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spicykaraage · 11 months

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Tenipuri Complete Character Profile - Seiichi Yukimura

[PROFILE]

Birthday: March 5th (Pisces)

Blood Type: A

Relatives: Grandmother, Father, Mother, Younger Sister

Father’s Occupation: Company Employee (advertising company)

Elementary School: South Shonan Elementary School

Middle School: Rikkai University Junior High School

Grade & Class: Third Year | Class 3-C | Seat 21

Club: Tennis Club (Captain)

Committee: Beautification Committee

Strong Subjects: English, Math, Art

Weak Subjects: Chemistry (the smell of chemicals reminds him of the hospital…)

Frequently Visited Spot at School: The campus flowerbeds, the rooftop garden

World Cup Team: U-17 World Cup Japanese Representatives

Favorite Motto: “If you have not experienced the cold of winter, you will never know the warmth of spring.”

Daily Routines: Watering his potted plants, scenario training

Hobbies: Gardening

Favorite Color: Light Blue

Favorite Music: Brahms’ Symphony No. 4

Favorite Movie: Films by Jean-Luc Godard

Favorite Book: Poetry books (especially French) ➜ Night Flight by Antoine de Saint-Exupéry [23.5]

Favorite Food: Grilled fish (mostly white meat [23.5]), tea [23.5]

Favorite Anniversary: July 1st (the day his first flower bloomed)

Preferred Type: A healthy person ➜ A person who pursues their dreams [23.5]

Ideal Date Spot: Art museum “They’re holding an impressionism exhibit right now.” ➜ An art museum or a library “I want to know more about French history.” [23.5]

His Gift for a Special Person: Candied violets

Where He Wants to Travel: Kunsthaus Zürich

Thing He Wants Most Right Now: A book of Pierre-Auguste Renoir’s paintings ➜ An outdoor easel stand [23.5]

Dislikes: Talking about people behind their backs

Skills Outside of Tennis: Watercolor painting, identifying plants and animals

Spends Allowance On: Gardening supplies, books

Routine During the World Cup: Sketching

[DATA]

Height: 175cm ➜ 176cm [23.5]

Weight: 61kg ➜ 63kg [23.5]

Shoe Size: 26.5cm

Dominant Arm: Right

Vision: 1.5 Left & Right

Play Style: All Rounder

Signature Moves: Selfless State, Yips (not a technique), Howling, Sixth Sense

Time He Wakes Up: 6:30am

Time He Goes to Sleep: 10:45pm

Number of Times He’s Been Hit By Sanada as Punishment: 1 time

Favorite Brands:

Racquet: WING HEART (FORJE Z 115)

Shoes: YONEX (POWER CUSHION 190)

Overall Rating: Speed: 4 / Power: 3.5 / Stamina: 3.5 / Mental: 6 / Technique: 6 / Total: 23

Kurobe Memo: “It is quite surprising that at his age he can play a style of tennis that makes use of the slightest movements to the greatest effects. Once he fully recovers from his illness, I would like to see him play more aggressively.” [RB]

[POSSESSIONS]

What’s in His Bag:

Supplements and Chinese herbal medicines // He occasionally gives them to his classmates

Patient registration card and telephone card

Book of Paul Verlaine’s poems // He got into French literature while he was in the hospital

Reference books // He’s been doing a few make up exams when there’s no after school practice

Club notebook

Sanada’s calligraphy: “I pray you live a long and healthy life.”

What’s in His Locker [C&S]:

Homemade potpourri // Potpourri made from dried flowers that he grew himself. He brought it to share with Yagyuu

A nostalgic music box // A cute music box, he will not give any details regarding it though

Dumbbells Shiraishi gave to him

#tenipuri #tenirabi #profile #my post

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yes-bernie-stuff · 9 months

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Aimer Dieu Par Reconnaissance 27/12/2023

Quant à nous, nous l’aimons parce qu’il nous a aimés le premier. 1 Jean 4.19

Du fait de notre conception humaine de l’amour, nous pouvons penser qu’il est plus difficile d’aimer Dieu, qu’on ne voit pas, qu’une personne humaine qu’on voit. En tout cas, beaucoup arrivent à l’âge adulte en aimant leurs proches, mais sans sans aimer Dieu de la même manière.

Peut-être vous dites-vous chrétien. Vous lisez parfois la Bible, il vous arrive de prier.Vous fréquentez une église. Mais aimez-vous Dieu ?

Si votre amour est faible ou fluctuant, prenez le temps de réfléchir à tout ce que Dieu a accompli pour vous. Non seulement il a créé l’Univers, en nous donnant la vie, le souffle et toute chos e¹, mais il nous a donné Jésus-Christ.

Et ce don démontre à quel point Dieu nous a aimés : son Fils n’était pas un simple prophète ayant enseigné pendant son temps de vie sur la Terre. Jésus a littéralement donné sa vie.

Paul Verlaine l’avait bien compris, qui disait : « Mon Dieu m’a dit : Mon fils, il faut m’aimer. Tu vois mon flanc percé, mon cœur qui rayonne et qui saigne. »

Face aux souffrances de Christ sur la croix, étions-nous aimables pour qu’il vive un tel supplice ? Méritions-nous cet amour ? Chacun de nous sait au fond de son cœur que c’est Dieu qui a fait le premier pas.

Ferez-vous le deuxième, en l’aimant de tout votre cœur et de toute votre âme ² ?

Jean-Louis Théron

¹ Actes des Apôtres 17.25 ² Marc 12.30

__________________ Lecture proposée : Évangile selon Luc, chapitre 7, versets 36 à 50.

Jésus dans la maison de Simon le pharisien

36 Un pharisien pria Jésus de manger avec lui. Jésus entra dans la maison du pharisien, et se mit à table. 37 Et voici, une femme pécheresse qui se trouvait dans la ville, ayant su qu’il était à table dans la maison du pharisien, apporta un vase d’albâtre plein de parfum, 38 et se tint derrière, aux pieds de Jésus. Elle pleurait ; et bientôt elle lui mouilla les pieds de ses larmes, puis les essuya avec ses cheveux, les baisa, et les oignit de parfum. 39 Le pharisien qui l’avait invité, voyant cela, dit en lui-même : Si cet homme était prophète, il saurait qui et de quelle espèce est la femme qui le touche, il saurait que c’est une pécheresse. 40 Jésus prit la parole, et lui dit : Simon, j’ai quelque chose à te dire. – Maître, parle, répondit-il. 41 – Un créancier avait deux débiteurs : l’un devait cinq cents deniers, et l’autre cinquante. 42 Comme ils n’avaient pas de quoi payer, il leur remit à tous deux leur dette. Lequel l’aimera le plus ? 43 Simon répondit : Celui, je pense, auquel il a le plus remis. Jésus lui dit : Tu as bien jugé. 44 Puis, se tournant vers la femme, il dit à Simon : Vois-tu cette femme ? Je suis entré dans ta maison, et tu ne m’as point donné d’eau pour laver mes pieds ; mais elle, elle les a mouillés de ses larmes, et les a essuyés avec ses cheveux. 45 Tu ne m’as point donné de baiser ; mais elle, depuis que je suis entré, elle n’a point cessé de me baiser les pieds. 46 Tu n’as point versé d’huile sur ma tête ; mais elle, elle a versé du parfum sur mes pieds. 47 C’est pourquoi, je te le dis, ses nombreux péchés ont été pardonnés : car elle a beaucoup aimé. Mais celui à qui on pardonne peu aime peu. 48 Et il dit à la femme : Tes péchés sont pardonnés. 49 Ceux qui étaient à table avec lui se mirent à dire en eux-mêmes : Qui est celui-ci, qui pardonne même les péchés ? 50 Mais Jésus dit à la femme : Ta foi t’a sauvée, va en paix.

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ch-dld-bft-brit-omm · 5 years

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Runtime: 54 min Language: English Country: USA Color: Black and White Director: Ivan Kral & Amos Poe Cast: Blondie ... Themselves David Byrne ... HImself (lead singer, Talking Heads) Wayne County ... Himself Jay Dee Daugherty ... Himself Chris Frantz ... Himself (member, Talking Heads) Jerry Harrison ... Himself (member, Talking Heads) Deborah Harry ... Herself (lead singer, Blondie) Richard Hell ... Himself Lenny Kaye ... Himself Ivan Kral ... Himself Patti Smith ... Herself Richard Sohl ... Himself Chris Stein ... Himself Talking Heads ... Themselves Johnny Thunders ... Himself Tom Verlaine ... Himself Description: An invaluable document of a long-lost era, The Blank Generation "sets the style for the Punk Documentary—raw, sloppily spliced, unsynched footage of bands, with sound recorded by cassette. The effect is total disorientation and CBGBs performances by Talking Heads ("Psycho Killer"), Blondie ("He left Me"), Ramones ("Shock Treatment", "1-2-3-4, Let's Go") Tuff Darts and many of the other New York bands fill up this frantic, crowd-pleasing film. CBGB, the small Bowery Avenue club that spawned and nurtured American punk and New Wave music in the mid-70s, closed earlier this fall after a three-decade run. Fortunately, New York filmmaker Amos Poe was hanging out at CBGB in its early days and began filming performances by many of the musicians who would become the stars of the late 70s/early 80s as the rest of America embraced punk and New Wave music and style. Taking his silent 16mm footage and separate audio cassette recordings, Poe and co-director Ivan Kral (guitarist for Patti Smith) put together a documentary, "Blank Generation" (1976), that exemplified a punkish attitude toward film structure with handheld zooms, angled compositions, floodlight lighting, extreme close-ups, elliptical editing, flash pans, and a general in-your-face and “up-yours” stance. Sound and image purposely do not synch. In many cases music and image were recorded on separate nights more economical because of the high cost of raw film stock with sound, but also an aesthetic nod to Jean-Luc Godard who had slashed the umbilical cord uniting sound and image. Out of the French New Wave came the New York No Wave. Neither a collection of music videos nor a straightforward documentary, "Blank Generation" captures in embryonic form vital appearances of the Talking Heads, Blondie, the Ramones, Television, and, most belligerently of all, Patti Smith. In the film the Patti Smith Group performs a rousing version of “Gloria” that makes you want to jump, scream, and run around the room/block/world. With her androgynous looks, thriftshop clothing, snarling voice, biting lyrics, and middle-finger attitude, Patti Smith is obviously well on her way to becoming the intellectual godmother of punk. Television (with Tom Verlaine) performs “Little Johnny Jewel,” complete with an insert of a portable TV being tossed off a building (a forerunner of music videos incorporating performance and dramatic recreations). The Ramones come on with “Shock Treatment” and “1,2,3,4, Let’s Go,” providing a sad moment while realizing 1,2,3 are already gone. Their leather jackets, sunglasses, pageboy haircuts, and plenty of proto-punk attitude helped establish one style for male punks. Looking very art-school, almost preppie, David Byrne and The Talking Heads perform “Psycho Killer” and bring their soul-stirring rhythms into the mix. The outrageous Wayne County with his big hair wig, high heels, and shapely legs in fishnet stockings (obviously influenced by Charles Ludlum’s Theater of the Ridiculous, John Waters’ films with Divine, and the New York Dolls in their gender-bender period of 1973) sings the lovely “Rock ‘n’ Roll Enema” while brandishing a toilet plunger. Not a pretty sight but not meant to be. And then there is Blondie, with the deadly gorgeous Deborah Harry and her perfect cheekbones, artful makeup, and blonde superstar hair. A complete antithesis of Patti Smith, Harry harkens back to the era of the chanteuse and the Hollywood siren of the 30s. The presence of both artists at CBGB shows that it was a very flexible musical era. Even the title of the film, inspired by the Television song, indicates open possibilities in the mid-70s "The Blank Generation" suggests that in 1975-1976 it was still a [fill in the blank] generation with no definition, self-imposed or media-determined. That was a post-Watergate, post-hippie, post-activist time of new possibilities, all clearly championed and captured in Amos Poe’s film. —Chale Nafus, Director of Programming, Austin Film Society 12/06

HERE: http://ubu.com/film/poe_blank.html

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frenchtwistagain · 5 years

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Update prénoms au bureau

(Rappel : je ne me moque pas, je constate! Et il y a des prénoms que j'adore dans la liste, non mais)

-Commençons par les originaux : Emery, Edeline, Christilla, Aube, Toscana, Cendre, Vérica, Vitaline (que bcp de gens appellent "Vitamine", herm) , Malwenn, Bégonia, Véréna, Leia, Egwen, Donasian, Gérian, Joséphane, Epiphanie, Espérance (ma 2è!), Loric, Elora, Nelberto, Eléa, Louisiane, Mélisende, Sauvane, Eliora, Ezéchiel, Cléophée, Lez, Florie, Laurélie, Isidora, Inigo, Elissa, Mayanne, Gwenlaouen, Géo, Hortensia, Mélie, Nawael; et Athos, que je devrais aussi classer dans :

- les BCBG avec Honorin, Audoin, Brune, Thaddée, Lancelot, Suzel, Gratianne, Victorien, Valérian, Lazare, Anastasie, Prune, Célestine, Adélie, Bayard, Géraud, Adalbert, et Odilon.

- les mixtes : Orphée et Florens sont des hommes (j'adore), Alix aussi, Miki et Yannick-Laure des femmes.

- les orthographes bien spéciales : MargauD et MargauLT, Eythan, Cora-Lyne, Ane (abusé!), Anique, ThibauLD, JocelAIn, Kornélia, Ywan, TessE, ThéAU, Dominick, Micahel, Jean-Baptist( sans e, je suis traumatisée)

- les anglo-FR : Dyna, Jowy (Joey?), Bee, Terry, Miki et Maicky

- les composés qui me donnent envie de hurler "Mais pourquoi???!???" : Jean-Eudes, François-Valbert, Pierre-Luigi, Pierre-Paul, Yves-René, Jean-Raphaél, Louis-Victor, Léo-Paul, Pierre-Arnaud, Charles-Owen, Pierre-Christophe, Paul-Marie, Pierre-Luc, Jean-Gabriel, Jean-Frédéric, Pierre-Geoffroy, Louis-Michel, Pierre-Antoine, Jean-Arnaud, Pierre-Thomas, Jean-Franck, Jean-Erwan, Guy-Alexandre, Julien-Walid, Philippe-Pierre (c'est pas facile à dire croyez-moi), Elie-Ken et pour les femmes : Scarlett-May, Marie-Hortense, Anne-Hortense, Sophie-Jeanne, Lise-Catherine, Marie-Stéphane, Lise-Alexa, Lou-Eva, Marie-Laetitia, Wendy-Anne et Léa-Emma

- deux étudiants Chinois se sont choisis des prénoms "européens" assez particuliers : "Like" et "Rythm". Pourquoi pas!

-finissons par les gros WTF : Ras-Verlaine, D'hydrogène (une femme), et Serpentine.

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gayhardmens82 · 5 years

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Euro bare back trio Hannawa Falls

GO AND VISIT THEM NOW!

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vanessasbuecherecke-blog · 8 years

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Oetker, Alexander: Retour - Luc Verlains erster Fall

Oetker, Alexander: Retour – Luc Verlains erster Fall

Rezension Alexander Oetker – Retour: Luc Verlains erster Fall

Klappentext:

Luc Verlain liebt gutes Essen, Frauen und sein sorgenloses Leben in Paris. Doch als sein Vater schwer erkrankt, lässt Luc sich versetzen. Ausgerechnet nach Bordeaux in die Region Aquitaine, von wo er als junger Polizist geflohen war. Zurück in seiner Heimat muss Luc sich seinen Erinnerungen stellen. Und schon kurz nach…

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#Alexander Oetker #Bordeaux #Frankreich #Hoffmann und Campe #Krimi #Luc Verlain #Retour #Rezension

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monetstudy · 7 years

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As we’re in the middle of summer and a lot of us have time to read, I thought it would be great to list all the great french books I know and I’ve read if you want to practice french or read french books!! (or just if you don’t have books to read now) note : the list is faaar from being complete !

POETRY

Apollinaire - Alcools, Calligrammes André Breton & Philippe Soupault - The Magnetic Fields Charles Baudelaire - The Flowers of Evil (Les Fleurs du Mal), Paris Spleen (Le Spleen de Paris) Paul Éluard - Capitale de la Douleur, Les Mains Libres Paul Verlaine - Poèmes Saturniens, Romances Sans Paroles Arthur Rimbaud - Illuminations Victor Hugo - The Contemplations Stéphane Mallarmé - Poésies Comte de Lautréamont - The Lay of Maldoror Louise Labé - Poésies Pierre de Ronsard - Les Odes Marceline Desbordes-Valmore - Elegies et romances Alphonse de Lamartine - The Meditations

NOVELS

Albert Camus - The Stranger, The Plague, The First Man Jean-Paul Sartre - Nausea, The Words Annie Ernaux - The Years, The Possession, Shame, Happening, A Woman’s Story Stendhal - The Red and the Black Victor Hugo - The Hunchback of Notre-Dame, Les Misérables Madame de La Fayette - La Princesse de Clèves Madeleine de Scudéry - Clélie Honoré de Balzac - The Unknown Masterpiece, Old Goriot Gustave Flaubert - Madame Bovary, Sentimental Education George Sand - Story of my Life Alfred de Musset - The Confession of a Child from the Century Laurent Binet - HHhH, The Seventh Function of Language Jean Teulé - The Suicide Shop, Eat Him if You Like, Monsieur Montespan, Charly 9 Voltaire - Zadig, Candide Chrétien de Troyes - Yvain, The Knight of the Lion + Lancelot, The Knight of the Cart Marguerite Duras - The Ravishing of Lol V. Stein Marguerite Yourcenar - Memoirs of Hadrian Antoine de Saint-Exupéry - Night Flight, The Little Prince, The Wisdom of the Sands Jean de la Fontaine - The Fables Émile Zola - The Beast Within Marcel Proust - In Search of Lost Time André Gide - The Counterfeiters, The Immoralist, The Vatican Cellars, The Pastoral Symphony François-René de Chateaubriand - René, Atala, Memoirs from Beyond the Grave Aragon - Aurélien Jean-Jacques Rousseau - Reveries of a Solitary Walker

PLAYS

Albert Camus - Caligula, The Just Assassins Jean-Paul Sartre - No Exit, The Flies, The Chips Are Down Bernard-Marie Koltès - Return to the Desert, The Night Just Before the Forests Jean-Luc Lagarce - It’s Only the End of the World Alfred de Musset - Lorenzaccio Jean Giraudoux - The Trojan War will not take place, Amphytrion 38, Ondine Eugène Ionesco - The Lesson, The Bald Soprano, Exit the King, Rhinoceros Voltaire - Zaïre Pierre de Corneille - La Place Royale, Le Cid, L’Illusion Comique Jean Racine - Bérénice, Phèdre Samuel Beckett - Waiting for Godot

#studyblr #study masterpost #masterpost #bookblr #booklr #books #french literature #french lit #monetstudy #french masterpost #french lit masterpost #book rec #book recommendations #book recs #french langblr #langblr

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nunc2020 · 6 years

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The Guardians of the French Language Are Deadlocked, Just Like Their Country Former President Valéry Giscard D’Estaing, center right, during a session of the Académie Française in 2016. Founded in 1634 to protect and promote the French language, the academy has long lagged behind societal changes.

By Adam Nossiter

PARIS — Balzac tried and failed. Zola knocked on the door dozens of times and was always refused. Verlaine got no votes. Hugo got in, barely, only after multiple tries.

The august Académie française — the elite club of 40 “immortals,” as the members are known, that serves as the official guardian of the French language — does not admit just anybody. So exclusive is it that most of France’s greatest writers never made it.

But the sacred job of protecting France from “brainless Globish” and the “deadly snobbery of Anglo-American,” as a member spat out in a speech last month, has rarely been more difficult to attain.

Four vacancies — lifelong tenures — have opened since December 2016. Three times the academy members have voted, most recently in late January, and three times they have failed to achieve a majority.

The deadlock, some academy members say, reflects France’s own — between the proud, timeless France determined to preserve itself at all costs, and the France struggling to adapt to a 21st century defined by globalization, migration and social upheaval, witnessed in the “Yellow Vest” revolt.

“We’re the reflection of the society, and it’s a society that’s questioning itself,” said Amin Maalouf, the Lebanese-born novelist and a member of the academy.

Then there are those who grumble that, for a conservative institution rived by mutually hating factions, it is merely business as usual. The academy has been around since 1634, when it was founded by Cardinal Richelieu to promote and protect the French language, and it is not in any hurry.

The academy “is an old lady, and very sensitive,” said one of the newer members, the Haitian-born Canadian writer Dany Laferrière.

The French Institute is home to the Académie Française. The group is so exclusive that most of France’s greatest writers were never admitted as members.CreditLudovic Marin/Agence France-Presse — Getty Images

Actually, it is mostly old white men. There are just five women among the members, and Mr. Laferrière is the only person of color. The average age was well over 70 in a recent tally by the French media.

Whether the academy is struggling to update or diversify itself, or even wants to, is difficult to divine. The deliberations of its members, under the graceful 17th-century dome of the Institut de France, are swathed in mystery.

But the rejections are humiliatingly public: The former education minister Luc Ferry saw his name in the headlines recently, and not in a good way. The vote on his membership was decisive. Mr. Ferry declined to comment.

Aside from renewing itself, the academy’s real business is updating the definitive dictionary of French, which it has been doing since the 17th century. So sacred is the task that the updates are published as an official government document.

On Thursday, the members approved the feminization of professional titles. It was a veritable breakthrough for an academy that has for years resisted the adaptation, which is already practiced widely in France, with or without the sanction of the immortals.

Language may change, and society, too, but slowly in the view of the academy.

“The question is, should the academy guard its principles?” Mr. Laferrière said. “We could fill all the seats tomorrow.”

That is not likely to happen. The academy chooses you, you do not choose the academy. Nonetheless, no one can become a member without writing a strongly worded letter soliciting a place.

Some French writers never bother, as is rumored to be the case with some of the country’s best-known contemporary authors.

Neither of France’s two living Nobel literature laureates, Patrick Modiano and Jean-Marie Gustave Le Clézio, are members. Neither is Michel Houellebecq, reckoned to be among the most penetrating of all contemporary European novelists. Others are encouraged to apply, then lose the vote.

The academy “is an old lady, and very sensitive,” said Dany Laferrière, center. He is the only person of color to be a member of the academy.CreditCharles Platiau/Reuters

“We are alarmed at not finding académiciens that are to the taste of the academy,” Mr. Laferrière said.

But some members reject the argument that no upstanding defender of France’s language and cultural values can be found, and hint at a deeper crisis.

“It’s absurd,” growled Jean-Marie Rouart, a critic and novelist who has been a member since 1997.

The real question, for some, is what the deadlock says about the beleaguered France of today.

“What was special about France is that everybody recognized themselves in literature,’’ Mr. Rouart said. “Now, you’ve got to write for the university, or this group, or that group. It’s deplorable. People read more, yes, but what they read are idiocies. The academy is a boat adrift in a dry sea.”

Of the inability to move forward, Dominique Bona, a novelist and one of the few women to sit among the immortals, said, “I’m a little bit astonished.”

“We’ve had some remarkable candidates, real choices,” Ms. Bona said. “I’m personally disappointed that the academy is giving them the cold shoulder. Is this a French malaise? The bad mood around us, is it communicating itself to the academy?”

To be sure, the ceremonious world of the academy seems a universe away from France’s current Yellow Vest uprising, whose instincts tend more toward revolution than preservation.

Last month, the academy members trooped down a wooden staircase of the Institut de France, the sharp drumbeats of the Republican Guard echoing through the marbled halls.

They were there to induct the newest member they could agree upon, the novelist Patrick Grainville, an author of baroque fantasies.

The members have been deadlocked over the filling of four vacancies since 2016.CreditEric Feferberg/Agence France-Presse — Getty Images

Mr. Grainville took the seat of Alain Decaux, a journalist, historian and writer who died in March 2016. Generally, the academy waits a year after a death to announce a vacancy, and if a replacement receives a majority vote, a formal induction comes about a year later. Mr. Grainville was elected in March 2018.

Former President Valéry Giscard d’Estaing, 93, a member of the academy since 2003, gamely negotiated the stairs supported by two aides. The smartly dressed invited public were scattered amid uniformed academy members, resplendent in their green embroidered uniforms.

Their custom-made robes cost in the neighborhood of $50,000, members said, and the swords that are de rigueur for members are not cheap, either. Mr. Maalouf said he had to raise nearly $230,000 for the costs associated with his induction.

The induction ceremony for Mr. Grainville spoke to an eternal France faithfully devoted to celebrating words and their ecstatic usage.

“Words shoot up like geysers from your pen, tumble in cascades, swirl about, bump into each other, are never at rest,” Ms. Bona said, describing Mr. Grainville’s work in the traditional induction speech. “You are, sir, a writer of jubilation.”

There was no hint of the social upheaval that has torn France apart in recent months. And there prevailed a certain vision of French history, in the easy invocation of former members of the academy, celebrated French writers with dubious wartime collaborationist pasts like Henry de Montherlant, cited by Mr. Grainville as a mentor.

As with other ceremonious and antiquated French institutions, the pomp provides its own justification, even for those who harbor reservations about it. The academy for them represents France’s consecration of its writers, a nearly unique national status.

“It was the idea of getting on the magic merry-go-round,” said the sharp-witted novelist Charles Dantzig, who was encouraged to apply after winning the academy’s prize, and then lost in recent balloting.

“It was the idea of protection,” he said of the appeal of being a member. ‘‘Illusory, no doubt.”

Indeed, the unusual nature of the academy’s mission, in a world where much of what is it celebrates is under siege, leaves some members pessimistic it can protect even itself.

“French society: Will it continue?” Mr. Rouart asked.

Then he answered his own question. “The bourgeoisie is dying,” Mr. Rouart grumbled. Before, “you would see the academy members at dinner parties. Now there aren’t even dinner parties. It’s finished.”

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trashmel · 7 years

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Hey there! For the bookish questions: 2, 3, 5, 6, 9 (which is in fact OUR country of birth, hehe :D), 12 (even though I'm sure you told me about it), 13, 14, 15, 16, 17 (no, not a TW book, that's not fair ;) ), 19, 22, 25, 26, 27, 39, 40, 43, 44, 45, 47, 48, 49, 50. Have fun with that :D (and no, I won't let you talk about 1 and 23 because I already know the answers and I'm an asshole ♥)

You are crazy. Also : Challenge accepted! See how I can talk about Bottero almost everywhere!

2. What is thelongest book you have ever read? How many pages?

Apparently it's HarryPotter and the Order of the Phoenix (which is pretty cool ;D)with around 800 pages (says wiki, I'm too lazy to move to check. Alsothe French and English versions probably don't have the samepagination... Anyway who cares, you all know this book!)

3. What is the oldestbook you have ever read? (Based on its written date)

Gorgias by Plato, as for the date? I don’t know. Wiki says “around 380 BC”

5. What book or bookseries would you like to see turned into a film/ TV series?

….. OH YES I CAN TALKABOUT BOTTERO AFTER ALL ;D

Ahem. I mean, I would haveto say Ellana (I mean the whole series, Le Pact des Marchombres) by Pierre Botterojust to see a badass woman fighting and writing haiku? I mean Iwould sell my soul to watch this. Please someone just turn this intoa TV show already!

6. What is yourfavourite stand-alone book?

Every book can stand byitself, I can't say (Okay, okay I just couldn't choose one thatseemed to be “the one” because I mainly read series...)

9. What is a book youhave read that is set in your country of birth?

Urgh, the first two thatcame to my mind were The Sun Also Rises byErnest Hemingway and La Bête Humaine byEmile Zola... I despise both books and I hated reading them!

12. What book do youpassionately hate?

Despite what I just said:Robinson Crusoe by DanielDefoe. Okay they're all books from school, so it doesn't help me, butman, this book? I read 100 pages and I couldn't go any furtherbecause it was just so loooong and boriiiing and oh my god he had tostop killing and eating animals. And really, a book to show me how tobe a good Christian? No thanks.

13. What is thebiggest book series you have read? How many books are in it?

… See, I can still talkabout Bottero :D (Oh I'm doing this on purpose, yes.)

Okayactually this is a tie?? I wasn't expecting this. So the first onewas Les Chevaliers d'Emeraude +Les Héritiers d'Enkidiev with 12 books for the former and I don't know how many for the latter. Istopped at 2 for the second, so that's a total of 14 books I actually read.

Thesecond one is Pierre Bottero's series set in Gwendalavir, with 4trilogies, one “stand-alone” (*cries*) and a short story; so 14 books as well,that I consider as a book series because everything is linked and setin the same imaginary world.

14. What book givesyou happy memories?

OH COME ON I'MTRYING... I gotta go with Ellanaby Pierre Bottero because thepoetry touched me, and oh my God I see the next question, but thisbook is probably one of the first that made me cried for acharacter's death (although I don't think it occurs in the firstbook...), and it was just so so goodand it's the one that got me to read Bottero. So kudos and yay!

15. What book madeyou cry?

Just so I do NOT talkabout Bottero again, and stop with the French books, recently Isobbed madly while reading The Sweet Hereafter byRussell Banks. It was great. But yeah, I was ugly crying more thanonce.

16. What book madeyou laugh?

I had to mention that atsome point, but it has to go to Anything Goes byJohn & Carole E. Barrowman because just looking at the book makes me smile and Ilaughed a lot while reading it.

17. What is yourfavourite book that contains an LGBTQ+ character?

La Meute bySlimane-Baptiste Berhoun (OH YOU DIDN'T SEE THAT ONE COMING, DIDYOU?) because I couldn't really find another book with lgbt+characters, sadly, and actually why would I? I loved that book.

19. Have you read abook set on another planet? What is it?

Technically Bottero'sbook must be set on another planet as they travel in our world :D(also I'm not sure I have read one clearly set on another planet soyou gotta accept that)

22. What famousauthor have you not read any books by?

Any recent famous author.The first I thought about was Stephen King, so there you go.

25. How many books doyou own?

Roughly, 40 (I mean, thatare really mine, not generally my family's) because I am pooooorand spent my childhood reading thanks to libraries so never really buying books ;)

26. What is yourfavourite non-fiction book?

Oh God I don't know whydon't you ask someone else?! (I really have no idea my brain won'twork)

27. What is yourfavourite children’s/middle-grade book?

… Les Âmes Croiséesby Pierre Bottero? :D (And I amnot kidding...) but this book is just... so... wonderful. It makes mego through a shit ton of emotions every time I read it, and it's justso wonderfully written and it kinda became a dream to follow. Eitherthe characters, or the fact that I want to write something asbeautiful as this, I don't know, but it helped me a great deal and Ienjoyed it a lot.

39. What bookoffended you?

The Cursed Child byI-don't-know-who-wrote-this-but-they-surely-never-touched-a-HP-book-in-their-lifebecause I read only a few pages and couldn't really go through it.Or, I mean, the mere existence of Fifty Shades of Greyoffends me.

40. What is theweirdest book you have read?

Suddenly Last Summer byTennessee Williams which is a play that I finished thinking “so whathappened??” and realised afterwards that I had understood nothing.When I mean nothing, I mean NOTHING: there was a rape? Really? Thedead guy was gay? I missed that? It was about cannibalism? What theheck people? (I must have been tired when reading...) But even once Iunderstood it, well, it still is a weird one ;)

43. What book did youbuy because of its cover?

Le Chant du Troll byPierre Bottero because it's prettyyyyy pretty very pretty :D

44. What is a bookthat you love, but has a terrible cover?

I don't particularly likethe cover of The Yellow Wallpaper byCharlotte Perkins (although it's a great cover for the book) justbecause it's kinda creepy and I wouldn't buy it.

45. Do you own apoetry anthology? What is your favourite poem from it?

Yup, thanks to school morethan one ;) One of them is Les Fleurs du Mal byBaudelaire, and I'd say the poem L'Albatros butI have no idea why.

47. Do you own anyhistorical fiction?

I'm not sure I actuallyown any...

48. What book madeyou angry?

I think The Catcher inthe Rye by J.D. Salinger pissedme off because I hated the main character and I wanted to shake senseinto him by punching him repeatedly. / Madame Bovary byFlaubert, do I seriously need to explain why???

49. What book hasinspired you?

Actually, Verlaine did,with Romances sans paroles becauseI read it (for school again) while I was going through a hard time,and thought that poetry was quite nice, so I wrote some. And ithelped me, so, thanks Verlaine?

50. What book got youinto reading?

Probablysome book from Jean-Luc Luciani. I remember my school organizedsomething with him when I wasn't reading much, but then I rememberchecking his books and loving them, so it's probably him. (youknow in what book they talked about Jean-Luc Luciani? That's right,baby, Bottero did!)

#mel trashtalking #it was so loooong to do #and i have an exam tomorrow #oops #but thanks xD #books #yes I know I mentioned Bottero a lot.#orphanage-body

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ia-alfredopassos · 6 years

Text

Félix Fénéon tuitava um século antes do Twitter, por Helen Beltrame-Linné

"Félix Fénéon à la Revue Blanche" (1896), de Félix Vallotton - Reprodução

[RESUMO] Félix Fénéon, intelectual que viveu em Paris há cem anos, escreveu mais de 1.200 notícias de jornal que caberiam em um tuíte. Com preferência pelos bastidores, foi editor de Rimbaud e Proust, era o galerista de confiança de Matisse e lançou James Joyce na França.

Cem anos antes de o Twitter existir, já estava em ação um dos melhores tuiteiros da história: o crítico de arte Félix Fénéon (1861-1944), que de maio a novembro de 1906 foi encarregado pelo jornal parisiense Le Matin (a manhã) de reduzir para 135 caracteres as informações que chegavam à Redação na última hora.

Suas “notícias em três linhas” envolviam fatos cotidianos da França, desde pequenas tragédias de desconhecidos até notas sobre o mercado financeiro e o comércio marítimo. Saíam publicadas na seção “faits divers” (fatos diversos), um espaço pouco prestigiado do jornal pelo reduzido espaço que oferecia para elucubrações intelectuais e aprofundamento crítico.

Devido ao sucesso de seu “haikai jornalístico”, Fénéon viria a receber a alcunha de “precursor do Twitter”.

Retrato de Félix Fénéon feito por Paul Signac em 1890 - Reprodução

Faz sentido, embora não seja verdade: não há qualquer relação entre os 140 toques da rede social americana (recém-ampliados para 280) e a restrição tipográfica com a qual o parisiense convivia. Ele simplesmente tinha três linhas de 45 caracteres cada para escrever suas notas.

Embora não ocupasse um local nobre e não assinasse os textos, Fénéon dedicou-se com afinco à tarefa.

Nos seis meses em que fez turno vespertino no Le Matin, produziu mais de 20 notas por dia —“notícias (geralmente más) de outras pessoas, servidas em palitos de aperitivo”, como definiu Marilyn Johnson, autora de “The Dead Beat: Lost Souls, Lucky Stiffs, and the Perverse Pleasures of Obituaries” (a batida morta: almas perdidas, mortos de sorte e os prazeres perversos de obituários).

Os petiscos noticiosos de Fénéon teriam permanecido anônimos, não fosse por sua amante Camille Plateel, que colou cada recorte de jornal num álbum. O material foi encontrado depois da morte do autor pelo amigo Jean Paulhan (1884-1968, membro da Academia Francesa), que publicou a compilação em 1944 —e lançaria também o livro “F. F. ou le Critique” (F. F. ou o crítico) pela editora Gallimard em 1945.

Somente agora os 1.210 microtextos chegaram ao Brasil no livro “Notícias em Três Linhas” (Rocco, 2018, R$ 44,90, 192 págs.). O material ali reunido pode ser apontado como um dos melhores espécimes do que veio a se batizar de twitteratura no século 21.

A redescoberta póstuma de Fénéon não vem sem ironia. Virtualmente desconhecido hoje em dia, ele foi uma figura importante no círculo cultural de seu tempo, mas viveu à sombra de nomes ilustres, atuando em grande parte nos bastidores.

Caricatura de Fénéon feita por Toulouse-Lautrec (c. 1896) - Reprodução

No artigo “The Hidden Master of the Human Comedy” (o mestre oculto da comédia humana), publicado na New York Review of Books, o crítico belga Luc Sante escreveu: “As pessoas têm recortado notas [de jornal] por sua estranheza e humor geralmente indesejado desde que o ‘fait divers’ surgiu no início do século 19, mas elas raramente foram consideradas textos literários atribuíveis a um autor. Estas, contudo, são trabalho de um só homem, um grande estilista literário que escreveu pouco e publicou menos ainda, e que ocupa um lugar peculiar na história cultural francesa”.

Nascido na Itália e criado no interior da França, Fénéon se mudou para Paris em 1880 para trabalhar no Ministério da Guerra, embora fosse anarquista e antimilitarista. A combinação sui generis durou 13 anos e terminou num episódio que ficou famoso: o julgamento dos 30, no qual ele e outros 29 opositores do governo foram acusados de participar de um ataque a bomba ao restaurante Foyot, em abril de 1894.

Fénéon foi preso depois de a polícia encontrar em seu escritório um frasco de mercúrio e uma caixa de fósforos com 11 detonadores. No julgamento, acompanhado de perto pela mídia local, ele deu rara demonstração pública de irreverência, fazendo piadas com procuradores e juízes, como relembra Eira Rojas em “A Twentieth Century Man —Félix Fénéon, Surrealist Mentor” (um homem do século 20 —Félix Fénéon, mentor surrealista):

“Juiz: Quando sua mãe foi interrogada, ela disse que seu pai havia encontrado esses detonadores na rua. Fénéon: Isso é possível. Juiz: Isso não é possível. Ninguém encontra detonadores na rua! Fénéon: E, contudo, o sr. Meyer, juiz de instrução, me disse outro dia: ‘Você devia ter jogado esses detonadores pela janela’. Então veja que alguém poderia sim encontrar esses objetos na rua”.

Sem maiores provas de sua participação e com testemunhas que incluíram o poeta Stéphane Mallarmé (1842-1898), Fénéon foi absolvido, mas perdeu o cargo no governo. Assumiu, então, a função de editor da Revue Blanche (revista branca), uma das publicações artísticas e literárias mais prestigiadas da época.

A revista contava com escritores e artistas de peso: André Gide (1869-1951, Nobel de Literatura em 1947) era responsável literário, Claude Debussy (1862-1918, compositor que revolucionou a música clássica do século 20) assinava a crítica musical e Marcel Proust (1871-1922, “Em Busca do Tempo Perdido”) colaborava com frequência.

A entrada na Revue Blanche consolidou a integração total de Fénéon ao ambiente de agitação estética e política da Paris do final do século 19, início do século 20.

Ele foi o primeiro editor da obra magistral “Iluminações”, apogeu de Jean Nicolas Arthur Rimbaud (1854-91), e tornou-se amigo do pintor Édouard Manet (1832-83), figura essencial da transição do realismo ao impressionismo, e do poeta maldito Paul Verlaine (1844-96), cuja musicalidade e fluidez influenciaram toda uma geração de escritores, artistas plásticos e compositores.

A revista fechou em 1903 por razões financeiras, mas Fénéon continuou atuante. Passou a editar escritores como Proust, Paul Valéry (1871-1945, indicado 12 vezes ao Nobel de Literatura) e Guillaume Appollinaire (1880-1918, autor de importantes manifestos de vanguarda, a quem se credita os termos cubismo e surrealismo).

Em 1906, como diretor artístico da galeria Bernheim-Jeune, representou o paisagista Paul Signac (1863-1935) e Henri Matisse (1869-1954) —foi o único galerista em quem o artista confiou.

Sua participação na cena cultural ainda incluiu a primeira publicação de James Joyce na França (“Retrato do Artista Quando Jovem”, em 1924), além da curadoria da exposição inaugural dos futuristas em Paris e da primeira mostra individual de Georges Seurat (1859-91, ícone do pontilhismo, um dos movimentos neoimpressionistas).

Colecionador dedicado, também reuniu um dos maiores acervos pessoais do que se convencionou chamar arte primitiva, originária da África, da Oceania e das Américas.

Por sua proximidade com o meio artístico, Fénéon teve seu retrato feito por diversos pintores da época, entre os quais Signac e Toulouse-Lautrec (1864-1901). As imagens o mostram quase sempre de perfil, o que revela algo da personalidade esquiva do intelectual parisiense.

Em vida, não publicou nenhum livro. Assinou somente a monografia “Les Impressionistes en 1886” (os impressionistas em 1886), na qual cunhou o termo neoimpressionista. Escreveu outros textos sob pseudônimo, incluindo um manifesto antipatriótico alertando sobre testes militares antes da Primeira Guerra.

Convidado a publicar seu material do Le Matin, respondeu: “Eu aspiro somente ao silêncio”. Ainda assim, algumas de suas notas foram incluídas no “Almanach Surréaliste du Démi-Siècle” (almanaque surrealista do meio século, 1950), de André Breton e Benjamin Péret, acompanhadas de ilustrações feitas com batata esculpida (técnica comum à época).

Fénéon é apontado por diversos críticos como integrante da primeira onda do modernismo literário, uma qualificação que não surpreende. Ele demonstra em “Notícias” precisão linguística aliada a um senso de timing que deixa para o último momento o dado que coroará o texto.

Com a leitura das notas, o leitor é levado à belle époque parisiense e conhece um pouco sobre aquele tempo, com atropelamentos por bondes e trens, mortes por envenenamento, acidentes com armas, feminicídios, um surto de febre aftosa.

Mas o fundo fático ganha camada adicional com a inteligência e o estilo do autor anarquista, cujos principais traços de personalidade transbordam do texto: a revolta contida, o humor ácido, sua gentileza e crueldade.

As histórias comezinhas de desconhecidos são o pano de fundo para que Fénéon registre os absurdos da existência humana, revele inconsistências e faça questionamentos que tornam tudo familiar ao leitor do século 21.

De viés, ele ataca o establishment. Indica contradições entre discurso e prática, rebela-se contra a igreja e o Estado, aponta para a eterna dicotomia entre patrões e trabalhadores, população e poder político-financeiro, miséria e ostentação.

A produção impressiona também por sua constância. Todo dia, Fénéon lidava com a realidade em sua forma mais crua, no jornal, e fez literatura diária ao extrapolar o caráter informativo dos textos.

Em ensaio no livro “Ética e Pós-Verdade” (Dublinense, 2017), CristovãoTezza escreve: “A realidade é um dado prévio que só se deixa ver por enigmas e só pode ser pressentido; escrever é revelar ou, mais precisamente, deixar o mundo revelar-se pelas mãos do escritor, ou do poeta”.

Fénéon retira da matéria-prima realidade o extrato de dramas humanos atemporais. Pensando bem, o título do seu livro poderia ser “Poemas em Três Linhas”.

TEXTOS DE FÉNÉON PODEM SER CONSIDERADOS BELOS EXEMPLARES DA TWITTERATURA

Por coincidência histórica, exatos cem anos depois de Fénéon escrever suas notícias em três linhas, surgiu nos EUA a plataforma online que se diferenciava de outras por restringir o espaço de manifestação dos usuários a 140 caracteres.

Lançado em 2006, o Twitter estabeleceu seu limite com base no tamanho do SMS —cuja sigla, cunhada pelo engenheiro alemão Friedhelm Hillebrand, significa “short messaging service” (serviço de mensagens curtas). Inventada em 1985 para aproveitar um canal de rádio secundário desocupado nos celulares, a mensagem de texto podia conter 160 caracteres.

Como a rede social surgiu antes da popularização dos tablets e smartphones, a maneira mais comum de enviar tuítes era pelo telefone, na forma de SMS. A plataforma, então, destinou 20 caracteres para a identificação do usuário (o símbolo @ seguido do nome) e os 140 restantes para o texto em si.

Na origem, o Twitter nasceu como um convite ao compartilhamentoda própria vida do usuário em resposta à pergunta “o que você está fazendo agora?”. Com o passar do tempo, uma tendência ficou clara: a maioria das pessoas estava mais interessada em acompanhar a vida alheia, cadastrando-se como seguidor de celebridades e outras figuras públicas.

Em 2009, a questão inicial foi substituída por “o que está acontecendo?”, deixando mais claro o papel da rede como fonte de informação. Menos diário e mais jornal.

O Twitter reforçou sua vocação informativo-jornalística, mas isso não impediu que pessoas se interessassem em explorar a plataforma como campo de aventura literária. (Fénéon já havia deixado claro, um século antes, que restrição de espaço não implica texto rasteiro.)

Surge a chamada twitteratura —um formato que também tem raízes no SMS.

Inaugurado em 2003, no Japão, o “keitai shousetsu” —cuja tradução literal é “romance de celular”— consiste em melodramas e enredos de amor redigidos e enviados por mensagens de texto. O gênero fez tanto sucesso que, quatro anos depois, os cinco livros mais lidos no país eram versões impressas de narrativas escritas no telefone.

Em 2008, já com o Twitter em atividade, o premiado jornalista do New York Times Matt Richtel aventurou-se com “twiller”: uma história de suspense (thriller, em inglês) contada por meio de tuítes que, aos poucos, desvendavam o mistério para os seguidores.

“Essa estratégia, contudo, significou que havia pouca continuidade explícita entre os tuítes, resultando numa experiência que oferecia pouca possibilidade de imersão ou absorção pela narrativa”, afirmou Bronwen Thomas, da Universidade de Bournemouth (Reino Unido), em “140 Characters in Search of a Story” (140 caracteres em busca de uma história).

Declaração semelhante fez o professor americano Robert K. Blechman numa entrevista em 2017. O autor de “Executive Severance” (demissão executiva), primeiro “twitstery” —composição de twitter com mistery (mistério)—, publicado em 2011, disse: “Eu criei um experimento literário: seria possível manter a estrutura narrativa e atrair um público com 140 caracteres de cada vez? Depois de 15 meses e mais de 800 tuítes que compõem esse livro do Twitter, posso dizer com confiança que a resposta é ‘não’”. (Fénéon certamente discordaria.)

Blechman acabou publicando o material no formato por ele considerado mais eficaz: um livro tradicional. E ainda fez do volume o primeiro da bem-sucedida Trilogia Twitstery, à qual se juntaram “The Golden Parachute” (o paraquedas dourado, 2016) e “I Tweet, Therefore I Am” (eu tuíto, logo existo, 2017).

Mas a twitteratura se relaciona com a literatura clássica numa via de duas mãos. Alexander Aciman e Emmett Rensin, da Universidade de Chicago, fizeram o caminho inverso e lançaram, em 2009, “Twitterature: The World’s Greatest Books in Twenty Tweets or Less” (twitteratura: os maiores livros do mundo em 20 tuítes ou menos). “Por que o Cláudio está de novo me dizendo o que fazer? Você não é meu verdadeiro pai! Na verdade, você matou meu pai. :(” é um dos tuítes de Hamlet, do clássico de Shakespeare.

No Brasil, houve lançamentos de coletâneas de melhores tuítes, que compilam postagens de diferentes usuários —em sua maioria, trabalhos esporádicos e frases de efeito, quase aforismos, publicados na rede social. Esse material, porém, não revela constância como a de Fénéon, e uma produção autoral verdadeiramente literária ainda é incipiente.

O que as experiências de twitteratura têm em comum é o desejo de usar a plataforma para uma criação literária clássica: picota-se o conteúdo de uma narrativa em tuítes. Assim, o intelectual francês nascido no século 19 se torna um dos maiores expoentes de um movimento que lhe é póstumo, por ter criado, em cada notícia, uma obra em si, feita sob medida para o limite de caracteres.

Em 2017, quando o tuíte foi ampliado para 280 caracteres, Aliza Rosen, gerente de produtos da rede social, escreveu: “Tentar amontoar seus pensamentos em um tuíte —todos já passamos por isso e é um saco. (...) Às vezes eu tenho que remover uma palavra que contém um significado ou emoção importante, ou então desisto de enviá-lo”.

Fénéon certamente protestaria.

Publicado na Folha de S.Paulo, 4.mai.2018 às 6h00 Fonte/autora: Helen Beltrame-Linné, 37, graduada em direito pela USP e cinema pela Sorbonne Nouvelle (Paris), ex-diretora da Fundação Bergmancenter (Suécia), é editora-adjunta da Ilustríssima.

#félix fénéon #twitter #paris #frança

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