#Laura Tosi

[pier-carlo-universe]

Di nascosto di Laura Tosi: una storia di resilienza e introspezione. Recensione di Alessandria today

L'intenso viaggio interiore di Laura Tosi, alla ricerca di speranza e bellezza.

L’intenso viaggio interiore di Laura Tosi, alla ricerca di speranza e bellezza. Recensione: “Di nascosto” è un’opera che esplora le complessità dell’anima attraverso gli occhi della protagonista, Laura. La sua storia è un mosaico di esperienze, dal legame profondo con la natura alla lotta contro un ictus. Ogni pagina svela la ricerca di un orizzonte più ampio, con un’intima connessione tra il…

[siciliatv]

Etna Comics 2024: la lista degli ospiti

Etna Comics 2024: sono già stati confermati gli ospiti che saranno presenti al Festival del Fumetto ospitato dalla città di Catania. Etna Comics 2024: il countdown per l’inizio del Festival del Fumetto ospitato dalla città etnea è ormai iniziato. Infatti, mancano ormai poche settimane all’avvio dei giorni di festa per gli amanti del genere, che si riuniranno a Catania per l’Etna Comics. Oltre alle attività previste per l’evento, saranno anche diversi gli ospiti presenti nei giorni del Festival. Etna Comics 2024: le date e il luogo dell’evento Come ormai noto,  la location dell’Etna Comics anche per quest’anno sarà il polo fieristico de “Le Ciminiere” di Catania, che ospiterà l’evento e i numerosi fan che occorreranno. Nello specifico, le date dell’Etna Comics saranno quelle della prima settimana di giugno: infatti, i giorni in cui Le Ciminiere ospiteranno varie persone saranno quelli dal 1° al 4 giugno 2023. Etna Comics 2024: gli ospiti Anche per questa edizione, gli ospiti presenti all’Etna Comics 2024 saranno moltissimi e provenienti da mondi professionali diversi tra loro, offrendo una varietà non indifferente. Di seguito, ecco l’elenco dei nomi degli ospiti confermati fino a questo punto, come riportato sul sito ufficiale dell’evento: Itziar Ituño Julia Loky Genevieve Marie Cosplay Bliss Afk Alis Cosplay Federic NiRo Giampcomic Giacomo Giaquinto Paolo Barbieri Il CIRCO DI GIÒGIÓ Mogik Michele Monteleone Maxem Kizazu Fiore Manni Stefano Mirti Spartaco Albertarelli Emilio Cozzi Nadia Lauricella Nanowar of Steel Loremon Le Ventose Fallimenti critici Paolo Tinnirello Isabella Mazzanti Mattia Surroz Marco Rizzo Francesca Mazzoleni Federica Busa Laura Libera Russo Mion Mario Sturniolo Agnese Innocenti Dario Moccia Francesco Centorame Sedia a 2 gambe ThePruld PlayerInside Kirio1984 Dimitri Tosi PotterStage Fabrizio Corselli Roberto Arduini Sdrumox Poldo Jeff Emdy Giulio Mosca Riccardo Suarez Rossa Caputo Andrea Seth Marino Maurizio Rosenzweig Nina Castiglia Luca Perri Pasquale Ruju Tito Faraci Val Romeo Jordi Bernet Luca Bonora Cristina Fabris Clizia De Rossi Serena Riglietti Florinda Zanetti Luana Belsito (Wally Pain) - Stefano Biglia - Giulio Rincione - Edym - Matteo Curte Cortini Jacopo Schiavo Davide Romanini Alberto Dal Lago Alessandra Valenti TeOoh! (Matteo Boca) Ester Cardella Liang Azha MorgenGabe Marco Gervasio Alessandro Pastrovicchio Paolo Mottura Fabio Celoni Flavio Parenti Andrea Piparo Davide Paratore Riccardo Nunziati Giovanni Timpano Stefano Caselli Pasquale Del Vecchio Gianluigi Gregorini Luigi Siniscalchi Giampiero Casertano Charles Vess Mirka Andolfo Darick W. Robertson Zerocalcare Read the full article

[agrpress-blog]

Si svolgerà martedì 13 febbraio 2024 dalle ore 18.30 alle 20.00 il webinar gratuito in diretta Facebook sul libro di Daniela Mainenti Educazione e Giustizia. Francesca Laura Morvillo. Storia professionale e metodo di un magistrato al servizio della giustizia minorile nel quadro dell'evoluzione del sistema (Pacini Editore, 2023). Psicologia in Tribunale riprende il ciclo di incontri con l'autore con Storie di Vita in Tribunale, in collaborazione con Pacini Editore. L'incontro si focalizzerà sul volume Educazione e Giustizia. Francesca Laura Morvillo. Storia professionale e metodo di un magistrato al servizio della giustizia minorile nel quadro dell'evoluzione del sistema (Pacini Editore), che ripercorre la storia professionale di Francesca Laura Morvillo (1945-1992), una fra le prime donne magistrato (dal 1971 fino al 1988) ed unica donna magistrato vittima di un attentato mafioso in Europa, e che ha dedicato la sua carriera a comprendere e affrontare il disagio di bambini e adolescenti. La domanda che gli esperti si pongono è la seguente: «Cosa ci insegna l'impegno di Francesca Laura Morvillo e cosa è cambiato nel panorama della giustizia minorile della sua epoca? La recente Riforma Cartabia è davvero in grado di tutelare i minori, come auspichiamo?». Nel corso del webinar, l'autrice Daniela Mainenti, l'avvocata Maria Giovanna de Toma, e la psicologa e giudice onorario Sabrina Tosi affronteranno in modo approfondito e critico il complesso tema della giustizia minorile dopo l'entrata in vigore della Riforma Cartabia. Sarà un'occasione unica per comprendere le sfide attuali e per riflettere sulle prospettive future della tutela dei diritti dei minori. La partecipazione è gratuita e aperta a tutti coloro i quali/le quali sono interessati/interessate a contribuire ad un sistema giudiziario più efficace e orientato alla tutela dei diritti dei più giovani. Il libro Daniela Mainenti, Educazione e giustizia. Francesca Laura Morvillo. Storia professionale e metodo di un magistrato al servizio della giustizia minorile nel quadro dell’evoluzione del sistema, Pacini Giuridica, Roma 2023 La vita della dottoressa Francesca Laura Morvillo è rimasta fissata nell’ultimo tragico istante della sua fine. Il vile attentato terroristico-mafioso di Capaci (23 maggio 1992) ha finito con il cristallizzare il senso di un’intera vita - sia umana sia professionale - in uno fra i simboli più nobili della lotta alla mafia. Della figura di donna conosciamo la riservatezza; della moglie di Giovanni Falcone (1939-1992), la cui levatura sembra farle ombra, appare la condizione di compagna dedita ad un amore difficile per ragioni di sicurezza. Tuttavia, occorre provare a ricostruire con più attenzione gli aspetti inesplorati dell’unica donna magistrato vittima di un attentato mafioso, non solo in Italia ma anche in Europa. “Primato”, però, non unico al mondo. Fa il paio, per esempio, con le uccisioni di due donne, giudici della Corte suprema, a Kabul all’inizio del 2021: tutte azioni con in comune l’esercizio di un’offensiva destabilizzante alla società civile e alle donne per indebolirne la fiducia nel futuro. Era nota, infatti, la sua presenza in macchina quel tragico giorno, e quindi non si può escludere che si sia voluto colpire anche la donna magistrato. Questa la domanda cui si prova a dare una risposta nel libro. Francesca Morvillo era un magistrato di altissimo valore, un vero talento del diritto. Non solo, dunque, un modello a cui ispirarsi per i giuristi, ma anche una figura di riferimento di enorme impegno sociale. Educazione e giustizia. Francesca Laura Morvillo. Storia professionale e metodo di un magistrato al servizio della giustizia minorile nel quadro dell’evoluzione del sistema di Daniela Mainenti, pubblicato da Pacini Giuridica (Roma) nella collana “Diritto”, è disponibile in libreria e online da giugno 2023. https://psicologiaintribunale.it/percorsi-di-giustizia-minorile-la-riforma-cartabia-tutela-realmente-i-piu-piccoli/

[dragonbornoflegend]

1. What is your nickname? 

my dad used to call me Sunshine. in hs/college i got called multiple variations of Stromboli lol. nowdays the bf just calls me any sort of endearing term that he thinks i wont enjoy 

2. When is your birthday?

october 22 

3. What was your longest relationship?

the current one, we're at 4.3yrs and ongoing 

4. What is your favorite book?

i haven't read them since the first time i did maybe a decade ago, so they may not hold up to time, but it used to be the Kingmaker, Kingbreaker series by Karen Miller 

5. What is something you're insecure about?

my everything abt me. lol

6. 5 Male celebrity crushes

Matthew Lillard, Jacob Wysocki, the entirety of the band Alesana, Steve Buscemi, Jon Moxley/Dean Ambrose 

7. 5 Female celebrity crushes

Rhea Ripley, Courtney LaPlante, Laura Jane Grace, Christina Tosi, Anjali Bhimani

8. What is your dream job?

farming dairy goats

9. What do you consider your biggest accomplishment?

i don't feel like ive done a lot. staying alive ig! 

10. What is a fact about you that nobody would believe?

hard to say. you should believe everything you hear about me unless it's something that's bad in an unsexy way 

11. What were your highs and lows for this last month?

highs include seeing some good bands live and getting to see some family that live out of town. lows include being severely depressed ig? idk if it's appropriate to just casually share lol. 

12. Where is somewhere you'd like to visit?

literally anywhere. i love to travel. i especially yearn for the sonoran desert after visiting it a few years ago 

13. How do you de-stress?

copious amounts of weed 

14. What are your favorite apps besides tumblr?

youtube and occasional spurts of pokemon go

15. Describe yourself in one sentence.

way worse in person 

16. What do you think makes you attractive?

according to prior statements from others, boobs. 

17. What is something you're really good at?

baking (allegedly) 

18. What is something you're really bad at?

singing. dancing. math. most things i try

19. A time that you told a lie. 

i tell lies literally all the time. i do not remember a single one off the top of my head for some reason 

20. What's a totally random and useless fact that you know?

the existence of the turnspit dog. they're extinct now but they're an incredibly old breed (that term being used very loosely here) of dog w short legs and long bodies that would run in giant hamster wheels that were attached to spits in pubs. to rotate the meats. there's some fascinating stuff abt them online imo 

21.Who knows you the best?

at risk of being a downer, the ppl in my life who have most deeply known and understood me have all died. next best is the bf ig 

22. What is your most prized possession?

i try not to value possessions too much. my most expensive possession is probably my van

23. What is your longest friendship?

my bestie w whom ive been rocking since middle school 💖

24. When did you first feel like an adult?

i still don't 

25. Do you/ Have you played any sports?

as a very young child i played soccer at my grandma's church. idk if that counts. 

26. How are you feeling right now?

tired. my joints hurt. 

27. Are you an early bird or a night owl?

left to my own devices i end up on a nocturnal schedule naturally. my current work schedule has forced me to become an early bird however. 

28. Do you believe in love at first sight?

not really 

29. Favorite song lyrics right now?

"would you remember Joan of Arc was her flesh yet unlit by flame?" 

30.What does self care look like for you?

scary hot shower + bunch of weed + decadent snacks + some enjoyable thing to watch 

31. Describe yourself with 3 singers.

im not sure i understand this question 

32. What makes you nervous?

literally everything. i am constantly and always thinking abt how literally any thing could be going disastrously wrong

33. What’s a pet peeve you have? 

ppl standing still in walkways, esp if it's crowded and they're actively blocking more ppl from being able to flow through

34. What will always make you cry?

the song Fade In / Fade Out by Nothing More 

35.What kind of first impression do you think you make on people?

socially stunted/awkward in a way that's just a tad unlikable 

Questions 1 - 35

that is SO cheating. you'll have to give me like a full workday to answer 35 questions

[cressida-jayoungr]

One Dress a Day Challenge

Black and White October

The Innocent (L'Innocente) / Laura Antonelli as Giuliana Hermil

Another amazing dress from L'Innocente, and this one is (if possible) even more spectacular than the other one. I really couldn't choose which one I liked better, so I decided to just post both of them! Note that she wears the same horseshoe-shaped pin at the neck with both outfits.

The white outline around the lapels of the jacket gives it an elegant but playful sort of effect like a hand-drawn illustration. The large, scattered paisley designs on the dress are very striking, and I like the sheen of the fabric (is it silk?). The pink rose is a lovely touch of softness and color.

[abr]

Verona fascista. Verona razzista. Verona omofoba. Verona bigotta. E la vogliono conquistare, magari per una missione purificatrice. Che la riscatti agli occhi del mondo che piace a loro ma non alla grande maggioranza del popolo. La odia, la sinistra, ma dopo il primo turno finge di amarla, Verona (...). Flavio Tosi ne era «il sindaco sceriffo», quello che vietava pure l'elemosina. Per una stagione è (...) il liberale presentabile perché aveva rotto con la destra, e ora, se fa votare per Federico Sboarina nonostante Sboarina, torna estremista a prescindere (...). Sono le contorsioni a cui ci ha abituato la politica (sinistra) italiana. Quindi serve il Redentore, un Angelo Custode, il Pacificatore che mette insieme Pd, Azione e Cinque stelle per far risorgere la città perduta. E magari distruggere tutto chiamando a sé un assessore all'antistoria modello Laura Boldrini, a cui prudono le mani contro tutto quello che è stato realizzato fino a ieri. C'è lui, proprio Damiano Tommasi, romanista ma anche laziale. Per lui sarà dura, perché Verona non perdona.  (...) Sai, Tommasi, gli fa il comandante partigiano all'orecchio, qui abbiamo ancora il ricordo del congresso mondiale della famiglia, che orrore, abbiamo dovuto sopportare tutto questo. E poi i tifosi dell'Hellas Verona, maledizione, allo stadio sono sempre loro. Per bonificare la città non basteranno una bella moschea al venerdì, clandestini a gogò e un gran supermarket di cannabis.

Sfruttino pure le divisioni ma la città non cambia: antisinistra, anti immigrati quando mettono in discussione l'identità. Solo i sinistri, ansia di fascismo e di Uomini del Destino da seguire repressa, credono che basti comandare per trasformare. Per giunta mediante fantoccio davanti e loro a maneggiar dietro, alla Sala. Proprio il Modello Milano: l'import di degrado, mi spiace per chi ci vive.

[vinterqn]

On tosi outoa, ehkä heillä ei sitten oo samalla tavalla sitä tietoa kuin Ylellä kun Laura raportoi ja varmaan on kärppänä paikalla. Yleensä Eskola on ollu tosi hyvin tilanteen tasalla tällasissa ja ottanu huomioon myös selostuksessa. Nyt sanoi vaan että Frida on niin tyhjä ettei pysty osallistumaan ja muuten ei oo sit oikeestaan puhuttu Fridan tilanteesta, mitä äsken ehdin katsomaan.... onpa jännä...

Viaplayn puolella ei oo puhuttu Fridasta käytännössä ollenkaan. Onpa jännä ero lähetyksissä, Ylen puolella on melkein hiljaista ja Viaplayn puolella huudetaan 😅

[kissamieli]

Samu Haber on aivan järjettömän komea livenä. Mä odotin sitä, mutten sitä miten kaunis se samaan aikaan on! Ja se lavakarisma... Varmaan keksitte jo, ett�� Vain elämää live oli aivan paras!

[kofairytales]

what they mean to me

My love for fairytales was prompted by my eight grade English teacher.  A little while after the year started, she told us that we were going to read a book.  I bet you can imagine all the moans and groans that came from my class.  A lot of us hadn’t had the best experiences with the books teachers picked for us.  She grabbed and book off of her desk and showed it to us.

When I saw this cover, I was immediately intrigued.  She told us that we could read it as fast as we wanted, but we couldn’t read past Part Three until she told us to.  I read the book so quickly.  I fell in love with this beautifully retold Cinderella story.  It was dystopian and fantasy wrapped in one.  I begged her and begged her to let me read Part Three, but I had to wait.  When she finally told us we could read the rest of the book, I had it finished that night and was so happy, but also heartbroken because I didn’t want the story to be over.

She told me that this was just the first book in the series, and after that, I was gone.  I had my face stuffed in book after book.  This series has become a comfort series and my favorite series ever.  I have probably reread it at least a dozen times, and yes, I will continue to reread it (as soon as someone buys the box set for me) ((my birthday is in three weeks,.  HINT, HINT)).

Another reason why these books mean so much to me is because they are so different from the original tales.  They show empowered women instead of passive ones like the original tales (Liberman, 191).  Marissa Meyers modern approach follows what Laura Tosi tells us about rewriting fairytales: Anyone who writes fairy tale adaptations must “abandon the idea of a faithful, ‘original’ tale” (Tosi, 369).

[mogulinteriororlando]

HOME FOR THE HOLIDAYS!!!! by shortyluv718 featuring heeled ankle booties ❤ liked on Polyvore

Federica Tosi green top, 19,470 INR / MANGO red coat, 6,890 INR / Everlane stretchy jeans, 4,355 INR / MICHAEL Michael Kors heeled ankle booties, 7,205 INR / Red purse, 1,595 INR / Plaid scarve, 960 INR / Traditional Gingerbread Boy Wilton, 145 INR / Present Icon, 830 INR

[avevirgoavevos-blog]

Jälkipuintia n:o 3

Syyskuun AVAV-esitysten jälkikeskusteluissa sanottua ja jälkikäteen viesteinä tullutta palautetta.

”Tietynlainen pyhyyden kokemus sai mut keskittymään siihen esitykseen, eikä käyttäytymään niin kuin burleskiesityksessä, mutta nyt kun sanoin tän ääneen niin alan kyseenalaistan sen, että miksi pyhän tarvis olla ainoastaan harrasta.”

”Yllättävä kokemus oli, että yleensä barokkimusiikkia kuunnellessa on tottunut siivoamaan tietynlaiset assosiaatiot pois, esimerkiksi just kaikki ruumiillisuuteen ja seksuaalisuuteen liittyvät, niin oli kiinnostavaa, että täällä ne olikin silmien edessä tosi hienosti. Avartava kokemus.”

”Se oli huisia, että kirkkomusiikin melankolinen tunnelma toi esiin sen, millaisesta näkökulmasta Neitsyt Marian tarinaa on kerrottu, ja tässä kontrastoitiin sitä hienosti. ”

Anna: ”Aivan mieletön, rohkea ja kantaaottava projekti! Kai tiellä on lisää konsertteja tiedossa? Mun lempikohta oli alussa, kun Neitsyt Mariasta kuoriutui sieltä vuosisatojen aikana rakennettujen kulttuuristen merkitysten alta ihminen. Te vapautitte Neitsyt Marian! Amen!”

Noora Oksa: ” Selvästi tällaiselle avaukselle oli tarvetta ja tilaa. Mariana oleminen tulee vähän läheisemmäksi ja saavutettavammaksi ja merkityksellisemmäksi. Ja Maria astuu muiden naisten ja ihmisten joukkoon. Mitähän kaikkea se voi merkitä, esim. monelle vastakkainasettelulle ja erottelulle. Päällimmäiseksi jäi harras ja tosi vaikutelma ja se, että se ei tunnu olevan ristiriidassa seksuaalisuuden kanssa, onkin ilahduttavaa.”

Sanna Korteniemi: ”Kiitos hienosta konsertista! Oli ilahduttavaa kuinka tarkasti ja syvällisesti Maria-kuvaa oli tutkittu. Tuntuu että vasta konsertin jälkeen minulle on alkanut aueta eri roolien ja kuvien olemus. Etenkin se ensimmäinen vähän nunnamainen peitetty/paljas raskaana oleva Maria, jonka kohdussa ei ollutkaan mitään. Ja vielä se ledivalonännit ja Bellissima Regina -kappale. Vasta jälkeenpäin tajusin, että musiikki oli maallisesta yhteydestä. Siinä oli jotain todella vaikuttavaa. Valaistut nännipihat toi mieleen sädekehän, ja tuon rinnan paljastamisen sakraalin ulottuvuuden, syntynyt kokonaisuus oli yhtä aikaa vakava ja koominen, maallinen ja ylevä.

Projektinne liittyy yleisempäänkin keskusteluun siitä, miten taide vaikuttaa ja ottaa kantaa. Riittääkö se, että konserttiyleisö toteaa esityksen olleen "kiva"? Olitteko todella odottaneet, että yleisössä olisi ollut joku, joka olisi aidosti kyseenalaistanut tämän yhdistelmän?

Katson tietysti kokonaisuutta kuvataiteilijan näkökulmasta, ja tällaisia vaikuttamisen ja kontroversaalien lähestymistapojen mahdollisuutta jokainen taiteilija miettii. Onhan se vähän kuin taiteilijan märkä uni (jos ilmaus tässä yhteydessä sallitaan:) että onnistuisi tekemään jotain mikä todella vaikuttaisi, herättäisi vaikka pahennusta, kunhan herättäisi todellisia reaktioita, ei vain ympäripyöreää hyminää ja selkään taputtelua.”

Katri Kallio: ”Tulin ystävän kutsusta, odotin ehkä enemmän tietoista ärsyttämistä, mitä tässä ei ollenkaan ollut, mä ilahduin siitä, että se oli niin tyylikkäästi tehty ja nää kaikki ilmeisesti lähti jostain Neitsyt Marian kuvista. Se mitä meille barokkimusiikista on säilynyt, on tää kirkkomusiikki, mutta toki ne säveltäjät pölli ne melodiat maallisista renkutuksista.  Se, että kirkkomusiikissa on erotiikkaa ja aistillisuutta, ei varmaan ole yllätys kenellekään ja hirveen hienolla tavalla saitte sen sieltä esiin. Kiitos siitä.”

Anniina Seppänen: ” Kun mä näin tän projektin, niin mun eka ajatus oli että jes, mahtavaa että joku vihdoinkin tekee jotain tällasta! Mua on ihmetyttänyt ja ällöttänytkin se, että Mariassa hienointa on nimenomaan sen neitsyys ja ajattelin heti, että haluan ehdottomasti nähdä tän. Oon tosi iloinen ja kiitollinen, että te ootte tehnyt tän. Kiitos.”

”Tunnelma oli niin hieno, että se ei vaatinut väliaplodeja tai sellasta” ”Sitä vaan odotti seuraavaa tapahtumaa, koko esitys oli yhtenäistä tarinaa eikä sitä tehnyt mieli keskeyttää.”

Tuukka Haapakorpi: ”Mä katsoin tätä esitystä ei-naisoletetun näkökulmasta se, mitä mietin esityksen aikana, oli teidän suhde Mariaan semmosena nais-vertaisena meidän yhteiskunnassa. Ja suhteessa siihen, että miten te musiikillisesti tai taiteellisesti koette, että mitkä teidän mahdollisuudet on, että missä eri positioissa te voitte näyttää tätä Mariakuvaa, ja vaikuttaako teidän sukupuoli teidän suhteeseen siihen musiikkiin? Ja esimerkikisi, jos musiikin esittäjät olisi olleet miehiä ja muuten esityksen sisältö ois ollut sama, olisiko se muuttanut jotain ja mikä olisi muuttunut. Ja mitä se kertoo tämän päivän mahdollisista positioista naiselle olla osa tota musiikin historiaa.”

”Mä olin ajatellut viettää koti-illan, mutta sain sitten kaverilta vinkin tulla tänne ja mut sai liikkeelle kontrasti näissä teemoissa, selkeästi klassisen puolen musiikki, joka mun silmissä on tosi siveää ja kunnollista ja säädyllistä ja sit tää toinen puoli, joka haluaa provosoida. Mulla ei oikeestaan ollut odotuksia, mä halusin vaan nähdä, mitä te teette näillä elementeillä. Aika kilttejä oli mun makuun noi kaikki numerot.”

Iina Peltomäki: ”Tosi hienosti säilytitte sen arvokkuuden, joka tän teeman ympärillä on. Tää ei missään mielessä ollut halpa, mitä mä vähän pelkäsin, että tää vois olla.”

”Mä tulin tänne burleskiesiintyjänä ja sen katsojana ja just siksi, että mä koen, että busleskitaidetta voi hyvin levittää performanssitaiteen puolelle ja myöskin barokkimusiikin rakastajana mä nautin tosi paljon siitä, että mä sain sen mitä halusin ja jotain, mitä en oo kokenut aiemmin ja mä kiitän siitä.”

 Josef Donner: ”Tosi raikasta. Mä nyt en tiedä niin paljon asiasta, mutta ihana oli nähdä sitä riemua siitä, että voi itse päättää, mitä tekee sen musiikin ja sen visuaalisuuden kanssa. Myöskin se burleskin kauneus tuli ihan eri tavalla esiin, kun on käynyt katsomassa näitä villimpiä siinä ei tule keskityttyä sellaseen, miten kauniisti valo osuu ihoon tai miten käsi voi valaista kasvot tai viuhkat valaisee koko takaseinän. Siinä menee monet asiat ohi, kun kattoo vaan, millon seuraava vaatekappale lähtee.”

Marianna Haapakoski: ”Mä taas aistin kipua enemmän kuin riemua, tosi kiinnostava kuulla, että sulla tuli tuo olo. Mulle jäi päällimmäisenä mieleen sellanen naisena olemisen kipu ja se kauneus siinä.”

Anne Nimell: ”Yks kiinnostava elementti oli se tilan ottaminen, että asiat tapahtuu omassa rytmissään ja säännöllisesti, kasataan kamat ja sitten se sama sääntö, että tullaan istumaan ja sitten alkaa seuraava asia ja kaikella on oma aikansa ja tilansa, mikä mulla liittyy tuohon kuvastoon, että onko se Maria siellä kuvana, ja että kuka päättää siitä Mariasta ja omasta kuvastaan ja kehostaan. Herää myös kysymys teistä kaikista muista, se ei ole pelkästään Armi, joka on neitsyt Maria. Mietin semmosta kysymystä, että ikään kun jos on erilaista katsojuutta, että kun on katsojia, jotka on enemmän katsoneet burleskia tai sitten tätä musiikkia, ja vaikka tässä oli kaikki tosi orgaanista, niin tuli silti kiinnostavia hetkiä, että miten reagoi itse.

 Laura Reunanen: ”Mietin sitä, että kun lavalla on Buleski-Maria, niin sopiiko käyttäytyä yleisössä niin kun burleskikeikalla käyttäydytään, vaikka tää tila ja setup oli selkeästi niinku klasarimainen, mikä sai varmaan ihmiset olemaan hiljaa.”

”Pidin teoksen rauhasta. Burleski ja musiikki muotosivat yhdessä saumatonta, jopa yllättävän ristiriidatonta tunnelmaa. Minulle kyse oli keskiaikaisen musiikin voimalla neitsytmariamyytin ruumiskuvien esiin manaamisesta. Seurakuntamme edessä esiintyjät muuttuivat ja liittyivät osaksi kristillisen kulttuurin perimmäisintä naiskuvaa. Burleskin ruumiillisuus ja visuaalisuus tavoittivat neitsytmariamyytin kaksinaisuuden: pyhä ja puhdas & neitsyt/äitifantasia ja eroottisuus. Mielestäni nämä kristillisessä eetoksessa näennäisen vastakkaiset suunnat, halu ja pyhyys, avautuivat Armin ruumiissa kauniisti toisiinsa kietoutuneina ja ajoittain erottelun ylittäen. Tekijät framesivat teokselle feministisen ja purkavan lähdön teoskuvauksella, käsiohjelmassa ja yleisökeskustelussa. Mielestäni teos avasi neitsytmariamyytin nähtäväksi, mutta ei radikaalisti purkanut neitsytmariamyyttiä miesten luomana(?), ylläpitämänä(?) ja suppeaa naiskuvaa(?) rakentavana konstruktiona. Jäin ehkä toivomaan röyhkeyttä ja näkyjä ruumiillisuudesta, joka räjäyttää neitsytmariamyytin, pesee sillä lattiat ja jatkaa eteenpäin. Toisaalta yleisökeskustelu mahdollisti esityksen jälkeisen tilan, jonka kautta myös näihin kysymyksiin oli mahdollista palata. Arvostan kyllä myös tekijöiden valitsemaa kunnioittavaa sävyä tässä ajassa.”

Kiitos kaikille ajatuksiaan jakaneille.

[lapipaylafuente]

a theatre is a theatre is a theatre is a theatre performance by OHT [Office for a Human Theatre]

directing and set Filippo Andreatta sound and music Davide Tomat assistant director Veronica Franchi voice Dania Tosi song "Beata Viscera" by Perotin light Andrea Sanson sound design Claudio Tortorici stage manager Ronni Bernardi / Andrea Colò super-butterfly Alberto Favretto painted backdrop Paolino Libralato graphics bruno, Venezia promotion and curating Laura Artoni administration Laura Marinelli in co-realization with technical team of CSC Trento

[cressida-jayoungr]

One Dress a Day Challenge

Black and White October

The Innocent (L'Innocente) / Laura Antonelli as Giuliana Hermil

I just was able to check out this movie, and it has some really beautiful costumes (by Piero Tosi!). This outfit is striking because of the layers. It starts out with large patches of black and white, the frilly blouse peeking out from the black jacket, and then as she sheds one piece after another, it turns into a soft grey--but when you see it close up, the grey effect is created by thin lines of black on white. The way the thicker black lines outline the neck and come to a V point in front and back is a striking detail.

[mordacitatis]

Moonlit Bargains and Hungry Woods

So only read this if you enjoy research papers on The Language of Thorns by @lbardugo...I thought she might want to see it!

           The Language of Thorns: Midnight Tales and Dangerous Magic by Leigh Bardugo is a collection of literary fairy tales set within the fictional world of the Grishaverse. Each page is illustrated in a continuing development that mirrors the written tale, culminating in a beautiful two-page full color illustration. Working much like a flip book, the illustrations by Sarah Kipin build and flow into each other flawlessly. The author’s inspiration stems from “that note of trouble that [she thinks] many of us hear in familiar tales” and the dissatisfaction that sits with us at the end of our favorite stories (Bardugo 278). Rooted in her strong sense of feminism, all of Bardugo’s stories epitomize female empowerment. She seeks to “tell the true stories instead of the easy ones,” demonstrating important lessons in virtue, relationships, and love through a twisting of well-known motifs (Bardugo 48).

Laura Tosi examines the various ways that rewritings of fairy tales dialogue with the traditional tales. In her essay “Did They Live Happily Ever After? Rewriting Fairy Tales for a Contemporary Audience,” she discusses the three categories of modern literary fairy tales that she has found through analysis. The first classification is “morally correct” rewritings that overlay “a new ethics of justice and human compassion on traditional tales” (Tosi 372). The second classification is postmodern/metaphysical rewritings that include critical self-reflection of the conventions of traditional tales. Many of these tales are from the perspective of the villain or purposefully make fun of fairy tale patterns. The third classification is feminist tales. Tosi agrees that there is overlap in many retellings that places a story into all three categories. Bardugo’s tales are all primarily feminist but include elements of the other classifications to further the lessons of a feminist tale.

 Ayama and the Thorn Wood

The first of Bardugo’s tales draws inspiration largely from “Beauty and the Beast,” though elements of “Arabian Nights,” and “Cinderella” are also apparent. Ayama and the Thorn Wood begins with a classical fairy tale opening, setting us in a time and place that is not quite exact. Two boys born to a royal family; one is branded a monster and locked in a great labyrinth under the castle, the other is lauded as the perfect prince. Simultaneously, two girls are born to paupers; one a kind and graceful beauty, the other failing by comparison and sent to serve in the kitchen.

When the Beast escapes to the woods, and the slaughter of livestock commences, the King’s hired mercenaries fail to subdue him. Ayama’s family sacrificially volunteers her to confront the monster on three separate occasions. She finds him in a magical thorn wood and he challenges her to spin stories that will not anger him. In return, he agrees not to kill her and to leave the townspeople alone. She succeeds each time by telling a story filled with harsh details and realistic endings and returns twice to servitude as her family enjoys rewards for her bravery. The third time, she realizes the Beast has been set up by the King and she agrees to join him by drinking from a magical stream and becoming a monster herself.  

Together, Ayama and the Beast confront the King, and learn it was him killing the livestock and destroying the crops to scare his constituents into forgetting the losing war and riches that he had amassed in its name. The king is locked in the labyrinth that he built for his son. Ayama marries her monster prince, her sister marries his beautiful brother, and the people of the kingdom hope “that their children will be brave and clever and strong” and pray for “sons with red eyes and daughters with horns” (Bardugo 47).

There are a few important differences between Bardugo’s tale and the tales that we know. A big one is the characterization of Beauty’s family. Ayama’s sister is loving and tries her best to take care of her younger sister while the original tale has a cast of petty, jealous, deplorable sisters. Beauty volunteered to go to the Beast to save her father while Ayama was volunteered by her family to face the monster for their benefit. The largest difference, and arguably most potent, is that the monster doesn’t transform into a handsome prince. There is nothing wrong with who he is and no need for a transformation. In fact, it is Ayama who makes a transformation into a monster of equal power to the Beast.

In the original “Beauty and the Beast” tale, the heroine’s looks are such an integral part of who she is as a person that she has no name other than Beauty. Her virtues of kindness and intelligence are placed at the same level as her gorgeousness. Bardugo writes her Beauty in a way that corrects the perverted moral lesson that the original tale espouses. Ayama is not beautiful. She is brave, kind, smart, and witty; she teaches the Beast and the people mercy, not because she is a perfect virtuous lady who forgives everyone, but because it is the right thing to do. Ayama shows us that beauty isn’t the only virtue to be lauded and removes the “traditional equation between beauty and goodness,” between beauty and royalty (Tosi 381).

This ideal is exemplified through the postmodernist twist in the tale when Amaya’s grandmother tells her that “interesting things only happen to pretty girls” (Bardugo 9). The grandmother seems to step outside of the story and has a knowledge of fairy tale convention that she exploits. Terry Pratchett explores a similar idea in the Tiffany Aching series, positing that the blond-haired blue-eyed girls get stories of becoming princesses but brown-haired brown-eyed girls don’t get adventures (35). Because Tiffany knows this, she makes the decision to be a witch since she won’t see adventure any other way. The heroine of the next fairy tale makes a similar decision, for slightly different reasons.

The Witch of Duva

The “Hansel and Gretel” inspired tale by Bardugo is set in Ravka, a country based upon Russia and Eastern European cultures. “The Witch of Duva” starts by introducing the reader to Maxim, a well-respected carpenter and father to Havel and Nadya. When their mother dies, Maxim marries Karina, the neighbor who cooked for his ailing wife. Meanwhile, the list of young women who have disappeared into the mysterious woods and never returned grows longer every day.

Havel joins the army, but not before laying white stones in the woods so Nadya can find her way to check traps and return home. Karina plots to rid herself of competition for Maxim’s affection by sending Nadya to check traps in the snow. Nadya gets lost and ends up finding Magda, the Witch of Duva, who teaches her many things both practical and magical. She comes to respect and love Magda. When winter ends and Nadya can return home, Magda sends a magical replica of Nadya made of gingerbread and has her watch through the eyes of the crow.

The gingerbread girl arrives back home and Nadya’s father is overjoyed. Karina leaves the house and bids the crow to leave because “some things are better left unseen” (Bardugo 110). Nadya watches through the window anyway as her father devours the gingerbread girl. Realizing that her father was responsible for the missing girls, a child molester who killed his victims to escape detection, and that Karina knew all along, Nadya returns to Magda to learn witchcraft from the one person who loved her unconditionally.

This story is one of abandonment and separation anxiety. Bruno Bettelheim states that “Hansel and Gretel” has much to “offer to the young child ready to make his first steps out into the world” (“The Struggle for Meaning” 332). This particular adaptation has even more to offer, specifically for female readers. “The Witch of Duva” suggests to girls that their mothers will leave them, brothers meant to protect them will walk away with only a cryptic warning to “be careful,” and that the people you should most fear may not be the evil witches or stepmothers but the men closest to you.

The woods were never hungry for little girls, Nadya’s father was. Karina was never the evil stepmother, Magda was never the evil witch. Havel leaves his sister alone with no one to protect her. Nadya is strong in the home and saves herself in the woods. In these ways, it is quite obvious that this tale differs from “Hansel and Gretel.” However, there are more subtle differences as well. The gluttony that Bettelheim sees so deeply ingrained in “Hansel and Gretel” is no longer attributed to the children in Bardugo’s adaptation, though food continues to be the driving force of the story.

The story explicitly states that the mother’s sickness is undeniably connected to the father being unable to travel and work. There is an implication that she has somehow connected the dots on the mysterious disappearances of the young women in surrounding towns who always went missing when her husband was there. She likely told Karina of her suspicions and will only eat the cakes that Karina brings for her. Unable to prove anything, she wastes away from the secret. The father is then wrapped up in Karina, who brings food and sweets and whispers in his ear. Karina sends Nadya into the woods to check the traps for food. Nadya follows the scent of food in the forest. Her entire sojourn in the witch’s house is detailed by the food that she ate, each moment is steeped in flavor. But it is the father that demonstrates the “destructive aspects of orality” and the “dangers of unrestrained oral greed and dependence” (“Hansel and Gretel” 162). He has regressed psychosexually and has the control of a small child. He devours his daughter in his gluttonous greed, sobbing like a child and begging her to believe that he “tried to stop,” indicating his continued uncontrollable urges (Bardugo 111). While this example of a greedy father is most horrifying, he is not the only one found within the pages of The Language of Thorns.

 Little Knife

There are many tales that could have inspired Little Knife, which falls quite heavily into the motif of ‘trials for the hand of the princess.’ This tale is also from Ravka and features a character reminiscent of Russia’s Baba Yaga, a greedy duke with a painfully beautiful daughter, a con man, and personified nature that prevails in the end.

Yeva, the duke’s daughter, is so beautiful that many men tried to steal her away and the sight of her caused riots. She is eventually confined to the castle for her safety and required to wear a veil so as not to distract the servants. Ignoring the objections of his daughter, the duke devises a series of tasks to win her hand that he is certain only a rich suitor can accomplish. What he isn’t expecting is Semyon, a magic wielder who commands the water and air, to complete the tasks by using the river to his own ends, something Semyon is warned against by the wise Baba Anezka.

To complete the last task, Semyon breaks the dam that is weakening the river and sets it free. Semyon and Yeva are to be married on the bank of the river, but before the ceremony can commence, the river takes the form of a great female spirit of the sea who had been trapped by the dam. The river explains that she completed all of the tasks for Yeva’s hand and invites her to go with the river and be “bride to nothing but the shore” (Bardugo 136). Yeva chooses freedom. Freedom from the desire of men and women; freedom from the role as a bargaining chip for more money. The river leaves the town, taking its source of industrial power and leaving it destitute. Yeva grows old and “never worried when her beauty faded, for in her reflection she always saw a free woman” (Bardugo 138).

The duke’s greed destroys his city but ignoring his daughter’s concerns is what truly causes him to lose everything. Yeva asks her father “what way is this to choose a husband” each time he creates another scheme, and each time Yeva finds that she “doubted that her father had answered her question” when he finishes extemporizing about the riches she will receive (Bardugo 122-3). She knows that random tasks are not the way to find a partner. Her father continues to perpetuate the idea that “female subordination [is] a romantically desirable [and] inescapable fate” (Rowe 342).

Karen Rowe discusses the issues that arise in fairy tales in her essay “Feminism and Fairy Tales.” She sees that classical tales “glorify passivity, dependency, and self-sacrifice” as the important virtues for a woman to have (Rowe 344). But in the realm of rewritings, Bardugo transforms those ideals. Yeva is expected to sacrifice her happiness and safety to bring riches to her father. She asks her father why “[she] must be the one to hide” because she wants to be able to go outside again (Bardugo 120). He tells her that she should relish the power that she has over men while it is here, but Yeva knows that she should be free. She knows that it is not her job to control the gaze of others.

Yeva shows “an unusual degree of knowledge…of [her] own fictional status,” in that she knows that the way that things are going in this tale are not right (Tosi 378). She knows that creating tasks in the hope that the richest man will prevail is not the way to find a good husband. With the very real fears upon women to find a man with which one will be safe, it isn’t a surprise that she worries about the duke’s scheming. She is a part of a “new generation of smart princesses” that question the roles they have been placed in (Tosi 381). Her father on the other hand continues to ride the plot wave and Yeva eventually leaves him to reap the troubles that he sowed in greed.

This isn’t the only feminist perspective within the story. The river is shamelessly used by a man for his own ends and he berates her when she doesn’t immediately solve his problems for him. Semyon takes credit for the river’s ingenuity and hard work but the river does not allow passivity to keep her from claiming her due. In fact, the river seems to have manipulated Semyon into freeing her from the dam. The river frees herself and offers Yeva the same option. “The Little Knife” is a tale of freedom from the patriarchal society that controls women and keeps them from fulfilling their potential.

Conclusion

Every tale in Bardugo’s collection challenges the stereotypical depictions of women in fairy tales, giving her audience more options for how to shape their perceptions. Bruno Bettelheim believes that fairy tales “foster [children’s] personality development” (“The Struggle for Meaning” 331). If this is true, then the selection of tales that young women have been given to create their personality are lacking. There are few classical tales that demonstrate any kind of independent, self-sufficient woman. This is why modern feminist tales are so incredibly important for the development of children in our society. They make use of the “imaginative and subversive potential of fairy tales” to shape our youth (Tosi 384). They give women the inspiration to become their own heroes; free from the need to wait on a prince. With The Language of Thorns, Leigh Bardugo joins the ranks of feminist fairy tale authors such as Angela Carter, Tanith Lee, and Mary DeMorgan and fulfills her goal to fix the issues found in traditional tales.

Work Cited

Bardugo, Leigh. The Language of Thorns: Midnight Tales and Dangerous Magic. Imprint, 2017.

Bettelheim, Bruno. “The Struggle for Meaning.” Hallett and Karasek, pp.323-34.

Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Alfred A. Knopf, Inc., 1976, pp. 159-66.

de Beaumont, Leprince, Mme. “Beauty and the Beast.” Hallett and Karasek, pp. 171-81.

Grimm, Jacob and Wilhelm Grimm. “Hansel and Gretel.” Hallett and Karasek, pp. 142-7.

Hallett, Martin, and Barbara Karasek, editors. Folk & Fairy Tales. 4th ed., Broadview Press, 2009.

Pratchett, Terry. The Wee Free Men. HarperTempest, 2003.

Rowe, Karen. “Feminism and Fairy Tales.” Hallett and Karasek, pp. 342-58.

Tosi, Laura. “Did They Live Happily Ever After? Rewriting Fairy Tales for a Contemporary Audience.” Hallett and Karasek, pp. 367-86.

[andre83us]

Quei nostri sogni così tangibili: ecco il nuovo album di Irene Beltrami

Quei nostri sogni così tangibili: ecco il nuovo album di Irene Beltrami

Irene Beltrami (foto di Emanuele Morini) Si intitola “Anima reale” il primo album della giovane cantante di Malborghetto, voce solista nel brano che Patrizio Fergnani ha dedicato a Laura Vincenzi. L’abbiamo incontrata insieme a Matteo Tosi, co-autore, musicista e compositore, per ragionare su cosa significa fare musica oggi di Andrea Musacci Razionalità e sogno: un connubio non sempre…