#Piero Pastore

[pier-carlo-universe]

Carabinieri e Polizia Locale di Alessandria in Azione nelle Scuole di Casale per la Prevenzione all’Uso di Droghe

Una sinergia tra istituzioni per garantire la sicurezza dei giovani: Carabinieri, Polizia Locale e Dirigenti Scolastici uniti contro la diffusione di stupefacenti

Una sinergia tra istituzioni per garantire la sicurezza dei giovani: Carabinieri, Polizia Locale e Dirigenti Scolastici uniti contro la diffusione di stupefacenti. Nel quadro di una collaborazione volta alla tutela della salute e della sicurezza degli studenti, i Carabinieri della Compagnia di Casale Monferrato, insieme alla Polizia Locale di Alessandria, hanno svolto una serie di controlli…

[lionofchaeronea]

Apollo in Love

Ovid, Metamorphoses I.512-524

“But ask after whom it is you please: I am no mountain-dweller, I’m no shepherd; I do not, hairy, keep watch here over herds And flocks. Rash one, you do not know, you do not, Whom you flee, and that is why you flee. The Delphic land obeys me, Claros too, And Tenedos, and the palace of Patara; Jupiter’s my father; through me’s revealed What will be, what has been, and what now is; Through me songs make their harmony with strings. My arrow’s sure, but there’s one arrow surer, Which has made a wound within my empty breast. Medicine’s my discovery, and I’m called Help-Bringer throughout the world – the power of herbs Has been set under me…alas for me, That love cannot be cured by any herbs, Nor are the arts that are a boon to all Any boon to him who is their lord!”

"Cui placeas, inquire tamen. Non incola montis, non ego sum pastor, non hic armenta gregesque horridus observo. Nescis, temeraria, nescis quem fugias, ideoque fugis. Mihi Delphica tellus et Claros et Tenedos Patareaque regia servit, Iuppiter est genitor; per me quod eritque fuitque estque patet; per me concordant carmina nervis. Certa quidem nostra est, nostra tamen una sagitta certior, in vacuo quae vulnera pectore fecit. Inventum medicina meum est, opiferque per orbem dicor, et herbarum subiecta potentia nobis: ei mihi, quod nullis amor est sanabilis herbis nec prosunt domino, quae prosunt omnibus, artes.”

Apollo and Daphne, Piero del Pollaiolo, 1470s

[calicohyde]

Characters who didn't make it into the tournament because that's simply too many characters

from "Witch Noir"

MJ Alexander: background character, Fred's fuck buddy, owner of the bar on the corner of the siblings' street, a Guardian

Anca Vaduva: background character in the main series to love interest in spinoff #1, Ferris's witchmate and Angel's and Toots's matron, who does not have the conviction of her ideals and thus functionally abandons both of them, an Illusionist

Antoinette "Toots" Tosetti: background character in the main series to main character in spinoff #1, Angel's predecessor as Anca's ward, now a local urban legend, occasionally consults as a retrievalist for Fred and Eddie, an Augur

Kapua: love interest and mentor character but currently too underdeveloped to enter in the tournament, a native Hawaiian "trickster" spirit that Angel meets in the Hidden Place

Wâpo: same as Kapua, a native Great Plains "trickster" spirit

[redacted]: villain not included in the tournament for spoiler reasons, a [redacted]

Nine: background character and love interest to Ferris, a familiar of another Crone of Ferris's and Anca's Coven, aloof and a stickler for the rules to foil Ferris's needs-must attitude, a black Oriental shorthair, was a Guardian in its human life

Rafael Pastor: background character, Eddie's sponsor when she decides to try a sobriety support group and her first real friend outside of family, when they meet he's estranged from his family but she has a premonition of his peaceful death in old age surrounded by them, secular

Father Piero San Antoni: main character in spinoff #1, a Roman Catholic priest who finds Toots on the doorstep of his church and convinces his congregation to raise her as a village despite how deeply unsettling she is due to her power, has a doomed almost-romance with Anca

from Any Publicity Is Good Publicity

Keahi [Surname]: side character, Asher and Jordan's producer and non-related auntie, she's there for the car crash that fucks up all of Jordan's organs and crushes Asher's limbs but not in the crash with them, publishes Asher playing music at Jordan's hospital bedside against his self-flagellating wishes (he thinks the crash was his fault, and therefore he doesn't deserve to reap any benefits from his talents), has the guy that was abusing Ash before the crash killed lol

[Given Name] [Surname]: background character, Keahi's huge ginormous beefcake malewife

Mason Keyes: side character, Gwaine's best friend and first love, a happily married new father and endearingly annoying about it, was a good cop and therefore had to quit being a cop before he got murdered by all the other cops, now he makes pies

Dr. Gray Keyes: background character, Mason's wife, pretends to psychoanalyze Gwaine at dinner parties to annoy him

from Not Just Us

Albie Bronte: background character, Milo's older brother

[Given Name] Mechado #1: side character, Ken's mom

[Given Name] Mechado #2: background character, Ken's dad

[Given Name] Mechado #3: background character, Ken's little brother

[Given Name] [Surname]: background character, Topher's fiance, knows Topher is cheating on him and that they've fallen out of love besides but is staying with him anyway for the fame

Buzz Reed: villain, the CEO of the company that owns Ken, Topher, the rest of Topher's hero team, and Virgo

[thecryingprophet]

Chapter 9

After almost half an hour in the car Kevin spotted the farm in a sea of corn fields.

It was composed of multiple buildings, he noticed as the truck got closer, while Oscar drove along the dirt road.

He parked in the courtyard in front of the house where Oscar and his family lived, it was very big.

As soon as they stepped out of the truck a ginger woman stormed out of the front door "Oscar! Where the hell have you been!" She reprimanded the man.

She then saw the pastor and calmed down "Oh my, Oscar, you could have told me we had guests".

She then noticed Kevin too and added "and who is this kid?"

Oscar looked at Kevin "He's spending the summer here, you'll see him often, his name is Kevin"

Kevin held his hand out and the woman shook it energetically "my name is Maria, I'm oscars sister"

She then turned to her brother "let's make them come inside, we don't want them to catch a heat stroke"

Oscar nodded "follow me" he said, guiding the pastor and Kevin inside.

He led them to the living room where a man was watching the tv and an old woman sat in a wheelchair with her eyes closed.

Oscar walked up to the woman and put a hand on her shoulder, she opened her eyes, looked at him and smiled.

"Oscar, bello di nonna, dove sei stato? " she then looked at Jonah and added "vedo che hai portato il tuo amico".

"Ero a fare una cosa, c'è stato un imprevisto e ora Jonah starà da noi per il pomeriggio" he explained

Oscars grandma smiled, then the man who was watching tv started talking "son, i just picked up Clarabelle from school, she's very upset but won't tell me why".

Oscar sighed "I'll go talk to her" he then turned towards Kevin and Jonah "you two have a stroll if you'd like, it's going to be a while".

He then disappeared upstairs, the two looked at eachother "I'll sit somewhere if it's not a problem, my leg hurts" jonah murmured.

Kevin nodded and made his way back to thr courtyard.

He turned the corner, evidently that was where they stored wood for the fireplace, there a dark haired man was chopping wood.

He seemed angry by how much force he was putting in it.

Kevin decided to leave him alone, he didn't like being around angry people.

He had just turned around when the man shouted "who are you?!" And started advancing, axe still in hand.

"I'm with Oscar!" Kevin tried explaining, but the man kept walking.

At that point he found himself running away as fast as he could "come back here you little...!" The man screamed, running behind him.

Kevin managed to make it inside and almost fell on Maria.

"What's wrong?" She asked, visibly worried.

"A man with an axe chased me!" He replied, at the same time the man entered.

When kevin noticed he froze.

"Piero! What are you doing scaring this poor boy" the woman shouted.

She then turned to Kevin "forgive my brother, he's got a terrible personality"

"Yeah, i had noticed" Kevin thought.

[rockhyrax]

Spectacle Radio ep.100 :: 05.11.23 :: It's horrible, I love it, what is it?

Slava Tsukerman - Liquid Sky (1982) Main Titles from Quartier Mozart (Jean-Pierre Bekolo, 1992) Tokyo Kid Brothers - I kind of hate my father (Throw Away Your Books, Rally in the Streets // Shuji Terayama, 1971) De Kalafe e a Turma - Guerra (Awakening of the Beast // Joes Moijica Marins, 1970) Stelvio Cipriani - Week-end with Mary (Femina Ridens // Piero Schivazappa, 1969) Nicola Piovani - Main Titles from Footprints on the Moon (Luigi Bazzoni, 1975) - Michael Nyman - Squaline Fallaize (The Falls // Peter Greenaway, 1980) Zdeněk Liška - The Deadly Invention (Karel Zeman, 1958) Andrzej Korsynski - Main Titles from The Devil (Andrzej Zulawski, 1972) Vangelis - Entends Tu Les Chiens Aboyer (Do You Hear the Dogs Barking? // François Reichenbach, 1975)

Stelvio Cipriani - La Polizia Chiede Aiuto #4 (Massimo Dallamano, 1974) Rheingold - FanFanFanatisch (Der Fan // Eckhart Schmidt, 1982) Þeyr - Rúdólf (Rokk Í Reykjavík, 1982) Jean-Michel Jarre - Zoolook (Remix) (Magic of the Universe // Tata Esteban, 1986) Westernhagen - Celebration (Supermarkt // Roland Klick, 1974) J.A. Seazer - Buddha Child (Pastoral: To Die in the Country // Shuji Terayama, 1974) Toru Takemitsu - End Titles from The Ruined Map (Hiroshi Teshigahara, 1968)

Michael Nyman - Castral Fallvernon (The Falls // Peter Greenaway, 1980) - Phil Oakley & Giorgio Moroder // Together In Electric Dreams (from Electric Dreams, 1984) Rheingold // Fan Fan Fantatisch (from Der Fan, 1982) Hiroyuki Onogawa // from August In the Water (1995) Chuck Cirino // from Chopping Mall (1986) Yuji Koseki // from Mothra (1961) Shintaro Katsu // Otento-san (theme from Tale of Zatoichi, 1962) music from Out 1 (1971) Hussein al-Iman // music from Anyab (1981) Anna Karina // Roller Girl (from Anna, 1967) Fabio Frizzi & Cricket // You Are Not the Same (from Contraband, 1980) Stardust Brothers // Crazy Game (from Legend of the Stardust Brothers, 1985) BED: theme from 300 (2006) slowed down x3 -

Simon Boswell - It’s Horrible, I Love it, What Is It? (Hardware, 1990) Method Man - Release Yo Self (Prodigy remix) (One Eight Seven, 1997) Shriekback - The Big Hush (Manhunter, 1986) Tangerine Dream - Teetering Scales (Miracle Mile, 1988) Sue Saad - Looker (Looker, 1981) Sheryl Lee Ralph feat. Cedella Marley & Sharon Marley Prendergast - The Mighty Quinn (The Mighty Quinn, 1989)

[fuckthevar]

hanno cassato la parola scudetto dal vocabolario della #Juve ma io non mi adeguo, tanto più che oggi ricorre il nostro secondo del 1926: 5-0 rifilato all’Alba e tripletta di Piero Pastore che non per questo si mise a fare i capricci reclamando il doppio dei sesterzi per rinnovare

[fabiansteinhauer]

Caillebotte

1.

Caillebotte malt den optischen Apparat, so scheint es mir, gleich mit. Er reagiert sensibel und schnell auf das aufsteigende fotografische Dispositiv. Das ist jetzt nicht völlig präzise, aber das Bild auf dem Cover ist quasi mit einer 35-40 mm Brennweite gemalt. Wenn man diese Brennweiten bei einem Vollformatsensor einer Canon 5d nutzt, dann ensteht die Optik dieses Bildes, dann spitzt sich die Architektur so zu (und flüchtet so weit nach hinten), dann wölbt sich der Blick so vom Himmel oder den Dächern zum Boden vor den Füßen, also dorthin, wo die Pflastersteine so groß werden, wie Caillebotte sie malt. Caillebotte könnte eine Kamera verwendet und eine Vorlage gemacht haben, Im Regen wird der den Regen vielleicht nicht gemalt haben. Ich bin mir aber nicht sicher.

Jetzt ist das Bild auf einem Cover, und da gefallen mir dann zwei Motive besonders gut, nämlich der Regen, also der meteorologische Vorgang, und die Schirme, die dogmatischen Objekte. Ich glaube auch, dass Vesting Subjekte beschreibt (er spricht auch von Personen oder Persönlichkeitsidealen), die in oder aus MultipliCity, aus Urbanität entstehen.

Es kann sein, dass Vesting sie manchmal pastoral fast, weil er sie als Ideale, als drei Ideale fasst - und auf seine Vorstellung von Internalisierung, Verinnerlichung bezieht. Aber sie kommen doch urban auf. Und das Pastorale taucht bei Vesting auch nicht immer auf, er verwendet dann doch eine wunderbare Vorstellung, nämlich diejenige exzessiver Subjektivität, um die Aporien der Unterscheidung zwischen innengeleitetem und außengeleitetem Handeln in Passagen zu verwandeln. Da wird Vesting nahezu situationistisch international, also hätte er aus den Hamburger Zeiten und von St. Pauli doch mehr mitgenommen, als man ahnen möchte.

Caillebotte malt das Bild 1877. Auf dem Cover ist es beschnitten. Aber auch bei Caillebotte ist das Bild beschnitten. Eine Grenze des Bildes geht nämlich mitten durch das Bild. Caillebotte arbeitet in der Tradition der geteilten Bilder, zu denen auch das berühmte Bild der 'halben Gerichtsszene', halben Flagellantenszene und halben Gesprächsszene von Piero della Francesca gehört. Das Bild von 1877 ist also dem Bild hier (1468-1470 entstanden) verwandt:

Die Verwandtschaft liegt darin, dass beide Maler eine elementare (nicht unbedingt eine fundamentale) Grenze des Bildes mitten durch das Bild gehen lassen. Das lässt Legendre in Bezug auf solche Bilder von einem fundamentalen Schwindel sprechen. Die gründlichen Linien sind auf solche Weise freigesetzt, nicht fundamental, sie sind elementar. Ein Riss geht durch das Bild, das Bild geht durch den Riss, durch den Riss (einen weiteren Entwurf) geht das Bild in einem Sinne: dieser Riss bestimmt das Protokoll des Bildes mit. Man ist angehalten oder wird bewegt, das Bild geteilt und gespalten zu sehen, also geteilt und gespalten zu blicken. Man ist angehalten oder wird bewegt, das Bild mit zwei Augen zu sehen. Caillebotte zieht die Linie mittels Lampe und Bürgersteig und wie bei Piero della Francesca, der die Linie mittels Säule und Bodenflasterung zieht, mit leichtem Knick, aber knickt in andere Richtung ab. Beide sortieren auf diese Weise unterschiedliche Entfernungen, eine weite links, eine nähere rechts. Beide organisieren die linke Seite mit weiter Gruppierung im Hintergrund,. Beide organisieren die rechte Seite mit drei Personen im Vordergund. Caillobotte verwndet einMuster, eine Maske, eine Formel, man kann auch sagen: etwas aktenförmiges oder tabellarisches, das auch Piero della Franncesca nutzt.

Caillebotte könnte auch die stereographische Fotografie als weitere Anregung genutzt haben. Rie reproduktion ist gründlich, aber auch Beispiel für eine Genealogie, die nicht originär ist. Die Musterungen oder Mustertechniken optischer Apparte, etwa das Tabellatrsche des velum (also desjenigen Tuches, durch das Zentralperspktive nicht unbedingt mathematisch berechnet werden müsste, sondern mit scharfem Augen und präziser Handführung auch abgezeichnet werden kann, auch wenn die Perspektive dann umrechenbar bliebe) nutzt auch schon Piero della Francesca.

Beide stellen graphisch und mathematisch, logisch und mythologisch (Caillebotte über das, was Barthes später Mythologie des Alltags nennt) die Frage: Wozu hat der Mensch zwei Augen? Beide springen aus der rationalität und lassen die Technik springe

Beide beantworten die Frage danach, wozu der menschzwei Augen habe, bildlich. Sie beantworten sie halb, halbierend, in dem sie halbe Sachen machen. In gewisser Hinsicht beantworten sie die Frage schwach. Ich würde gerne das Halbgeschriebene oder das Halbgraphische auch im Sinne solcher halbrichtenden, halbpeitschenden halbsprechenden, halbbildlichen Bilder verstehen - und gleichzeitig solche Bilder auch als Polobjekte verstehen, also als Objekte, die eine Bewegung operationalisieren sollen, in der Kehren vorkommen. Daran muss ich wohl noch arbeiten.

2.

Dass dieses Bild der aristotelischen Einheit von Raum und Zeit oder überhaupt einer Einheit von Raum und Zeit folgt, das ist nicht gesagt. Pieros Bild wird schon lange über die Heterotopie (den grissenen und geteilten Raum) auch als Heterochronie gelesen. Auch Caillebotte könnte man so lesen, wenn auch die zeitlichen Abstände nicht so groß wie bei Piero sein müssen. Es gibt 1877 auch schon Sekundenzeiger und angeblich soll alles schneller gehen. Inbeiden Fällen, sowohl in Bezug auf Raum als auch inbezug auf Zeit sind beide bilden indem Sinne Unbeständigkeit und die Unbeständigkeit geht weder mit Leere noch mit Unbestimmtheit einher, sondern mit Wechseln und Verwechslungen. Man kann glauben, es sei ein Raum, er ist doch entzwei. Man kan glauben, der Rau sei entzwei, das Selbe zieht doch durch.

Der Vergleich der beiden Bilder macht noch einmal deutlich, warum ich nicht von Fragmentierung spreche und warum ich mich für das Kehren in Warburgs Sinne interessiere, warum ich aber auch den Unterschied zwischen Westen und Osten nicht kapital, nicht so groß machen würde. Solche Linien, wie die bei Caillebotte und Piero kommen immer öfters vor, sind in alltägliche Routinen eingespannt und mitten in der Welt. Der Schwindel ist nicht fundamental, diese Linie ist nicht fundamental. Sie ist gründlich, alltäglich, elementar. Nicht nur die Subjekte sind exzessiv, die Mimesis ist es auch, die Linien sind es auch und die Objekte auch. Darum: Zerstreuung. Darum kann man den Westen vom Osten unterscheiden und das in allen Größen. Wenn man es kapital macht, folgt man dem Dogma großer Trennung. Und das muss man nicht. Und das tue ich nicht. Widerlegen nöööö. Was habe ich mit Widerlegung zu schaffen?

Caillebotte da bin ich sicher, referenziert sein Bild, er assoziiert es mit dem kleinen Bild, das heute in Urbino steht (in einem miesen Kasten). Mitten in der Moderne verweist er auf die Denk-, Spiel- und Zeiträume, von denen Aby Warburg besessen war. Er verkettet sein Pariser Bild mit der florentinischen Welt der Bankiers, Condottiere und Glücksritter - und lässt moderne Subjekte durch Muster und Raster des 15. Jahrhunderts auftauchen. entweder waren wir schon vor der Moderne modern, immer modern, viel früher modern oder nie modern oder aber modern zu sein ist eine Frage der Kreuzung und Räumung. Dann könnte es auch sein, das Westen zu sein eine Frage der Kreuzung und Räumung ist. Ich würde die Trennung ohnehin nicht kapital halten, ich würde sie skalierbar, musterbar, schichtbar halten.

Der neue englische Titel gefällt mir besser als der deutsche. Transfigured hätte ich aber auch gut gefunden, stichel. Aber der Untertitel ist so hmpf. Da hätte doch lieber was von den Fountains stehen, von den Wasserbrunnen, Fontänen oder kunstvollen Wasserfällen. Wandel steht in der deutschen Version, Wandel der Rechtssubjektivität in der Moderne. Vielleicht Windel, vielleicht haben die amerikanischen Herausgeber Wandel als Windel gelesen, zumindes so wäre erklärbar, wie aus Wandelndem eine Grundlegung wurde. The Cultural Diapers of Modernity, das wäre doch auch was, zumindest wenn es um foundations ginge.

[lamilanomagazine]

Trieste, presentato nel salotto azzurro del Municipio il Torneo di tennis "Città di Trieste ATP Challenger"

Trieste, presentato nel salotto azzurro del Municipio il Torneo di tennis "Città di Trieste ATP Challenger". Da domenica 16 a domenica 23 luglio, con ingresso libero, i campi del Tennis Club Triestino ospitano il Città di Trieste ATP Challenger, torneo tennistico più importante della Regione Friuli Venezia Giulia, presentato ufficialmente questa mattina (mercoledì 12 luglio) nel corso di una conferenza stampa, svoltasi nella sala giunta del palazzo municipale, alla quale sono intervenuti il sindaco Roberto Dipiazza, gli assessori comunali Giorgio Rossi e Everest Bertoli, l'assessore regionale Pierpaolo Roberti, il direttore della Divisione Navi Mercantili di Fincantieri Luigi Matarazzo, il delegato provinciale del Coni Ernesto Mari, il presidente della Fitp FVG Antonio De Benedittis, del direttore del torneo Piero Tononi e del presidente del Tennis Club Triestino Federico Pastor. Il Torneo - realizzato grazie al contributo del Comune di Trieste, della Regione FVG e del main sponsor Fincantieri, oltre che di numerosi sponsor più piccoli - mette in palio un montepremi che quest'anno raggiunge i 118 mila euro. Non va dimenticato poi che, sempre questo Torneo, nell'edizione 2020, ha avuto come partecipanti Carlos Alcaraz, attuale n. 1 al mondo, e Lorenzo Musetti, attualmente n. 16 al mondo. Nelle seguenti edizioni si sono imposti l'argentino Etcheverry, attualmente n. 32 del ranking Atp, mentre lo scorso anno l'azzurro Pàssaro in finale ha sconfitto il cinese Zizheng Zhang n. 52 delle classifiche mondiali. Un appuntamento di alto livello, al primo posto nella nostra regione - ha spiegato il direttore Piero Tononi – ringraziando Comune di Trieste, Regione FVG e Fincantieri ed evidenziando anche il valore dei partecipanti, dove spicca l'ungherese Fabian Marozsan, numero 95 al mondo, e con altri interessanti e attesi tennisti (vedi allegato pdf Challenger Tour) nonché i triestini Pietro Panpanin e Michelangelo Flaborea Zech. "Anche questo importante evento sportivo - ha detto il sindaco Roberto Dipiazza - è un bell'esempio di come stiamo tutti insieme lavorando per la nostra città, per dare grandi opportunità Trieste e farle vivere e valorizzare momenti straordinari". "Oggi il tennis – ha aggiunto l'assessore Giorgio Rossi – è una punta di diamante tra gli sport, con un crescente seguito di tifosi", mentre l'assessore Everest Bertoli ha ribadito il valore di "un Torneo di livello, biglietto da visita per la città, a cui il nostro sostengo non mancherà mai". L'assessore regionale Pierpaolo Roberti ha a sua volta evidenziato come il Torneo negli anni è stato capace di attirare veri campioni e come tutto ciò, nell'insieme di eventi che si stanno realizzando, contribuisca a dare un'enorme visibilità a tutto il nostro territorio. Il presidente Pastor ha ricordato ancora le 5 mila presenze previste nell'arco della settimana di svolgimento del Torneo e anche l'impegno profuso dal sodalizio per rifare i campi e rimetterli al massimo della loro condizione, con l'obiettivo di portare il Torneo di Tennis Città di Trieste sempre più in alto a livello internazionale. Apprezzamenti anche dal delegato del Coni Ernesto Mari, dal presidente De Benedittis e dal direttore della Divisione Navi Mercantili di Fincantieri Luigi Matarazzo, che ha confermato l'impegno a sostegno del progetto.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[cinquecolonnemagazine]

L'Unità: il quotidiano torna in edicola

L'Unità, il quotidiano fondato da Gramsci nel 1924, è tornato in edicola. Dopo sette anni, ieri 16 maggio, è uscito il primo numero di quella che promette di essere un nuovo giornale. Edito da Romeo editore e diretto da Piero Sansonetti, il programma del quotidiano, disponibile in versione cartacea e online, è chiaro. L'Unità, il quotidiano degli operai e dei contadini L'Unità - Quotidiano degli operai e dei contadini nasce nel 1924 per idea di Antonio Gramsci come organo del Partito Comunista Italiano. Dal 1926 al 1945 il quotidiano esce come giornale clandestino. Viene editato prima in Francia e, dal 1942, torna in Italia. Dalle sue pagine segue le vicende del nostro Paese fino agli anni Novanta. In occasione del rapimento di Aldo Moro non esita a condannare le Brigate Rosse definendole "nemici della democrazia". Vede il crollo del muro di Berlino, lo scioglimento del Partito Comunista Italiano, e la nascita da allora di Partito Democratico della Sinistra e i Democratici di Sinistra. Con gli anni Ottanta iniziano i primi problemi legati alle vendite. Le numerose iniziative editoriali riescono a tenerlo a galla per alcuni anni ma gli anni Novanta e i primi Duemila sono caratterizzate da continue chiusure e rinascite. Come indicato da Gramsci, l'Unità continuerà ad essere dalla parte dei più deboli. E se all’origine era rivolto a contadini e operai, oggi sarà la testata anche di migranti e detenuti. Pur mantenendo sempre netta la propria indipendenza, l’Unità sarà vicina al Pd, principale forza politica della sinistra, e al pensiero di Papa Bergoglio che, attualmente, rappresenta un punto di riferimento ideologico.Piero Sansonetti alla presentazione della nuova edizione de l'Unità La Festa dell'Unità Nei suoi sessant'anni e più, l'Unità curato non solo la riflessione più strettamente legata all'attualità e alla politica ma si è proposto come luogo di scambio culturale. Ha ospitato scritti, tra gli altri, di Cesare Pavese, Italo Calvino, Ada Gobetti, Pier Paolo Pasolini. Ha editato i settimanali satirici Tango, curato dal vignettista Sergio Staino, e Cuore curato da Michele Serra. Quel legame tra appartenenza politica di sinistra e interesse culturale si esprimeva ancora maggiormente in quella che possiamo considerare un'iniziativa iconica del quotidiano: la Festa de l'Unità. Organizzata originariamente per finanziare il partito, la Festa de l'Unità diventa ben presto una rete di appuntamenti in diverse città d'Italia. La nuova Unità Dopo la direzione da parte di nomi quali Ottavio Pastore, Pietro Ingrao, Emanuele Macaluso, Massimo D'Alema, Walter Veltroni, Furio Colombo, la nuova edizione dell'Unità è diretta da Piero Sansonetti, ex direttore de Il Riformista. Come dichiarato dallo stesso Sansonetti, il quotidiano sarà "garantista, socialista, cristiano, liberale, non liberista". In edicola a 1,50 euro, la redazione del cartaceo conterà sei redattori, altri per la redazione online e diversi collaboratori esterni. Il giornale si comporrà di 12 facciate e ospiterà ogni settimana la rubrica Nessuno tocchi Caino, curata da Sergio D'Elia ed Elisabetta Zamparutti. Ogni giorno, infine, sarà pubblicato un articolo dall'archivio de l'Unità. Un archivio che ben presto sarà a disposizione di tutti online. In copertina foto di Pexels da Pixabay Read the full article

[bergamorisvegliata]

I LUOGHI DELL'ANIMA

Vagando con la nostra anima, la strada ci conduce in uno dei borghi più belli e suggestivi d'Italia. Fa parte di quei luoghi sconosciuti ai più, ma proprio perciò, non essendo sotto "le lenti" del turismo di massa, ancora intatti nella loro bellezza, nella loro essenzialità ma soprattutto con una natura ancora "selvaggia" ma ricca di panorami unici: questa è Pieve Santo Stefano, paese per il quale vi rimando qui sotto alle descrizioni tratte dal sito:

La Città del diario

Nell’alta Valle del Tevere, ai confini orientali della provincia di Arezzo, ad un passo dall’Umbria e dalla Romagna c’è Pieve Santo Stefano, la Città del Diario. 

Di origini antichissime – vi sono tracce che risalgono al Neolitico e agli insediamenti romani – questo paese è oggi la terra della memoria ritrovata. 

Nel Medioevo il territorio di Pieve Santo Stefano fu dominato dai Fiorentini e dai Tarlati. Nel Rinascimento grazie a Lorenzo il Magnifico la città arrivò al  suo massimo splendore. Di quest’epoca sono le opere dei Della Robbia – come la bella terracotta invetriata che raffigura Gesù e la samaritana al pozzo, che si può ammirare all’interno del Palazzo comunale – di Piero della Francesca e del Ghirlandaio.

Ma è la storia più recente che segna il paese con due tragici eventi e lo porta a diventare la Città del Diario. Nel 1855 una grande alluvione inondò il paese distruggendo gli archivi e le opere d’arte più preziose della città risalenti al Rinascimento. Nel 1944 le truppe tedesche in ritirata devastarono Pieve Santo Stefano, minando e distruggendo l’intero centro abitato. Un paese mutilato, un enorme cumulo di macerie dove si salvarono solo parte del Palazzo Pretorio e le chiese. 

Ma Pieve e la sua gente sono forti e come fenici sono rinati dalle proprie ceneri. Hanno ricostruito velocemente il paese, per poi prendersi cura della propria storia, lavorando per ricucire lo strappo nella propria memoria.

Nel 1984, da un’idea di Saverio Tutino, noto giornalista e scrittore, nasce l’Archivio Diaristico Nazionale, per custodire le storie degli “italiani gente comune”. Le nostre storie nei diari, nelle memorie e negli epistolari finora lasciati chiusi in un cassetto. Negli anni prende vita anche il Piccolo museo del diario,

l’attrazione più importante e intensa del paese che ha vinto il premio come museo più interattivo d’Italia. Il Piccolo museo, interattivo e multimediale, è un museo narrante che dà voce e vita alle storie dell’Archivio dei Diari e del suo Premio Pieve, il festival della memoria autobiografica popolare inedita che ogni terzo fine settimana di settembre torna ad animare il paese con eventi e personaggi della cultura italiana e internazionale.

Da gennaio ad aprile, nel teatro di Pieve, si tiene una stagione di musica classica, lirica, jazz e modern art denominata Pieve Classica che è diventata ormai un punto di riferimento nel panorama musicale italiano.

Nel mese di maggio la Pro Loco di Pieve organizza la Sagra del Prugnolo e le Giornate del Pastore, durante le quali si possono degustare prelibatezze tipiche combinate con il prugnolo, il cosiddetto tartufo dei funghi, come ad esempio il raviolo pievano.

Per gli amanti dello sport, imperdibile il doppio appuntamento con Lo Spino. Il primo, tra la fine di maggio e i primi di giugno, è una gara di campionato italiano di velocità in salita per auto storiche, mentre il secondo, nella quarta settimana di settembre, per moto d’epoca e moderne, è una gara valida per il campionato italiano ed europeo di velocità in salita.

Durante la prima quindicina di agosto, il borgo si trasforma nel villaggio turistico di Pieve Village, con una serie nutrita di eventi che scandiscono le giornate, proprio come in un villaggio vacanze, tra musica, balli, giochi ed esibizioni esilaranti.

Nei giorni 07 e 08 settembre si celebra la Festa della Madonna dei Lumi, la più antica ricorrenza tradizionale di Pieve, nata durante l’epidemia di peste che colpì il paese nel 1631 come voto del paese alla Santa Vergine. Per l’occasione, il borgo si accende di elaborati giochi di luci dall’effetto spettacolare e si disputa il Palio dei Lumi, che si chiude con la sfida del Calcio in costume, una lotta all’ultimo sangue tra i quattro rioni di Pieve che ricorda molto il Calcio Storico fiorentino.

[delectablywaywardbeard-blog]

Gli eroi in bianconero: Piero PASTORE

Tra i molti giocatori che attraverso i tempi hanno indossato la gloriosa maglia bianconera della Juventus – scrive Dante Pepi su “Hurrà Juventus” del luglio 1973 – è doveroso ricordare in particolar modo anche Pietro Pastore, centravanti di fama nazionale, pura razza patavina, e al tempo stesso Play-boy del mondo cinematografico italiano dei tempi passati. Appunto per chi non lo sapesse Pastore,…

[unateoriadegliautori]

acciaio (1933)

[reverbradio]

Reverberation #328 1. Sui Generis - Cancion Para Mi Muerte 2. Vox Dei - Guerras 3. Manal - Jugo De Tomates Frío 4. Los Gatos - Viento Dile A La Lluvia 5. Vox Dei - Cristo Muerte Y Resurrección 6. Almendra - Muchacha Ojos De Papel 7. Almendra - Parvas 8. Vox Dei - Moises 9. Pastoral - En El Hospicio 10. La Joven Guardia - El Extraño De Pelo Largo 11. Piero - Mi Viejo @freejazzpizza

[burlveneer-music]

Piero Umiliani - Paesaggi - reissue of 1971 library music “holy grail” LP (Four Flies Records)

Finally putting an end to a long wait for library music lovers, Four Flies Records is proud to present the first reissue of Piero Umiliani's PAESAGGI – a record that, despite remaining for many years pretty obscure compared to other titles in the maestro's discography, is now regarded by collectors and experts as the gold standard in Italian library music. Originally released in two versions with different sleeves, the first on Liuto Records in 1971 and the second on Ciak Record in 1980, the album features tracks composed by the maestro himself (under his alias Zalla) and performed by the legendary super-group of Italian session players I Marc 4, this time with Angelo Baroncini instead of Carlo Pes on guitars (which probably explains the name being spelled with a 'k' instead of a 'c' on the album cover). The Italian word "paesaggi" means "landscapes", and that is exactly what the music in the album has been designed to evoke – a journey of moods and emotions, through exotic and pastoral scenery, with loungey sounds that caress your ears like the song of an enchanted nightingale. Mysterious yet captivating soundscapes transport you to a faraway and peaceful place, possibly somewhere in rural Asia. While listening to the record, you'll feel as if you are sitting under a pavilion, right in the middle of a tea plantation, enjoying a freshly brewed green tea and watching the calm sunset. In addition, PAESAGGI is paradigmatic of Italian library music and its genre-defying nature. By using a multitude of instruments, such as flute, vibraphone, harpsichord, sitar, gong and others, it brings together a variety of arrangements, styles, and genres spanning from bossa nova to jazz, easy listening to psychedelic, Latin, exotica, and many more. Under Umiliani's brilliant direction, the pianos and keyboard instruments of Antonello Vannucchi, the guitars of Angelo Baroncini, the bass of Maurizio Majorana, and the drums of Roberto Podio dance together and – enriched by other instruments played by top session musicians like Bruno Battisti D'Amario (sitar), Franco De Gemini (harmonica), or Franco Chiari (vibraphone) – create the sound that makes PAESAGGI so unique. With the honour of reissuing this masterpiece so many decades since its release comes a responsibility to do full justice to one of the greatest Italian composers of the 20th century and his now celebrated legacy. Four Flies have done their best to put out a record that replicates as closely as possible the value of the original as a cultural artefact, providing Italian library connoisseurs and novices alike with an exquisite sonic, and tactile, experience. 

The vinyl LP is also available with the 1980 cover (which is also the only cover for the CD version):

[aic-design]

"Architettura" Cabinet, Piero Fornasetti, 1955, Art Institute of Chicago: Architecture and Design

Restricted gift of Mr. and Mrs. Henry M. Buchbinder; prior gifts of Mr. and Mrs. James W. Alsdorf, Mr. and Mrs. Richard Reed Armstrong, Kate L. Brewster, Cornelia E. Conger, Mrs. James A. Cook, Mrs. Eugene A. Davidson, Mrs. Frances Elkins, Barry Friedman and Patricia Pastor, Dr. and Mrs. Aaron Gerber, Mrs. Kedric Hagenbuckle in memory of her mother, Mrs. Isabelle Mann Clow, Miss Heath-Jones, Mr. and Mrs. Robert Hosmer Morse, Jr., Mrs. Samuel G. Rautbord, Mr. and Mrs. Samuel A. Marx, and Mrs. Florence May Schoenborn Size: 217.8 × 80 × 40.7 cm (85 3/4 × 31 1/2 × 16 in.) Medium: Screen-printed wood and metal

https://www.artic.edu/artworks/180251/

[ducavalentinos]

Bellonci clearly had a nasty and evident hostility towards Cesare and throughout her book there are several moments of her bringing him up only to badmouth him, but this page here, that is right at the beginning, I thought it was the most interesting because is kind of an intro to how she will be presenting Cesare, and it sets up the stage for the bad fratricide telenovela she explores later on. Her claims here doesn’t escape the pattern too much of other works when dealing with Cesare, but that’s also why this page is so interesting, because it’s a good example of how many so-called “facts” about him and his life are only presented as such because they were repeated over and over again, and not because there is any substantial documented evidence behind it. So, she starts by saying: “No one could have had less vocation for the religious life than Cesare Borgia, and he was the first to admit it.” This claim is always present in most Borgia works, but it ends up being misleading because what Bellonci and other scholars considers as having the vocation for the religious life wasn’t much of a thing during Cesare’s time, not on his circle at least, at the Vatican. Having piety didn’t mattered as much as having diplomatic skills, political intelligence and the right connections. These men’s families, wealthy and noble in most cases, put them there to secure and support their interests within the Church. It was to guarantee themselves on both fronts, secular and ecclesiastical, to maintain their power and riches. That actually makes Cesare Borgia the rule and not the exception of the rule.

As for his admittance of his “lack of vocation” it can’t be seen as some definitive proof as Bellonci intends here, because whether he was being genuine or not (we will never know) we can’t ignore the political background of his “admittance”, that being: Rodrigo needed someone he trusted to accomplish his design of: 1. bringing the papal states under the full authority of the Church, and to destroy the Roman barons who were a constant source of trouble for the papacy and the city itself, and 2. to carve out a State for his family like other nobles italian families had done over the centuries. So Cesare’s speech had a very specific and difficult goal to achieve: to convince the cardinals and get the necessary votes so he could resign his cardinalate. It would be naïve to think that this speech, one in which their family’s advancement depended on, wouldn’t have been meticulously prepared by Cesare, alongside others, and with the supervision and approval of Rodrigo beforehand. And there is a some debate and assertions that Cesare forced his father into releasing him from his cardinalate, but there is no evidence for this. If anything Cesare seemed unsure, or at very least cautious about leaving his ecclesiastical life which brought him immense wealth and security, for a secular life where everything was yet to be determined. In any case, his feelings over this would have hardly mattered, the final decision about the family’s matters always came from Rodrigo. To think that Cesare had a voice, a “dark influence” over Rodrigo about these things is to underestimate the power and character of Rodrigo Borgia. He was a loving and generous father, but for that he expected nothing less than full obedience from his children, and he did not liked being contradicted. Cesare didn’t had a voice in these things anymore that Lucrezia, Juan or Gioffre did. If Rodrigo wanted him to stay a cardinal, then he would have stayed a cardinal, if Rodrigo wanted him to leave his cardinalate, then he would leave, whatever benefited their house better. “But after the collapse of the marriage negotiations with King Ferrante of Aragon, his hopes of escaping from the ecclesiastical life evaporated and it looked as if he was prepared to accept the career that his father had planned for him.” Cesare never accepted the career his father planned for him, and that he wanted to escape his ecclesiastic life, but are there any grounds for these claims? In all his years in the Church, there is not one recorded instance of Cesare showing an overwhelmingly distaste or any rebellion towards the career Rodrigo chose for him. And there is nothing, not even anecdotes hinting that he was trying to “escape it.” Taking a look at the administrative and pastoral activity that his vicars developed in their dioceses, demonstrates Cesare exercised his role dutifully and responsibly, and with interest. There is evidence of this intense management from the man he appointed for the headquarters of Pamplona, Martín Zapata. And from Jaume Conill’s pastoral work in the archbishopric of Valencia. There’s even a report from Conill to Cesare from August of 1494 in which he updates Cesare on the increase of confessions and rejoices at the shortage of victims due to the plague. Moreover Cesare wasn’t exactly as faithless as some authors like to claim he was, he had piety. It wasn’t a fervent, fanatical, blind piety, because it didn’t seem to be a trait in his family, from his father to his sister, they all had a pretty interesting and particular relationship with religion, but there’s more than one example where we can see religion was a part of his life also (another topic that needs exploring and maybe I’ll do it later), so there is nothing serious indicating that the ecclesiastical life was so alien, so dreadful for Cesare as that he sought to escape it, as it is assumed by Bellonci and others. Then she says: “What mattered to him most in any career was to avoid servility and mediocrity and to direct his energy towards the immediate acquistion of some position of authority.” I love this bit because I love how she mixes shady, groundless claims along with claims that do have more ground of being true. It’s true that Cesare always seemed to have tried to avoid mediocrity, although that wasn’t exclusive to him, the upbringing of noble children didn’t exactly leave room for mediocrity, it didn’t for Rodrigo Borgia’s children, he gave them the best education money could buy, and I don’t think he would have been satisfied with anything less than excellence from them, which in retrospect could be another reason why his relationship with Joffre wasn’t the same as his relatioship with Lucrezia, Cesare and Juan. As for avoiding servility, it’s actually difficult to ascertain. He doesn’t come across as someone who had an excessive willingness to please others (I don’t think that’s a bad thing btw lol), and maybe he did avoid it. But there’s some evidence that indicates he did enjoyed pleasing others, when possible, esp. those he appreciated it, just not at his and his family’s expense, which wasn’t that different a behavior from the rest of his family. He was generous and overall he seemed to liked being useful to people and to help solve problems. And the acquistion of some position of authority, it’s kinda of strange that Bellonci seemed to think that’s where he directed his energy towards, given that by 1492 right after his father became pope, if we judge by his letter to Piero de’ Medici, Cesare already had a pretty high position of authority, and he was perfectly aware of it. I mean after Rodrigo himself, Cesare was the one who had the most authority to deal any political affairs. Rodrigo trusted and relied on him, he was constantly by father’s side so he was privy to matters few others or no one else was. What Cesare seems to have directed his energy towards was trying to secure himself and his family’s power as much as he could so that when Rodrigo died, he wouldn’t be in a poor situation having to rely on others. It’s an entirely subjective point, we will never know what truly were his plans and feelings, but he doesn’t come across as someone wanting authority for the sake of wanting to have authority over others, nor does he seemed to have wanted power simply because he was power-hungry or something, but because he was painfully aware that all of his wealth and privileges were tied to his father, that power was essential for his survival and well-being, and that it was his responsibility (just as once it had been Rodrigo’s) to advance his family’s glory and perpetuate the legacy of the house of Borja. “Cesare was well aware of the gulf between his aspirations and reality and he had learnt the art of dissumulation. From infancy he had been destined to follow a career to which he knew he was unsuited, just as he knew Juan was ill-suited to his destined career of arms.” Bellonci is going on the premise that there was such a gulf between Cesare’s aspirations and his reality, when honestly there really wasn’t. This is a fabricated notion that comes from a modern perspective that men of the Church are men who are only fit for matters of spirituality, but as I said above, that doesn’t correspond with the reality, not even today, and definitely not in Cesare’s times. Men of the Church were first and foremost politicians and they acted both on spiritual matters as well as secular ones, even commanding armies and going full-on warriors if it was necessary. Bertrand du Pouget is a good example, also Ippolito d’Este, pope Leo IX, pope Clement VII, although he’s seen more as an anti-pope, and of course Della Rovere. Except for marriage, a churchman could do pretty much anything a layman could. Cesare surely knew that, so he wouldn't necessarily have felt this “gulf” between his reality and his aspirations, whatever those might have been, as it is claimed. His “warrior” side could be accommodated just fine within his ecclesiastic role. As for him learning the art of dissimulation, of course he did, as did Lucrezia and Rodrigo. It would a mistake to think they wore their hearts on their sleeves in public. If we’re being honest, any noble that wanted to survive the court they lived in needed a goal deal of dissimulation to go about with their lives. Cesare was no different than any of them on that. And finally, Bellonci has no way of knowing that Cesare from infancy knew he was unsuited for the career Rodrigo chosed for him, much less what he thought about Juan and his career. Bellonci is mostly projecting her own beliefs onto Cesare here and presenting it as a fact. His so-called unsuitablessness is unsubstantiated, apart from him sharing the same small vices his fellow cardinals did, as Alvisi amusingly says here: “Nè gli mancavano i piccoli vizi de’ giovani cardinali, e con loro fuggiva dalla mensa papale cui era convidato, perché vi era servita una sola vivanda. /Nor did he lack the small vices of the young cardinals, and with them he fled the papal table to which he was invited, because only one meal was served there.” And him apparently prefering to dress more as a layman than in his cardinal robes—which could have been for any number of reasons honestly, maybe he didn't liked it, yes, but also maybe it was just because they were more comfortable? esp. during the summer? and drew less attention to him? it's just a big leap to use his apparent dislike for ecclesiastical clothing as proof he hated being a churchman lol—there is surprisingly no scandals, nor accusations of bad behavior during these years of his life. Surely if he was so ill-suited, we would have at least one anecdote like the one about Rodrigo when he was still a cardinal at Siena? There is nothing of the kind. These claims come from a hindsighted stance of events, and it just serves to build up a motivation for the crime that is about to happen, without motivation, you can’t accuse Cesare as the culprit of Juan’s murder, and this personal drama is easier to sell than the simple jealousy over Sancia d’Aragona. “And so, twenty years earlier than most men, he had had to face the reality of a solitary existence, and he experienced either burning ambition or icy pessimism. His rancour doubtless played a large part in alienating him from the rest of the world, and he passed his complicated youth in that silence which is the first and last refuge of the frustrated. His sensitiveness got twisted into cruelty and made him monstrously lucid, he understood his father’s weakness, but the second-sight by which he infallibly got his own way was diabolical.” Beautiful writing, one that is meant to convince the reader he/she has a grasped the soul and mind of Cesare Borgia. But then again, as most of this paragraph, it’s all just literary without any substance. Reading Bellonci I wondered many times if she had a time machine or the Borgia family’s secret journal, because she speaks as if she were there with them, and they confessed all of their feelings and private thoughts to her. This is fiction.  She is implying that his solitary existence came from the fact that his reality was at odds with his desires, when there’s no proof to suggest that was the case, and that he was kind of a lone wolf? and that’s just blatantly incorrect. Maybe we can guess he might have felt lonely sometimes in a way that people with a high intellect, people who are ahead of their time usually does because it’s difficult to find other like-minded people, but he was and remained very close to his family and some friends until the end of his life, he was far from being a solitary man. He must have experienced “icy” pessimism and burning ambition just like any human being, but it certainly wasn’t his only two emotions, and very likely had nothing to do with Juan and his own career, and more with his family’s enemies and the political scenarios he was a part of. Was it really his rancour that alienated him from the world or was that the world he lived in so hostile to him and his family that they alienated themselves in order to feel safe? Hmmmm. And I’m sorry but, throwing complicated youth and Cesare Borgia in the same sentence is simply absurd. Are we talking about the same Cesare Borgia? The handsome, incredibly rich young man? Whom his contemporaries had to admit was charming, cheerful, polite and graceful? The one that when he wasn’t studying or working hard, we see him having fun with his Spaniard buddies, have love affairs, hunting, finding any excuse for dancing and bull-fighting, basically enjoying life wherever he could, this Cesare Borgia? Give me a break, I wish my youth was as complicated as his djsdjsds. The image of this dark, sulking, frustrated man, full of bitterness is very much a product of fiction, and totally incompatible with the reports written about him. As for “his sensitiveness” that got twisted “into cruelty”, i find it irking when scholars throw these words out there and don’t bother pointing out exactly what they are referring to. Borgia scholars are always talking about Cesare’s cruelty, his alleged “mean-streak”, but they don’t give any examples. If you are going to say a person is cruel, then I, at the very least, expect you follow that by an event where their cruelty is revealed. Explain your thought process, that’s all I’m asking. What are the pieces of evidence that revels Cesare’s sensitivity? and what are the pieces of evidence that revels Cesare’s cruelty? Otherwise it’s impossible to know what you mean and I’m not going to take your assessment of this person’s character seriously. Now I understand that when scholars speak of Cesare’s sensitivity, they are usually referring to his reaction towards the men responsible for the libels slandering him and his family, and although it would be understandable for him to feel outraged, I think it’s a mistake to link Cesare’s punishment of those men with his inability to take insults as Rodrigo says to the Venetian ambassador. If Cesare really was so sensitive about insults against him and his family, wouldn’t we have a long list of his victims that died simply for the deed of having offended him? which remarkably we don’t. That implies that Cesare could take insults, but when these insults were tied up with politics, he acted. The men spreading these libels, the Savelli letter being the main one, weren’t doing so to entertain the people of Rome and Italy. It wasn’t just titillating gossip. It was a clever and effective political propaganda made by Rodrigo and Cesare’s enemies to “kill” their reputation since they couldn’t, at that moment, literally kill them. It was meant to overshadow any and all positive policies their governments were doing, and put public opinion against them. Cesare understood what his father couldn’t, and he rightly tried to contain it somehow, which brings me to these men’s punishment and how it’s the only documented example I can think of that would fit the general definition of cruelty, and even so, it’s not a great one. There’s an anecdote about Cesare shooting bandits from his balcony at the Vatican with Lucrezia by his side that imo, would fit better the definition of “wanton cruelty” and having a “mean-streak”, but the authenticity of this story can't be verified, and it seems to have been just slander. Although it is odd Lucrezia’s biographers never mention this in their works, given that they don’t seem to mind authenticity when it comes to Cesare, and it would provide them with the best example for Cesare’s cruelty they go on so much about. I wonder why that is.  But when Bellonci wrote this sentence, she is aiming to conclude both her presentation of Cesare and why he murdered Juan. The whole point of this page she wrote was to create the right environment for the fratricide act. Cesare’s sensitivity made him incapable of dealing with his feelings of anger and frustration over his life, and that manifested into cruelty, that here is tied to the murder of his brother along with other crimes she uncritically pins on him, which turned him into a monster and only then he had the lucity to see what it had to be done since his father was too weak when it came to Juan. If he were to get his way, then he would have to commit a diabolical act. But apart from what I already wrote on why all the claims about Cesare’s being unsuited for this career, how he hated it and envied Juan are baseless, there’s another hole in this narrative, Rodrigo Borgia’s own decisions about Juan. They’re ambiguous af, and I think his plans weren’t always so set in stone as it is sometimes imagined, he was a shrewd, pragmatic man, so he probably changed his plans according to the political scenarios around him, and the benefits it would bring to his family and the papacy. Yes, he appointed Juan as Gonfalonier and Captain General of the Church, and invested many benefices upon him, but he also married Juan to Spain, and after the fiasco with the Orsinis (which to be fair, wasn’t just Juan’s fault) it seems he was sending Juan back to Spain, and it really looks as if Rodrigo’s design was to secure the Borgia’s power in both his native country and Italy. Juan seemed to be the one ensured to make that happen in Spain, while in Italy, it was up to Cesare, Lucrezia and Gioffre. Considering all this definitely puts obstacles to Bellonci’s assertions, and it’s easy to see why she ignored it. “His solitude was his fortress, and he used his inhuman courage and self-sufficiency to serve his idolatry of power.” No, his family was his fortress, again he was not a lone wolf, he worked in sync with his father, his brothers and his sister, and he very much relied on them and on others. He was brave, but it was far from being inhuman, and I absolutely have no idea what Bellonci means with his self-sufficiency given that his whole life was depended on others, and he knew it too, and he tried to change that. And his idolatry of power, it’s another thing scholars like to claim about him, but Cesare’s fascination with power, if we can call it that, wasn’t all that different from other nobles, and it wasn’t such to say he worshipped it.  I have no idea where there came from, probably from bad interpretations of The Prince. It wasn’t a fascination of power for the sake of it. Having power at Cesare’ time and environment was tightly connected with your survival. If you were a person in a high position of power, maintaining that power was important if you wanted to keep breathing. If you lost it, you could die. Just like many spaniards did when Della Rovere became pope. The reason Cesare wasn’t among them is precisely because he had enough influence and power within the College of Cardinals to afford some protection. If he hadn’t cultivated that, if he hadn’t accumulated power in the Romagna, he would have been murdered not long after his father died, like it happened with the children of other popes. And I guess that finishes it. It’s a powerful page, but then again I do think that most Borgia authors are very talented when it comes to writing, and constructing narratives, but when you break it down phrase by phrase, weighting in the evidence that exists for such claims, 80% of the time you will come up empty handed, or with contradicting information. Many of the things said about them, esp. about their characters, it’s a historical construction, or authors’s personal interpretations of the material they studied, since much of the Borgia’s history (that was shaped by their enemies) is wrapped in mysteries and subjectivity. Bellonci’s biases are all over her work, and it’s the strongest I’ve read with so far with Borgia bios. She had a mentality of only being fair to those she sympathized with. She detested Cesare the most, so she didn’t cared about being fair to him, she accepted all sources and gossip said about him without any discernment. He is the embodiment of only bad traits and his actions only carries chaos and “dark unrest”, but also I do believe she believed most of what she wrote about him. It’s not difficult to see why. Cesare’s black legend, alongside the unfortunate Machiavellian prince image, that is usually attached to his name with its awful connotations are always looming in the back of people’s imagination, and it’s almost impossible not to carry these preconceived notions to his historical figure when writing about him I imagine, not that she tried lool, she didn’t. She seemed to have already made her judgment about Lucrezia, Rodrigo and Cesare even before she studied all the material about their lives. Her mission was to rescue Lucrezia from her horrible reputation at all costs, and put her on a pedestal, while dragging the Borgia men and anyone else she didn’t liked, and well, she did succeeded at that, at least to a general audience and some academics.