#Luis Alberti

[filmap]

Eisenstein in Guanajuato Peter Greenaway. 2015

Cemetery Panteón Municipal Santa Paula, Explanada del Panteón Municipal s/n, Centro, 36000 Guanajuato, Gto., México See in map

See in imdb

[twittercomfrnklin2001-blog]

Eisenstein in Guanajuato

Whether or not it’s good history, Peter Greenaway’s EISENSTEIN IN GUANAJUATO (2015, Tubi) is an explosion of a film — at times hilarious, at others maddening — that reflects not just the great director’s use of montage in filmmaking but also the early work in montage he did in the theatre (yes, you filmsplainers, like most so-called cinematic innovations, the theatre invented montage first). The picture follows Eisenstein (Elmer Back) as he arrives in Mexico to make a film for Upton Sinclair. The director is all boundless energy, non sequiturs and echolalia. He’s like a combination of Larry Fine and Gertrude Stein. And the filmmaking reflects this as Greenway uses split screens, sometimes to show the same image three times and at others to show the real-life people flanking their dramatized counterparts. As in Eisenstein’s stage work, Greenaway also presents each scene in its own style, creating a montage of effects that frequently works, and when it does, it’s something glorious. Greenaway’s film is less about how Eisenstein attempted to make QUE VIVA, MEXICO! than it is about the emotional impact of his Mexican pilgrimage, the collision of old and new worlds. The Russian director has a guide (Luis Alberti) who also teaches comparative religion, and the two compare notes on their countries’ different cultures, particularly their approaches to the contradictory (or are they?) forces of eros and thantos. Sensing his charge’s repressed homosexuality, Alberti initiates him in a scene that manages to be sexy, gross and hilarious all at once, with the guide lecturing Eisenstein on colonialism as he’s planting his own flag in, shall we say, virgin territory. There are marvelous touches throughout: animated versions of Eisenstein’s homo-erotic drawings, clips from his movies that comment on the action, scenes scored to his frequent collaborator Sergei Prokofiev, a persistent banging on pipes that anticipates the man’s death (after his second heart attack, he banged on the radiator pipes, a pre-arranged signal to alert his neighbors, who never heard him). But there are also scenes that go on too long, and the endless talk becomes almost oppressive. Sinclair’s wife and brother-in-law, who was appointed to manage QUE VIVA, MEXICO!, are turned into two-dimensional villains, which feels like something out of the kind of film Eisenstein refused to make in Hollywood. But there are an awful lot of good things in the movie, not the least among them Back and Alberti’s performances, which perfectly capture the contrast between wild child Eisenstein and his more sophisticated guide.

[aperint]

Crimen sin cadáver

Crimen sin cadáver #aperturaintelectual #palabrasbajollave @tmoralesgarcia1 Thelma Morales García

[docpiplup]

A century of the Order of thuggish and drunken knights: Lorca, Dalí and Buñuel partying in Toledo

Federico García Lorca was wrapped in a sheet stolen from the Posada de la Sangre – which disappeared in the Civil War and was the scene of Miguel de Cervantes's The Illustrious Mop –, drunk as a thief and with the desire to wander alone through the narrow streets of the old town of Toledo. Around him, some young hooligans laughed with the poet with noise and hubbub. This is how a Toledo man named Eduardo met the playwright from Granada during a Toledo night in the 1920s. At that moment, this kind man, seeing the panorama, tried to take Lorca to the relief house on Barco Street, but He flatly refused to accompany him. The poor man, of course, did not understand anything.

What this Toledoan, grandfather of the author of the space Toledo Olvidado, who is the one who told this anecdote, did not know is that Lorca was complying with one of the strict rules of the well-known Order of Toledo, a brotherhood of artists and writers related to the Generation of '27 and the Madrid Student Residence created by Luis Buñuel – calling himself Condestable – in the Venta de Aires de Toledo restaurant in March 1923.

This is how a century ago the streets of Toledo could not believe what was happening on its cobblestones. One hundred years since Buñuel, with his idea, managed to revolutionize the students of the Residence and the silent alleys of the old town of Toledo. Despite such famous components, the truth is that little or very little is known about this Order of Toledo. There is not much documentation available, beyond the stories of the protagonists themselves. Buñuel, the architect of this mischievous and intellectual action, dedicates an entire chapter to the Order in My Last Sigh, his autobiography written in his exile in Mexico.

A religious revelation and the smell of wine

«I am walking through the cloister of the cathedral, completely drunk, when, suddenly, I hear thousands of birds singing and something tells me that I must immediately enter the Carmelites, not to become a friar, but to steal the convent's treasury. The doorman opens the door for me and a friar comes. I tell him about my sudden and fervent desire to become a Carmelite. He, who has undoubtedly noticed the smell of wine, walks me to the door. The next day I made the decision to found the Order of Toledo," explains Buñuel in the aforementioned autobiography.

The rules of the Order of Toledo are strict and taken very seriously by its members. So much so that some of them even had a little problem or another in 1936, as the poet José Moreno Villa told us from Mexico, after the outbreak of the Spanish Civil War. "This order is a bit communist," thought some "men alien to letters and much more alien to irony"; although the truth is that there was only a hint of provocation in this crazy association. A normal thing among extravagant artists, somewhat dadaist, somewhat surrealist. «The starting point was to have fun, have a good time and get drunk. But it is true that, personally, I have always related what these young people did in Toledo with the historical avant-garde of the moment. I see it as the performances that the Dadaists did in Paris and Zurich, which were things that didn't make much sense, as Surrealism later adopted. In fact, it is worth noting that some members of this Order of Toledo were part of the Paris surrealist group, like Buñuel or Dalí himself,” explains Juan Carlos Pantoja, author of The Order of Toledo: imaginary avant-garde walks*.

Pantoja also details that, possibly, there were some precedents to Buñuel's Order of Toledo because "there was already a group of great intellectuals, among whom were Américo Castro, Alfonso Reyes, Antonio García Solalinde or Moreno Villa, who met in Toledo to walk at night and drink wine from 1917 onwards. He details that "they stayed in a rented house on Cárcel del Vicario street, in front of the Cathedral, and they became known as the gathering of El Ventanillo, due to the existence of a small window with views of the Valley. Buñuel says that he got to know Toledo accompanying Solalinde, so we can think that perhaps the Aragonese was at some point in these gatherings and that, from there, the idea of ​​doing something similar arose. Pepín Bello – who left no work, but was a friend to everyone, as gallery owner Guillermo de Osma once commented –, Rafael Alberti, Dalí, María Teresa León and Federico García Lorca and his brother, among others, were part of the Brotherhood created by way improvised by Buñuel that had something of a "poetic act", according to the poet from Cádiz. And the students of the Residence were lovers of Toledo, according to Bello in an interview in 2000:« We took the train from Madrid to Toledo, we traveled in third class and it took us two hours to arrive. We went up from the station and went to drink in the taverns of Zocodover, which was very close to the Posada de la Sangre, to get into the mood a little »

Order of Toledo: drink wine and do not shower

Courtyard of the Blood Inn

Among the rules of the Order of Toledo, and which Buñuel said with his Calanda crudeness, was that of not washing or showering "while the visit in this Holy City lasted." They had to go to Toledo once a year, watch over Cardinal Tavera's tomb, love Toledo above all and, of course, "wander, especially at night, through the wonderful and magical city of the Tagus," according to Alberti. "Those who preferred to go to bed early could not qualify for the rank of knight, little more than the title of squire," explains Buñuel in his autobiography. Furthermore, Pantoja details, "each of the members had to contribute ten pesetas to the common fund for accommodation and food and to go to Toledo as frequently as possible and put themselves in a position to live the most unforgettable experiences." Bello points out, recalling Toledo's adventures in an interview, that "we stayed at the Posada de la Sangre because we were students and it was difficult for us to sleep for just one peseta. Of course, it was a place of dubious cleanliness, where mainly muleteers stopped with their animals. The poet María Teresa León, in her book Memory of Melancholy, also remembered that this inn “had little rooms with just one bed. There, Rafael [Alberti], that night we didn't talk about El Greco, but we did talk about bedbugs. Toledo bedbugs! Toledoan night! I turned on the light. How well Rafael slept with his chest crossed by hundreds of little animals frantically searching for the hiding place of poetry!

Alberti precisely explains in The Lost Grove that "the brothers left the inn when the cathedral clock struck one, a time when all of Toledo seems to narrow, become even more complicated in its ghostly and silent labyrinth" and also relates in detail how He experienced firsthand his initiation into the Order of Toledo, with some fear at not knowing anything about the labyrinthine streets of Toledo.

«We went out into the street, carrying all the brothers, except me, hidden under the jacket, the sleeping sheets, taken out quietly. The poetic act was going to consist of bringing to life an entire theory of ghosts in the atrium and plaza of Santo Domingo el Real. After weaving and unweaving steps between the deep crevices of sleeping Toledo, we ended up at the convent at a moment when its defended windows lit up, filling them with veiled songs and monkish prayers. While the monotonous prayers went on, the brothers, who had left me alone at one end of the square, covered themselves with the sheets, seeming slow and distanced, white and real ghosts from another time. The suggestion and fear that I began to feel were increasing, when suddenly, the dressed visions appeared, shouting at me: 'This way, this way!', sinking into the narrow alleys, leaving me - one of the worst tests I have ever faced. the novices were subjected – abandoned, alone, lost in that frightening winding of Toledo, without knowing where I was and without the possibility of someone showing me the way to the inn, in addition to not finding a single passerby at that point in the night, in Toledo, if they don't inform someone every 30 meters, you can consider yourself lost definitively. At dawn I found the Posada de la Sangre, and I went to sleep, happy with my first adventure as an initiate into the mysteries of the Toledo order,” Alberti recalled years later. Food and comedy at Venta de Aires

Members of the Order of Toledo, at the Venta de Aires

In Toledo, the members of this order ate, explains Buñuel, "almost always in taverns, such as Venta de Aires, on the outskirts, where we always ordered tortilla on horseback - with pork -, a partridge and white wine from Yepes." . There, in this sale, the friends performed for the first time Don Juan Tenorio, by José Zorrilla, dressed in improvised costumes, where we see that Buñuel is dressed as a parish priest, an irreverence with respect to the church and the double standards of its members that We will always see them reflected in their films. «With regard to this, this relationship between artists and religion, Max Aub told the anecdote that while walking through Toledo they found a Virgin in a niche on the street, it could be the one still located on Alfileritos Street, although it is not documented, that Dalí began to pray in a devout and tender manner, but suddenly began spitting at her angrily and insulting her. He went from one thing to another in an incomprehensible way, once again showing off his surrealist thinking," explains Pantoja.

Alberti says that also on the walls of the Venta de Aires, the brothers of the Order had left the mark of their art. «Under the arbor, the patio of our banquet, the main brothers were portrayed in pencil on the whitewash of the wall. Its author, Salvador Dalí, was also among them. Someone told the innkeepers not to whitewash them, that they were worthy works by a famous painter and that they were worth a lot of money. Despite the warning, years later they no longer existed. They had been erased by new owners of the sale," explains the poet. After eating, they returned to Zocodover, always on foot, making "an obligatory stop at the tomb of Cardinal Tavera, sculpted by Berruguete. A few minutes of contemplation in front of the recumbent statue of the cardinal, dead of alabaster, with pale and sunken cheeks, captured by the sculptor one or two hours before the putrefaction began," adds the filmmaker.

Fisticuffs with the cadets of the Military Academy

Upon returning to the old town, the Order even experienced some fights with the cadets of the Toledo Military Infantry Academy, after some of them rudely complimented María Teresa León, an anecdote that she herself tells. «At I don't know what time, just when we were visiting some taverns to balance with so much church, we came face to face with a group of uniformed boys, who turned to me and said: 'Blonde, I would eat you with suit and with everything'. Buñuel rolled up the sleeves of his shirt and when he saw him advance, the boys ran out so as not to commit themselves to Aragon, a region where the insults are harsher. They caught up with them and, after several punches, the cadets were defeated. A neighbor handed us a jug: 'Drink, drink. These cadets always making a fuss!' Meanwhile, she licked her lips with pleasure because the civilians had beaten the military, those boys are always on the hunt for Toledoan girls," León said.

Rafael Alberti and María Teresa León, poets of the Generation of '27 and members of the Order of Toledo

A confrontation with the military that Buñuel also remembers, although in a somewhat less refined way than the poet. The film director explains in his memoirs. «The cadets were really scary. One day we came across two of them and grabbing María Teresa, Alberti's wife, by the arm, they told her: 'How horny you are.' She protests, offended, I go to her defense and knock down the cadets with my fists. Pierre Unik comes to my aid and kicks one of them. There were seven of us and the two of them, we did not boast. We leave and two civil guards who had seen the fight from afar approach, instead of reprimanding us, they advise us to leave Toledo as soon as possible, to avoid the revenge of the cadets. We don't pay attention to them, and for once, nothing happens».

The Order of Toledo in Tristana

This entire Order of Toledo is reflected in Tristana, the film that Buñuel would shoot here in Toledo. Pantoja defends that "he winked at his youthful adventures, with Catherine Deneuve wandering the streets and visiting Cardinal Tavera, and bringing his face closer to him, which is one of the great images of the film." «That Order of Toledo laughed at everything, nothing was taken too seriously. They laughed at art, like the futurists did, who advocated burning museums and libraries, and they did everything, in addition, in a groundbreaking way. Their lives, without a doubt, were pure avant-garde," concludes Pantoja.

* I have scans of this book, I am planning to publish them here on Tumblr on a series of posts

[spectaculardistractions]

To José Bello Paris, 17 February 1929 ATTENTION! Everything underlined in red is worth ruminating after an initial careful read-through. Dearest Pepín, I got your laconic letter asking me to tell you what topics to write on in your article for L’Amic de les Arts. I’ve already said we very much enjoyed the list of the things you are interested in, and that Dalí was going to send it to L’Amic. I told him to cut out a couple of things, like the one about the Holy Christ’s arses, not because it was in bad taste, because it seemed in excellent taste to me (bearing in mind those aforementioned arses are the only ones you can take out to play without them running off and getting run over by a tram), but rather because the censors might have stepped in and given you a hard time. I think that is precisely the kind of work you should be doing, confident that you will do great things. When you write, rid yourself of all prejudice, forget what people think is literary or in good taste, or idiotic, etc., and give free rein to your instinct. Of course, there will be days when you do nothing, but one day you’ll be inspired, your irrationality will break free, and that’s when great things will happen, you’ll see. Then it’s just a question of a few stylistic revisions (which are very easy), eliminating anything superfluous and leaving just the essential. Never set out to write about something specific, just take up your pen and paper and allow your hand to write freely. Also, never, ever, contemplate writing to a preconceived plot. That’s enough advice for now. I’m sure when we’re together again I’ll be much more help. I’m also sure you will produce great things. You have always been a surrealist and only a surrealist at heart, which is already enough, because surrealism IS THE ONLY INTERESTING THING IN ARTISTIC(?) CREATION. I’ll translate some Benjamín Péret for you below; he’s Dalí’s and my idol, the best poet of our age, maybe of all ages. I’ll also put in one of Dalí’s recent essays and, finally, an extract from a very long and magnificent story I wrote a while ago and that will be included in the book. I’m sure you will love it: it’s infinitely better and more ambitious than our Hamlet. BENJAMIN PERET: I’m writing a supplement on him (with examples) for La Gaceta, which you, Dalí and I will sign. Péret is the big thing in surrealism. If you were here with us, you’d really love reading him. What I’m putting in here for you is just a pale reflection. Bear in mind the difference between the surreal and the simply idiotic that does, however, have some of the same inclinations. Surrealism animates day-to-day reality with all kinds of dark symbols and the strange life in the depths of our subconscious that intelligence, good taste and all that traditional poetic shit has suppressed altogether. That’s why it’s so alive, so close to the primal life-source, to the savage and the child. It is authentic reality, without a posteriori deformation. When we say that Menjou’s moustache does this or that, we are saying more than when we look at the latest torpedo and talk about how fast it can go. For that, you need culture and experience. And honestly, Menjou’s moustache is faster than 50-horse power. We must fight, with our scorn and our rage, all traditional poetry from Homer to Goethe via Góngora – the foulest creature ever born – to the ruinous little turds produced by today’s poets. I’m sorry these suggestions are so unhelpful and so badly expressed, but I’ll make up for them when we’re together. I’m too lazy now to write out the extract from my story. Anyway, I’d prefer you read the whole thing together. The book will be out in about three weeks and I’ll send you a copy at once. You’ll see, modesty aside (and modesty is beside the point anyway, because I only wrote down what I saw), that it’s wonderful. It’s about a soirée at my house that ends in disaster. I’m compelled to visit a wise friend, where strange things happen. From there I end up in hospital on the outskirts of Toledo, where other things happen. In the end I die, not before making my last testament – and what a testament, as you will see – and finally… ‘It was barely said and done in time for me to expire decorously. Four pallbearers took my body and carried it to the church next door to be buried. They lifted the pestilent lid of Cardinal Tavera’s tomb and, taking out his carrion corpse and throwing it on a dung heap as even the poor no longer cared for it, they placed me in there for all eternity. MAY ALL THE LOINCLOTHS REST IN PEACE!!!’ It ends on this line, which is also the title. You should have seen the state the carrion corpse of the Cardinal was in as even the poor no longer cared for it. You’ll piss yourself laughing at everything that goes on with me and the priests, as much as I pissed myself writing it. The poem I sent you in my last letter was based on some lines from this story. By the way, in your last letter you said I hadn’t written for ages. Mine must have crossed yours in the post. You will appreciate the distance that separates you, me and Dalí from all of our poet friends. Incompatible worlds, the north pole of Earth and south pole of Mars, and they are all in the most rancid crater of putrefacción, with no exceptions. Federico wants to write surrealism, but it’s fake, written with intelligence, WHICH IS INCAPABLE OF DISCOVERING WHAT INSTINCT DISCOVERS. The latest excerpt published in La Gaceta shows just how bad. It’s just as artistic as his ‘Ode to the Most Holy Sacrament’, a fetid ode to stiffen the weak pricks of Falla and his artistic kind. Although, when it comes to the irremediably traditional, Federico is one of the best if not the best of them. Alberti disturbs me even more than the idea God exists; than the thought of faeces flowing in the bellies of pretty women; than the Society of Conferences and Courses; the Aragonese jota, concerts by the Symphony Orchestra, than Aladrén; I find Alberti repulsive through and through. The poor thing is trying to make fools of us. If only he could. Alberti, anti-vital and garrulous Alberti. Piu piu currucutupiu tiu tiu tiu. Our film gets stuck into all of this. Moves in the same world. I begin next month. That’s it. Much love from, Buñuel PS Write something and send it to me.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

[docpiplup]

May I add the group of Las Sinsombrero:

• Maria Zambrano (1904- 1991)

• Rosa Chacel ( 1898-1994)

• Margarita Manso ( 1908 -1960)

• Maruja Mallo (1902- 1995)

• Josefina de la Torre (1907−2002)

• Maria Teresa León (1903-1988)

• Concepción Méndez Cuesta ( 1898- 1986)

• Luisa Carnés (1905 - 1964)

• Rosario de Velasco (1904- 1991)

• Marga Gil Roësset (1908 - 1932)

• Delhy Tejero (1904 –1968)

• Remedios Varo (1908 – 1963),

• Ángeles Santos (1911- 2013)

Generation of 27

The Generation of ‘27 (Spanish: Generación del 27) was an influential group of poets that arose in Spanish literary circles between 1923 and 1927, essentially out of a shared desire to experience and work with avant-garde forms of art and poetry. Their first formal meeting took place in Seville in 1927 to mark the 300th anniversary of the death of the baroque poet Luis de Góngora. Writers and intellectuals paid homage at the Ateneo de Sevilla, which retrospectively became the foundational act of the movement.

Terminology:

The Generation of ‘27 has also been called, with lesser success, “Generation of the Dictatorship”, “Generation of the Republic”, “Generation Guillén-Lorca” (Guillén being its oldest author and Lorca its youngest), “Generation of 1925” (average publishing date of the first book of each author), “Generation of Avant-Gardes”, “Generation of Friendship”, etc. According to Petersen, “generation group” or a “constellation” are better terms which are not so much historically restricted as “generation”.

Aesthetic style:

The Generation of '27 cannot be neatly categorized stylistically because of the wide variety of genres and styles cultivated by its members. Some members, such as Jorge Guillén, wrote in a style that has been loosely called jubilant and joyous and celebrated the instant, others, such as Rafael Alberti, underwent a poetic evolution that led him from youthful poetry of a more romantic vein to later politically-engaged verses.

The group tried to bridge the gap between Spanish popular culture and folklore, classical literary tradition and European avant-gardes. It evolved from pure poetry, which emphasized music in poetry, in the vein of Baudelaire, to Futurism, Cubism, Ultraistand Creationism, to become influenced by Surrealism and finally to disperse in interior and exterior exile following the Civil Warand World War II, which are sometimes gathered by historians under the term of the “European Civil War”. The Generation of '27 made a frequent use of visionary images, free verses and the so-called impure poetry, supported by Pablo Neruda.

Members:

In a restrictive sense, the Generation of '27 refers to ten authors, Jorge Guillén, Pedro Salinas, Rafael Alberti, Federico García Lorca, Dámaso Alonso, Gerardo Diego, Luis Cernuda, Vicente Aleixandre, Manuel Altolaguirre and Emilio Prados. However, many others were in their orbit, some older authors such as Fernando Villalón, José Moreno Villa or León Felipe, and other younger authors such as Miguel Hernández. Others have been forgotten by the critics, such as Juan Larrea, Pepe Alameda, Mauricio Bacarisse, Juan José Domenchina, José María Hinojosa, José Bergamín or Juan Gil-Albert. There is also the “Other generation of '27”, a term coined by José López Rubio, formed by himself and humorist disciples of Ramón Gómez de la Serna, including: Enrique Jardiel Poncela, Edgar Neville, Miguel Mihura and Antonio de Lara, “Tono”, writers who would integrate after the Civil War (1936–39) the editing board of La Codorniz.

Furthermore, the Generation of '27, as clearly reflected in the literary press of the period, was not exclusively restricted to poets, including artists such as Luis Buñuel, the caricaturist K-Hito, the surrealist painters Salvador Dalí and Óscar Domínguez, the painter and sculptor Maruja Mallo, as well as Benjamín Palencia, Gregorio Prieto, Manuel Ángeles Ortiz and Gabriel García Maroto, the toreros Ignacio Sánchez Mejías and Jesús Bal y Gay, musicologists and composers belonging to the  Group of Eight, including Bal y Gay, Ernesto Halffter and his brother Rodolfo Halffter, Juan José Mantecón, Julián Bautista, Fernando Remacha, Rosa García Ascot, Salvador Bacarisse and Gustavo Pittaluga. There was also the Catalan Group who presented themselves in 1931 under the name of Grupo de Artistas Catalanes Independientes, including Roberto Gerhard, Baltasar Samper, Manuel Blancafort, Ricard Lamote de Grignon, Eduardo Toldrá and Federico Mompou.

Finally, not all literary works were written in Spanish: Salvador Dalí and Óscar Domínguez also wrote in French. Foreigners such as the Chilean poets Pablo Neruda and Vicente Huidobro, the Argentine writer Jorge Luis Borges, and the Franco-Spanish painter Francis Picabia also shared much with the aesthetics of the Generation of '27.

The Generation of '27 was not exclusively located in Madrid, but rather deployed itself in a geographical constellation which maintained links together. The most important nuclei were in Sevilla, around the Mediodía review, Tenerife around the Gaceta de Arte, and Málaga around the Litoral review. Others members resided in Galicia, Catalonia and Valladolid.

The Tendencies of '27:

The name “Generation of 1927” identifies poets that emerged around 1927, the 300th anniversary of the death of the Baroque poet Luis de Góngora y Argote to whom the poets paid homage. It sparked a brief flash of neo-Gongorism by outstanding poets like Rafael Alberti, Vicente Aleixandre, Dámaso Alonso, Luis Cernuda, Gerardo Diego and Federico García Lorca.

Spanish Civil War aftermath:

The Spanish Civil War ended the movement: García Lorca was murdered, Miguel Hernandez died in jail and other writers (Rafael Alberti, Jose Bergamin, León Felipe, Luis Cernuda, Pedro Salinas, Juan Ramón Jiménez, Bacarisse) were forced into exile, although virtually all kept writing and publishing late throughout the 20th century.

Dámaso Alonso and Gerardo Diego were among those who reluctantly remained in Spain after the Francoists won and more or less reached agreements with the new authoritarian and traditionalist regime or even openly supported it, in the case of Diego. They evolved a lot, combining tradition and avant-garde, and mixing many different themes, from toreo to music to religious and existentialist disquiets, landscapes, etc. Others, such as Vicente Aleixandre and Juan Gil-Albert, simply ignored the new regime, taking the path of interior exile and guiding a new generation of poets.

However, for many Spaniards the harsh reality of Francoist Spain and its reactionary nature meant that the cerebral and aesthetic verses of the Generation of '27 did not connect with what was truly happening, a task that was handled more capably by the poets of the Generation of '50 and the social poets.

Statue:

A statue dedicated to the Generation 27 Poets is now in Seville in Spain. The inscription on the monument translates as 'Seville The poets of the Generation of 27’

List of members[edit]

Rafael Alberti (1902–1999)

Vicente Aleixandre (1898–1984)

Amado Alonso (1897–1952)

Dámaso Alonso (1898–1990)

Manuel Altolaguirre (1905–1959)

Francisco Ayala (1906–2009)

Mauricio Bacarisse (1895–1931)

José Bello (1904–2008)

Rogelio Buendía (1891–1969)

Alejandro Casona (1903–1965)

Juan Cazador (1899–1956)

Luis Cernuda (1902–1963)

Juan Chabás (1900–1954)

Ernestina de Champourcín (1905–1999)

Gerardo Diego (1896–1987)

Juan José Domenchina (1898–1959)

Antonio Espina (1894–1972)

Agustín Espinosa (1897–1939)

León Felipe (1884–1968)

Agustín de Foxá (1903–1959)

Pedro García Cabrera (1905–1981)

Federico García Lorca (1898–1936)

Pedro Garfias (1901–1967)

Juan Gil-Albert (1904–1994)

Ernesto Giménez Caballero (1899–1988)

Jorge Guillén (1893–1984)

Emeterio Gutiérrez Albelo (1905–1937)

Miguel Hernández (1910–1942)

José María Hinojosa (1904–1936)

Enrique Jardiel Poncela (1901–1952)

Rafael Laffón (1895–1978)

Antonio de Lara (1896–1978)

Juan Larrea (1895–1980)

José López Rubio (1903–1996)

José María Luelmo (1904–1991)

Francisco Madrid (1900–1952)

Paulino Masip (1899–1963)

Concha Méndez (1898–1986)

Miguel Mihura (1905–1977)

Edgar Neville (1899–1967)

Antonio Oliver (1903–1968)

Pedro Pérez-Clotet (1902–1966)

Rafael Porlán (1899–1945)

Emilio Prados (1899–1962)

Joaquín Romero Murube (1904–1969)

Pedro Salinas (1891–1951)

Guillermo de Torre (1900–1971)

José María Souvirón (1904–1973)

Miguel Valdivieso (1897–1966)

Fernando Villalón (1881–1930)

[sofea-00]

"No recuerdo la primera vez que vi el mar. Recuerdo, sin embargo, la primera vez que mi padre me leyó en voz alta la canción del pirata de Espronceda. Ese día entré en el relato, me convertí en un habitante de las palabras, reconocí mi rebeldía en la libertad de un personaje que navegaba sin miedo por el mundo. No se trata de que para mí sean más importantes los libros que la vida, lo que ocurre, es que no entiendo la vida sin los libros, que se vive tanto en una plaza o en una calle como en un poema. Conmigo van las mañanas de colegio en las que descubrí a Antonio Machado, la infinita melancolía de la adolescencia en la huerta de San Vicente con Federico García Lorca, los primeros años en la Universidad, la luz de Cádiz compartida con Rafael Alberti; vivir, convivir, celebrar lo que se tiene, recordar lo que se ha perdido. Da rabia que nunca haya tiempo para las cosas importantes, para hacer posible esa conversación que nos devuelve a la verdad de nosotros mismos. Los poetas trabajan su soledad y piensan en todo, piensan en ti, aunque tú no lo sepas".

Luis García Montero

[adiosalasrosas]

"No recuerdo la primera vez que vi el mar. Recuerdo, sin embargo, la primera vez que mi padre me leyó en voz alta la canción del pirata de Espronceda. Ese día entré en el relato, me convertí en un habitante de las palabras, reconocí mi rebeldía en la libertad de un personaje que navegaba sin miedo por el mundo. No se trata de que para mí sean más importantes los libros que la vida, lo que ocurre, es que no entiendo la vida sin los libros, que se vive tanto en una plaza o en una calle como en un poema. Conmigo van las mañanas de colegio en las que descubrí a Antonio Machado, la infinita melancolía de la adolescencia en la huerta de San Vicente con Federico García Lorca, los primeros años en la Universidad, la luz de Cádiz compartida con Rafael Alberti; vivir, convivir, celebrar lo que se tiene, recordar lo que se ha perdido. Da rabia que nunca haya tiempo para las cosas importantes, para hacer posible esa conversación que nos devuelve a la verdad de nosotros mismos. Los poetas trabajan su soledad y piensan en todo, piensan en ti, aunque tú no lo sepas".

—Luis García Montero

[thegianpieromennitipolis]

Da: SGUARDI SULL’ARTE LIBRO SECONDO - di Gianpiero Menniti 

INCROCI POETICI

Donatello non riconosce una dimensione diversa ai santi, alle figure religiose, rispetto alla sensibilità umana.  Tuttavia, ne accresce la potenza interiore, la dominante esaltazione di un senso di forza che ha una radice immateriale, impalpabile eppure visibile nell’atto espressivo colto in un istante assoluto.  La forza dell’arte è esattamente questa: cogliere l’istante irripetibile come sintesi materiale del tumulto inspiegabile dell’animo, di un animo inquieto sempre in bilico tra incertezza terrena ed aspirazione ideale, tra il dubbio giacente ed il dubbio fugato, tra verità ed apparenza.  Donatello è un moderno.  In lui è chiara la vacuità dell’armamentario gotico, accetta l’equilibrio delle forme come espressione razionale dell’umano (in questo mostrandosi vicino a Brunelleschi), ma non è disposto a vedere l’uomo alla stregua di una costruzione architettonica perfetta: nell’uomo, la forma è condizionata dallo spirito e questo può essere colto solo a patto di allontanarsi da forme ideali, scegliendo il vero al verosimile.  Il vero materiale ed il vero dell’anima.  Così, emerge la relazione con la poetica di Masaccio.  E sulla scia di quella concezione, c’è anche la preminenza di un’idea rinascimentale che diverge sia dai temi cari a Brunelleschi che dalla visione aulica e vagamente retorica del primo Leon Battista Alberti: Donatello e Masaccio, sono stati i primi artisti ad aver intuito le radici tragiche in cui affonda l'Umanesimo. 

- Donatello (1386 - 1466): "Crocifisso" (Basilica di Santa Croce, Firenze), 1406 -1408, particolare

- Masaccio (1401 - 1428): "Il battesimo dei neofiti" (Cappella Brancacci, chiesa di Santa Maria del Carmine, Firenze), 1424 - 1426, particolare

- In copertina: Maria Casalanguida, "Bottiglie e cubetto", 1975, collezione privata

[laopiniononline]

Con los "Reyes del Festival", vuelven las coronas a Viña del Mar.

Nueva publicación en https://ct2.cl/ha

Con los "Reyes del Festival", vuelven las coronas a Viña del Mar.

Considerando múltiples solicitudes para recuperar el acervo y la historia de la querida elección, la organización acaba de anunciar que desde el próximo año la “gran tradición de Viña” retomará su denominación y volverá a llamarse “Reyes del Festival”, escogiendo por votación a la Reina y Rey más populares de Viña 2025 (y en gran medida del verano nacional…)

Reyes del Festival es una tradicional y masiva competencia de popularidad, creada históricamente para generar contenidos satélites en el marco del Festival de Viña del Mar, escogiendo a través del voto del público y la prensa acreditada primero a la Reina y años después al Rey de cada edición del certamen.

Se trata de la elección más querida de Chile y una de las noticias más esperadas de cada verano, con una historia de 45 años que ha vivido tantos cambios como los que ha experimentado el país durante el mismo período de tiempo, incluyendo mutaciones de organizadores, participantes, reglas y hasta de nombre, según fue pidiendo el contexto nacional.

Como buena tradición, todo nació a pedido del público, cuando en 1979 la animadora María Graciela Gómez fue elegida a viva voz y por el mismísimo Monstruo como la primera Reina del Festival. Los asistentes a la Quinta Vergara siguieron a cargo de la definición, hasta que en 1982 un grupo de reporteros acreditados se organizó para elegir a través de un voto más “especializado” a la máxima representante del evento, en esa ocasión la italiana Raffaella Carrá.

Juntos, los periodistas también escogieron al notable locutor ecuatoriano de la época, Guillermo Zurita Borja, de radio Nuevo Mundo, como líder de la organización, lugar en el que se mantuvo durante largos años pasando por diferentes medios de comunicación.

Poco antes del cambio de milenio y ya con otra generación de reporteros, el periodista decidió cederle la dirección de la campaña al entonces editor de espectáculos de diario La Cuarta, su compañero Gabriel Flores, quien agregó la participación de figuras de la farándula en la votación y se mantuvo en el cargo hasta el 2006, cuando le entregó la organización al periodista Jorge Ruz, quien hizo crecer el proceso a varios días de eventos y hasta la actualidad se mantiene como director, compartiendo rol desde el año 2011 con el actual director de diario La Hora, Sergio Maraboli, y desde el 2020 coproduciendo la competencia de popularidad con la Asociación de Comunicadores de Hispanoamérica (ADC).

Además de las mencionadas triunfadoras, fueron coronadas Reina del Festival figuras tales como María Conchita Alonso, Myriam Hernández, Xuxa, Yuri, Lucero, Gloria Trevi, Sofía Vergara, Patricia Manterola, Thalia, Celia Cruz, Natalia Oreiro (quien inauguró los “piscinazos”), Kenita Larraín, Carolina Pampita Ardohain, Luciana Salazar, Tonka Tomicic, Diana Bolocco, Catherine Fulop, Carolina Arregui, Sigrid Alegría, Nicole “Luli” Moreno y María Francisca “Kika” Silva, entre otras.

En tiempos de pandemia, post estallido social y en medio de diversas suspensiones, el año 2020 la organización decidió adaptarse al contexto social y cambiar moment��neamente el nombre de la votación a “Embajadores del Festival”, con el objetivo de abrirse a la comunidad recuperando la votación del público en la elección, aunque esta vez de manera on line y representando el 50% del total, complementado con el definitorio y fuerte voto de la prensa acreditada. Así, se sumaron a la lista de ganadoras la cantante Denise Rosenthal, la periodista Isidora “Tita” Ureta y la influencer Nayadeth “Naya” Neculhueque.

Por el lado de los Reyes, la competencia comenzó el año 2005 y ha consagrado a ganadores tales como Javier Estrada, Juan Falcón, Felipe Avello, Jorge Alberti, Leo Rey, Américo y Matías Vega, entre otros; a los que se sumaron Pancho Saavedra, José Luis Repenning y Nicolás Solabarrieta.

Considerando múltiples solicitudes para recuperar el acervo y la historia de la querida elección, además de otros factores, la organización acaba de anunciar que desde el año 2025 la “gran tradición de Viña” retomará su denominación y se volverá a llamar “Reyes del Festival”, escogiendo por votación a la Reina y Rey más populares de Viña 2025 (y en gran medida del verano), convocando una vez más a todos los participantes que le dan vida al evento, es decir, por el sólo hecho de ser parte del certamen musical a TODOS los artistas, animadores y jurados estelares de la edición, junto a sus respectivas comunidades digitales, además de figuras transversales invitadas exclusivamente en representación de medios masivos que participen de la cobertura de prensa oficial de la muestra internacional.

Actualmente la campaña es organizada por el diario La Hora, la Asociación de Comunicadores Hispanoamericanos ADC (organización creada el año 2012 y con personalidad jurídica desde el 2020, que agrupa a socios y adherentes que dan cobertura periodística al Festival de Viña) y Walker Group, e implica la creación y desarrollo de contenidos positivos abiertos para todos los medios de comunicación acreditados o no al Festival de Viña del Mar, contando todos los años con amplia cobertura en medios de comunicación y redes sociales, siendo así el principal contenido satélite externo del certamen musical.

[critiqueconstructive]

L' Admoniteur

Étymologiquement, il est celui qui donne un avis. En peinture, très fréquent depuis Alberti [qui conseil son emploi dans Della Pictura, 1435], c'est un personnage remarquable dans l'image, qui pourtant n'est pas dans l'action principale. Le peintre se serviras de cette figure pour aider le spectateur à s'identifier, pour l'inviter à prendre part au tableau. Grâce à l'admoniteur on créer l'interaction avec l'observateur, sans besoin qu'il soit forcement érudit puisqu'on utiliseras un langage corporel ou des regards. L'attention sera portée naturellement sur l'admoniteur avec un langage non-spécifique à l'Art, commun à la vie de tous les jours. D'où l'importance de ce personnage-clef, qui fournira aux experts comme aux autres, un miroir pour les affects, un passage vers l’œuvre, voire même guidera vers le sens du tableau.

Pour se montrer, ce sujet secondaire peux regarder le spectateur, montrer l'action (ou un détail) de son index, inviter ou repousser celui qui scrute, par une présence aux limites de la toile. Ces jeux de regards et de gestes pouvant être utiliser simultanément, à l'image du Saint Jean-Baptiste, dans la Vierge à l'Enfant avec les Saints Jean-Baptiste et Jérôme, peinte vers 1527 par le Parmesan et conservé à la National Gallery de Londres. Dans cette toile, Parmigianino assoit la figure de Jean-Baptiste sur le registre terrestre dans la partie inférieure de l'œuvre. Ce Saint Admoniteur, un genoux au sol, nous montre la scène céleste de son bras droit, le regard fixé vers le spectateur. De son corps, contorsionné dans une figure serpentine [voire définition dans ce glossaire], un pied en saillis au centre du bord inférieur, il bloque le passage (physiquement et moralement) au dévot-spectateur, lui indiquant de regarder la scène (un grand Enfant Jésus sautant du giron d'une Marie en majesté) de manière pieuse. Ici, l'admoniteur invite et tiens en respect le public tout en montrant la véracité de son être (pied en saillie) et donc de la scène montrant le fils de Dieu.

Le peintre, comme premier spectateur, ou simplement pour la vanité de se montrer, représente parfois l'admoniteur à ses traits. Dans l'œuvre Joseph en Égypte (aussi conservée à la National Gallery de Londres), peinte entre 1517 et 1518, un homme nous regarde dans la scène principale de gauche où Joseph présente son père au Pharaon. Cet homme semble ressembler à l'auteur de ce panneau, Pontormo. Il se fait admoniteur en bonne place, derrière le Pharaon, son vêtement orange rappel celui, plutôt ocre, de Joseph que l'on voit quatre fois dans l'image. Par cette couleur, le peintre guide nos yeux à travers les scènes de la Genèse représentées ici, en effet cet outils formidable qu'est l'admoniteur attire notre regard pour mieux l'aiguiller.

[filmap]

Eisenstein in Guanajuato Peter Greenaway. 2015

Hotel De Sopena 10, Centro, 36000 Guanajuato, Gto., Mexico See in map

See in imdb

[jacopocioni]

Dante e il suo fantastico viaggio 6: Dante e i personaggi dell'Inferno.

Prima parte Seconda parte Terza parte Quarta parte Quinta Parte

Continua il lungo peregrinare di Dante all'inferno. Il poeta scorge un dannato con entrambi le mani mozzate, che facendoglisi incontro alza verso l’alto i suoi moncherini dai quali sgorga ancora del sangue sporcandogli il viso mentre grida: “Ti ricorderai anche di me, del Mosca. Sono quello che dissi cosa fatta non può disfarsi e queste mie parole furono l’origine di tutte le sventure della gente in Toscana…” L'uomo, o meglio l'anima, è quella di Mosca dei Lamberti un ghibellino fiorentino appartenente alla generazione precedente a quella di Dante. Fu lui a consigliare gli Amidei di punire con la morte Buondelmonte dei Buondelmonti (quello che non aveva mantenuto la promessa di sposare una donna della famiglia Amidei). Dante in passato aveva ammirato l'uomo come persona illustre e autorevole, ma quelle parole da lui pronunciate, come ricorda Dante, portarono alla rovina non solo di Firenze con l’inizio delle lotte tra Ghibellini e Guelfi, ma anche della sua famiglia. Mosca si allontana dunque rattristato e addolorato dall’incontro con il sommo poeta.

L'impressionante numero di peccatori, ma soprattutto delle loro mutilazioni aveva destabilizzato Dante. Il poeta è poi in pena, perché convinto che in quella moltitudine vi sia un componente della sua famiglia che sta scontando a caro prezzo un suo peccato. Si tratta di Geri del Bello, un cugino del padre; la sua attitudine era quella di seminare zizzania ovunque, tanto da creare un inimicizia fra gli Alighieri e i Sacchetti. Era stato proprio uno dei Sacchetti ad ucciderlo ma ancora nessuno della sua famiglia lo aveva vendicato. Sembra proprio per questo motivo che quest'anima dannata sembrava sdegnata. Dante prova pietà nei suoi confronti.

Tra un gruppo di senesi, spicca Capocchio, un alchimista fiorentino che Dante aveva conosciuto e con cui aveva studiato insieme. Era finito sul rogo sette anni prima, perché grazie all'alchimia aveva tentato di falsificare i metalli preziosi. Ecco che si avvicinano due dannati, uno dei due raggiunge Capocchio e lo azzanna alla nuca per poi trascinarlo facendogli raschiare col ventre il fondo della bolgia. Si tratta di Gianni Schicchi, un fiorentino, anche lui falsificatore, ma di persone.

Griffolino, è invece un altro dannato, morto circa vent'anni prima. Su incarico di Simone Donati, il padre di un amico di Dante di nome Forese, Gianni Schicchi aveva sostituito lo zio Buoso sul letto di morte, dettando per bocca di lui le ultime volontà e lasciando così tutto il patrimonio di Buoso a Simone. Mentre ascoltava questo racconto, Dante vede arrivare un dannato dal ventre talmente gonfio da sembrare la cassa di un liuto. Il peccatore era affetto da idropisia e tratteneva un enorme quantità di liquidi nel suo corpo tanto da deformarlo, stravolgendone le proporzioni e appesantendolo talmente tanto da impedirlo nei movimenti. Paradossalmente soffriva dannatamente la sete. Si trattava del maestro Adamo. Nonostante fosse di origine inglese, aveva vissuto nel casentino ed era entrato a servizio dei conti Guidi che l'avevano incaricato di falsificare i fiorini fiorentini. Il fiorino, era una delle monete più forti e conosciute in tutta Europa. Adamo fu catturato a Firenze mentre cercava di spacciare queste monete false ed era stato condannato ad essere arso vivo. L’uomo girovagava sperando di incontrare Guido Alessandro e Aghinolfo Guidi, sperando di vederli soffrire almeno quanto lui.

Ancora più avanti c’erano due dannati lividi immersi nel ghiaccio fino al volto. Avevano la faccia volta verso il basso e battevano i denti per il freddo insopportabile mentre piangevano. Si trattava di Alessandro e Napoleone, i figli di Alberto degli Alberti Conte di Magona signore dei castelli della Valle del Bisenzio e della Sieve. Erano nati dalla stessa madre, ma per ragioni politiche il primo era Guelfo, l'altro Ghibellino. A causa di questioni ereditarie avevano sviluppato un forte odio reciproco che aveva causato una guerra tra le loro fazioni finché si erano uccisi l'un l'altro. Un altro incontro che fa Dante è quello con Camicione dei Pazzi di Valdarno. L’uomo  aveva ucciso a coltellate un suo parente rimanendo l’unico padrone di alcuni castelli della zona. Stava aspettando un suo congiunto di nome Carlino, altro componente della famiglia dei Pazzi, un Guelfo Bianco che avrebbe consegnato ai Neri in cambio di denaro Il castello di Piantravigne. Era dunque un traditore della patria e per questo era stato dannato.

Continuando a camminare Dante calpesta inavvertitamente strappando una ciocca di capelli Bocca degli Abati, un guelfo fiorentino che a tradimento a Montaperti aveva tagliato con la spada la mano di Jacopo dei Pazzi che stava reggendo l’insegna del comune. Questa cadendo aveva provocato li smarrimento e quindi la dispersione delle truppe Guelfe e la loro inevitabile disfatta, a causa di questo traditore. Nella stessa zona intanto si aggirava l’abate Tesauro dei Beccaria, era stato decapitato quarant'anni prima dai fiorentini perché aveva tradito i Guelfi che all'epoca erano al potere. Dante menziona anche la presenza di Gianni dei Soldanieri, un Ghibellino che morto Manfredi passò ai Guelfi. Insieme a lui ci sono altri personaggi, l'unico fiorentino tra loro è Tebaldello Zambrasi, un Ghibellino che vent'anni prima consegnò ai Guelfi bolognesi la città di Faenza. Questo è l'ultimo personaggio che Dante incontra nell'inferno prima di arrivare al Purgatorio. Nel prossimo articolo verranno presi in esame tutti i personaggi nominati in questo ultimo passaggio.

Riccardo Massaro Read the full article

[lavozdelquequen893]

Quedó inaugurada la Feria del Libro y de las Artes Quedó inaugurada la Feria del Libro y de las Artes Con María Elena Walsh como musa de esta edición, en la mañana de este viernes se puso en marcha la XXIII Feria del Libro y de las Artes, que se estará desarrollando hasta el próximo domingo con distintas actividades literarias y culturales planificadas en cuatro sedes de la ciudad de Necochea. Impulsada por la asociación que da vida a esta muestra, que tiene por tercer año consecutivo a la Plaza Dardo Rocha como epicentro, y acompañada por el municipio a través de la Dirección de Cultura, cada jornada verá pasar a referentes de la talla de Elena Santa Cruz, el Dúo Macarí o el local Germán Castaños. Tras el acto de inauguración en el escenario principal, Cristina Murray, presidenta de la Feria destacó que “es muy importante volver a encontrarnos acá, y mejorando”. En ese aspecto, “cada vez tenemos más participación de libreros, de editoriales que vienen de afuera” y “el hecho de llegar con el mensaje de la Feria a otros lugares nos llena de satisfacción, porque era lo que hacía mucho tiempo buscábamos”, reveló la organizadora, recordando que la entrada es libre y totalmente gratuita para los vecinos y vecinas que quieran acercarse a disfrutar de algunas de las actividades que aparecen en el siguiente cronograma: Viernes 6 de septiembre Locación: Plaza Dardo Rocha 10 horas: Acto inaugural | Presentación de la Banda Municipal | “Tres cuentos, cuento” (Homenaje a María Elena Walsh) – Grupo Crisálida. 11 horas: Germán Castaños – Presentación del libro “El entrenamiento visceral”. 13:30 horas: Elena Santa Cruz – Encuentro con niños. 15 horas: Laura Fomento – “La mujer en la historia y en el teatro”. 16:30 horas: Elena Santa Cruz – Presentación del libro “Titiritera” y encuentro con estudiantes y docentes. Sábado 7 de septiembre Locación: Plaza Dardo Rocha 10 horas: Actuación de la Banda Municipal – Escenario Central. 11 horas: Franco Alberti – Presentación del libro “Psicópatas integrados”. 13:30 horas: Gloria Suárez – Presentación del libro “Con un dolor en el alma”. 15 horas: Elena Santa Cruz – Encuentro con niños. 16 horas: Patricia Gallo – Presentación del libro “La canción del hornero”. Locación: Sociedad Española, Avenida 59 Nº 2433 18 horas: Cristina Ferrero, Daniel Meirovich; Mauricio Díaz, María Rita Gil, Antonio Pereyra y Nancy Almassio – Presentación del libro “Entre cuentos y poesías”. Locación: Teatro Municipal “Luis Sandrini”, calle 54 Nº 3080 19 horas: Dúo Macarí – Canciones, ritmos e imágenes | Espectáculo para todas las edades. Domingo 8 de septiembre Locación: Plaza Dardo Rocha 10 horas: Actuación de la Banda Municipal – Escenario Central. 11 horas: Micrófono Abierto – Actuación de solistas y grupos vocales. 13:30 horas: Juegos en el escenario. 15 horas: Magalí Francia – Presentación del libro “Artistas de mi pueblo”. Locación: Teatro Municipal “Luis Sandrini”, calle 54 Nº 3080 16 horas: Fabuladores – Qué es y cómo funciona el Club de Escritura. 18 horas: Evelina Soulé – Presentación del libro y obra de teatro “De la Tierra a la Luna”. Locación: Punto Café, calle 60 Nº 2596 16:30 horas: Encuentro de grupos lectores | Cierre

[docpiplup]

@asongofstarkandtargaryen Related with Lorca and Emdt, it's a curious thing that Lorca amd some of his friends of the G27 formed a group called the Order of Toledo, that was founded by Luis Buñuel in 1923 and was active til 1936, and consisted in visiting Toledo to admire the city (and also go partying).

Some of the members were Lorca, Luis Buñuel, Salvador Dalí and Pepín Bello.

And I find it very cool so some time ago I searched info and photos about the Order and Toledo during the 1920's and the 1930's, and I did some collages.

The photos are from places that are mentioned in the quotes, but also of some other places of the city, just for the aesthetic.

I think eventually I will be posting the photos I collected on some post on Tumblr if anyone wants to see them because I cuatro some parts of the photos for the collage.

I used a few pics from the Emdt episode La Leyenda del tiempo to complete the collage, and the quotes of the tales of some members like Luis Buñuel Península Bello and Rafael Alberti or other people who wrote about the group.

They are like 10, so I made a version with a post with the 10 collages and the collection of quotes (X), and then I did a post of each collage and a bunch of quotes, and this quotes are also translated to English.

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Part 10

This is a street map of the old part of Toledo, for locating some places, like I would say the distribution of the streets and the old buildings are similar to the ones from the 20th century (in summary, a maze and complete mess) (Click for more details)

I have created a list in Google maps with the places of that are shown in the photos (×)

I have to say that maybe I'm a bit biased because I live in a town of the Toledo province called Illescas (For locating it, Toledo and Madrid are like 70 km away from each other and this town is halfway) and Toledo is one of the cities that I have visited the most.

There's many curious facts I could tell, but for example talking about Toledo and Madrid, both have a Puerta del Sol (Sun's Gate), but the one that is still standing is the one from Toledo in the inner wall, in Madrid the Puerta del Sol square has this name because there was a gate of Madrid's wall.

About some other places of Toledo, there's a new School of Translators in the building known as Palacio del Rey Don Pedro (Peter I's palace), that belongs to the Castilla-La Mancha university.

Next to the palace, there's another building called Convento de Santa Isabel de los Reyes, a mudéjar style convent where princess Isabella of Aragon was buried. It's funny because one of the reasons why the San Juan de los Reyes Monastery was built is to be a mausoleum for Isabella I and Ferdinand II's family and none of them is buried there.

I found this of the Order due to the comics of Los Caballeros de la Orden de Toledo by Juanfra Cabrera and Javierre, that tells some adventures protagonised by Lorca, Dalí and Buñuel. There's an blog here on Tumblr of this comics: @laordendetoledo.

Fun fact: The authors of the comic made a wallpaper of a crossover with Emdt due to the episode La Leyenda del tiempo

And even there's a photo of Juanfra Cabrera with the showrunner Javier Olivares and Nacho Fresneda with the comic:

(Also I love how Nacho was on the 2 previous period dramas of the Olivares brothers, Aben Hud in Isabel, and Fernando de la Escosura in Víctor Ros, but they were terciary/secondary characters, and also Aura Garrido played a terciary character in Víctor Ros called Lucía Alonso, and I was thinking that is perfect for a bit of more footage of Amelia in other 19th clothes and from Alonso traveling to the 15th or 19th century)

[weirdesplinder]

FESTIVALETTERATURA DI MANTOVA, VIDEOGIOCHI e DUNGEONS & DRAGONS

Quest'anno il Festivaletteratura di Mantova 2024 ha deciso di dedicare uno spazio esclusivo a tutti gli amanti del celebre gioco di ruolo fantasy Dungeons & Dragons. Da da mercoledì 4 settembre 2024 a domenica 8 settembre 2024 sarà possibile giocare alcune storie originali scritte per l’occasione da autori e autrici presenti a Mantova: Fabio Geda, Marino Niola, Fiore Manni e Michele Monteleone, Marco Malvaldi e Samantha Bruzzone. Sotto l’esperta guida dei dungeon master dell’associazione Amici Ludici, ciascuno potrà sedersi e svestire i panni di comune cittadino per indossare quelli di un bardo, di una guerriera o di un paladino. Lo spazio D&D sarà aperto da mercoledì 4 a domenica 8 settembre. Per poter giocare è necessario acquistare il biglietto nella fascia oraria desiderata. I turni di gioco saranno mercoledì 4 e giovedì 5 ore 16:00 / 21:00 – venerdì 6 ore 10:00 / 16:00 – sabato 7 ore 10:00 / 16:00 / 21:00 – domenica 8 ore 10:00 / 16:00. Le partite avranno una durata variabile, tra le due e le tre ore. Si prega di arrivare sul luogo dell’evento almeno 10 minuti prima dell’inizio.

Il Festivaletteratura dedicaherà anche due incontri con l'autore al tema videogiochi.

Il primo incontro è THE LAST OF US E LO SPIRITO DEL TEMPO con Lorenzo Fantoni e si terrà alle ore 21:00 in Piazza Leon Battista Alberti, ingresso libero, il giorno venerdì 6 settembre.

Lorenzo Fantoni, ha dedicato al videogioco The Last of Us un capitolo del suo libro: Vivere mille vite. Come i videogiochi ci hanno cambiato il futuro

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Trama: I videogiochi sono indiscutibilmente il medium che in pochissimo tempo è diventato il più ricco, diffuso, criticato e culturalmente rilevante di tutti i tempi. Qui si passano in rassegna le tappe fondamentali del percorso che ha portato quel sistema di intrattenimento a diventare una parte fondamentale della nostra cultura, ma lo si fa in modo confidenziale, intrecciando storia personale e universale. Si parla di tecnologia e famiglia, di scoperte continue, sale giochi, curiosità, notti insonni. E genitori nerd che portano in casa un Atari e poi ti restano accanto, anche quando non ci sono più.

Il secondo incontro si intitola FINAL FANTASY, LA SERIE INFINITA con Eleonora C. Caruso e si terrà sabato 7 settembre alle 19:00 in Piazza Leon Battista Alberti, ingresso libero.

Eleonora è fan di lunga data del videogioco Final fantasy, e al settimo capitolo della saga di Hironobu Sakaguchi ha dedicato un podcast, Honey Bee Inn. Ma è anche autrice di diversi romanzi, tra cui:

Doveva essere il nostro momento

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Trama: Una ragazza è seduta su una ruota di scorta bucata, in mezzo al nulla della campagna novarese. I suoi capelli, un tempo rosa zucchero filato, ora sono un garbuglio di colori improbabili. Pochi riconoscerebbero in lei Cloro, celebrità di internet con milioni di follower in tutto il mondo. Insieme a lei, a tentare di riparare un'auto che ha macinato migliaia di chilometri, c'è Leo, trentaquattrenne disilluso, che dalla vita non ha avuto nulla di ciò che si aspettava – e dire che non si aspettava molto. Soltanto uno come lui, senza niente da perdere, avrebbe accettato di partire da Milano alla volta dell'entroterra catanese per recuperare un amico finito in una presunta setta in cui si vive come negli anni Novanta. La setta esiste davvero, all'interno di una masseria abbandonata, ed è guidata da Zan, un uomo ambiguo e magnetico convinto di aver compreso la Verità dopo un lavoro da incubo come moderatore di una piattaforma. Leo rimane alla masseria per tre mesi, ma si accorge di Cloro solo quando lei gli chiede un passaggio per Milano. Inizia così il loro viaggio in auto dalla Sicilia alla Lombardia, sedici ore previste che si dilatano in cinque giorni, attraverso varie tappe in città e paesini dalle atmosfere sempre più surreali, perché l'Italia sta per entrare in lockdown. Leo e Cloro, che non potrebbero essere più diversi, durante il viaggio ricostruiscono le loro vite e le ragioni che li hanno portati alla masseria, discutono, si fraintendono, si allontanano e si avvicinano di nuovo, più simili di quanto entrambi siano disposti ad accettare.