlin (Our oc) Kaeli (Our oc and 10th best friend) Kaleo (Our oc and 11th best friend) Keara (Our oc) Alysha (My Bestie's oc and 12th best friend) Noelia (13th best friend) Ozzy (My bestie's oc and 14th best friend) Ander (Our oc and 15th best friend) Leevi (Our oc and 16th best friend)

Favorite Color: Green

Favorite Season: Fall And Winter

Favorite Holiday: Thanksgiving And Christmas

Fun Fact: Marlin is kinda a clumsy yoshi, he does trip and drop stuff sometimes. But he always cleans up his mess. Since he's very clumsy. By being clumsy, he is very active, especially during the winter. He love playing in the snow. And mostly love to have snowball fights with his siblings. And at the end of the day after playing in the snow. He snuggles by the fire, and spend time with he's mini crewmate and mini imposter. Being active, he can be very shy. Even when he was a baby yoshi, he was very shy. He isn't use to be around a lot of people, but he love being by his best friend Cookie. He is very caring, especially around he's family. He may be shy, but he is very caring. Being caring, he love helping out, he helps both he's mother's a lot. He also take care of he's mothers mini imposter and mini crewmarte. Why they both are out on a date. He is also very attached to he's younger adopted siblings. He cares so much about them, that he will and always keep them safe. Because he is very helpful and very caring. on he's free time, he can be very creative. He love's drawing, he most makes fanart of his favorite series or franchise. Like he's mother Cole. She does the same. He also love drawing for he's mothers on their birthday. On he's free time. He does play video games. He mostly plays multiplayer games. He love's playing Among Us, and a bunch of Mario games. He mostly plays them with both he's mothers. He also love being the imposter both normal and hide and seek. He does go after he's mother Cole first. Before killing other crewmates. And he can be very sensitive, he doesn't like to see anything scary, he is very sensitive to scary things. It kind always make him sick a little bit. Since he is very sensitive to that kind of stuff.

Marlin belong to: me

Yoshi Species: Nintendo

[genevieveetguy]

- Tell me what it's like to be in love. - No, it's too horrible to talk about, too delightful to think about...

Olivia, Jacqueline Audry (1961)

[detournementsmineurs]

"Minne, l'Ingénue Libertine" de Jacqueline Audry (1950) - adapté du roman "L'Ingénue libertine" de Colette (1909) - avec Danièle Delorme, Franck Villard, Claude Nicot, Roland Armontel, Yolande Laffon et Jean Tissier, juillet 2021.

[child-in-her-eyes]

some thoughts on Olivia (1951), so cw: sexual abuse, csa, grooming

i loved this movie so much, and i want both to read the book by dorothy bussy and explore jacqueline audry’s filmography (which include three adaptations of colette novels). i was prepared for the plot involving grooming and abuse of children & teenagers, but was still taken aback by how it was portrayed. it was tastefully done imo, but felt more brutal than i was expecting. something that affected me a lot were the scenes of olivia lying in bed, immobile, waiting expectantly for mlle. julie; the tension this built, how affecting it was both when she did and did not show up.

was also really fascinated by how vampiric mlle. julie was, and i wonder if i’m just too obsessed with vampires or if that was deliberate. this certainly seemed to be on purpose:

but also the way she would look longingly at the girls and then attempt to control herself, like a vampire smelling blood. or the scenes of olivia in bed, as i mentioned, waiting for that shadowy figure to enter her room. and, of course, maybe most of all, the hold mlle. julie had on the girls, how olivia’s passionate love could be compared to the effects of a vampire thrall.

mlle. cara was one of the saddest parts of the movie for me. she’s emotionally stunted, dependent on julie, desperate for love and attention, and acts like a spoiled little girl. there’s a scene where she says to herself “je suis une petite, une toute petite” and it broke my heart.

there’s a lot more to say about olivia, but i’m not feeling eloquent right now. i’m just struck by how much i loved it, and how so many elements seemed to me to be right out of a horror movie. i think i have a tendency to approximate the movies i love to horror, even when they aren’t considered such, but i do think it fits in this case.

[tcm]

MADCHEN IN UNIFORM (’31): The First Lesbian Feature Film By Raquel Stecher

Director Leontine Sagan’s MADCHEN IN UNIFORM (’31) wasn’t the first movie that featured lesbian characters but it was certainly a notable one. This German film came during a time between WWI and WWII when there was a thriving gay subculture in parts of Europe. Movies like DIFFERENT FROM THE OTHERS (’19) and MICHAEL (’24) were born out of that era and candidly depicted gay relationships. Marlene Dietrich gave the world the first cinematic lesbian kiss in MOROCCO (’30). PANDORA’S BOX (’29), starring Louise Brooks, featured a lesbian subplot. This was a flourishing time for queer representation and it ended abruptly with the emergence of the Nazi regime.

MADCHEN IN UNIFORM was special in many regards. It’s the first feature film with a solely lesbian theme. It was based on a play written by a woman. It was directed by a woman, with an artistic director credit going to Carl Froelich. And, the cast was completely made up of women. Not a single man can be spotted throughout the whole movie.

Set in a Prussian all-girls boarding school, MADCHEN IN UNIFORM, which translates into “Girls in Uniform,” tells the story of new student Manuela (Hertha Thiele) and her attraction towards her instructor, Fraulein von Bernburg (Dorothea Wieck). The school is run by a strict headmistress, played by Emilia Unda, who extols Prussian virtues of discipline, obedience, restraint and self-denial. In the context of the story, these virtues are seen as old-fashioned and severe, something that the contemporary audience of Germany’s Weimar Republic would have agreed with. The headmistress creates an environment that stifles Manuela and her fellow students who find themselves in a fairly delicate stage of their development. Even though it’s a toned-down version of the original play, Sagan’s film is still a notably frank expression of lesbian romance. There is a kiss between Wieck and Thiele, an exchange of garments, a brief experimentation with gender identity and a passionate declaration of love.

Playwright Christa Winsloe based the story on her own experience at a Prussian boarding school. Writing the play was her way of processing the trauma of her youth. Upon the success of her play, Winsloe moved to Berlin and lived openly as a lesbian. She was once married to a Baron then later became romantically involved with two other women writers, newspaper reporter Dorothy Thompson and Swiss author Simone Gentet.

Winsloe’s play caught the eye of theater producer and actress Leontine Sagan. In her memoir, Sagan recalls MADCHEN IN UNIFORM “was an original play and true to life, but it was technically rough and amateurish in its dramaturgical structure. Nonetheless, I liked this unusual play about girls in a Prussian boarding school and made the author’s acquaintance.” MADCHEN IN UNIFORM would be Sagan’s directorial debut and she would later produce the play for the Duchess Theatre in London.

It was inevitable that changes had to be made to Winsloe’s original story. Overt lesbian themes were dialed back. Artistic director Froelich suggested that the ending be changed from tragedy to something that would be more open-ended. While Winsloe approved of the final film, she still felt a natural possessiveness towards her story. She novelized the film, her way of taking ownership of the story once again, and published MADCHEN IN UNIFORM as a book in 1933.

Upon release, critics and audiences alike raved about the movie. It received glowing reviews. While it was never widely released in the United States, it did ultimately screen in over 1,000 theaters. Andre Sennwald of The New York Times called it a “masterpiece”. Mordaunt Hall of the same publication said in two 1932 reviews “Few motion pictures have been endowed with the magnetic quality of MADCHEN IN UNIFORM… It is a film in which all the characters fasten themselves in one’s mind, not as actors, but as real persons. The performances of all are deserving of the highest praise.” Of course the film met with some opposition. It was “Banned in Boston”, a badge of honor for provocative work. Film producer John Krimsky battled with the Hays Office to get the film approved for distribution.

Producer David O. Selznick was so impressed with Sagan’s debut film that he invited her to Hollywood. She made two films there, both were flops, and returned to the theater where she thrived. Actress Dorothea Wieck was also courted by Hollywood. Paramount executives, intrigued by her striking resemblance to MGM star Norma Shearer, put her under contract. Wieck’s Hollywood films were box-office failures. She was booted out of tinseltown and unfairly labeled a Nazi spy. The irony was that Wieck was an outspoken critic of the Nazi regime and refused to act in Nazi propaganda films.

In fact most of the women involved with MADCHEN IN UNIFORM were courted by the Nazis. Although the film was banned in Nazi Germany and many copies were destroyed, Joseph Goebbels himself was a fan and called it a “magnificently directed, exceptionally natural and exciting film art”. Leontine Sagan, actresses Hertha Thiele and Erika Mann all refused offers by the Nazi government to use their talents for propaganda.

After the war, the film languished under censorship but never lost its appeal. It was remade several times including a 1958 film adaptation starring Lilli Palmer and Romy Schneider. It was in a long line of lesbian-themed stories set in all-girl schools, including Colette’s Claudine novels (she wrote the French subtitles for the film), Jacqueline Audry’s OLIVIA (’51) and William Wyler’s THE CHILDREN’S HOUR (’61). MADCHEN IN UNIFORM enjoyed a resurgence of interest in the 1970s finding fans among a growing community of feminists and lesbians with an interest in women directed films. Today it still stands as a seminal lesbian drama that deserves to be studied and appreciated.

[finita--la--commedia]

Theirs was a new kind of relationship, and I had never seen anything like it. I can’t describe what it was like to be present when those two were together. It was so intense that sometimes it made others who saw it sad not to have it.

Colette Audry on the relationship between Sartre and  Beauvoir, in the interview with Deirdre Bair, March 5, 1986

[vincentdelaplage]

2/3 LA BATAILLE DU RAIL 27 février 1946 en salle / 1h 25min / Drame, Guerre De René Clément Par Colette Audry, René Clément Avec Jean Daurand, Jean Clarieux, Tony Laurent Regardez "La Bataille du rail ( bande annonce )" sur YouTube https://youtu.be/0CS8iZc1WIw SYNOPSIS Camargue, un chef de gare, aide autant qu'il le peut les juifs à fuir les zones occupées par les nazis, pendant la Seconde Guerre Mondiale. Ces résistants leur font traverser cette frontière entre deux France afin qu'ils ne se fassent pas déporter. Ils organisent également des sabotages d'opérations prévues par les allemands et transmettent des informations précieuses au QG londonien. Ce groupe de héros s'appelle la "Résistance Fer". #culturejaiflash https://www.instagram.com/p/CTjTz4JMtFg/?utm_medium=tumblr

[tina-aumont]

FR/ENG

Manifeste des 343

Le manifeste des 343, est une pétition française parue le 5 avril 1971 dans le no 334 du magazine Le Nouvel Observateur. C'est, selon le titre paru en une du magazine, « la liste des 343 Françaises qui ont le courage de signer le manifeste “Je me suis fait avorter” », s'exposant ainsi à l'époque à des poursuites pénales pouvant aller jusqu'à l'emprisonnement, car l'avortement en France était illégal à l'époque.

C'est un appel pour la dépénalisation et la légalisation de l'interruption volontaire de grossesse qui ouvre la voie à l'adoption de la loi Veil.

Le texte

Le manifeste, rédigé par Simone de Beauvoir, commence par ces phrases :

« Un million de femmes se font avorter chaque année en France.

Elles le font dans des conditions dangereuses en raison de la clandestinité à laquelle elles sont condamnées, alors que cette opération, pratiquée sous contrôle médical, est des plus simples. On fait le silence sur ces millions de femmes. Je déclare que je suis l'une d'elles. Je déclare avoir avorté.

Suivent les 343 signatures de célébrités, notamment celles de personnalités telles que Catherine Arditi, Françoise Arnoul, Florence Asie, Brigitte Auber, Stéphane Audran, Colette Audry, Tina Aumont, Hélène de Beauvoir, Simone de Beauvoir, Cathy Bernheim, Valérie Boisgel, Olga Bost, Claudine Chonez, Iris Clert, Marie Dedieu, Lise Deharme, Christine Delphy, Catherine Deneuve, Dominique Desanti, Marguerite Duras, Françoise d'Eaubonne, Françoise Fabian, Brigitte Fontaine, Antoinette Fouque, Luce Garcia-Ville, Claude Génia, Françoise de Gruson, Gisèle Halimi, Katia Kaupp, Bernadette Lafont, Danièle Lebrun, Annie Leclerc, Violette Leduc, Marceline Loridan, Judith Magre, Michèle Manceaux, Geneviève Mnich, Ariane Mnouchkine, Claudine Monteil, Jeanne Moreau, Michèle Moretti, Liane Mozère, Nicole Muchnik, Bulle Ogier, Marie Pillet, Marie-France Pisier, Micheline Presle, Marthe Robert, Christiane Rochefort, Yvette Roudy, Françoise Sagan, Delphine Seyrig, Alexandra Stewart, Gaby Sylvia, Nadine Trintignant, Irène Tunc, Agnès Varda, Catherine Varlin, Ursula Vian-Kübler, Marina Vlady, Anne Wiazemsky, Monique Wittig.

Une note en bas de page indique que « parmi les signataires, des militantes du “Mouvement de Libération des Femmes” réclament l'avortement libre et GRATUIT ».

L'idée a été lancée par Jean Moreau, chef du service documentation du Nouvel Observateur lors d'une discussion animée avec la journaliste Nicole Muchnik un soir de juin 1970 dans la salle de rédaction du quotidien, et Simone Iff, alors vice-présidente du planning familial, s'est fortement mobilisée à titre personnel pour obtenir un maximum de signatures de célébrités.

L'article français est un exemple notable de désobéissance civile en France. Aucune des signataires n'est poursuivie. Il a inspiré en 1973 un manifeste de 331 médecins se déclarant pour la liberté de l'avortement.

Source: https://fr.wikipedia.org/wiki/Manifeste_des_343

https://www.nouvelobs.com/societe/20071127.OBS7018/le-manifeste-des-343-salopes-paru-dans-le-nouvel-obs-en-1971.html

****************

Manifesto of the 343

The Manifesto of the 343 (French: manifeste des 343), also known as the Manifesto of the 343 Sluts, was a declaration that was signed by 343 women advocating for reproductive rights and admitting to having had an abortion when abortions were illegal in France, thereby exposing themselves to criminal prosecution. The manifesto appeared in the French magazine Le Nouvel Observateur on April 5, 1971. It was also known in an alternate English translation of the word "salopes" as the "Manifesto of the 343 Bitches".

The text

The text of the manifesto was written by Simone de Beauvoir. It began (as translated into English):

One million women in France have abortions every year. Condemned to secrecy, they do so in dangerous conditions, while under medical supervision, this is one of the simplest procedures. Society is silencing these millions of women. I declare that I am one of them. I declare that I have had an abortion. Just as we demand free access to contraception, we demand the freedom to have an abortion for free.

Impact

The week after the manifesto appeared, the front page of the satirical weekly Charlie Hebdo carried a drawing attacking male politicians with the question "Qui a engrossé les 343 salopes du manifeste sur l'avortement?". ("Who got the 343 sluts from the abortion manifesto pregnant?") This drawing by Cabu gave the manifesto its nickname.

It was the inspiration for a February 3, 1973, manifesto by 331 doctors declaring their support for abortion rights:

We want freedom of abortion. It is entirely the woman's decision. We reject any entity that forces her to defend herself, perpetuates an atmosphere of guilt, and allows underground abortions to persist ....

It contributed above all to the adoption, in December 1974-January 1975, of the "Veil law", named for Health Minister Simone Veil, that repealed the penalty for voluntarily terminating a pregnancy during the first ten weeks (later extended to twelve weeks).

Source: https://en.wikipedia.org/wiki/Manifesto_of_the_343

*********************************

To read all manifesto in French: https://www.nouvelobs.com/societe/20071127.OBS7018/le-manifeste-des-343-salopes-paru-dans-le-nouvel-obs-en-1971.html

Photos from pinterest and http://referentiel.nouvelobs.com/archives_pdf/OBS0334_19710405/OBS0334_19710405_005.pdf

Further reading (in French): http://histoiregeographieapaulclaudel.blogspot.com.es/2014/02/une-loi-pour-les-femmes-la-loi-veil.html

8th MARCH, INTERNATIONAL WOMEN’S DAY

[luzabrilmusic]

Relato 3 Parte. Lo estás Leyendo??? ...Cuando abrí los ojos, estaba de pie, Sartre me sostenía de un brazo; lo reconocía, pero todo estaba oscuro en mi cabeza. Subimos hasta una casa donde me dieron un vaso de aguardiente, alguien me limpió la cara, mientras Sartre trepaba en su bicicleta para ir a buscar a un médico que se negó a venir. Cuando Sartre regresó, yo había recobrado un poco mi lucidez; recordaba que estábamos de viaje, que íbamos a ir a ver a Colette Audry. Sartre sugirió que volviéramos a montar sobre nuestras bicicletas: no habría que cubrir más que unos quince kilómetros en bajada. Pero me parecía que todas las células de mi cuerpo se entrechocaban; ni siquiera imaginaba volver a pedalear. Tomamos un trencito a cremallera. La gente alrededor me miraba fijamente con aire asustado. Cuando llamé a la puerta de Colette Audry, lanzó un gritito sin reconocerme. Me mire en el espejo; había perdido un diente, uno de mis ojos estaba cerrado; mi rostro había doblado de volumen y la piel estaba arañada; me resultó imposible hacer pasar una uva sobre mis labios entumecidos. Me acosté sin comer, esperando apenas recobrar una cara normal. . . . . https://www.instagram.com/p/CFnQxVFD2Is/?igshid=1b4lv16r3yx0z

[suzylwade]

Jacqueline Audry In the blind spot between avant-garde pioneer Germaine Dulac and the “Mother of the New Wave” Agnes Varda - there was Jacqueline Audry. Though certainly not the only post-war French female filmmaker, she was the only one working with any regularity, achieving decent success in the French box office with her resplendently decorated tales of feminine transgression and gender subversion adjusted for mid-century tastes. Beginning with her 1945 debut ‘The Misfortunes of Sophie’ Audry directed 16 films by the time she stopped working in the late ‘60s. She was at the height of her powers in the ‘50s a winning (and losing) streak that paralleled Hollywood’s own woman filmmaker of choice, Ida Lupino. Considering recent efforts to cure cultural amnesia of Lupino’s legacy you can imagine how history has treated Audry. In an era when few women got the chance to be behind the camera, Audry’s womanhood worked against her, and also affected how she’s been (or not been) remembered. The long shadow cast by the French New Wave didn’t help, in part because her work embodied precisely the novel adaptation-reliant “cinema of quality” that Francois Truffaut denounced in one of his infamous written kick-offs to the movement. Audry’s fluid camera work suggests the influence of Max Ophüls for whom she worked as an assistant. Like Ophüls, Audry could be described as a “woman’s director” a term for a director who is particularly sensitive to directing actresses, especially in melodramas. Audry’s 13 features, most of which had female protagonists and some of which were censored, include three adaptations from the writer Colette and the 1954 film version of Sartre’s ‘No Exit’. The most intriguing is ‘Le secret du Chevalier d’Éon’ (1959) a biopic of the French soldier and diplomat who, after appearing publicly as a man for many years, subsequently identified as a woman (Audry’s film instead portrays the chevalier as a woman masquerading as a man.) Andrew Sarris’s pioneering history ‘The American Cinema’ included a section devoted to those directors he considered ‘Subjects for Further Research’. (at Barbican Centre) https://www.instagram.com/p/B9WVVNwAmCp/?igshid=1a85kygyrzzii

[colesmurf23]

(OC) Maxwell The Toad

Bio: Maxwell Toad

Name: Maxwell

Gender: Male

Age: 24

Sexuality: Homosexual

Birthday: January 1st

Species: Toad

Relationship/Husband: Evan

Family Members: Micole (Mother) Cole (Mother) Nivian (Grandma) Midnight (Grandpa) James (Grandpa) Tori (Grandma) Noora (Sister) Marlin (Brother) Noel (Sister) Manfried (Brother) Marlyssa (Brother) Moses (Brother) Nerissa (Sister) Nuna (Sister) Nea (Sister) Micoletta (Sister) Mickey (Brother) Cloris (Younger Sister) Madea ((Younger Sister) Olivia (Younger Sister ) Hailee (Youngest sister) Cube (Adopted Youngest Brother) Starr (Adopted Youngest Sister) Evans (Son) Maxima (Daughter) Margolette (Daughter) Margo (Son) Evanam (Son) Maxon (Son) Maxton (Son) Evanne (Daughter) Evander (Son) Evanna (Daughter) Kipper (Piplup Pokemon) Danny (Brother in law) Delora (Niece) Dallan (Nephew) Dallin (Nephew) Nova (Niece) Nikolas (Nephew) Danae (Niece) Danni (Niece) Danna (Niece) Nooriel (Nephew) Darry (Nephew) Dooley (Nephew) Noah (Younger Nephew) Noa (Younger Niece) Noire (Younger Niece) Donny (Younger Nephew) Noor (Youngest Niece) Norah (Youngest Niece) Daniyal (Youngest Nephew) Arilyn (Sister in law) Aryan (Nephew) Aryeh (Nephew) Marabella (Niece) Marabelle (Niece) Arysta (Niece) Marcelo (Nephew) Marcel ((Nephew) Malin (Nephew) Ariella (Niece) Arielle (Niece) Arietta (Youngest Niece) Maryn (Youngest Nephew) Ryder (Brother in law) Nollan (Nephew) Rylan (Nephew) Ryland (Nephew) Renae (Niece) Noeletta (Niece) Ryden (Nephew) Nohl (Nephew) Noella (Niece) Ryenne (Niece) Noely (Niece) Clover (Sister in law) Clovis (Nephew) Marcie (Niece) Marcy (Niece) Claude (Nephew) Claud (Nephew) Marcellus (Nephew) Cloud (Nephew) Mearl (Nephew) Cova (Niece) Clarke (Niece) Clark (Nephew) Malik (Nephew) Mali (Nephew) Cove ((Niece) Manfred (Nephew) Karl (Brother in law) Marly (Niece) Marlis (Niece) Mirabela (Niece) Carlyle (Nephew) Carlus (Nephew) Carlin (Niece) Cal (Nephew) Miggy (Niece) Mariam (Niece) Kiri (Nephew) Kerri (Niece) Embo (Nephew) Audrina (Sister in law) Marlo (Nephew) Audey (Nephew) Adya (Nephew) Audley (Nephew) Adney (Nephew) Marrin (Niece) Marry (Niece) Morris (Nephew) Audric (Nephew) Auden (Nephew) Austen (Nephew) Marten (Nephew) Moselle (Niece) Audry (Youngest Niece) Moshe (Youngest Nephew) Marco (Brother in law) Nessa (Niece) Maci (Niece) Marco (Nephew) Neela (Niece) Marc (Nephew) Nestor (Nephew) Marcella (Niece) Marcelle (Niece) Nero (Nephew) Nerian (Nephew) Sunset (Sister in law) Elaine (sister in law) Sandra (Sister In law) Micola (Niece) Sander (Nephew) Sandro (Nephew) Sammy (Nephew) Micolette (Niece) Suzette (Niece) Sandriana (Niece) Michelette (Niece) Michela (Niece) Sanderson (Nephew) Michel (Nephew) Michele (Nephew) Melissa (Sister in law) Mellisa (Niece) Mick (Nephew) Melissza (Niece) Melisha (Niece) Mel (Niece) Micki (Niece) Mickie (Niece) Mike (Nephew) Mikko (Nephew) Melvyn (Nephew) Ivan Toad (Brother in law) Ivanna (Niece) Franklyn (Nephew) Frank (Nephew) Franky (Nephew) Ivy (Niece) Ivyna (Niece) Iver (Nephew) Fayra (Niece) Iven (Nephew) Izaak (Nephew) Francine (Niece) Virginna (Sister in law) Candace (Sister in law) Lydia (Sister in law) Peasly (Brother in law) Tiffiny (Sister in law) Toren (Brother in law) Boone (Uncle) Amarah (Aunt) Nikson (Uncle) Nirvana (Aunt) King Coal (Uncle) Nicole (Aunt) Katie (Cousin) Kylar (Cousin) Coal Jr (Cousin) Aleiza (Cousin) Zeke (Cousin) Tabarious (Cousin) Tavio (Cousin) Adalley (Cousin) Tamburlaine (Cousin) Fuzzy (Cousin) Sabrina (Younger Cousin) Ayden (Younger Cousin) Nikole (Younger Cousin) Koal (Younger Cousin) Cortney (Youngest Cousin) Nicoletta (Youngest Cousin) Nicola (Youngest Cousin) Nicco (Youngest Cousin) Colette (Aunt) Colleen (Cousin) Cox (Cousin) Coxe (Cousin) Clarette (Cousin) Coleta (Cousin) Colley (Cousin) Robley (Cousin) Colie (Cousin) Coline (Cousin) Conrad (Cousin) Conran (Cousin) Coelee (Cousin)

Personality: Prankster, Silly, Funny, Expert Prankster, And Sneaky

Friends: Jerry Mouse Jokey Smurf Yona (Best Friend) Trevin (2nd Best Friend) Spooky Kaison Jr Kade ( My Bestie's oc and 3rd Best Friend) Niko (My bestie's oc and 4th best friend) Koop (My Bestie's oc and 5th best friend) Raylon (My bestie's oc and 6th best friend) Varon (My bestie's oc and 7th best friend) Yolan (Our oc and 8th best friend) Koba (Our oc and 9th best friend) Ander (Our oc) Eliott (Our oc and 10th best friend) Leevi (Our oc and 11th best friend) Donnie (My bestie's oc) Javon Jeffery (My bestie's oc and 12th best friend) Melville (Our oc) Macoy (Our oc and 13th best friend)

Favorite Color: Dark Purple

Favorite Season: Winter and Spring

Favorite Holiday: Christmas, and april Fools Day

Fun Fact: Maxwell is a prankster toad, he pulls pranks all the time. He mostly pull pranks on his family. But not his kids. He love messing with his family a lot. on april fools day. During pranking, he can be very silly. He even act stilly to distreat he's oppement. So he can prank them real good. He always distracts them, even during a pranking contest. He love participating in prank contests, Every year. During the contest, he always makes the prank real funny. So he's opponent's don't take it the wrong way. He makes it funny. Harsh, but funny. He is a very excellent prankster. aka. he is an expert, especially when it comes to pranking. Even in the prankster contest, he always win. He does hides he's pranks real good. Where no one didn't expect what the prank come from. Also he pranks Tom Cat on from Tom And Jerry as well. He manly pranks Tom. Thanks to he's good friend Jerry mouse. So look out for these two in the prankster contest. They are unstoppable. And he is also very sneaky, to pranking. He even hides in bushes to see the prank will go well. He does hides he's pranks. That's why he is also sneaky.

Maxwell belong to:  me

Toad Species: Nintendo

Last Updated July 10th, 2022

#toad #toa doc #bio

[mgbvfeminisme]

La liste des 343 signataires qui ont eu le courage de publier dans le Nouvel Observateur du 5 avril 1971 ce manifeste : "Je me suis fait avorter",  alors qu'elles encouraient des peines de prison.

Merci Mesdames. <3

"J. Abba-Sidick Janita Abdalleh Monique Anfredon Catherine Arditi Maryse Arditi Hélène Argellies Françoise Arnoul Florence Asie Isabelle Atlan Brigitte Auber Stéphane Audran Colette Audry Tina Aumont L. Azan Jacqueline Azim Micheline Baby Geneviève Bachelier Cécile Ballif Néna Baratier D. Bard E. Bardis Anna de Bascher C. Batini Chantal Baulier Hélène de Beauvoir Simone de Beauvoir Colette Bec M.

Bediou Michèle Bedos Anne Bellec Lolleh Bellon Edith Benoist Anita Benoit Aude Bergier Dominique Bernabe Jocelyne Bernard Catherine Bernheim Nicole Bernheim Tania Bescomd Jeannine Beylot Monique Bigot Fabienne Biguet Nicole Bize Nicole de Boisanger Valérie Boisgel Y. Boissaire Silvina Boissonnade Martine Bonzon Françoise Borel Ginette Bossavit Olga Bost Anne-Marie Bouge Pierrette Bourdin Monique Bourroux Bénédicte Boysson-Bardies M. Braconnier-Leclerc M. Braun Andrée Brumeaux Dominique Brumeaux Marie-Françoise.Brumeaux Jacqueline Busset Françoise De Camas Anne Camus Ginette Cano Ketty Cenel Jacqueline Chambord Josiane Chanel Danièle Chinsky Claudine Chonez Martine Chosson Catherine Claude M.-Louise, Clave Françoise Clavel Iris Clert Geneviève Cluny Annie Cohen Florence Collin Anne Cordonnier Anne Cornaly Chantal Cornier J. Corvisier Michèle Cristofari Lydia Cruse Christiane Dancourt Hélène Darakis Françoise Dardy Anne-Marie Daumont Anne Dauzon Martine Dayen Catherine Dechezelle Marie Dedieu Lise Deharme Claire Delpech Christine Delphy Catherine Deneuve Dominique Desanti Geneviève Deschamps Claire Deshayes Nicole Despiney Catherine Deudon Sylvie Dlarte Christine Diaz Arlette Donati Gilberte Doppler Danièle Drevet Evelyne Droux Dominique Dubois Muguette Dubois Dolorès Dubrana C. Dufour Elyane Dugny Simone Dumont Christiane Duparc Pierrette Duperray Annie Dupuis Marguerite Duras Françoise d’Eaubonne Nicole Echard Isabelle Ehni Myrtho Elfort Danièle El-Gharbaoui Françoise Elie Arlette Elkaim Barbara Enu Jacqueline d’Estree Françoise Fabian Anne Fabre-Luce Annie Fargue J. Foliot Brigitte Fontaine Antoinette Fouque-Grugnardi Eléonore Friedmann Françoise Fromentin J. Fruhling Danièle Fulgent Madeleine Gabula Yamina Gacon Luce Garcia-Ville Monique Garnier Micha Garrigue Geneviève Gasseau Geneviève Gaubert Claude Genia Elyane Germain-Horelle Dora Gerschenfeld Michèle Girard F. Gogan Hélène Gonin Claude Gorodesky Marie-Luce Gorse Deborah Gorvier Martine Gottlib Rosine Grange Rosemonde Gros Valérie Groussard Lise Grundman A. Guerrand-Hermes Françoise de Gruson Catherine Guyot Gisèle Halimi Herta Hansmann Noëlle Henry M. Hery Nicole Higelin Dorinne Horst Raymonde Hubschmid Y. Imbert L. Jalin Catherine Joly Colette Joly Yvette Joly Hemine Karagheuz Ugne Karvelis Katia Kaupp Nenda Kerien F. Korn Hélène Kostoff Marie-Claire Labie Myriam Laborde Anne-Marie Lafaurie Bernadette Lafont Michèle Lambert Monique Lange Maryse Lapergue Catherine Larnicol Sophie Larnicol Monique Lascaux M.-T. Latreille Christiane Laurent Françoise Lavallard G. Le Bonniec Danièle Lebrun Annie Leclerc M.-France Le Dantec Colette Le Digol Violette Leduc Martine Leduc-Amel Françoise Le Forestier Michèle Leglise-Vian M. Claude Lejaille Mireille Lelièvre Michèle Lemonnier Françoise Lentin Joëlle Lequeux Emmanuelle de Lesseps Anne Levaillant Dona Levy Irène Lhomme Christine Llinas Sabine Lods Marceline Loridan Edith Loser Françoise Lugagne M. Lyleire Judith Magre C. Maillard Michèle Manceaux Bona de Mandiargues Michèle Marquais Anne Martelle Monique Martens Jacqueline Martin Milka Martin Renée Marzuk Colette Masbou Cella Maulin Liliane Maury Edith Mayeur Jeanne Maynial Odile du Mazaubrun Marie-Thérèse Mazel Gaby Memmi Michèle Meritz Marie-Claude Mestral Maryvonne Meuraud Jolaine Meyer Pascale Meynier Charlotte Millau M. de Miroschodji Geneviève Mnich Ariane Mnouchkine Colette Moreau Jeanne Moreau Nellv Moreno Michèle Moretti Lydia Morin Mariane Moulergues Liane Mozere Nicole Muchnik C. Muffong Véronique Nahoum Eliane Navarro Henriette Nizan Lila de Nobili Bulle Ogier J. Olena Janine Olivier Wanda Olivier Yvette Orengo Iro Oshier Gege Pardo Elisabeth Pargny Jeanne Pasquier M. Pelletier Jacqueline Perez M. Perez Nicole Perrottet Sophie Pianko Odette Picquet Marie Pillet Elisabeth Pimar Marie-France Pisier Olga Poliakoff Danièle Poux Micheline Presle Anne-Marie Quazza Marie-Christine Questerbert Susy Rambaud Gisèle Rebillion Gisèle Reboul Arlette Reinert Arlette Repart Christiane Ribeiro M. Ribeyrol Delya Ribes Marie-Françoise Richard Suzanne Rigail-Blaise Marcelle Rigaud Laurence Rigault Danièle Rigaut Danielle Riva M. Riva Claude Rivière Marthe Robert Christiane Rochefort J. Rogaldi Chantal Rogeon Francine Rolland Christiane Rorato Germaine Rossignol Hélène Rostoff G. Roth-Bernstein C. Rousseau Françoise Routhier Danièle Roy Yvette Rudy Françoise Sagan Rachel Salik Renée Saurel Marie-Ange Schiltz Lucie Schmidt Scania de Schonen Monique Selim Liliane Sendyke Claudine Serre Colette Sert Jeanine Sert Catherine de Seyne Delphine Seyrig Sylvie Sfez Liliane Siegel Annie Sinturel Michèle Sirot Michèle Stemer Cécile Stern Alexandra Stewart Gaby Sylvia Francine Tabet Danièle Tardrew Anana Terramorsi Arlette Tethany Joëlle Thevenet Marie-Christine Theurkauff Constance Thibaud Josy Thibaut Rose Thierry Suzanne Thivier Sophie Thomas Nadine Trintignant Irène Tunc Tyc Dumont Marie-Pia Vallet Agnès Van-Parys Agnès Varda Catherine Varlin Patricia Varod Cleuza Vernier Ursula Vian-Kubler Louise Villareal Marina Vlady A. Wajntal Jeannine Weil Anne Wiazemsky Monique Wittig Josée Yanne Catherine Yovanovitch Annie Zelensky" Manifeste publié dans le “Nouvel Observateur” numéro 334, du 5 avril 1971.

[parcoursmetropolitains-blog]

Sentiers métropolitainS Repérage - Place de Trion - Champvert - Parc de la passerelle

Participants : Nicolas Husson (guide de cette balade)) Pierre Gonzales Isabelle Clermont (artiste québécoise en résidence à Lyon) Patrick Mathon Gilles Malatray

Ce nouveau parcours des hauteurs prolonge celui effectué préalablement de la Basilique de  Fourvière à Vaise, par le parc des hauteurs. C’est cette fois-ci « l’axe vert » de Champvert qui servira de fil rouge, un parcours donc coloré ! Fin de soirée, 18H, place de Trion, c’est donc là notre point de départ pour une nouvelle balade, un nouveau tronçon urbain, entre repérage et questions autour des aménités paysagères et des itinéraires possibles, des jonctions géographiques, pour expérimenter notre futur parcours. La température est un brin fraiche mais le soleil donne au paysage de belles couleurs de fin de journée, et de fin d’année. Nous stationnons quelques instants sur cette belle place du Trion, avec ses arbres, ses bancs, ses commerces alentours, et sa fontaine romaine, vestige des importants travaux d’adduction d’eau que les romains avaient effectués pour alimenter Lyon depuis les hauteurs des Monts du Lyonnais. Malgré l’apparence visuelle bucolique de cet espace public, l’urbanité se fait entendre assez fortement, tant cette place est située sur un nœud passager, un axe fort de la circulation lyonnaise. Juché dans une niche sur une façade bordant la place, un pèlerin nous montre du doigt la direction du chemin de Compostelle, que finalement nous n’emprunterons pas. Notre pèlerinage sera ce soir tout autre, plutôt jalonné d’arbres et de parcs. Nous traverserons un bout de ce quartier pour rejoindre un petit lotissement caché derrière des arbres et venant buter sur les talus de l’ancienne voie de  chemin de fer ’Ouest Lyonnais, (la FOL) un autre axe structurant de notre promenade.

De la rue Pierre Audry à l’Avenue Barthélémy Buyer, des vestiges de ponts, des piles d’arches et quelques murs soulignent le tracé de cet ancien « tacot » qui partait de la gare de Saint-Just, maintenant terminus du funiculaire, pour relier Francheville via l’Étoile d’Alaï. Nous pouvons, à certains endroits, grimper sur le talus pour constater comment cette voie a été en partie morcelée, coupée par des privatisations sauvages, et en d’autres endroits aménagée en de curieux lieux de pic-niques ou autres endroits de détente. Arrivés au carrefour de la rue Barthélémy Buyer, face à un  « super » marché ,  qui cherche à se dissimuler sous un de lattes de bois nous stationnons un moment au centre d’une banane qui sépare les quelques routes fort circulantes de cette jonction routière, dans le but de permettre à un membre de notre équipage de nous rejoindre. Ce positionnement sur un terre-plein au centre d’un carrefour est assez anachronique, mais la randonnée urbaine, c’est aussi oser se ménager ce genre de surprises, ou de positions décalées - assumons l’urbanité… L’équipe au complet, nous continuons à longer l’ancienne voie de chemin de fer par un sentier de randonnée « coulée verte », qui dans son intégralité (actuelle), mène de Saint-Just à Tassin la Demi-lune. La nuit est quasiment tombée, et c’est dans un beau clair-obscur, avec des tapis de feuilles mortes aux couleurs de rouille, avec les derniers oiseaux qui nous saluent de leurs chants qui vont bientôt s’éteindre, que nous prenons la première rampe qui nous conduira vers ce chemin aménagé. De nombreux joggers et piétons profitent des derniers beaux jours et de ce poumon vert. Champvert, comme son nom l’indique, autrefois campagne verdoyante aux portes de la ville, a su, avec ses quatre parcs, conserver une végétation, en prolongement d’ailleurs du Parc des hauteurs qui donne à ce quartier une qualité de vie certaine. Le chemin est beau, avec quelques échappées sur des lotissements le bordant, alors que d’autres ont choisit de se barricader dans un enferment plus radical… Chacun chez soi ! Quelques petites mares artificielles ont été aménagées pour conserver, autant que faire se peut, une biodiversité accueillant insectes, batraciens… Un clos bouliste et des jeux de boules sont installés le long de la voie verte. Ils réutilisent les anciennes traverses de voie ferrée pour contenir les boules... La trentaine de mètres du tunnel des Massues, très beau dans l’obscurité, abrite à sa sortie des abris ménagés pour accueillir cette fois-ci des chiroptères, ou plus simplement des chauves souris, en hauteur, et des hérissons dans les parties les plus basses.

Nous empruntons le long cheminement de l’ancienne voie ferrée, entre surplombs et dévers, qui va nous mener dans le Parc de Champvert. Ici se trouve la Villa Neyrand, à l’origine une riche demeure construite en 1913, rappelant quelque peu le style de la Villa Gillet  du Parc de la cerisaie dans le 4ème. La belle frise à cheval entre Art Nouveau et Art Déco sous la charpente et les somptueuses boiseries intérieures de cette lugubre bâtisse semblent trahir le faste de son passé déshérité. Le parc est agréable, avec quelques installations de spires de pierres, destinées là encore, à accueillir faune et flore locale, micro-écosystème, ainsi que des « murs à abeilles », celles des villes souvent « abeilles solitaires » contrairement aux abeilles à miel vivant en communautés… dans des ruches que l’on voit de plus en plus souvent dans les villes où l’air serait moins pollué par les pesticides que dans les campagnes ! De retour sur l’ancienne voie ferrée, le chemin est souligné d'un gabion de pierre qui maintient le talus avec une certaine esthétique… Nous parvenons au Parc de la Garde, où nous cherchons, à la lampe de poche, de petites œuvres de land-art disséminées, lucioles lucane cerf-volant et hulottes sculptées. Retour par le même chemin puis la rue Barthélémy Buyer jusqu’au métro Saint-Just. Ces sorties se voulant conviviales,nous terminons notre périple par un excellent repas, cuisine maison, et fraiche, par Colette et Roger tenanciers forts sympathiques, ce qui ne gâche rien. Nous pouvons vous communiquer l’adresse du lieu, pour ceux qui seraient intéressés. En attendant la prochaine proposition de parcours exploratoire.

Visitez l’album photos : https://www.flickr.com/gp/parcoursmetropolitains/185042

[detournementsmineurs]

Danièle Delorme et Yolande Laffon dans "Minne, l'Ingénue Libertine" de Jacqueline Audry (1950) - adapté du roman "L'Ingénue libertine" de Colette (1909) - juillet 2021.