#Gabriel Crespi

[amor-barato]

A morte não lhe disse quando ela ia morrer nem se a sua hora estava marcada para antes da de Rebeca, mas sim lhe ordenou que começasse a tecer a sua própria mortalha no próximo seis de abril. Autorizou-a a fazê-la tão complicada e primorosa quanto quisesse, mas tão honradamente como fizera a de Rebeca, e lhe avisou que haveria de morrer sem dor nem medo nem amargura, ao anoitecer do dia em que a terminasse. Tentando perder a maior quantidade de tempo possível, Amaranta encomendou as meadas de linho e ela mesma teceu a fazenda. Fê-lo com tanto cuidado que somente este trabalho levou quatro anos. Em seguida, iniciou o bordado. À medida que se aproximava o fim irremediável, ia compreendendo que só um milagre permitiria que prolongasse o trabalho para além da morte de Rebeca; mas a própria concentração lhe proporcionou a calma que lhe faltava para aceitar a idéia de uma frustração. Foi quando entendeu o círculo vicioso dos peixinhos de ouro do Coronel Aureliano Buendía. O mundo se reduziu à superfície de sua pele, e o interior ficou a salvo de qualquer amargura. Doeu nela o fato de não ter tido aquela revelação antes, quando ainda teria sido possível purificar as lembranças e reconstruir o universo debaixo de uma nova luz, e evocar sem estremecer o cheiro de alfazema de Pietro Crespi ao entardecer, e resgatar Rebeca de seu caldo de miséria, não por ódio nem por amor, mas pela compreensão sem limite da solidão.

Gabriel García Márquez  (Cem Anos de Solidão)

[lunamarish]

Verso mezzanotte, Pietro Crespi si accomiatò con un discorsetto sentimentale e promise di tornare molto presto. Rebeca lo accompagnò fino alla porta, e dopo aver chiuso la casa e spento le lampade, andò nella sua stanza a piangere. Fu un pianto inconsolabile che si protrasse per diversi giorni... non era strano il suo ermetismo. Anche se sembrava espansiva e cordiale, aveva un carattere solitario e un cuore impenetrabile.

Gabriel Garcia Marquez

[ulkaralakbarova]

Chris is the top brain who just wants to party, Mitch is the 15-year-old college wiz kid. Supposedly hard at work on a lab project with a mysterious deadline, they still find time to use their genius to discover new ways to have fun. Credits: TheMovieDb. Film Cast: Chris Knight: Val Kilmer Mitch Taylor: Gabriel Jarret Jordan: Michelle Meyrink Professor Hathaway: William Atherton Kent: Robert Prescott Major Carnagle: Louis Giambalvo Lazlo Hollyfeld: Jon Gries CIA Man Decker: Ed Lauter Shuttle Pilot: Stacy Peralta Laser Ray Victim: Daniel Ades Bartender: Andres Aybar Air Force General: Charles Shull George: Beau Billingslea Larry: Charles Parks Boy at Science Fair: Sean Frye Girl at Science Fair: JoAnn Willette Old Lady: Ina Gould Student at Science Fair: Nadine Vix Mr. Taylor: Paul Tulley Mrs. Taylor: Joanne Baron Darlington Recruiter: Harry Johnson Sherry Nugil: Patti D’Arbanville Dr. Dodd: Monte Landis Mrs. Meredith: Sandy Martin Dr. Meredith: Severn Darden Cornell: Randy Lowell Carter: John Shepherd Reid Bodie: Tommy Swerdlow ‘Ick’ Ikagami: Mark Kamiyama Math Professor: Martin Gundersen Carpet Man: Brett Miller Milton: Dean Devlin Fenton: Yuji Okumoto Chris’ Girl at Party: Lynda Wiesmeier Ick’s Girl at Party: Penny Baker Cornell’s Girl at Party: Marcia Karr Girl at Party: Isabelle Walker Girl at Party: Marii Mak Girl at Party: Cheri Wells Girl at Party: Catherine MacNamara Student: Johnny Vasily TV Makeup Man: Ed Garrabrandt TV Stage Manager: Isabel Cooley Waitress: Robin Stober Susan: Deborah Foreman Student in Hall: David Marvit Air Force Gate Guard: Michael Crabtree Air Force Gate Guard: Charles Sweigart Air Force Gate Guard: Peter Parros Computer Technician: Ronald Taylor Air Force Major: James Carrington Air Force Controller: Michael Backes Air Force Sergeant: Corki Grazer Laser Technician: Jeanne Mori Engineer: David Ursin Congressman: Joe Dorsey Laser Specialist: Will Knox Air Force Technician: Kevin Hurley Girl in Popcorn (uncredited): Kimberly Spak Film Crew: Director: Martha Coolidge Set Decoration: Phil Abramson Camera Operator: John J. Connor Producer: Brian Grazer Casting: Jane Jenkins Production Design: Josan F. Russo Hairstylist: Edie Panda Visual Effects Supervisor: Richard L. Bennett Casting: Janet Hirshenson Screenplay: Neal Israel Screenplay: Pat Proft Editor: Richard Chew Makeup Artist: Zoltan Elek Original Music Composer: Thomas Newman Art Direction: Jack G. Taylor Jr. Special Effects Coordinator: Phil Cory Executive Producer: Robert Daley Director of Photography: Vilmos Zsigmond Screenplay: PJ Torokvei Associate Producer: Sam Crespi-Horowitz Music Supervisor: Becky Mancuso-Winding Music Supervisor: Michael Papale Supervising Sound Editor: Julia Evershade Sound Designer: George Budd Music Editor: Ted Whitfield Costume Supervisor: Marla Denise Schlom Costumer: Joseph Roveto Costumer: Michael F. Hamer Visual Effects Supervisor: David Stipes Stunts: Kenny Alexander Stunts: Shane Dixon Stunts: Kenny Ferrugiaro Stunts: Linda Lee Franklin Stunts: Allan Graf Stunts: Marian Green Stunts: Debby Porter Stunts: Bernie Pock Stunts: Spiro Razatos Stunts: Edward J. Ulrich Stunts: David M. Graves Unit Production Manager: Billy Ray Smith First Assistant Director: Stephen McEveety Second Assistant Director: Joseph P. Moore Set Designer: Erin M. Cummings Set Designer: Steven Wolff Other: Alex Tavoularis First Assistant Camera: Ken Nishino Second Assistant Camera: Robert Samuels Second Unit Director of Photography: Frederick Elmes Key Grip: Richard W. Deats Grip: Jerry D. Deats Best Boy Electric: Robert Jason Additional Editing: Arthur Coburn First Assistant Editor: Albert Coleman Other: Alexandra Leviloff Other: Deborah Cichocki Other: Bill Wilner Sound Editor: Anna Boorstin Sound Editor: Virginia Cook-McGowan Sound Editor: Cari Lewis Sound Editor: Marshall Winn Sound Editor: Roxanne Jones McCarthy Supervising ADR Editor: Beth Bergeron ADR Editor: Lauren Palmer Assistant Sound Editor: Paul C. Warschilka Assistant Sound Editor: Christy Richmond Sound Effects: John P. Fasal Sound Effects: Doug Hemp...

[carmenvicinanza]

Biki

Biki è stata una importante imprenditrice della moda che ha contribuito a lanciare il made in Italy nel mondo.

Ha vestito attrici e teste coronate e, soprattutto, ha forgiato lo stile di Maria Callas che si affidava completamente al suo gusto.

Nata a Milano il 1 giugno 1906 come Elvira Leonardi, portava il nome della nonna, sposata in seconde nozze con il compositore Giacomo Puccini che era solito chiamarla affettuosamente col soprannome Bicchi, birichina, più tardi trasformato in Biki, su suggerimento di Gabriele D’Annunzio. Cresciuta in un ambiente colto e raffinato, tra musica, teatro e arte, aveva sviluppato, sin da piccola, un gusto naturale per l’eleganza.

Aveva imparato a fare la maglia e cucire grazie alla nonna Elvira, durante la Grande Guerra. Dopo gli studi al liceo Manzoni, frequentando il mondo dell’arte e della cultura, aveva viaggiato spesso in Europa per seguire le tournée di Arturo Toscanini, padre della sua cara amica Wally, in Francia, allora patria della moda mondiale, aveva avuto modo di apprezzare lo stile dei couturiers e trarne ispirazione.

Nel 1934, la sua prima esperienza imprenditoriale è stata Domina, casa di biancheria intima che proponeva camicie da notte che somigliavano ad abiti da sera, scollate, trasparenti e sensuali che destarono scandalo e, insieme, ammirazione.

Dopo il successo del nuovo modo di vestire la notte, decise di mettersi in proprio e creare capi di alta sartoria, abiti da gran sera e tailleurs. In breve era diventata la sarta delle maggiori personalità del mondo della cultura, dello spettacolo e della finanza.

Nel settembre 1936 ha sposato Robert Bouyeure, antiquario francese, con il quale ebbe una forte intesa anche in campo lavorativo. L’anno seguente nacque la loro figlia Roberta, che ha seguito le orme della madre e lavorato con lei fino alla fine.

Dopo la crisi provocata dalla guerra, per risollevarsi, ebbe l’intuizione di mettere la sua arte al servizio delle mutate esigenze sociali e, in un clima profondamente cambiato, pur restando fedele al suo stile, lanciare la prima linea di prêt-à-porter.

Per prima, per sostenere i costi, ha utilizzato fibre sintetiche e artificiali e costruito alleanze con fabbriche di tessuti.

Il suo stile si caratterizzava per gli accostamenti audaci di colori e di tessuti, come il blu marino e il verde mela, il viola e il blu, il giallo e l’arancio, e l’unione di pelle e chiffon, tela e jersey di seta, feltro e raso.

Dalla metà dei Cinquanta alla metà dei Sessanta ha consolidato uno stile italiano che non imitava più la haute couture francese.

È stato il suo decennio d’oro. Grazie al contributo del couturier francese Alain Reynaud, marito di sua figlia, la sua maison ha conosciuto uno sviluppo internazionale. La trasgressione lasciava il posto alla linearità e impeccabilità dello stile.

In quegli anni ha aperto negozi in varie località italiane e svizzere, come Saint Moritz, Portofino e Roma e poi ancora in Francia, negli Stati Uniti e ancora in Giappone, dove ebbe grande popolarità.

È stata questa l’epoca della cliente più nota, Maria Callas, conosciuta nel 1951, di cui ha inventato il look e che, da testimonial d’eccellenza, con le sue tournée in giro per il mondo aveva rafforzato la fama della sartoria. Il loro è stato un sodalizio iconico di amicizia e stile.

È di Biki anche l’abito nero indossato da Jeanne Moreau nel film La notte di Michelangelo Antonioni, del 1961.

Questa signora appartenente a una classe sociale che non aveva bisogno di lavorare, si è impegnata fino all’ultimo giorno della sua vita. Non amava farsi chiamare stilista ma semplicemente sarta. Insignita del titolo di Commendatore prima e di Grande ufficiale dell’ordine al merito della Repubblica italiana, poi, è stata, per diversi anni, nel consiglio d’amministrazione del Corriere della Sera. 

Aveva ereditato dalla madre, che si era risposata con Mario Crespi, uno dei maggiori proprietari, una grossa fetta di azioni dell’impero editoriale.

Ha tenuto rubriche di moda su varie riviste e alla radio.

Dopo gli anni sessanta, che hanno visto il fiorire della rivoluzione anche negli abiti, in contro tendenza, ha lanciato una moda molto sobria, destabilizzando coi suoi abiti da sera confezionati in tweed.

Ha abbandonato le passerelle solo negli anni Ottanta, per dedicarsi al nascente mercato asiatico e alla sua Biki-Japan.

Con la sua morte, avvenuta il 24 febbraio 1999, la maison è stata chiusa.

La documentazione relativa alla sua vita e attività creativa, è depositata presso le Civiche Raccolte Storiche del Comune di Milano.

[sporadiceagleheart]

Sorry for the long edit but I had to make it for today it's my edit called won't have to cry no more and in God's hands for Bella Marie “Bells” Rzucek, Nico Lee Rzucek, Celeste Cathryn “CeCe” Rzucek, Shan'ann Cathryn Rzucek, Samantha Joy “Sammie” Crespi, Tessara Kate “Tessa” Crespi, Maria Agnes Benko Barsi, Judith Eva Barsi, Bella Skye Edwards, Mylee Faith Billingham, 5-year-old Bella, Nadia Zofia Kalinowska, Star Hobson and Arthur Labinjo-Hughes, Little Jalayah Eason,Sherin Susan “Saraswati” Mathews, LillyAnn Grace Reck, Gabrielle Renae “Gabby” Barrett, Serenity Anne Deal, Emily Rae Canales, Mary Anne Welch, Teagan Batstone, Delilah Quinn Bieski, Elwyn Crocker Jr., Joseph Augustus “Boy in the Box” Zarelli, Luana Ketlen, Mia Ugalde-Jorris, https://images.findagrave.com/photos/2009/175/18788549_124596147061.jpg, Mary Ellen Wilson, Caroline and Madison Rae King, Leiliana Wright, Ava Jordan Wood, Mercedes Losoya, Mary Crocker, Lois Janes, Noah Cautro, Anthony Avalos, Gabriel Fernandez, Harmony Montgomery, Kayden Mancuso, Kyra Scott, Kyra Franchetti, Keira Kagan, Cherish Jackson, Zahra Ghulami, Bella Fontenelle, Nylah Lewis, Laura Hobbs and Krystal Tobias, Ellie Butler, Nevaeh Ager, Lola James, Tiba Al-Ali,22, Sophia Peters, Amyira Felder, Caylee Marie Anthony, Xiomara Jonsales Fernandez, Nixzmary Brown, Alexandra Flores, Adrianna Anderson, and Elisa Izquierdo,

[nastyacitrus]

For a long time she kept on smelling Pietro Crespi’s lavender breath at dusk, but she had the strength not to succumb to delirium. Úrsula abandoned her. She did not even raise her eyes to pity her on the afternoon when Amaranta went into the kitchen and put her hand into the coals of the stove until it hurt her so much that she felt no more pain but instead smelled the pestilence of her own singed flesh. It was a stupid cure for her remorse.

- "One hundred years of solitude", by Gabriel Garcia Marquez

[rossemboss]

"Death did not tell her when she was going to die or whether her hour was assigned before that of Rebecca, but ordered her to begin sewing her own shroud on the next sixth of April. She was authorized to make it as complicated and as fine as she wanted, but just as honestly executed as Rebeca's, and she was told that she would die without pain, fear, or bitterness at dusk on the day that she finished it. Trying to waste the most time possible, Amaranta ordered some rough flax and spun the thread herself. She did it so carefully that the work alone took four years. Then she started the sewing. As she got closer to the unavoidable end she began to understand that only a miracle would allow her to prolong the work past Rebeca's death, but the very concentration gave her the calmness that she needed to accept the idea of frustration. It was then that she understood the vicious cycle of Colonel Aureliano Buendías little gold fishes. The world was reduced to the surface of her skin and her inner self was safe from all bitterness. It pained her not to have had that revelation many years before when it had still been possible to purify memories and reconstruct the universe under a new light and evoke without trembling Pietro Crespi's smell of lavender at dusk and rescue Rebeca from her slough of misery, not out of hatred or out of love but because of the measureless understanding of solitude. The hatred that she noticed one night in Meme's words did not upset her because it was directed at her, but she felt the repetition of another adolescence that seemed as clean as hers must have seemed at that, however, was already tainted with rancor."

- Gabriel García Márquez, One Hundred Years of Solitude

[cartasdecienanos]

Introducción

Gabriel García Marquez’ “One Hundred Years of Solitude” is a novel that centers on the fictional village of Macondo, the lives of its founders José Arcadio Buendía and Ursula Iguaran and their descendants. Through the use of magical realism, we follow the family’s triumphs and losses parallel to the boom and bust of Macondo which also mirrors the development of Colombia. Major themes in this esteemed work include family, memory, the cyclical nature of time and solitude.

          For my final project, I will create a series of letters that analyze the novel and juxtapose it to the experiences of our field work in Santa Marta, Colombia. I was inspired by the notion that many of our experiences in the trip mirrored those of the novel. Of course this was to be expected as this is a geopoetics course and as such our itinerary contained plans to discover sites that Marquez used as inspiration for the novel, however there were some events that weren’t planned with this in mind and the frequency with which they happened sometimes felt uncanny. Ursula's discovery of events repeating themselves very much rang true with this realization. Marquez writes, "Just like Aureliano," Ursula exclaimed. "It's as if the world were repeating itself." (298)

          Therefore, these letters will further draw on the novel’s events, focusing particularly on the themes of memory and solitude. To do this, I will reflect on my personal experiences and write only as I remember the events, without asking my coursemates for their input or help even if I were to forget something integral. Memory serves an important role in the novel. Firstly, because Marquez writes in a nostalgic tone. The novel is also simultaneously linear and non-linear. It’s linear in the sense that it follows the consecutive generations of the Buendía family, yet not as time is almost cyclical with the Buendías repeating actions, traits and even names of the predecessors. For example, even though the family was discouraged from incest because it would create an inhuman child many of its members still went ahead committing the act disregarding the consequences. Also, by the end of the novel, no one remembers integral parts of Macondo’s history such as the massacre and the Buendía family. Marquez writes, “The link was born on the night when he casually mentioned Colonel Aureliano Buendía and Gabriel was the only one who did not think he was making fun of somebody…Those fickle tricks of memory were even more critical when the killing of workers were brought up…So that Aureliano and Gabriel were linked by a kind of complicity based on real facts that no one believed in, and which had affected their lives to the point that both of them found themselves off course in the tide of a world that had ended and of which only the nostalgia remained.”  (390)

Furthermore, letters and writings are also referenced throughout the novel. For example, Melquiades’ manuscripts that detail the complete Buendía history, Colonel Aureliano Buendía’s poetry of Remedios, Amaranta’s unsent letters to Pietro Crespi and Fernanda’s letters to the invisible doctors. Moreover, when the insomnia plague befalls the village and the citizens suffer from memory loss, there’s the idea to label items with their names and functions. In a similar way, I will include photos that ‘label’ or capture the essence of the moment and ‘describe’ how the feelings they inspired and how they relate to the novel. I intentionally shot some of the photos with a disposable camera to give it a grainy look and evoke nostalgia. These photos will be mixed with pictures taken from my phone to further play with the idea of an unsolid memory, with some things being better remembered than others. 

Finally, the letters will not be addressed to anyone in particular but will total seven, representing the number of days spent in Santa Marta on excursion and also the seven generations of the Buendía family. After reading the first two letters the reading order becomes inconsequential. The first two letters detail literary elements discussed in class that will be referenced in each consecutive letter to further analyze the novel and reflect on our trip. Moreover, the letters will be written in a mixture of English and Spanish not only because the sources referenced are in either language but to also create the cryptic effect of Melquiades’ writings which were written in a foreign language and unable to be deciphered by the family until the very end.

[elcorreografico]

El presidente del Colegio de Ingenieros recibió al nuevo decano de la UTN La Plata

El presidente del #ColegiodeIngenieros recibió al nuevo decano de la #UTNLaPlata #LaPlata #Institucionales #Sociedad

El presidente del Consejo Superior del Colegio de Ingenieros, Norberto Beliera, recibió a Luis Ricci, decano electo de la UTN Regional La Plata, que asumirá sus funciones el próximo 20 de diciembre.“La idea siempre fue trabajar en conjunto, estamos a disposición”, dijo Beliera durante el encuentro, en tanto que el flamante decano adelantó que “pensamos una gestión puertas abiertas, muy vinculada…

[blogdemocratesjr]

The Annunciation by Daniele Crespi

Thus for about three centuries before the end of the eighteen-seventies, there was what we may call the dominion of Gabriel. For one who studies the evolution of humanity, not on the surface as is customary today, but in the depths, this dominion of Gabriel is expressed in the fact that the deepest and most important impulses in the process of humanity during that time were implanted in those forces which we may call the forces of heredity. Never were the forces of physical inheritance that work through the generations so important as in the three centuries preceding the last third of the 19th century.

Let us see, my dear friends, how this expresses itself. We know that in the 19th century the problem of heredity became the most pressing and important in the consciousness of men. Man felt how his qualities of soul and spirit are dependent on heredity. It was as though at the last moment he came to feel what had been holding sway in human evolution as a real Law of Nature in the 16th, 17th, and 18th, and in a great part of the 19th century.

During that time it was so indeed: man carried even into his spiritual development the qualities he had inherited from his parents and ancestors. During that time those qualities became especially important which are connected with physical reproduction. Again we find an outward sign of this fact in the great interest which was felt at the end of the 19th century in the question of reproduction and indeed in all sexual questions. In the centuries to which I have just referred, the most important spiritual impulses had approached humanity in this way, they had sought for realisation through physical inheritance. … Now it was above all in the Age of Gabriel that the national impulses within European civilisation, with its American appendage, became so firmly rooted. In our Age of Michael, in the course of the next three centuries, these national impulses will be completely overcome. This is the case in every Age of Michael: a common feature runs through all humanity ��� something of an all-human character, as against the special interests of single groups or nations.

—Rudolf Steiner, Karmic Relationships vol. 3: Lecture VII

[criswisstuff]

Not to be that kind of person but between all the characters in Cien Años de Soledad by Gabriel García Márquez I'd probably make out with Pietro Crespi, just stating the facts

[teamnick]

Thank you for the tag @eleincanti @lena-haloways 💕💕

Tag 9 people to learn more about their interests!

MUSIC

fav genre? rock

fav artist? Alanis Morissette, Tame Impala, M.I.A.

fav band? Depeche Mode, Muse, Queens of the Stone Age, Jamiroquai, Aerosmith, Placebo, Hurts...

fav song? Only happy when it rains by Garbage

most listened song recently? Work song by Hozier

song currently stuck in your head? Power over me by Dermot Kennedy (I return to this song every 2 months)

5 fav lyrics?

“I was doing fine without you  'Til I saw your face, now I can't erase”

“I'm only happy when it rains  You wanna hear about my new obsession?  I'm riding high upon a deep depression  I'm only happy when it rains”

“And if you’re under him, you ain’t gettin’ over him”

“It's like rain on your wedding day  It's a free ride when you've already paid  It's the good advice that you just didn't take  And who would've thought, it figures“

“I want to reconcile the violence in your heart  I want to recognize your beauty's not just a mask  I want to exorcise the demons from your past  I want to satisfy the undisclosed desires in your heart”

radio or your own playlist | solo artists or bands | pop or indie | loud or silent volume | slow or fast songs | music video or lyrics video | speakers or headset | riding a bus in silence or while listening to music | driving in silence or with radio on (I can't drive but as a passenger I’d prefer this lol)

BOOKS

fav book genre? Historical fiction, Crime

fav writer? Agatha Christie, Ken Follett, Gabriel García Márquez, Jane Austen

fav book? Cien años de soledad

fav book series? HP, Century Trilogy by Ken Follett

comfort book? A Pál utcai fiúk, Abigél (apparently I’m comforted the most while reading in hungarian...hmm)

perfect book to read on a rainy day? Jane Eyre

fav characters? Ron Weasley, Lizzie Bennet, and tho I’ve still not finished Six of Crows, I know that Matthias Helvar can do no wrong ever and imma fight anyone who disagrees. So yeah he’s a fav now I guess. ✌

5 quotes from your fav book that you know by heart? (I’m gonna cheat - I know exactly zero Márquez quotes by heart lmao and especially not in English)

“Madly in love after so many years of sterile complicity, they enjoyed the miracle of loving each other as much at the table as in bed, and they grew to be so happy that even when they were two worn-out old people they kept on blooming like little children and playing like dogs.”

“Pietro Crespi took the sewing basket from her lap and he told her, “We’ll get married next month.” Amaranta did not tremble at the contact with his icy hands. She withdrew hers like a timid little animal and went back to her work. “Don’t be simple, Crespi.” She smiled. “I wouldn’t marry you even if I were dead.”

“The only difference today between Liberals and Conservatives is that the Liberals go to mass at five o’clock and the Conservatives at eight.”

“He wasn’t only a fierce lover, with endless wisdom and imagination, but he was also, perhaps, the first man in the history of species who had made an emergency landing and had come close to killing himself and his sweetheart simply to make love in a field of violets.”

“Death really did not matter to him but life did, and therefore the sensation he felt when they gave their decision was not a feeling of fear but of nostalgia.”

hardcover or paperback | buy or rent | standalone novels or book series | ebook or physical copy | reading at night or during the day | reading at home or in the nature | listening to music while reading or reading in silence | reading in order or reading the ending first (I’m weak okay??) | reliable or unreliable narrator | realism or fantasy | one or multiple POVs | judging by the covers or by the summary | rereading or reading just once

TV AND MOVIES

fav tv/movie genre? drama (when can I think about this word without hearing P!Chris pls)

fav movie? Eternal Sunshine Of The Spotless Mind

comfort movie? Much Ado About Nothing

movie you watch every year? Love Actually

fav tv show? Succession

comfort tv show? Road to Avonlea

most rewatched tv show? Road to Avonlea :)

ultimate otp? I’m full on my Helnik high right now 💙💙💙

5 fav characters? Matthias Helvar, Nick Blaine, JJ Maybank, Noora Sætre, Charlotte Ritter

tv shows or movies | short seasons (8-13 episodes) or full seasons (22 episodes or more) | one episode a week or binging | one season or multiple seasons | one part or saga | half hour or one hour long episodes | subtitles on or off | rewatching or watching just once | donwloads or watches online

Tagging @thescorpioracer (never gonna give you it up) @kachoobu @tidemakar @bittersweetglories @soon--soon if u wanna!

[pamphletstoinspire]

St. Joseph, Master of the “Art of Dying Well”

With the Counter-Reformation came artistic portrayals of Joseph as the model for a "holy death."

“Nothing is certain but death and taxes,” claimed Benjamin Franklin, while Robert Bolt asserted that “death comes for us all.” For his part, St. Paul asked, “O Death, where is thy sting?” and Martin Luther wrote that every man “must do his own believing and his own dying.”

From apostles to sages and poets to pundits, all agree that life ends, but how to confront death? Christianity promised life after death, and the Catholic Church offered teachings and pious practices to prepare for it, but come the Reformation, people were faced with choices of what or who to believe, and the stakes — eternity — were high. What if one chose unwisely?

“The Art of Dying Well”

The Counter-Reformation revived the Ars Moriendi, the Art of Dying Well, promoted in particular by St. Robert Bellarmine, who penned a handbook of sorts on how to die a holy death. This immensely popular treatise found its perfect artistic personification in St Joseph, model of the Good Death.

The History of Joseph the Carpenter is a 5th-century apocryphal book purporting to be a first-person account the life of St. Joseph by none other than Jesus Christ. The story claims that St. Joseph lived to be 111 years old and at the end of his life, he was deeply troubled, feeling himself weighed down by sin.

Jesus as narrator, knowing the unrest in his heart, comforted his foster father alongside Mary, ultimately driving back demons, and commanding angels Gabriel and Michael to welcome Joseph into Heaven. What more could one want beyond a personal guarantee from the messiah of a place awaiting in Paradise?

Artists portray the death of St. Joseph

The subject of the death of St. Joseph got off to a slow start in the Baroque period but by the end of the 17th century, altarpiece commissions started pouring in, offering artists an opportunity to flex new compositional muscles.

French painter Jacques Stella was among the first to tackle the subject in 1655, after a lengthy Italian sojourn. The confined composition – flat wooden ceiling and thick stone wall — seem like a metaphor for death, dark and enclosed. To the left are mementos of an industrious life to maintain his family: Joseph’s work bench is visible through the door, and the wooden furniture is his handiwork.

The ashen Joseph is near death and the blue-gray of the bedding accentuates his pallor. He sits up, confessing his fears as he looks hopefully towards Jesus. Mary, on the other side of the bed, clasps her hands, looking with sad compassion towards the suffering soul. One can imagine Joseph saying the words from the apocryphal account: “Indeed, the agony and fear of death have already environed me; but as soon as I heard Your voice, my soul was at rest. O Jesus of Nazareth!” Jesus, in turn, points to himself, affirming that he is the Savior. The bright clothes of Jesus and Mary contrast with the ghostly grays of Joseph. The red of Christ’s tunic (symbolic of his mortal nature) is closest to Joseph’s pale body, evoking their shared humanity as well as Jesus’ own eventual experience of death. The luminous blue of his mantle symbolizes grace and is mirrored by Mary’s veil: Joseph’s death is “cushioned” by grace.

Stella also employed echoes of Mannerist painting in the two angels, Gabriel and Michael. They pose sweetly, their elongated limbs drawing the eye upwards where the heavens have already opened to welcome Joseph. The fluorescent green of one angel’s robes adds a festive touch. From the cold shades of Joseph to the warm luminescence of Heaven – Joseph’s death is visualized as a transition into a better place.

A model death, a model mourning

The Death of St Joseph came into its iconographic own in the 18th century, when Bolognese artist Giuseppe Maria Crespi pioneered a new iconography. In his work, the figures are engulfed in Caravaggesque shadows. Joseph is portrayed in the last agony of death, stretched out on a death bed that protrudes unsettlingly towards the viewer. We no longer witness this death at a distance, but stand vigil at Joseph’s feet. A tearful Mary prays at what looks appears to be a makeshift altar, clasping a handkerchief. The glass jar on the table alludes to extreme unction. Crespi leaves the space undefined, dark shadows filing the background. Only towards the viewer, where the corner of a worn mattress peeks out from under the sheet, is there a careful rendering of the carpenter’s tools abandoned by the bed. The flowering staff, however, symbol of his chaste marriage, still blooms.

Angels in subdued tones emerge from the shadows, praying or conferring quietly as one gently cradles Joseph’s head. The old man, close to death, lies silent, comforted by Jesus, who, in the History, “held his hand for a whole hour.” Joseph receives the final blessing from Christ, and thus prepared, his soul will be escorted to Heaven. Crespi’s work instructs the faithful not only how to accept death, but how to minister to the moribund – prayerfully, quietly, and peacefully, despite the sadness of separation.

William Blake, illustrator extraordinaire of Milton’s Paradise Lost and Dante’s Divine Comedy, produced a powerfully personal version of the Death of Joseph in 1803. As unique as it is lovely, it deserves a moment of attention.

Blake, a serious Christian, was fascinated by the spiritual. In this watercolor, Joseph lies on a long bier, his head softly nestled in the luminous lap of the Virgin. Jesus hovers over him, almost as if drawing out his soul to send it to heaven. The trio are enclosed in a colorful arc of angels, a rainbow bearing the promise of peace. The work seems to presage Blake’s own death, 25 years later, where witnesses said that, “Just before he died His Countenance became fair. His eyes Brighten’d and he burst out Singing of the things he saw in Heaven.”

After this year of pandemic, where many died alone and without sacraments, no time could be better to rekindle the devotion to Joseph as Master of the Ars Moriendi.

[valleyofstories]

Reading Gabriel Garcia Marquez currently. His voice over is in my head... in everything I do, things that are happening to me, the places I visit. I can hear him narrate the absurd and the intimate with his characteristic flair of honesty and fantastical rendition. I know it's a classic piece of literature, revered the world over but I find it to be deeply personal. The book is just burrowing deep within my soul. I am an observer to the story, smelling the lavender off the skin of Pietro Crespi, or witness Arcadio's insolence. But it is Marquez's universe, he is the maste and I just have to listen. None of that including the reader, interactive bullshit. Just plain storytelling and storylistening. Beautiful. #gabrielgarciamarquez #hundredyearsofsolitude #englishliterature #literature #booklove #seasonsofhome #natureofthings #magic #magicalrealismbooks #books #palampur #iamreading #currentlyreading #rural #countrylivin #mountains https://www.instagram.com/p/CRbYuc6pHQ_/?utm_medium=tumblr

[jose-a-heredia-investiga-blog]

CUEVA DE LOS TAYOS - PRUEBAS ARQUEOLOGICAS DE LOS SUMERIOS Y EGIPCIOS, H... La historia del Padre Crespi es uno de los más enigmáticos alguna vez contada: una civilización desconocida, increíbles artefactos, una enorme cantidad de símbolos escritos en planchas de oro pertenecientes a una lengua desconocida y representaciones extrañas que conectan a la América precolombina con los antiguos Sumerios. La crónica de los acontecimientos, y la forma en que fueron tratados, de acuerdo con muchos, revela una conspiración para ocultar la verdad sobre la historia de la humanidad. Él fue un sacerdote salesiano misionero que vivió en la pequeña ciudad de Cuenca, Ecuador, durante más de 50 años, dedicando su vida al culto y a las obras de caridad. El sacerdote era una persona de muchos talentos: era un educador, un botánico, un antropólogo, músico, incluso también un gran humanista. En 1927, su vocación misionera le llevó a vivir al lado de los indígenas ecuatorianos, haciéndose cargo de los indígenas, y consiguiendo el respeto de la tribu Jíbaro, que comenzó a considerarlo como un verdadero amigo. Como muestra de gratitud, durante las décadas que el Padre Crespi estuvo con ellos, los indígenas le donaron cientos de piezas arqueológicas que datan de un tiempo desconocido explicando que eran objetos que encontraron en un túnel subterráneo que hallaron en la selva de Ecuador. Muchos de ellos eran de oro, talladas con jeroglíficos de un idioma desconocido y todavía nadie ha podido descifrarlo. Los objetos habían sido recuperados por los indios en una cueva muy profunda, conocido como la Cueva de los Tayos, ubicado en la región amazónica conocida como Morona Santiago. La cueva, que se encuentra a unos 800 metros sobre el nivel del mar, fue llamado debido a las características aves Tayos que son casi ciegos y que viven en sus profundidades. Siendo un hombre de cultura, el Padre Crespi pronto se dio cuenta de que los extraordinarios artefactos mostraban similitudes preocupantes con la iconografía de las antiguas civilizaciones mesopotámicas, lo que sugería algún tipo de conexión entre culturas que se desarrollaron en lados opuestos del planeta. Ver también: Ingeniería genética en la antigüedad El Padre Crespi estaba convencido de que las laminas y las planchas de oro donados a él, y que él estudió, indican claramente que el antiguo mundo de Oriente Medio antes de la gran inundación estaba en contacto con civilizaciones que se habían desarrollado en el Nuevo Mundo, ya presente en América desde hace sesenta mil años. Según el Padre Crespi, los jeroglíficos arcaicos que habían sido grabados, o tal vez prensados con moldes, no eran otros que la lengua materna de la humanidad, la lengua que se hablaba antes del Diluvio. En su ingenuidad de un hombre de fe y cultura, el religioso no se dio cuenta de que sus ideas ponían seriamente en cuestión las teorías establecidas por la arqueología convencional (la oficial). Ya que los artefactos donados habían formado una colección muy grande de objetos, en 1960 Crespi solicitó y obtuvo el permiso del Vaticano para crear un museo en la misión salesiana de Cuenca. Para Cuenca fue el museo más grande que jamás se haya creado en el Ecuador, por lo menos hasta 1962, cuando un misterioso incendio destruyó por completo la estructura, y la mayoría de los hallazgos se perdieron para siempre. Sin embargo, Crespi parece haber sido capaz de salvar algunas piezas que se escondieron en un lugar que sólo él conocía. En 1969, Juan Moricz, investigador húngaro naturalizado argentino, exploró a fondo la cueva, encontrando muchas láminas de oro que reporto tenían incisiones arcaicas como jeroglíficos, estatuas antiguas de estilo del Oriente Medio, y muchos otros objetos de oro, plata y bronce: cetros, cascos, discos, placas. Crespi indico a Moricz cómo entrar en la cueva y cómo hallar el camino correcto en el insondable laberinto situado en sus profundidades. En 1972, fue Erik Von Daniken escritor sueco el que difundió la noticia del descubrimiento del investigador húngaro. Cuando la noticia del extraño descubrimiento de Moricz se extendió por todo el mundo, muchos eruditos decidieron explorar la cueva con expediciones privadas. Uno de las primeras y más audaces expediciones que se llevó a cabo en 1976 fue realizada por el investigador escocés Stanley Hall en la que participaron el astronauta estadounidense Neil Armstrong, el primer hombre en pisar la Luna, el 21 de julio de 1969. Se dice que el astronauta informó que en los tres días que permaneció en el interior de la cueva eran incluso más significativo que su legendario viaje a la Luna. A finales de los años 70, Gabriele D'Annunzio Baraldi visitó por un largo tiempo Cuenca, donde se reunió tanto con Carlo Crespi y Juan Moricz. En esa ocasión, Carlo Crespi confió al italo-brasileño que la Cueva de los Tayos era insondable y que los miles de ramificaciones subterráneas no eran naturales, sino más bien hecho por el hombre en el pasado. Según Crespi la mayoría de los hallazgos que los nativos le entregaron provenia de una gran pirámide subterránea, ubicada en un lugar secreto. El religioso italiano confeso entonces a Baraldi que, por temor a futuros saqueos, ordenó a los nativos que cubrieran de tierra la totalidad de la pirámide, de modo que nadie pudiera encontrarlo. Baraldi se dio cuenta de que en muchas placas y láminas de oro fueron recurrentes diversos signos: el sol, la pirámide, la serpiente, el elefante. En particular, la placa donde una pirámide fue grabada con un sol en su cumbre fue interpretado por Baraldi como una masiva erupción volcánica que ocurrió en el pasado distante. Ver también: La pirámide negra del “Hijo del Creador” Cuando Carlo Crespi murió en abril de 1982, su fantasmagórica colección de arte antediluviano fue sellada para siempre, y nadie podía admirarlo. Hay muchos rumores sobre el destino de los preciosos artefactos recogidos pacientemente por el religioso de Milán. Algunos fueron simplemente enviados en secreto a Roma, y ocultados en alguna bóveda del Vaticano. Ver también: Exponiendo la oculta religión del Vaticano Muchos arqueólogos convencionales han acusado al Padre Crespi de ser un impostor o simplemente un visionario, que hizo pasar planchas de oro como genuinos y los cuales eran simplemente falsificaciones o copias de los artefactos de Oriente Medio. Pero a pesar de las acusaciones de la arqueológica convencional permanece las fotografías y numerosos testimonios de muchos estudiosos que demuestran su veracidad. La impresión que se tiene al leer esta historia es que alguien quería ocultar las fantásticas piezas arqueológicas recogidos y estudiados por el religioso de Milán. ¿Pero por qué? Porque querer ocultar los paralelismos entre las culturas precolombinas de Mesopotamia y aquellos, que son claramente evidentes. ¿Por qué los arqueólogos victorianos creían en la pacífica existencia de una cultura madre antes de que ella hubiera generado culturas hijas con el mismo sistema iconográfico, simbólico y religioso? ¿Y porque hoy los arqueólogos convencionales se oponen ferozmente a esta hipótesis negando esta posibilidad a toda costa? ¿Qué valor tendría el saber que la humanidad desciende de una sola civilización global avanzada antediluviano?

[malassamira]

"Quelques heures plus tard, harassé d'avoir tant veillé, il demanda : "Quel jour sommes nous?" Aureliano lui répondit qu'on était mardi. "C'est bien ce que je pensais, dit José Arcadio Buendia. Mais d'un seul coup je me suis rendu compte qu'on continuait à être lundi, comme hier.

Regarde le ciel, regarde les murs, aujourd'hui aussi, c'est lundi.

[...] c'est une vraie calamité, dit-il. Regarde l'air, écoute le vrombissement du soleil, tout est pareil à hier, et avant-hier.

Aujourd'hui aussi, c'est lundi."

Ce soir-là, Pietro Crespi le trouva sous la véranda, pleurant avec cette façon de pleurer disgracieuse qu'on les vieillards, pleurant Pridencio, pleurant Melquiades, pleurant les parents de Rebecca, pleurant son papa et sa maman, tout ceux dont il était capable de se souvenir et qui se trouvaient seuls, désormais, dans la mort.

Le jeudi, il refit son apparition dans l'atelier avec une douloureuse mine de déterré :

"La mécanique du temps s'est déréglée!"

-- Gabriel García Marquez, Cent ans de solitude.