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psalm22-6 · 2 years

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Souce: the Universal Weekly, 8 May 1926

London Showing Gala Event of Film Season The London showing was in the London Hippodrome, April 9th, and was by far the gala event of the current film season in London. The picture is in twenty-two reels and was shown at a double session, each session including eleven reels. This was a decided novelty for the British filmmen and reviewers, yet was accepted with favor and even enthusiasm. It is considered likely that the American presentation of the big French film will conform to this method.

The trade showing tour of the picture which followed the London showing was as follows: West End Cinema, Birmingham, April 11th; Theatre Royal, Manchester, April 12th; Grainger Picture House, Newcastle, April 13th; Theatre Royal, Glasgow, April 14th; Briggate Picture House, Leeds, April 15th; Trocadero, Liverpool, April 16th, and Park Cinema, Cardiff, April 17th. The London Hippodrome showing was marked by unusual ceremonies and celebrations. An elaborate prologue, hailed as one of the finest ever seen in England, preceded the picture. In it many of the principal actors and actresses of the film appeared in person. Included in the prologue were the following French film favorites, who made a special trip from Paris for the opening: Sandra Milowanoff, who plays Fantine; Andree Rolane, who plays Cosette; Jean Toulout, who plays Javert; Paul Jorge, who plays Mgr. Myriel; G. Saillard, who plays Thenardier; N. Saillard, who plays Eponine and Renee Carl who has the role of La Thenardier. In the prologue, these players broke through the pages of a big book and marched across the stage before the sleeping figure of Victor Hugo. Prominent International Figures Attend

A number of the officials and executives of the Societe des Cineromans also were present from Paris, including Jean Sapene, proprietor of Le Matin and director general of the Societe; Louis Nalpas, art director of the Societe; Henri Fescourt, who produced "Les Miserables," and others of similar importance. Amie de Fleureau [sic], French Ambassador to England, was present at the showing, with other prominent Frenchmen now in England, including Marcel Knecht. The French Ambassador, the officials of the Cineromans, members of the cast and many prominent Britons were guests at a banquet held the same evening in the Hotel Metropole, London. Ambassador de Fleureau, Sapene, Nalpas and Knecht sent the following cable to Carl Laemmle during the dinner: "After the splendid and unequalled presentation of 'Les Miserables' at the Hippodrome today to enthusiastic elite of England in the presence of the Ambassadors from Japan, Belgium, Brazil; the Ministers from Greece, Portugal, Norway, Finland and Lithuania; after this most cordial banquet uniting two hundred British-American-French leading journalists, we wish to congratulate warmly and to thank Universal and yourself for most efficient demonstration of Franco-American friendship for the betterment of peace." The cable also contained high praise for James V. Bryson, general manager of the European Motion Picture Co., Ltd., Universal's distributors in the British Isles. Bryson and his aids have had most to do with the acquisition of "Les Miserables" by Universal and for the elaborate presentation it has just received overseas. Cables of gratitude and praise also were sent to Laemmle from the Mayor of Nancy, France, the home of Hugo's father, and from the Mayor of Besancon, where Hugo was born. Score and Story of Picture Broadcast In connection with the Hippodrome presentation, the British National Opera Orchestra of fifty pieces was used to supply the musical background of the picture.

The entire score, together with the story of the picture, was broadcast by radio. It has been estimated that four million radio fans listened-in on this music program. Following the London presentation the orchestra was used for the various provincial trade showings. [. . .] Other Cities Equally Enthusiastic [. . .] Definite information as to whether "Les Miserables" would be released in America the same way as in England — in two parts of eleven reels each, totaling a four-hour show — could not be obtained this week at the Universal Home Office where it was said that this method was under serious consideration, but that no decision had yet been made. It was pointed out that several other methods of presenting the entire twenty-two reels offer themselves. One of these would be to run the first eleven reels in the afternoon and the second part in the evening. Another way would be to run one part in one theatre and the other in another theatre day and date. Still a third way would be to run the first part the first half of the week and the second part the last half. One thing is practically certain. Carl Laemmle, rather than sacrifice any of the dramatic thrills and entertainment value to be found in the full-length version, means to present it as it stands. It is of interest that the second half is almost a complete story in itself and with a short foreword for the purpose of introducing the characters and outline the elements of the preceding action, might conceivably stand on its own feet. It is understood that Laemmle is seeking the advice of many exhibitors, newspaper reviewers and others on the perplexing subject of how to release "Les Miserables." Meanwhile, Universal is going ahead with plans to launch the big Universal-Film de France with an advertising, publicity and exploitation campaign that will dwarf that done for such previous Universal super-pictures as "The Hunch- back" and "The Phantom."

#les miserables #lm 1925

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agendaculturaldelima · 19 days

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#ElEscenarioDelMundo

🎭 Teatro: “APENAS EL FIN DEL MUNDO” 👨🌎 👪👀 🔪

✍️ Dramaturgia: Jean-Luc Lagarce (Francia)

🗣 Traduccion: Jaime Arrambide

🗯 Argumento: Louis regresa al hogar familiar luego de doce años de ausencia, tiempo en el que apenas intercambia alguna postal con su familia y la relación ha quedado parada en el tiempo. Esta es una vuelta a los orígenes, forzada por una situación que debe comunicarles, una noticia irremediable en este reencuentro familiar inevitable. Una casa y cinco personas enfrentadas por las dificultades a la hora de comunicarse, por las mentiras que se dicen para ocultar verdades que duelen y verdades que se callan porque nadie quiere escucharlas. La puesta en escena nos habla de la experiencia humana, de las emociones y las pasiones, de la comunicación inquebrantable en el seno familiar y de la necesidad de sentirse aceptado pero sobre todo de la necesidad de huir para siempre.

👥 Elenco: Alejandro Guzmán, Gabriela Billotti, Jorge Armas, Anneliese Fiedler y Valentina Saba

📢 Dirección: Rodrigo Torres

💃Movimiento: Lucía Meléndez

💡 Iluminación: Mario Ráez

🔊 Musicalización y Diseño Sonoro: Rafael Benavides

📸 Fotografía y Afiche: Julius Cano

🖼 Escenografía y Vestuario: Dania Granda

🔎 Producción Ejecutiva: Nicole Asto

📌 TEMPORADA: Del 12 al 29 de setiembre

📆 Funciones: Jueves a Domingo

🕗 8:00pm.

⌛️ Duración: 90 minutos

🏪 Teatro Julieta (pasaje Porta 132 – Miraflores)

🎯 Entradas:

🎫 Adulto: S/.40

🎟️ Estudiante, Jubilado y CONADIS: S/.25

📞Reservas: https://www.joinnus.com/events/theater/lima-apenas-el-fin-del-mundo-63444

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alexlacquemanne · 28 days

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Aout MMXXIV

Films

Le Gendarme en balade (1970) de Jean Girault avec Louis de Funès, Michel Galabru, Jean Lefebvre, Christian Marin, Guy Grosso, Michel Modo, Claude Gensac, France Rumilly, Nicole Vervil et Dominique Davray

Ali (2001) de Michael Mann avec Will Smith, Jon Voight, Jamie Foxx, Mario Van Peebles, Ron Silver, Jeffrey Wright et Nona Gaye

Les Enchaînés (Notorious) (1946) d'Alfred Hitchcock avec Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern, Leopoldine Konstantin et Reinhold Schünzel

Lettre d'une inconnue (Letter from an Unknown Woman) (1948) de Max Ophüls avec Joan Fontaine, Louis Jourdan, Art Smith, Leo B. Pessin, Marcel Journet, Mady Christians, Howard Freeman et Sonja Bryden

Lucky Jo (1964) de Michel Deville avec Eddie Constantine, Pierre Brasseur, Françoise Arnoul, Georges Wilson, Christiane Minazzoli, Claude Brasseur, Jean-Pierre Darras et André Cellier

Borg McEnroe (2017) de Janus Metz Pedersen avec Sverrir Gudnason, Shia LaBeouf, Stellan Skarsgård, Tuva Novotny, Scott Arthur, Robert Emms et David Bamber

La Vérité (1960) de Henri-Georges Clouzot avec Brigitte Bardot, Sami Frey, Marie-José Nat, Charles Vanel, Paul Meurisse, Louis Seigner, René Blancard et Colette Castel

Zack Snyder's Justice League (2021) de Zack Snyder avec Ben Affleck, Gal Gadot, Ray Fisher, Jason Momoa, Ezra Miller, Henry Cavill, Amy Adams, Jeremy Irons et Diane Lane

La Chèvre (1981) de Francis Veber avec Pierre Richard, Gérard Depardieu, Michel Robin, Corynne Charby, André Valardy, Pedro Armendáriz Jr. et Jorge Luke

Piège de cristal (Die Hard) (1988) de John McTiernan avec Bruce Willis, Alan Rickman, Alexander Godunov, Bonnie Bedelia, Reginald VelJohnson, Paul Gleason et William Atherton

Le Samouraï (1967) de Jean-Pierre Melville avec Alain Delon, François Périer, Nathalie Delon, Cathy Rosier, Jacques Leroy et Jacques Deschamps

La Piscine (1969) de Jacques Deray avec Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin, Paul Crauchet, Suzie Jaspard et Steve Eckart

Forfaiture (1937) de Marcel L'Herbier avec Louis Jouvet, Lise Delamare, Ève Francis, Sylvia Bataille, Victor Francen, Sessue Hayakawa et Lucas Gridoux

The Batman (2022) de Matt Reeves avec Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, Colin Farrell, John Turturro, Andy Serkis

Plein Soleil (1960) de René Clément avec Alain Delon, Marie Laforêt, Maurice Ronet, Erno Crisa, Elvire Popesco, Frank Latimore et Billy Kearns

58 Minutes pour vivre (Die Hard 2) (1990) de Renny Harlin avec Bruce Willis, Bonnie Bedelia, William Sadler, Dennis Franz, Franco Nero, William Atherton, Reginald VelJohnson, Fred Thompson, Art Evans, John Amos, Tom Bower et Sheila McCarthy

Mort d'un pourri (1977) de Georges Lautner avec Alain Delon, Ornella Muti, Stéphane Audran, Mireille Darc, Maurice Ronet, Michel Aumont, Jean Bouise, Daniel Ceccaldi, Julien Guiomar et Klaus Kinski

The Layover (2017) de William H. Macy avec Alexandra Daddario, Kate Upton, Matt Barr, Matt L. Jones, Rob Corddry, Kal Penn et Molly Shannon

Une journée en enfer (Die Hard with a Vengeance) (1995) de John McTiernan avec Bruce Willis, Jeremy Irons, Samuel L. Jackson, Larry Bryggman, Graham Greene et Colleen Camp

Séries

Le Coffre à Catch

#179 : Le festival de Kane ! - #180 : Jack Swagger repasse par la ECW ! - #181 : Les adieux de Tommy Dreamer (Colby en fil rouge) - #182 : Bret et Shawn font la paix et on termine le Homecoming!

Castle Saison 7

Sans relâche - Montréal - Une force invisible - Un problème enfantin - Un buzz foudroyant - De parfaits inconnus - Les Mystères de l'Ouest - Chevalier blanc - Action! - Un Noël dans la mafia - Castle, détective privé - L'affaire est dans le sac - Devant mes yeux - Résurrection - Règlement de comptes

The Durrells : une famille anglaise à Corfou Saison 3, 4

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7 - Episode 8 - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Biography: WWE Legends Saison 3

Paige - Yokozuna

Le Comte de Monte-Cristo

Le Prisonnier du château d'If - Le Revenant - Les Scélérats - La Vengeance

Maguy Saison 7

Suzanne désespérément - OPA comique - Hallali conjugal - Qui l'eût "crue" ? - Dernier de Corday - La mégère à prix Boissier - Absence unique - Un monde chou, chou, chou - Flamme fatale - Le déchargé de mission - Ice-cream et châtiment - L'âge de déraison - Un ome peut en cacher un autre - Maguy rock - Direction assistée - La vie en roses - Le bazar et la nécessité - Le salaire du rappeur - Pas commode d'emploi - Maguyvaudages - Sauve qui puce - SOS vampires - Il est 5 heures, Maguy s'éveille - Certains l'aiment faux

Commissaire Moulin Saison 1

Petite Hantise - Cent mille soleils - Affectation spéciale

Commissaire Dupin

Une famille endeuillée - La morte rose

Affaires sensibles

Bambi, vedette de cabaret et femme ordinaire - Simone Weber, "la diabolique de Nancy"

Spectacles

Adele at the BBC (2015)

ABBA : Live at Wembley Arena (1979)

Bénabar : Live au Grand Rex (2004)

Eddy Mitchell : Ma dernière séance (2011) à l'Olympia

Livres

Les Disparus de Trégastel de Jean-Luc Bannalec

Nota Bene, tome 6 : La Vie au Moyen Âge de Benjamin Brillaud, Phil Castaza, Christian Paty et Mathieu Mariolle

Les Schtroumpfs, tome 11 : Les Schtroumpfs olympiques de Peyo

Astérix, tome 12 : Astérix aux jeux Olympiques de René Goscinny et Albert Uderzo

#mediatheque #aout24

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brookstonalmanac · 1 month

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Birthdays 8.24

Beer Birthdays

John Taylor (The Bard of Beer; 1578)

Louis Wiegand (1840)

Dow Tunis (1962)

Five Favorite Birthdays

Dave Chappelle; comedian (1973)

Paul Coehlo; Brazilian writer (1947)

Alex Colville; Canadian artist (1920)

Stephen Fry; English writer, actor (1957)

Howard Zinn; historian, writer (1922)

Famous Birthdays

Yasser Arafat; Palestinian politician (1929)

Anne Archer; actor (1947)

Max Beerbohm; English writer, artist (1872)

Jorge Luis Borges; Argentine writer (1899)

Earl Deer Biggers; writers (1884)

A.S. Byatt; writer (1936)

Orson Scott Card; writer (1951)

Gaylord DuBois; cartoonist (1899)

Preston Foster; actor (1900)

Dana Gould; comedian (1964)

Steve Guttenberg; actor (1958)

Tracy Harris; artist (1958)

Jean-Michel Jarre; French musician (1948)

Craig Kilborn; television host (1962)

Kaki King; guitarist (1979)

Durwood Kirby; television announcer (1911)

Marlee Matlin; actor (1965)

Felix Mottl; orchestra conductor (1856)

Jean Rhys; Welsh-Dominican writer (1894)

Cap Ripken, Jr.; Baltimore Orioles 3B (1960)

Charles Rocket; comedian (1949)

Louis Teicher; pianist (1924)

Tim White; paleoanthropologist (1950)

William Wilberforce; English abolitionist (1759)

#Birthdays

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laus-deo · 3 months

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Ya se sabe quién pronunciará el próximo 'Habemus Papam': francés, 72 años, diplomático y canonista

El último cardenal protodiácono en anunciar a un Papa, con la ya clásica fórmula “Habemus Papam”, fue el francés Jean Louis Tauran, fallecido en el año 2018. El nombre que se dio en aquella ocasión, tras el Cónclave y en el balcón de la fachada principal de San Pedro, fue el de Jorge Mario Bergoglio, el 13 de marzo de 2013. A Tauran le tocó ese cometido debido a su cargo como cardenal…

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inapat17 · 4 months

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Text-screen relationships 4/4: Godard and Faulkner

I'm interested in the relationship, in a broad sense, between text and image. This article explores the relationship between literature and cinema through the works of Jean-Luc Godard and William Faulkner. It proposes a different vision from the traditional perspectives of adaptation and cases of influence or confluence. Rather than directly comparing written narrative and filmic narrative, or applying the techniques of one to the other, this article examines how their encounter produces a new form of expression: cinema as the transformation and rewriting of literature, and vice versa. The idea is to see writing not just as a process internal to a text or a film, but as the result of their interaction.

Jean-Luc Godard has always had a special relationship with literature. For a long time, he dreamt of being a writer, and his films are full of people reading (from Pierrot le fou [Pierrot the Fool], which opens with Jean-Paul Belmondo immersed in Elie Faure's History of Art, to the bookish argument in Une femme est une femme [A Woman Is a Woman], via the filmmaker himself reading The Idiot in Soigne ta droite [Keep Your Right Up], to the sublime reading of The Oval Portait in Vivre sa vie [My Life to live]). He has also ventured into the realm of adaptation, obviously with a twist (as in the case of Le Mépris [Contempt], Pierrot le fou and King Lear).

Last but not least, Jean-Luc Godard's work is riddled with quotations: Pierrot le fou is entirely under the aegis of Arthur Rimbaud, Alphaville is part of the world of Jorges Luis Borges but also summons Henri Bergson, Paul Éluard and Louis-Ferdinand Céline. And, of course, the films at the end of his career encapsulate all the figures of his aesthetic: Histoire(s) du cinéma and Le Livre d'images, for example, are packed with literary quotations and references, so many that it is impossible to list them here.

But there is one author whose presence is even more pervasive than the others, and who haunts all of JLG's work: William Faulkner.

From Jean-Luc Godard's first feature film to his last, Faulkner's work seems to hover like a shadow, more or less palpable, over the work of the famous Franco-Swiss filmmaker.

In À bout de souffle (Breathless), Jean-Luc Godard reworks the story of the Wild Palms: criminal lovers on the run. He also quotes its most emblematic phrase: “between grief and nothing”, to confront his character (Michel Poiccard) with the same dilemma as Harry Wilbourne in Faulkner's novel: total sacrifice in a quest for the absolute, and the choice between suffering (grief) and death (nothing). In this case, it is both a thematic and narrative reprise, but one that is integrated into the dialogue of the film itself: the characters are aware that they are part of the literary reference, which makes them literally second-degree characters.

Dans Grandeur et décadence d'un petit commerce de cinéma [The Rise and Fall of a Small Film Company], Godard quotes Sepulture South: Gaslight, a short story by Faulkner, inspired by a cemetery photograph by Walker Evans. It describes the impressions and feelings experienced by a young boy at his grandfather's funeral (and that's maybe the most beautiful things thah have never been written):

« And three or four times a year I would come back, I would not know why, alone to look at them, not just at Grandfather and Grandmother but at all of them looming among the lush green of summer and the regal blaze of fall and the rain and ruin of winter before spring would bloom again, stained now, a little darkened by time and weather and endurance but still serene, impervious, remote, gazing at nothing, not like sentinels, not defending the living from the dead by means of their vast ton-measured weight and mass, but rather the dead from the living ; shielding instead the vacant and dissolving bones, the harmless and defenseless dust, from the anguish and grief and inhumanity of mankind ».

– « Sepulture South : Gaslight » [1954], in Uncollected Stories [1979], Random House, coll. « Vintage Books », 1997, p. 455.

In the film, which tells the story of a search for an actor for a film whose producer has been murdered, Faulkner's phrase plays an essential role, as it is broken up to be spoken by unemployed people marching in front of a camera. This sequence can be divided into seven movements corresponding to the seven repetitions of the phrase in different orders, the sequence of words initially making no sense, until gradually the order of the original phrase is restored.

The actors' search thus essentially corresponds to the search for multiple speech, emanating from different bodies, which can convey meaning, rediscover meaning, which requires work figuratively through repetition, “stammering”, but also the movement of bodies in the filmic space. This movement is, moreover, opposed to the immobilitý of those whom the phrase describes, but Godard having removed its context and its beginning, the ‘all of them’ no longer refers to Faulkner's statues. Yet the final image of the sequence, in which we finally hear the last words of the sentence spoken in the correct order, is a photograph of James Dean, frozen forever in his splendour. We can guess that the dead we are trying to protect are, as the rest of the film makes clear, the great past figures of cinema history.

Godard thus displaces the Faulknerian theme: it is no longer the South that forms a gigantic sepulchre, but cinematic art. At the same time, through his deconstruction of the sentence, he reveals its very nature: its very reduced punctuation, its strange lyricism, the difficultý we experience in grasping its rhythm on first reading. Above all, the effects of loop and repetition added by the filmmaker indicate the vocation of the writer's style: to capture the time of myth in the fleeing movement of the present.

Another Faulkner phrase, this time from Requiem for a Nun, runs through Godard's work: "The past is never dead. It's not even past".

It appears in several films: in episode 3a of Histoire(s) du cinéma, in JLG/JLG and Hélas pour moi. The three films use the phrase in three different ways: fragmenting it through caesura in Histoire(s) to underline the division of the French between resistance fighters and collaborators (the reprise of the phrase is superimposed on a sound extract of Pétain's voice), inverting it through editing in JLG/JLG to reveal another dimension (the present is only repetition) and appropriating it for a touching confession (he now lives as much in the past as in the present), and repeating it tirelessly in Hélas pour moi to unfold a crystalline conception of the image (each version of a story, each image of an event constitutes the virtual face of another narrative and another image, there is no dichotomy between past and present, but a single image of time whose different faces are captured).

Repetition, loop, inversion: the figures of speech reworked by the film end up redefining not only Faulkner's style, but perhaps also his literary ambition, the very essence of his writing: the impossible quest in the order of language and text for a crystalline representation of time. If Faulknerian time has been defined as a time of return, of repetition, of circularity, without this being sufficient to define the relationship that the writer himself presupposes between the time of the sentence and that of the narrative, it is perhaps because we had to wait for a filmmaker, envisaging his writing as the object of his own work, to reveal its unfulfilled ambition : If, by its very nature, the cinematographic image cannot say that was constitutes a dimension of is, as Faulkner wrote over and over again, it can, on the other hand, literally fulfil this idea in its twofold present and virtual face. Writing is not enough to agglutinate time: it needs an image in which to reflect.

#anouck morin

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reasoningdaily · 5 months

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The Kingdom of Kongo and Palo Mayombe: Reflections on an African-American Religion

Abstract

Historical scholarship on Afro-Cuban religions has long recognized that one of its salient characteristics is the union of African (Yoruba) gods with Catholic Saints. But in so doing, it has usually considered the Cuban Catholic church as the source of the saints and the syncretism to be the result of the worshippers hiding worship of the gods behind the saints. This article argues that the source of the saints was more likely to be from Catholics from the Kingdom of Kongo which had been Catholic for 300 years and had made its own form of Christianity in the interim.

Acknowledgements

Research funding for this project was supplied by Boston University Faculty Research Fund and the Hutchins Center of Harvard University. Earlier versions were presented at the Hutchins Center, and the keynote address at ‘Kongo Across the Waters’ in Gainesville, FL. Thanks to Linda Heywood, Matthew Childs, Manuel Barcia, Jane Landers, Carmen Barcia, Jorge Felipe Gonzalez, Thiago Sapede, Marial Iglesias Utset, Aisha Fisher, Dell Hamilton, Grete Viddal and Kyrah Daniels for readings, comments, questions and source material.

[1] Robert Farris Thompson, Flash of the Spirit: African and Afro-American Art and Philosophy (New York: Random House, 1983), pp. 17–8; see also Face of the Gods: Art and Altars of Africa and African America (New York: Prestel, 1993). For Cuba in particular, see David H. Brown, Santería Enthroned: Art, Ritual and Innovation in an Afro-Cuban Religion (Chicago, IL: University of Chicago Press, 2003), p. 34 (with ample references to earlier visions).

[2] Georges Balandier, Daily Life in the Kingdom of the Kongo (New York: Allen and Unwin, 1968 [French Version, Paris, 1965]) and James Sweet, Recreating Africa: Culture, Kinship and Religion in the African-Portuguese World, 1441–1770 (Chapel Hill: University of North Carolina Press, 2003).

[3] Ann Hilton, The Kingdom of Kongo (Oxford: Oxford University Press, 1984), for the role of the Capuchins in discovering problems with Kongo's Christianity. John Thornton, ‘The Kingdom of Kongo and the Counter-Reformation’, Social Sciences and Missions 26 (2013): 40–58 contextualizes their role and their problems with Kongo's Christianity.

[4] Adrian Hastings, The Church in Africa, 1450–1950 (Oxford: Oxford University Press, 1994); this position is often implicit in the many histories written by clerical historians such as Jean Cuvelier, Louis Jadin, François Bontinck, Teobaldo Filesi, Carlo Toso and Graziano Saccardo, whose work has presented modern editions of the classical work of the Capuchin missionaries, commentaries and at times regional histories, such as Saccardo, Congo e Angola con la storia del missionari Capuccini, Vol. 3 (Venice: Curia Provinciale dei Cappuccini, 1982–1983). For both a position of dependence on missionaries and a recognition of local education, Louis Jadin, ‘Les survivances chrétiennes au Congo au XIXe siècle’, Études d'histoire africaine 1 (1970): 137–85.

[5] It is not mentioned at all in his seminal work, Thompson, Flash of the Spirit in the nearly 100-page section dealing with Kongo and its influence in Vodou, nor in Face of the Gods.

[6] Erwan Dianteill, ‘Kongo à Cuba: Transformations d'une religion africaine', Archives de Sciences Sociales de Religion 117 (2002): 59–80.

[7] Todd Ochoa, Society of the Dead: Quita Manaquita and Palo Praise in Cuba (Berkeley: University of California Press, 2010), pp. 8–10. Wyatt MacGaffey's work, especially Religion and Society in Central Africa: The BaKongo of Lower Zaire (Chicago, IL: University of Chicago Press, 1986) is a favorite.

[8] Thiago Sapede, Muana Congo, Muana Nzambi a Mpungu: Poder e Catolicismo no reino do Congo pós-restauração (1769–1795) (São Paulo: Alameda, 2014) is the first book length study of Christianity in the later period of Kongo's history.

[9] John Thornton, ‘Afro-Christian Syncretism in the Kingdom of Kongo', Journal of African History 54 (2013): 53–77.

[10] Thornton, ‘Afro-Christian Syncretism'.

[11] Sapede, Muana Congo, pp. 248–57.

[12] Thornton, ‘Afro-Christian Syncretism', for the details of the struggle, but a perspective that sees the Capuchin mission as central to Kongo Christianity, see Saccardo, Congo e Angola.

[13] John Thornton, The Kongolese Saint Anthony: D Beatriz Kimpa Vita and the Antonian Movement, 1684–1706 (Cambridge: Cambridge University Press, 1998).

[14] Rafael Castello de Vide, ‘Viagem ao Congo’, Academia das Cienças de Lisboa, MS Vermelho 396, pp. 32–4, 183–5 (transcription by Arlindo Carreira, 2007 at http://www.arlindo-correia.com/161007.html) which marks the pagination of the original MS.

[15] Castello de Vide, ‘Viagem ao Congo', pp. 110–4.

[16] Raimondo da Dicomano, ‘Informazione' (1798), pp. 1–2. The text exists in both the Italian original and a Portuguese translation made at the same time. For an edition of both, see the transcription of Arlindo Carreira, 2010 (http://www.arlindo-correia.com/121208.html).

[17] ‘Il Stato in cui si trova il Regno di Congo', September 22, 1820, in Teobaldo Filesi, ‘L'epilogo della ‘Missio Antiqua’ dei cappuccini nel regno de Congo (1800–1835)’, Euntes Docete 23 (1970), pp. 433–4.

[18] Among the first was Domingos Pereira da Silva Sardinha in 1854, who, according to King Henrique II of Kongo, had performed his duties of administering the sacraments with ‘all the necessary prudence', Henrique II to Vicar General of Angola, December 14, 1855, Boletim Oficial de Angola, 540 (1856).

[19] Biblioteca d'Ajuda, Lisbon, Códice 54/XIII/32 n° 9, Francisco de Salles Gusmão to the King, October 27, 1856.

[20] Castello de Vide, ‘Viagem ao Congo’, pp. 110–4.

[21] da Dicomano, ‘Informazione', pp. 1–7 (of manuscript).

[22] Castello de Vide, ‘Viagem', pp. 39, 69, 276.

[23] Castello de Vide, ‘Viagen', p. 217 (thanks to Thiago Sapede for this reference).

[24] Castello de Vide, ‘Viagem’, pp. 32–4, 1835.

[25] For a thorough study of these religious artefacts and their meaning, see Cécile Fromont, The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo (Chapel Hill: University of North Carolina Press, 2014).

[26] Castello de Vide, ‘Viagem', p. 78.

[27] APF Congo 5, fols. 298–298v (Rosario dal Parco) ‘Informazione 1760' A French translation is found in Louis Jadin, ‘Aperçu de la situation du Congo, et rite d’élection des rois en 1775, d'après le P. Cherubino da Savona, missionaire de 1759 à 1774', Bulletin de l'Institut Historique Belge de Rome 35 (1963): 347–419 (marking foliation of original MS).

[28] Castello de Vide, ‘Viagem', pp. 180–4.

[29] Castello de Vide, ‘Viagem', p. 53.

[30] Castello de Vide, ‘Viagem', pp. 63–4; see also 87 for another noble as Captain of Church; 136 crowds at Mapinda.

[31] da Dicomano, ‘Informazione', pp. 1–7.

[32] Castello de Vide, ‘Viagem', p. 196.

[33] Bernard Clist et alia, ‘The Elusive Archeology of Kongo Urbanism, the Case of Kindoki, Mbanza Nsundi (Lower Congo, DRC)’, African Archaeological Review 32 (2014) 369–412 and Charlotte Verhaeghe, ‘Funeraire rituelen en het Kongo Konigrijk: De betekenis van de schelp- en glaskralen en de begraafplaats van Kindoki, Mbanza Nsundi, Neder-Kongo' (MA thesis, University of Ghent, 2014), pp. 44–50.

[34] ‘Il Stato in cui si trova il Regno di Congo', September 22, 1820, in Filesi, ‘Epilogo’, pp. 433–4.

[35] ‘O Congo em 1845: Roteiro da viagem ao Reino de Congo por Major A. J. Castro … ’, Boletim de Sociedade de Geographia de Lisboa II series, 2 (1880), pp. 53–67. The orthographic irregularity reflects the actual pronunciation of these terms in the São Salvador region (the Sansala dialect).

[36] Alfredo de Sarmento, Os sertões d'Africa (Apontamentos do viagem) (Lisbon: Artur da Silva, 1880), p. 49 and Adolf Bastian, Ein Besuch in San Salvador: Der Hauptstadt des Königreichs Congo (Bremen: Heinrich Strack, 1859), pp. 61–2.

[37] Castello de Vide, ‘Viagem', pp. 102–3 and da Firenze, ‘Relazione', pp. 420–1.

[38] Castello de Vide, ‘Viagem', p. 137.

[39] Castello de Vide, ‘Viagem', pp. 180–4.

[40] da Dicomano, ‘Informazione', pp. 1–7.

[41] Castello de Vide, ‘Viagem', pp. 32–4; da Dicomano, ‘Informazione', pp. 1–7; Zanobio Maria da Firenze, ‘Relazione della Stato in cui si trovassi autalmente il Regno di Congo … 1814’, July 10, 1816, in Filesi, ‘Epilogo’, pp. 420–1.

[42] Archivio ‘De Propaganda Fide' (Rome) Acta 1758, ff 213–9, no. 16, Relazione di Rosario dal Parco, July 31, 1758. These large numbers were not simply priests catching up on people who had not been baptized for a long time, as personnel staffing and statistics are found from 1752 onward; but the priests did not cover the whole country every year, so many priests would baptize babies all under age two or three.

[43] Castello de Vide, ‘Viagem', pp. 63–4; see also 87 for another noble as Captain of Church; 136 crowds at Mapinda.

[44] da Dicomano, ‘Informazione', pp. 1–7.

[45] da Firenze, ‘Relazione', pp. 420–1.

[46] ‘Il Stato in cui si trova il Regno di Congo', September 22, 1820, in Filesi, ‘Epilogo’, pp. 433–4.

[47] Francisco das Necessidades, Report, March 15, 1845, in Arquivo do Archibispado de Angola, Correspondência de Congo, 1845–1892, cited in François Bontinck, ‘Notes complimentaire sur Dom Nicolau Agua Rosada e Sardonia’, African Historical Studies 2 (1969): 105, n. 6. Unfortunately, no researchers have been allowed to work in this section of the archive for many years and so the actual text is not available.

[48] Report of November 13, 1856 in António Brásio, ‘Monumenta Missionalia Africana’, Portugal em Africa 50 (1952), pp. 114–7.

[49] Biblioteca d'Ajuda, Lisbon 54/XIII/32 n° 9, Francisco de Salles Gusmão to the King, de Outubro de 27, 1856.

[50] Da Cruz, entry of October 8 and 25 on the problems of baptizing people.

[51] da Dicomano, ‘Informazione', is the first to describe this process; for more detail see Bastian, Besuch.

[52] David Eltis, An Atlas of the Transatlantic Slave Trade.

[53] For a recent discussion of names and nomenclature, see Jésus Guanche, Africanía y etnicidad en Cuba (los componentes étnicos africanos y sus múltiples demoninaciones (Havana: Editoria de Ciencias Sociales, 2008). As we shall see, a number of other subdivisions also derived from the kingdom like the Musolongos, Batas and others.

[54] John Thornton, Africa and Africans in the Formation of the Atlantic World, 1400–1800, 2nd ed. (Cambridge: Cambridge University Press, 1998), for Cuba in particular, Matt Childs, ‘Recreating African Identities in Cuba', in The Black Urban Atlantic in the Era of the Slave Trade, eds. Jorge Cañizares-Esquerra, Matt Childs, and James Sidbury (Philadelphia: University of Pennsylvania Press, 2013), pp. 85–100.

[55] Robert Jameson, Letters from Havana in the Year 1820 … (London: John Miller, 1821), pp. 20–2 (from letter II).

[56] Fernando Ortiz, Hampa Afro-Cubana. Los Negros Brujos (Havana: Liberia de F. Fé, 1906), pp. 81–5; and further developed in ‘Los Cabildos Afrocubanos', in Ensayos Etnograficos, eds. Miguel Barnet and Angel Fernández (Havana: Editoriales Sociales, 1984 [originally published 1921]), pp. 12–34; for a more recent statement based on more research, Matt Childs, The 1812 Aponte Rebellion and the Struggle Against Atlantic Slavery (Chapel Hill: University of North Carolina Press, 2006), pp. 209–45 and María del Carmen Barcia Zequeira, Andrés Rodríguez Reyes, and Milagros Niebla Delgado, Del cabildo de “nación” a la casa de santo (Havana: Fundación Fernando Ortiz, 2012).

[57] For example, the now famous community of Pindar del Rio, see Natalia Bolívar Arostegui, Ta Makuende Yaya y las Reglas de Palo Monte: Mayombe, brillumba, kimbisa, shamalongo (Havana: Ediciones UNION, 1998).

[58] Childs, Aponte Rebellion, pp. 209–12; Jane Landers, ‘Catholic Conspirators: Religious Rebels in Nineteenth Century Cuba', Slavery and Abolition 36 (2015): 495–520.

[59] Brown, Santería Enthroned, pp. 62–112; María del Carmen Barcia, Los ilustres apellidos: Negros en la Habana colonial (Havana: Oficina del Historiador de la Ciudad, 2008), pp. 45–151; Barcia, Rodríguez Reyes, and Niebla Delgado, Del Cabildo which carefully demolishes the earlier theses of Fernando Ortiz and others that the cabildos grew out of the brotherhoods.

[60] This group must have split or been replaced by another, for a property dispute in the Congos Loangos relates to their foundation in 1776, Archivo Nacional de Cuba (ANC) Escribanía Valerio-Ramirez (VR) legajo 698, no. 10.205.

[61] Barcia, Iustres Apellidos, pp. 45–151.

[62] Barcia, Ilustres Apellidos.

[63] del Carmen Barcia Zequeira, Rodríguez Reyes, and Niebla Delgado, Del cabildo, pp. 12–9.

[64] Fernando Ortiz, ‘Los Cabildos Afrocubanos', in Ensayos Etnograficos, eds. Miguel Barnet and Angel Fernández (Havana: Ediciones Ciencas Sociales, 1984 [originally published 1921]), p. 13, citing documents in El Curioso Americano, 1899, p. 73.

[65] Proclama que en un cabildo de negros congos de la ciudad de La Habana, prononció por su Presidente Rey Siliman Mofundi Siliman … (Havana: np, 1808); for the claim of superiority, drawn from an ambiguous statement that he was ‘more black that you others’, see Brown, Santería Enthroned, pp. 25–7 and 311, footnotes 4 and 6. For political context, see Ada Ferrer, Freedom's Mirror: Cuba and Haiti in the Age of Revolution (Cambridge: Cambridge University Press, 2014), pp. 247–9.

[66] Fredrika Bremer, Hemmen i den Nya Världen, 2nd ed., Vol. 3 (Stockholm: Tidens forläg, 1854), p. 142 (English translation as The Homes of the New World: Impressions of America, Vol. 2 (New York: Harper and Brothers, 1853), p. 322) Her host's name is given in the original and obscured in the translation as ‘C—'.

[67] Bremer, Hemmen, Vol. 3, pp. 146–8 (Homes Vol. 2, pp. 325–8).

[68] Henri Dumont, Antropologia y patologia comparadas de los Negros escalvos, 1876, trans. Israel Castellanos (Havana: Molina, 1922), p. 38.

[69] Bremer, Hemmen, Vol. 3, pp. 172–4 (Homes Vol. 2, pp. 348–9).

[70] Bremer, Hemmen, Vol. 3, p. 213 (Homes Vol. 2, p. 383).

[71] Esteban Pichardo, Diccionario provincial de voces Cubanas (Matanzas: Imprenta de la Real Marina, 1836), p. 72. Musundi may refer to Kongo's northern province of Nsundi, though the match is not exact since the nasal ‘n' is not incorporated into it, musundi might also mean ‘excellent', as the Virgin Mary was called ‘Musundi Madia' in the Kongo catechism meaning exactly this.

[72] It is possible that Bremer attended the dance of another Cabildo of Congos Reales, who were in the process of declaring their insolvency in 1851, ANC Escrabanía Joaquin Trujillo (JT) leg 84, no. 12, 1851; for a 1867 dispute, see the property case involving them in ANC VR leg. 393, no. 5875; other mentions of cabildos of this name including the group from 1865–1871 in Carmen Barcia, Ilustres apellidos, p. 408. For the 1880s mentions, see Archivio Historico de la Provincia de Matanzas (henceforward AHPM), Religiones Africanas, leg 1, no. 30, July 7, 1882; no. 65, January 9, 1898 and no. 31, July 31, 1886.

[73] Fondo Fernando Ortiz, Institute de Linguistica y Literatura, Havana, 5.

[74] ANC Escibanía d'Daumas (ED) leg 917, no. 6. (foliation uncertain, very deteriorated document).

[75] António de Oliveira de Cadornega, História das guerras angolanas (1680–81 ), eds. Matias de Delgado and da Cunha, Vol. 3 (Lisbon: Agência Geral do Ultramar, 1940–1942, reprinted 1972), p. 3, 193. In July 2011, I drove through all three dialect zones, confirmed some of the differences by hearing them spoken and by speaking with people about these differences. My thanks to Father Gabriele Bortolami, OFMCap for driving, interacting with people, impromptu language updates and occasional lessons in the etiquette of dialect use in northern Angola.

[76] Cherubino da Savona, ‘Breve ragguaglio del Congo … ’, fols. 41v–44v, published with original foliation marked in Carlo Toso, ed., ‘Relazioni inedite di P. Cherubino Cassinis da Savona sul ‘Regno del Congo e sue Missioni’, L'Italia Francescana 45 (1974): 135–214. The foliation of the original is also marked in the French translation, found in Jadin, ‘Aperçu de la situation au Congo … '

[77] ANC ED, leg 494, no. 1, fols 96–97. This text was included in papers dealing with another dispute in 1827–1828 and in 1832–1836.

[78] ANC ED, leg 548, no. 11, fol. 9–9v; José Pacheco, January 21, 1806; ANC ED, leg. 660, no. 8, fols. 1–4; Pedro José Santa Cruz (a request for its own capataz) 1806; for the later dispute ANC ED leg 494, no. 1.

[79] ANC ED, leg 660, no. 8, fol. 4.

[80] ANC JT, leg. 84, no. 13 passim, 1851.

[81] AHPM, Religiones Africanas, leg 1, no. 30, July 7, 1882.

[82] AHPM, Religiones Africanas, leg 1, no. 65, January 9, 1898.

[83] AHPM, Religiones Africanas, leg 1, no. 31, July 31, 1886.

[84] Brown, Santería Enthroned, pp. 55–61 and Barcia Zequeira, Rodríguez Reyes, and Delgado, Cabildo de nación.

[85] Childs, Aponte Rebellion, p. 112 and ‘Identity', p. 91.

[86] Consider the temporal range of inquisition cases cited in Tania Chappi, Demonios en La Habana: Episodios de la Inquisición en Cuba (Havana: Oficinia del Hisoriador de la Ciudad, 2001). For an example of the sort of persecution the Inquisition could do, and the sort of information that can be obtained from their records, see James Sweet's study of slave religious life in Brazil, Recreating Africa.

[87] Jameson, Letters, pp. 20–2.

[88] See the transcript of his interview published in Henry Lovejoy, ‘Old Oyo Influences on the Transformation of Lucumí Identity in Colonial Cuba' (PhD diss., UCLA, 2012), pp. 230–46.

[89] Aisha Finch, Rethinking Slave Rebellion in Cuba: La Escalera and the Insurgencies of 1841–44 (Chapel Hill: North Carolina Press, 2015), pp. 199–220. Finch attributes most of the activities in these cases to the non-Christian part of Kongo religion, or an early form of Palo Mayombe; see also Miguel Sabater, ‘La conspiración de La Escalera: Otra vuelta de la tuerca', Boletín del Archivo Nacional 12 (2000): 23–33 (with quotations from trial records).

[90] Bremer, Hemmen, Vol. 3, p. 213 (Homes Vol. 2, p. 383).

[91] Bremer, Hemmen, Vol. 3, pp. 211–3 (Homes Vol. 2, pp. 379–83).

[92] Cabrera, Reglas de Congo, p. 26, citing late eighteenth- and nineteenth-century sources.

[93] Abiel Abbott, Letters Written in the Interior of Cuba … (Boston, MA: Bowles and Dearborn, 1829), pp. 15–7.

[94] Cabrera did not employ any orthography of contemporary Kikongo in her day, but it is not at all difficult to recognize her ear for that language, which she did not speak, and most quotations she provided are readily intelligible.

[95] Institute de Linguistica y Literatura, Havana, Fondo Fernando Ortiz, 5. This list, written in a different hand than Ortiz’, one that was shakier with large letters, on fragile aged paper (perhaps school paper) was, I believe, compiled by a literate person who was a native speaker of the language, based on his use of Kikongo grammatical forms (use of verb conjugations and class concords in particular).

[96] Armin Schwegler, ‘On the (Sensational) Survival of Kikongo in Twentieth Century Cuba', Journal of Pidgin and Creole Languages 15 (2000): 159–65; Jesús Fuentes Guerra, La Regla de Palo Monte: Un acercamiento a la Bantuidad Cubana (Havana: Iberoamericana Vervuert, 2012) (neither Schwegler nor Fuentes Guerra had access to Puyo's vocabulary in Ortiz’ documentation, the contention of its identity with Kikongo is my own). It seems likely that both Cabrera's and Ortiz’ vocabularies were collected probably from old native speakers, who entered Cuba at the end of the slave trade.

[97] For example, the class marker ki in the southern dialect is –ci in the north; use of ‘l' versus ‘d' would be another difference. The northern dialect is well attested in dictionaries of the French mission to Loango and Kakongo in the 1770s, compared with seventeenth- and nineteenth-century dictionaries of the southern dialects. I have also heard these differences myself in Angola.

[98] Fernando Ortiz, Hampa Afro-Cubana. Los Negros Esclavos (Havana: Bimestre Habana, 1916), pp. 25, 32 (clearly, testimony from the same informant).

[99] Ortiz, Negros Esclavos, p. 34. The term ‘Totila', clearly derived from the Kikongo ntotela meaning ‘king'. The word is first attested in the Kikongo dictionary of 1648, as meaning ‘King'. In 1901, King Pedro VI of Kongo, writing in Kikongo, styled himself ‘Ntinu Ntotela NeKongo' Archives of the Baptist Missionary Society (Regents’ Park College, Oxford) A 124 (both ntinu and ntotela can be glossed as ‘king').

[100] Cabrera, Reglas de Congo, p. 15.

[101] Cabrera, Reglas de Congo, p. 109. Cabrera, for her part, then told him of Nzinga a Nkuwu's baptism in 1491, presumably from one of the historical accounts she had read.

[102] On the assertions of Dona Beatriz Kimpa Vita, see Thornton, Kongolese Saint Anthony; on the representation of Christ as an Kongolese, Fromont, Art of Conversion.

[103] Cabrera, Reglas de Congo, p. 93.

[104] Cabrera, Reglas de Congo, p. 58.

[105] Cabrera, Reglas de Congo, p. 59.

[106] Cabrera, Reglas de Congo, p. 14.

[107] Cabrera, Reglas de Congo, p. 19.

[108] The problem was apparent to Lydia Cabrera in her study of Palo, El Regla de Congo: Palo Monte Mayombe (Miami: Ediciones Universal, 1979), pp. 120–30, as one can see from the defensive tone of her informants, probably speaking with her post-1960 experience (this is not seen as a problem in her earlier publication, El Monte (Havana, 1954)).

[109] Cabrera, Vocabulario, p. 123.

[110] Cabrera, Monte, pp. 119–23 passim (here, often used in the context of witchcraft); Reglas de Congo, pp. 24–5. In W. Holman Bentley, Dictionary and Grammar of the Kongo Language (London: Kegan Paul, 1887), p. 361, which relates to the Kinsansala dialect (the most likely associated with Christianity) in the 1880s, mvumbi meant simply the corpse of a dead person; in the 1648 dictionary ‘spirits' was rendered as ‘mioio mia mvumbi' (or souls of corpses).

[111] Cabrera, Reglas de Congo, p. 24. In Kikongo, mvumbi means a corpse, the lifeless remains of a dead person, and the name of an ancestor would usually have been nkulu, though this usage would still make sense in Kikongo.

[112] See John Thornton, ‘Central African Names and African American Naming Patterns', William and Mary Quarterly, 3rd Series, 50 (1993): 727–42.

[113] The denunciation of the first tooth ceremony is only attested in the general complaints of the Capuchins in the 1650s, written by Serafino da Cortona.

[114] ‘Kisi malongo' appears to be ‘nkisi malongo'. A more likely way to say ‘the teaching of nkisi' would be ‘malongo ma nkisi', so the word order puzzles me. However, word order in Kikongo is flexible and should the speaker wish to emphasize the teaching spiritual part, it might be feasible to use this order.

[115] Cabrera, Reglas de Congo, p. 24. My translation of the phrase ‘nganga la musi' assumes that the speaker has only partial command of Kikongo grammar and would be ‘nganga a mu nsi' The same informant used the term kisi malongo, and perhaps as a Cuban-born person was not secure in the language.

[116] Cabrera, Regla de Congo, p. 23.

[117] Institute de Linguistica y Literatura, Havana, Fondo Fernando Ortiz, 5.

#The Kingdom of Kongo and Palo Mayombe: Reflections on an African-American Religion #Palo Mayombe #ATR #African Traditional Religions #Kongo #Reglas De congo #Nkisi #Kikongo

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freelance-informatique · 10 months

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David Friio trahit l'OM et devient le nouveau directeur sportif de l'OL

David Friio est le nouveau directeur sportif de l'OL après son aventure à l'OM. Le foot français s'agite avec l'annonce fracassante de son arrivée dans le Staff de John Textor. Ancien maestro du recrutement à Nottingham Forest et Manchester United, Friio a également occupé des postes de responsabilité au sein de l'OM depuis 2020. Une mission cruciale : Trouver le prochain entraîneur de Lyon La mission première confiée à David Friio est de désigner le prochain entraîneur principal de l'équipe professionnelle de l'OL. Le club, actuellement lanterne rouge au classement de la Ligue 1, a pris la décision radicale d'écarter l'entraîneur Fabio Grosso. Les noms de Bruno Genesio, Jorge Sampaoli et Igor Tudor circulent avec insistance comme des prétendants sérieux à ce poste. Voir aussi : - Départ : Lacazette poussé vers la sortie à l'OL, un club se manifeste ! David Friio à l'OL : Une collaboration étroite avec John Textor et Matthieu Louis-Jean David Friio n'aura pas la tâche facile, mais il pourra compter sur une collaboration étroite avec le président John Textor et Matthieu Louis-Jean. Ensemble, ils formeront un triumvirat déterminé à redresser la situation du club rhodanien sur la scène nationale. Juninho, conseiller en coulisses ? Bien que le retour de Juninho ne soit pas encore officiellement confirmé, des sources crédibles laissent entendre que l'ancien meneur de jeu emblématique de l'OL aurait accepté un rôle de conseiller. Une nouvelle qui pourrait apporter une expertise précieuse dans le processus de recrutement et de choix du futur entraîneur. Intérim assuré par Pierre Sage En attendant la nomination du nouveau tacticien en chef, c'est Pierre Sage qui prend les rênes en tant qu'entraîneur par intérim. Un défi de taille attend l'intérimaire, c'est d'ailleurs celui qui a dirigé l'équipe lors du déplacement à Lens lors de la 14e journée de la Ligue 1. Lire aussi : - OL : Une enveloppe de 50M € prévue par Textor pour le Mercato ! Un Nouveau Chapitre s'ouvre pour l'OL avec David Friio Avec l'arrivée de David Friio en tant que directeur sportif, l'Olympique Lyonnais s'apprête à tourner une nouvelle page de son histoire. La quête du prochain entraîneur principal, les défis à relever en championnat, et la collaboration stratégique avec des figures clés du club sont autant d'éléments qui vont façonner l'avenir immédiat de l'OL. Comment cette nouvelle direction redynamisera l'équipe et la propulsera vers de nouveaux sommets dans le monde du foot français. ________ Retrouvez toute l'actu foot sur notre page Facebook et sur notre page Twitter ! Read the full article

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pierrecarree · 1 year

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Borges et la bibliothèque totale : combien de livres ?

Jean-Louis Migeot a réalisé une courte série de vidéos consacrée “La Bibliothèque de Babel”, la nouvelle de Jorge Luis Borges. Dans la troisième vidéo, Jean-Louis Migeot fait de l’approximation : il évalue le nombre de livres de la bibliothèque. A coup de puissances, de notations scientifiques et de dénombrement, la conclusion à laquelle parvient monsieur Migeot est qu’il n’y a ni assez d’espace,…

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cinocefalo · 1 year

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FLUSH

[selección]

Francisco José Casado Pérez

Estás bien.

Te sientes bien

pero de veras ocupas un cambio:

colorear las mejillas,

broncearte.

Aún así

yo sí te daba.

¿Cierto?

Refuta el espejo.

¡Está bien!

Si la rebelión del vello no cede:

depílenlos.

Depílenlos a todos.

Cucaracha cucarachita

relámpago fugaz de coladera

¿qué mano o luz proyectaría

tu figura al escenario cavernoso?

¿En qué perfil o sobrenombre

escondes el ardor de tu sonrisa?

¿Cuántos seguidores tienes?

¿Cuántas menciones?

¿Qué software craqueado

puede trocear los músculos de tu alma?

Y cuando llegan los likes

¿Qué temen los ojos?

¿Qué teme la boca?

¿Cuál fue la culpa?

¿Cuál su condena?

¿Qué depravación tienes en mente?

¿Cuál fue el baño?

¿Qué perfil se atrevió a responder un emoji de vómito?

Cuando los cometas arrastraron tu vestido

y limpiaron de sarro los azulejos

¿Sonreíste por compromiso?

¿Zuckerberg?

Cucaracha cucarachita

relámpago fugaz de coladera

¿Qué mano o luz proyectaría

tu figura al escenario cavernoso?

Aquí dentro

todo puede colgarse

toallas / papel higiénico

extensiones / llamadas

ropa mojada.

Aquí dentro el peso de los vellos deja ver cómo cuelgan

pechos / vientres

testículos / papadas

brazos / lóbulos.

Todo puede colgarse aquí dentro

hay espacio suficiente

incluso para los suicidas.

fffllluuussshhh

los ideales revolucionarios

se fueron por el agu-jeee-rooo

fffllluuussshhh

el romanticismo

se fue por el agu-jeee-rooo

fffllluuussshhh

la política liberal moderada

se fue por el agu-jeee-rooo

fffllluuussshhh

los sistemas sociopolíticos

se fueron por el agu-jeee-rooo

fffllluuussshhh

Slavoj Žižek

no pudo irse por el agu-jeee-rooo

(hacía capitalismo).

En el baño

Agamenón recibió tres golpes vengativos

y su muerte se volvió tragedia.

En el baño

Aon mató a Eglón con una puñalada zurda

y desencadenó una masacre.

En el baño

Jorge II de Gran Bretaña sufrió un desgarro de aorta

y su muerte cambió la historia de la medicina moderna.

En el baño

Jean-Paul Marat fue apuñalado en la tina

y su muerte inició la Revolución Francesa

y se volvió un de los cuadros más reconocidos de Jaques-Luis David

En el baño

aprendieron al Tigre de Santa Julia

y se hizo leyenda

y lo hicieron película

En el baño

de la estación Penn (NY), Louis I. Kahn murió de un infarto

y su hijo hizo un documental

y viajó por el mundo

y descubrió la maestría arquitectónica de su padre

y su segunda familia.

En el baño

Rubem Fonseca escribió sobre la copromancia en un cuento

y por suerte nunca se volvió tendencia.

En el baño

encontraron (respectivamente) los cuerpos de Elvis y Jim Morrison

y solo a uno se le ha parodiado por ello.

En el baño

Junichiro Tanizaki

elogió que la penumbra es el sitio perfecto donde meditar

y está en lo cierto.

El límite de todo placer comienza

en su capacidad de hacer daño.

Del estar sentado en el inodoro

del bañarse

del lavarse los dientes

del rutinario cuidado de la piel

del desmaquillarse

del intento de suicidio

comienza pasados los quince minutos.

___

Los poemas que se presentan, forman parte de la plaquette Flush (2023), de la colección TOMA TODO ★ TODOS PONEN, editada por Canciones Tristes. Book & Printing.

___

Francisco José Casado Pérez (1990, Ciudad de México) Arquitecto y escritor. Ha publicado en revistas digitales como Página Salmón, Irradiación, Mentekupa, Vallejo & Co., Carcaj, entre otras. Mención honorífica del Premio Bruno Corona Petit, Venezuela, 2020 y 2022. Su poemario Para mirar los pasos (2021), editado por Escrúpulos Editorial, recibió el Premio “Don’t Read” 2021.

#poesía #literatura #cinocéfalo #flush

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honeyleesblog · 1 year

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Astrological Outlook and Personality Analysis for Individuals with a May 31st Birthday

Horoscope and character for those brought into the world on May 31 They endeavor to acquire control and beat their blemishes. Cordial and understanding: they need to assist the debilitated and individuals with incapacities. Profoundly gifted: They have grandiose goals and eagerly penance their own accomplishments for higher standards. They are described by great demeanor: they are respectable, useful, kind, enlivened, they live for other people. His basic and near abilities are profoundly evolved. They likewise show an ability for medication. They are individuals supplied with uncommon energy, and they advance quickly in their professions. They have great circumstances and are delegated with positive outcomes. You can achieve a great deal when you help out others. They can likewise have great relationships. Sicknesses: The life form of these individuals isn't areas of strength for extremely. They are in every case extremely dynamic, which jeopardizes them of being exhausted or depleted and creating difficult issues. They should stay away from superfluous disturbances and stresses; if not, they will be overpowered areas of strength for by. Astrological Outlook and Personality Analysis for Individuals with a May 31st Birthday

Assuming your birthday is May 31, your zodiac sign is Gemini May 31 - character and character character: sympathetic, careful, shrewd, terrible, fastidious, defeatist; calling: innovator, veterinarian, secretary; colors: blue, yellow, turquoise; stone: fluorite; creature: cheetah; plant: Borage; fortunate numbers: 19,22,23,41,55,56 very fortunate number: 1 Occasions and observances - May 31 Spain: Castilla-La Mancha Day WHO: World No Tobacco Day. Peru: Day of Fortitude and Reflection on Cataclysmic events. Made by the Public Foundation of Common Safeguard of Peru in recognition of the Ancash Quake of 1970, in memory of its casualties and to bring issues to light about the mindful mentality to cataclysmic events in the country. In Guatemala the day of the Political Constitution of the Republic is praised. May 31 Big name Birthday. Who was conceived that very day as you? 1902: John Russell, American b-ball player and mentor (d. 1973). 1908: Wear Ameche, American film and theater entertainer (d. 1993). 1908: Nils Poppe, Swedish entertainer (d. 2000). 1910: Luis Rosales, Spanish artist (f. 1992). 1911: Maurice Allais, French financial analyst and architect, 1988 Nobel Prize champ for financial matters (d. 2010). 1912: Alfred Deller, English countertenor (d. 1979). 1917: William S. Knowles, American scientific expert, 2001 Nobel Prize victor in science (d. 2012). 1917: Jean Rouch, French movie producer (d. 2004). 1921: Alida Valli, Italian entertainer (d. 2006). 1922: Denholm Elliott, English entertainer (d. 1992). 1923: Raniero III, Monegasque blue-blood (d. 2005). 1924: Aquiles Lanza, Uruguayan legislator and specialist (d. 1985). 1925: Francesc Candel, Spanish author and writer (d. 2007). 1925: Joan Bosch Palau, Spanish movie chief (d. 2015). 1929: Jorge Ricardo Masetti (Second Officer), Argentine guerrilla and writer (f. 1964). 1930: Clint Eastwood, American entertainer and movie producer. 1930: Juan Genovდ©s, Spanish painter. 1930: Elaine Stewart, entertainer and American moderator (d. 2011). 1931: Juan Carlos Adapts, Argentine tango artist. 1931: John Robert Schrieffer, American physicist, Nobel Prize champ in physical science in 1972. 1931: Shirley Verrett, American show vocalist (d. 2010). 1932: Jay Excavator, American innovator, chip architect (d. 1994). 1934: Pablo Castellano, Spanish legal counselor and legislator. 1934: Jim Hutton, American entertainer (d. 1979). 1935: Jim Bolger, New Zealand State head. 1935: Marდa Galiana, Spanish entertainer. 1936: Macrino Suდ¡rez, Spanish lawmaker (d. 2012). 1938: John Prescott, English lawmaker. 1940: Alfonso Guerra Gonzდ¡lez, Spanish lawmaker. 1941: Louis J. Ignarro, American drug specialist. 1943: Joe Namath, American football player. 1945: Pepe Eliaschev, Argentine columnist and author (d. 2014). 1945: Rainer Werner Fassbinder, German movie producer (d. 1982). 1945: Raდºl Gდ³mez Jattin, Colombian artist (f. 1997). 1945: Laurent Gbagbo, Ivorian president. 1948: John Bonzo Bonham, English drummer, of the band Drove Airship (d. 1980). 1948: Zero, English performer (d. 1991). 1948: Paulinho da Costa, Brazilian trailblazer. 1949: Tom Berenger (Thomas Michael Moore), American entertainer. 1950: Josდ© Ramდ³n Disease Matinero, Spanish picture taker and history specialist. 1952: Karl Bartos, German performer, of the Kraftwerk band. 1953: Jaime Maussan, Mexican TV writer and analyst. 1955: Odდ³n Elorza, Basque legislator. 1955: Tommy Emmanuel, Australian guitarist. 1958: Roma Maffia, American entertainer. 1959: Andrea de Chდ©saris, Italian Recipe 1 driver (f. 2014). 1961: Lea Thompson, American entertainer. 1962: Corey Hart, Canadian vocalist. 1962: Victoria Ruffo, Mexican entertainer. 1963: Laudelino Cubino, Spanish cyclist. 1963: Viktor Orbდ¡n, Hungarian legislator, current State head of Hungary. 1964: Josდ© დ?ngel Arcega Aperte, Spanish b-ball player. 1964: Scotti Slope, American guitarist, of the band Ghetto-town. 1965: Brooke Safeguards, American entertainer. 1967: Sandrine Bonnaire, French entertainer. 1967: Kenny Lofton, American baseball player. 1968: John Connolly, Irish writer. 1969: Imre Csდ¶sz, Hungarian judoka. 1970: Mariana Baraj, Argentine vocalist, percussionist and author. 1971: Claudia Motta, Mexican naming entertainer (voice of Applejack in My Little Horse: Kinship is Sorcery in Latin Spanish). 1971: Diana Damrau, German soprano. 1972: Pilar Montenegro, Mexican entertainer and artist. 1973: Rodrigo Cortდ©s, Spanish movie chief. 1974: Kenan Dogulu, Turkish artist. 1975: Sienna Guillory, English entertainer. 1976: Colin Farrell, Irish entertainer. 1976: Tonka Tomicic, Chilean TV have. 1976: Matt Harpring, American ball player. 1978: Juaninacka, Spanish rapper 1978: დ‰ric Moussambani, guinea fowl swimmer. 1980: Andrew Hurley, American drummer, of the band Drop Out Kid. 1981: Daniele Bonera, Italian footballer. 1981: Marlies Schild, Austrian skier. 1982: Tony Dize, Puerto Rican artist. 1982: Jonathan Exhaust, American entertainer. 1983: Edno Cunha, Brazilian soccer player. 1984: Andrew Bailey, American baseball player. 1984: Mario Lisson, Venezuelan baseball player. 1984: Nate Robinson, American ball player. 1984: Yael Grobglas, Israeli entertainer and model. 1986: Sopho Khalvashi, Georgian vocalist. 1986: Robert Gesink, Dutch cyclist. 1989: Pablo Alborდ¡n, Spanish vocalist. 1989: Daul Kim, South Korean model (d. 2009). 1989: Marco Reus, German footballer. 1989: Daniel Wass, Danish footballer. 1989: Pablo Alborდ¡n, Spanish vocalist musician. 1991: Azealia Banks, American rapper and lyricist. 1995: Alejandro Speitzer, Mexican entertainer. 1996: Normani Kordei, American vocalist, of the band Fifth Congruity.

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