#charles dubois

[justwatchmyeyes]

The important thing is this: to be able at any moment to sacrifice what we are for what we could become. ~ Charles Dubois

[carpediemevents]

Formal - Living Room With white walls, a standard fireplace, a stone fireplace, a tv stand, and a large, open-concept 1950s living room design, it has a slate floor and a variety of colors.

[lesbianese]

Bathroom 3/4 Bath Large 1950s 3/4 white tile and porcelain tile porcelain tile and gray floor bathroom photo with flat-panel cabinets, black cabinets, a one-piece toilet, white walls, an undermount sink, quartz countertops and white countertops

[diioonysus]

art aesthetics: coquette

[doodlerain]

🗣 DEE OH CEE!! 🗣

I learned how to draw GUNS for this. Don't ask me how long it took. Other versions under the cut, I couldn't decide what i liked best.

Lilly Dubois my queen my everything 🔥

[breezymichelle99]

Apparently I just decided to delete my master list so bare with me while I recreate it 🤦🏽‍♀️

[justdealingwithsomeissues]

Interesting to see Kelly becoming the "enemy of my enemy" for the Creed situation... also we learn that Kelly has a mutant mind reader/telepath in his entourage... this is Noah DuBois... we'll see more of his later.

[cherrybblossomplays]

outing at magnolia recreation center with charles and angela 💌

[thetisming]

Frankie has Plorn vibes. and post

[davidhudson]

Charles Aznavour, May 22, 1924 – October 1, 2018.

With Marie Dubois on the set of François Truffaut’s Shoot the Piano Player (1960).

[thesobsister]

With the recent passing of TV legend Norman Lear, I thought it'd be interesting to spotlight the theme songs for the groundbreaking shows that he created and/or developed: the Bunkerverse, if you will, of All in the Family and its spinoffs Maude (which, itself, spun off Good Times) and The Jeffersons, as well as Sanford and Son and One Day at a Time.

The themes were written by top-shelf artists such as Quincy Jones (Sanford), Dave Grusin/Alan & Marilyn Bergman (Good Times), Lee Adams/Charles Strouse (All in the Family), and Jeff Barry and Ja'Net Dubois (The Jeffersons). And they're some of the most memorable theme songs of the era and of the medium.

[adarkrainbow]

I promise that I will one day share with you all the knowledge I got from my university class about fairytales. I just need a bit of time and relaxation to re-read and translate my old notes.

But already I want to talk about something very briefly. The change that the “fairytale scholarship” is currently undergoing - how the “folklorist studies” that ruled supreme in the 20th century is now being replaced by a “literary study”. 

As you might know, up until these days, the most famous works of fairytale studies were folklorist ones. The Aarne-Thompson classification, for example is a folklorist work. What is a “folklorist study” of fairytales? It is a study that places the so called “folkloric” fairytales before the “literary fairytales”. Basically it deems that the fairytales written as such by authors to be published as works of literature (Perrault, Andersen, etc) are “secondary” fairytales, off-shoots of the “actual” or “original” fairytales - basically adaptations, retellings and reshaping of a pre-existing story. As a result, the literary fairytales are placed aside and only considered as a side-note in “folkloric” studies. Because for the “folklorist” scholars, the truly important fairytales are not those published by authors and writers - but those that you collect by going into the countryside, asking people in villages, summoning the memories of old nurses and grandfathers and storytellers of old. Folklorist scholars of fairytales compare these orals, rural stories of “the folk”, of the people - and by comparing these stories, noticing the differences and similarities depending on the regions, on the countries, on the languages, they try to recreate the various “types” and “categories” of fairytales, a sort of great catalogue, or more specifically a “family tree” of fairytales - because for them, fairytales is all about a cultural genealogy, it is about an “original”, primitive, primordial “ancestor-story” that then somehow spread throughout countries and regions, each person giving a different variation or version of the “ancestor-story”. And in the folklorist study, literary fairytales are just considered petrified, unmovable, unchanging works of art built out of the raw, living material of the “folktales”, but ultimately unimportant in the evolution of actual fairytales and the search for the “true ancestor-story”.

It was the view that ruled the 20th century. And yet, today, people realize that maybe this view isn’t as perfect and as solid as we once thought - and people turn more towards the ancient, pre-Grimm version of studying fairytales. Aka the “literary study”. A type of study that considers that literary fairytales might be actually very important and key elements in the way those stories evolved ; a type of study that focuses mostly on how literary works of fairytales succeeded each other, and how influential they were on each other, before adding the “folktales” as an aside and companion to the literary ones. Literary studies dare to ask the question: “Maybe... maybe there isn’t a primordial ancestor-folkstory from which all others were born? Maybe there were just some really popular literary works inspired by folk tales?”

I need to get into the details later, but I just wanted to make this post to highlight one fact that shows how - and why - such a shift happened. A detail about French fairytales, and Perrault/d’Aulnoy. Let’s just take Perrault. 

Perrault wrote his stories. Puss in Boots and Little Thumbling and Donkey Skin and Cinderella and all that. Folklorist studies collected a lot of French “folk fairytales” from various regions that were very similar to Perrault’s stories, and thus decided “These stories are all proofs of a pre-existing folktale that Perrault merely rewrote and reinvented, attributed himself all the merit when all he did was adding a few details here and there, and using an upper-class language”. Remember when I talked about Pierre Dubois? He is a pure example of a folklorist-sided fairytale expert, as he strongly despises Perrault for removing all of the primordial strength, raw power and “simple truths” of fairytales, burying them under over-flowering, hyper-delicate speech and biased upper-class mentalities (or so he says). No need to tell you Dubois worships the Brothers Grimm rather than Perrault.

But nowadays people start to realize... Maybe it doesn’t work like that. Maybe Perrault should be given more credits. Because you see... The folk versions of Perrault tales were collected centuries after Perrault’s work were published. They were collected in a time and place where Perrault’s stories were widespread all throughout France and famous enough to be part of popular culture. It thus makes sense that a lot of “folk tales” of France would be variations of Perrault’s stories - told and retold throughout regions and centuries until they got different enough to look similar but not identical. It also help that the very reason Perrault’s stories got so famous and popular was through a little think called the “Blue Library”. 

The “Blue Library” was the most famous collection of “peddling literature”. Because remember a thing - at the end of the 17th/in the early 18th century, books costed quite a bit of money, and not everybody in France could read. The works of Perrault, as a book, was originally aimed at a form of “upper-class” - nobility and the aristocracy were his prime targets - and could usually only be accessed by people with the means and knowledge needed, so educated people with enough money to be able to buy extra-things like books. So how did all the lower folks, the poor people, or those that lived in the countryside did to get their books? (because the spreading of books was then still limited to important urban centers) That was the job of the peddlers, who basically copy-pasted the most popular or famous books in the big cities, and then travelled to small villages, remote countysides and non-urban regions to sell the books there. These peddlers of course had to adapt to the means of their clientele - so they sold their book for cheap, and had to cut corners to do so. Small-format books, made with a cheap, easy to destroy paper ; but more importantly, so that the book would cost less, they usually rewrote the stories they copy-pasted, simplifying them, removing episodes and elements (and adding pretty colorful pictures in them instead of entire pages of text). This is how Perrault’s stories actually spread throughout all the regions of France and managed to touch all the French social classes of the time - the “Blue Library” (the most famous and sold peddling literature collection) turned Perrault’s tales (or rather simplified, reworked versions of his tales) into their best-seller. And you’d be surprise to see how much of the “collected folk tales” of France turn out to come from peddling-edited versions of literary fairytales... Because there are some details, in these “folkloric versions” of Perrault’s tales, details that were actually invented by Perrault with very specific intentions, and that you can find back in those “collected folk tales”, proving that they came from Perrault, and not the reverse.

You see, folklorists always thought that the fairytales came “from the bottom”, were the mark of the lower class (there’s the whole image of the peasants during the evening gathering by the fireside to hear stories), and then were taken back by the upper-class and turned into a form of frivolous entertainment... But now, people start to realize that, in some cases (in this specific case, the Perrault/d’Aulnoy stories and the bulk of French fairytales), it was the reverse: the fairytales came from the top (invented by upper-class and aristocrats as a mean of entertainment) and then “went to the bottom” (were spread among the lower-class and got turned into oral folktales). This is why nowadays people turn to “literary studies” to balance out the very... biased perception folklorist studies gave of the idea of “fairytale history”. 

(As a last note, just to mention how looking back at literature changed the viewpoint of fairytales - while most people assumed that Perrault, d’Aulnoy and others merely took inspiration from “nurse tales” and folk tales, the truth is that, when looking at their work, they clearly rather took inspiration from literary sources - mostly Italian literature, and Greco-Roman literary works. And similarly, the myth of the Brothers Grimm “collecting their stories among the simple folks” has been debunked, as their primary sources were actually middle-to-upper class people - and some that actually were of French descents and merely told the brothers modified versions of Perrault’s tales!

But that’s a story for another time...)

[shujubeelamoglia]

RuPaul’s Drag Race

Season 15 Promo

Queens:

Amethyst

Anetra

Aura Mayari

Irene Dubois

Jax

Loosey LaDuca

Luxx Noir London

Malaysia Babydoll Foxx

Marcia Marcia Marcia

Mistress Isabelle Brooks

Princess Poppy

Robin Fierce

Salina EsTitties

Sasha Colby

Spice

Sugar

Premiering January 6th 2023

[mysterious-secret-garden]

Jean-Étienne-Franklin Dubois, after Charles Auguste van den Berghe - Aegisthus discovering the body of Clytemnestra, 1823.

[ulrichgebert]

Der versprochene Geburtstagsfilm für Charles Aznavour. Er spielt den außerordentlich vom Pech verfolgten sensiblen und schrecklich schüchternen künstlerischen Außenseiter in einer Familie von Tunichtguten, die ihm zum Verhängnis wird. Aber einst war er ein berühmter Konzertpianist.

[doodlerain]

more nopixel 4.0 DOC doodles :)