#diana sperling

[dollsome-does-tumblr]

Art by Diana Sperling in At Home with Jane Austen by Kim Wilson

[metmuseum]

Diana and Endymion. 1745–97. Credit line: Bequest of Harry G. Sperling, 1971 https://www.metmuseum.org/art/collection/search/334998

[atianana]

Princess Kate’s parents Carole and Michael Middleton join the Tindalls on Day 10 of Wimbledon

Princess Kate’s parents Carole and Michael Middleton join the Tindalls on Day 10 of Wimbledon

The Princess of Wales’ parents Carole and Michael Middleton joined Queen Camilla on Day 10 of Wimbledon. They were among the many who braved the wet summer weather at Centre Court.

Princess Anne’s son Peter Phillips also headed to Centre Court on Wednesday. Peter Phillips looked besotted as he arrived at Wimbledon with his new girlfriend Harriet Sperling. The couple, who confirmed their romance in April, appeared to be in great spirits as they walked through the crowds.

They were joined by Peter’s younger sister Zara Tindall and her husband Mike. Other arrivals included Richard E Grant, Jemima Khan and Alexa Chung.

Trending News, Top Trending Topics, Videos & Popular ...

[lamilanomagazine]

Lecce, al Must Antonio Caprarica con il suo nuovo libro

Lecce, al Must Antonio Caprarica con il suo nuovo libro. Giovedì 20 ottobre, alle ore 18, nella sala conferenze del Must – Museo Storico della Città di Lecce, il giornalista e scrittore Antonio Caprarica presenterà il suo ultimo libro "William & Harry – Da inseparabili a nemici", edito da Sperling & Kupfer. L'autore dialogherà con l'assessora alla Cultura del Comune di Lecce, Fabiana Cicirillo, in un incontro in cui si parlerà, con uno dei massimi esperti della materia, delle vicende che hanno riguardato, in questi anni, la Corona inglese, oggetto di precedenti saggi di Caprarica, della recente scomparsa della Regina Elisabetta, dopo 70 anni dalla sua salita al trono, e della salita al trono di Re Carlo III. In "William & Harry", Caprarica riflette sul mutato rapporto fra i due figli di Carlo e Diana. Davvero è Meghan Markle, la bellissima ex attrice americana, la causa della fuga di Harry dalla prigione dorata di Buckingham Palace, oppure è il seme dell'irrequietezza, di quell'ansia di libertà ereditata dalla madre che ha spinto il duca di Sussex oltreoceano? Poteva la sola influenza di una donna sbriciolare il rapporto fra due fratelli apparsi inseparabili per trent'anni? Il solido legame affettivo suscitato dalla dolcezza di Diana è evidente nelle tristissime immagini del settembre 1997, in cui i ragazzi seguono a capo chino il feretro della madre. Due orfani uniti dalla disperazione di una perdita immensa e dal ricordo di una felicità irrecuperabile, che entrambi manterranno vivo negli anni a seguire. Il talento di affascinare il mondo - lo stesso della principessa Diana - ha permesso a William e Harry di superare gli scivoloni e i passi falsi in cui sono incappati da giovani. E così sono arrivati a incarnare un diverso modello di monarchia, più popolare, calorosa e sensibile alle buone cause. Per questo, adesso, la loro inimicizia diventa storia. L'appuntamento è organizzato dall'Assessorato alla Cultura in collaborazione con la Libreria Palmieri.... Read the full article

[mariannedonley]

Mrs. Hurst Dancing, a Review

For authors and fans of historical fiction, sometimes a picture can be worth much more than a thousand words! Mrs. Hurst Dancing is a treasure of Regency era watercolors by Diana Sperling.

Pictures worth much more than a thousand words. The Lord of the Manor and his family going out to a dinner party at 5 o’clock with a tremendous stile before them. If you’re a fan of Jane Austen and other Regency-set fiction, Mrs. Hurst Dancing, a collection of 70 watercolors by Diana Sperling, is a treasure. The book is especially valuable for the often-confused author trying to envision the…

[anadelacalle]

MARATÓN FILOSÓFICA: con DIEGO SINGER, democracia, educación, neoliberalismo...Nietzsche

MARATÓN FILOSÓFICA: con DIEGO SINGER, democracia, educación, neoliberalismo…Nietzsche

Os invito a ver el video -grabado en dos partes- de la XXVIII edición de la Maratón Segunda parte Primera parte El dialogo filosófico que se desarrolló a partir de la pregunta sobre cómo se puede educar en una actitud democrática si el concepto de democracia parece haber sido vaciado por el neoliberalismo al sustituir al homo políticus por el homo economicus, partiendo del análisis que realiza…

[amarguerite]

“Dynes Hall—Di and Charles.” -Diana Sperling

Di (the painter herself) says, “Come have some tea it will do you good!”

Her brother Charles, falling out of a chair in despondency, replies, “D’ont bother me about tea. Go and sing “Have you no feelings!!””

[tararira2020]

| Rara |

Entrevista a Matías Wiszniewer

autor de

INVIERNO SUECO

El último viaje de René Descartes

Beatriz Gez: ¿Cuándo y cómo comenzó su interés por René Descartes?

Matías Wiszniewer: Luego de finalizar la licenciatura en Ciencias de la Comunicación y de haber atravesado casi una década como realizador audiovisual, ya pasada la barrera de los 30 años, me di cuenta de que lo que realmente me convocaba (y que había permanecido subyacente bajo las actividades anteriores) era sumergirme en esa praxis del asombro llamada “filosofía”.

Me anoté en un curso sobre Schopenhauer que daba Gabriel Sarando en la Fundación de Rogelio Fernández Couto, después asistí un tiempo a los seminarios de Santiago Kovadloff y, en un “Coloquio Spinoza” de la Universidad de Córdoba, conocí a Diana Sperling, mi verdadera Maestra en el ingreso a la filosofía, con quien trabajé muchos años. Paralelamente cursé en la UBA, en calidad de posgrado, Historia de la Filosofía Antigua, Medieval y Moderna.

Mientras asistía a los teóricos de Moderna (en la cátedra de Mario Caimi, con Beatriz von Bildering) me hablaron sobre la crisis escéptica del siglo XVI, sobre los escritos de Montaigne y Francis Bacon, y sobre cómo apareció entonces la magia de René Descartes para llevar el abismo de esa época hasta las últimas consecuencias y encontrar allí la fórmula salvadora del Cogito. Fue como una epifanía: “tengo que hacer algo con esto” me dije a mí mismo. Y así comenzó el largo y apasionante viaje que terminó con la escritura de Invierno sueco.

BG: La tapa del libro es indicativa de un encuentro notable en su investigación, que teje la trama de Invierno sueco: bajo el necesario servicio a la Razón de Estado que conduce a Descartes a viajar a Estocolmo, destaca la condición del autor del Tratado de las pasiones entre dos mujeres (Isabel de Bohemia y Cristina de Suecia). Ahora bien, ¿esas dos mujeres conjugan la posición del Espíritu de la Verdad y la Rueda de la Fortuna?

MW: Efectivamente, las figuras de Cristina de Suecia e Isabel de Bohemia son, por muchos motivos, de gran importancia en la trama, y por eso es que merecen su lugar en la tapa del libro. Es posible también afirmar que “el Espíritu de la Verdad” (que se le revela a Descartes en los sueños de 1619) alimenta la estrecha relación entre el filósofo e Isabel. La princesa, hija de Federico V del Palatinado, es una sobreviviente. Su padre se había erigido líder de un movimiento que hoy, usando un vocablo anacrónico, podríamos describir como “revolucionario”; un movimiento que tiene su apogeo cuando Federico es nombrado rey de Bohemia y que al poco tiempo resulta aplastado por las fuerzas católicas del Sacro Imperio en la Batalla de Montaña Blanca. Ese combate crucial de la Guerra de los 30 años sucede en las afueras de Praga, el 8 de noviembre de 1620. Al día siguiente, Federico y su familia (que incluye a una Isabel de dos años de edad) huyen de la capital checa. Descartes, que a la sazón tenía 24 años, participó de la Batalla. Nadie sabe si el joven francés se cruzó con los carruajes en fuga en que viajaba la princesa, pero lo cierto es que Isabel y Descartes trabaron relación en Holanda veinte años después, a principios de la década de 1640, y mantuvieron una intensa correspondencia hasta pocas semanas antes de la muerte del filósofo.

“La rueda de la fortuna” (todo lector de la novela encontrará pertinente esta referencia al naipe del Tarot) lleva a Descartes a Estocolmo, y determina que sea ese su último viaje. Durante aquella estadía final en la capital sueca, el francés protagoniza una serie de encuentros con la reina Cristina que lo van sumiendo en una amarga decepción. Ve en la monarca sueca -más allá de su manejo de ocho lenguas, su inteligencia descollante, una curiosidad sin límites y una amplísima erudición- rasgos opuestos a los de la profunda y discreta princesa Isabel: se le aparece como demasiado impulsiva, inestable, histriónica y superficial.

Ambas mujeres, primas entre ellas, fueron protestantes (aunque Cristina se convirtió al catolicismo luego de su escandalosa abdicación de 1654). En orden a la fe seguida por sus respectivos padres, la reina de Suecia perteneció a la ortodoxia luterana, e Isabel a la corriente calvinista.

BG: Hay un tópico que atraviesa a cada paso su libro: la falta de libertad y el peligro imperante en la búsqueda del conocimiento. (De manera un poco más sutil hasta el siglo XXI, al parecer, no hubo cambios en ese aspecto.) Y, según el Manuscrito de Descartes publicado, cuando decide abandonar Francia, dice que agrega a su baúl de viaje la sigla “BVQBL”, lo cito (pág.47): “correspondiente a mi lema -tomado de Ovidio- Bene vixit qui bene latuit (“Bien vive quien bien se oculta”). ¿Cómo investigador y estudioso considera que hay una relación necesaria (aunque no suficiente) entre la falta de libertad y la búsqueda de conocimiento?

MW: Es sumamente interesante esta pregunta. Nos remite a los orígenes no ya de la filosofía, sino de la condición humana. Nos lleva a pensar en el peligro que corrieron Adán y Eva al comer del Árbol del Conocimiento, a evaluar el riesgo de rasgar eso que la antigua India denominó “el Velo de Maya”, a recordar, por supuesto, las penurias de aquel que se atrevió a salir de la caverna de Platón y encandilarse con la luz solar, y a tener presentes los años de Martín Lutero oculto en el Castillo de Wartburg, luego de atreverse a poner la verdad de su conciencia por sobre las del Papa y del Emperador.

Así como el personaje de Platón tuvo que extremar los recaudos al regresar con sus antiguos compañeros a las oscuridades subterráneas, Descartes creyó prudente esconderse del mundo visible para poder escribir su obra, y ese es el significado del lema ovidiano que mencionás. Claro que se trata de caminos que conllevan restricciones en la libertad personal, pero cabe preguntarse quién es realmente más libre: si el que circula “libremente” sin dar lugar a muchas preguntas perturbadoras (esas que para Kant la razón humana no puede dejar de hacerse), o el que prueba del incierto Árbol del Conocimiento pagando el precio que tiene que pagar.

BG: En la solapa de la contratapa mira al lector, antes de cerrar el libro, desde dos fotos superpuestas: una, cual Señor de Perron desde el patio central del Colegio de La Flèche; otra, junto al profesor Theo Verbeck -destacado erudito europeo sobre la vida de René Descartes- en sus oficinas de la Universidad de Utrecht, en los Países Bajos. Sin embargo, define al libro como una novela generada en torno a una intriga: el Manuscrito inédito/encontrado de Descartes. Dadas las múltiples interferencias (al modo de flashback) así como el truco de las Apostillas (que lleva al lector a ir y venir entre las páginas del libro), sin contar la intromisión del diario de Isabel y las notas de Cristina, más bien invierten la carga de la prueba. Para el lego es un libro de historia. Dicho de otra manera, ¿Qué diferencia a su novela (histórica, agregaría) de un libro de historia sobre el último viaje de René Descartes?

MW: La verdad es que nunca llegué a sentirme un “Señor du Perron” ¡ni nada parecido, jajaja! Para mí la foto en La Fléche (que debo a la colaboración de mi asistente de investigación en Francia, Arlette Hermann) lo que hace es reafirmar el propósito extra académico del proyecto de Invierno sueco, porque muestra el rol de viajero-explorador que fue necesario para poder imaginar, en forma vivencial (extra teórica), los olores, los sonidos y las imágenes que habría experimentado mi personaje. Por otra parte, la foto con Verbeek muestra la preocupación de ser muy riguroso en cuanto al tratamiento de la información dura, histórica y filosófica, que fue insumo del trabajo de escritura. No veo contradicción sino complementación entre ambos órdenes. Mi objetivo fue escribir un relato novelado acerca de este personaje del siglo XVII que, luego de estudiar en el mejor colegio de Europa, entendió que para avanzar en la búsqueda de la verdad tenía que convertirse en viajero, y que según él mismo afirma, escribió el Discurso del Método “en francés, que es la lengua de mi país, más que en latín, que es la de mis preceptores, porque creo más en quienes se sirven de su pura razón natural que en quienes sólo creen en los libros antiguos.”

Invierno sueco -si bien contiene una suerte de “ensayo histórico” en las Apostillas que comentás- es sin lugar a dudas, por su estructura de drama ficcionado, una novela histórica, no un “libro de historia”, ni un tratado de filosofía de tipo académico. El libro, sin renunciar a la rigurosidad mencionada más arriba, aspira a contar la aventura épica de René Descartes, que nos interpela como habitantes del siglo XXI, a un público que se encuentra más allá de los claustros académicos.

Marzo 2021

[met-drawings-prints]

Diana and Actaeon by Joseph Bergler the Younger, Drawings and Prints

Medium: Pen and brush and brown ink, heightened with white gouache; framing line in pen and black ink (?), probably not by the artist, over a framing line in pen and brown ink, by the artist

Harry G. Sperling Fund, 2011 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/395765

[noticiascantautores]

Actividades en Tzavta - Itón Gadol

Con la participación de José «Pepe» Nun, Diana Sperling, Cecilia Roth, Fito Paez Liliana Herrero, Arnoldo Liberman y Fena Della Maggiora. via Cant https://ift.tt/3jy7dat

[hildeeveraert]

Diana Sperling (1791-1862) • A view taken from the Artist's Bedroom Window at the Rectory, Charmouth, Dorset

[javierpenadea]

"Delayed ‘Diana’ Musical to Be Streamed on Netflix" by BY NICOLE SPERLING via NYT Theater https://ift.tt/2F8vcv9

[breakingbuzz]

Delayed ‘Diana’ Musical to Be Streamed on Netflix

By BY NICOLE SPERLING The show will be filmed in the empty Broadway theater where it had been playing in previews, and still plans to open in May 2021. Published: August 12, 2020 at 03:00PM from NYT Theater https://ift.tt/2F8vcv9 via

[automaticvr]

The virtual reality project “Das Totale Tanz Theater” (The Total Dance Theatre) was intended to reflect important works of the world-famous Bauhaus school. Taking place on the occasion of its founding anniversary, it was shown how the school has been influencing and shaping architecture, art, design and pedagogy until today. Inspired by the stage experiments of painter Oskar Schlemmer and the idea of the “Total Theatre” by Bauhaus founder Walter Gropius, a virtual world with costumed dance machines was conceived, which explores the relationship of man and machine in the digital age. Equipped with virtual reality headsets, four users simultaneously enter a huge virtual stage construction and, with their “dance machines”, experience an interactive choreography across three levels. The movements of the dancers had been scanned via motion capturing and applied onto 3D models. The more than 2,500 resulting motion sequences were stored in a database and then reassembled into an interactive choreography by means of artificial intelligence. The interplay of man-made choreography, personal intervention and machine algorithms results in ever new forms of movement and dance. Statement by the Jury This project provides a sophisticated virtual reality experience and uses it to express a leap forward towards creating a completely novel stage performance. It embodies a fantastic approach towards bringing a new dimension into the relation between humans and machines seamlessly tying in with the work of Oskar Schlemmer and the Bauhaus. Red Dot: Best of the Best 2019 Credits Client: Interactive Media Foundation gGmbH / Filmtank GmbH, Berlin, Germany Design: Artificial Rome GmbH Berlin, Germany Interactive Media Foundation gGmbH, Berlin, Germany Idea / Story: Diana Schniedermeier, Maya Puig Virtual Reality Design: Maya Puig, Patrik de Jong, Dirk Hoffmann Executive Production: Diana Schniedermeier Choreography: Richard Siegal Composition: Lorenzo Bianchi-Hoesch Sound Design: Victor Audouze Art Direction: Dirk Hoffmann, Nico Alexander Taniyama, Robert Werner Technical Team: Torsten Sperling (Lead), Sebastian Hein (Lead), Dennis Timmermann, Hui-Yuan Tien 3D Design: Nico Alexander Taniyama (Lead), Christian Rambow, Dana Würzburg

[allthingsjaneausten]

I was going to write my own review when I started talking to Hazel Mills – Editor at All Things Jane Austen on Facebook – and we found out we thought the same things about the movie. It just so happens she is a better writer and more knowledgeable than yours truly. So here is what she thinks and I wholeheartedly agree!

My first reaction on hearing that there is to be a new adaptation is “Yay, more Jane Austen”, my second reaction is “Oh no! What are they going to do to my beloved book?” Therefore I usually approach the production with fairly low expectations in the hope of being pleasantly surprised. The new production of Emma was not released in Denmark, where I live, until the 7th March so I had to decide whether to hide from social media or embrace the onslaught of reactions to the latest offering. I chose the latter, so by the time I watched the film I had read how perfect Johnny Flynn is as Knightley and how wrong he was for the part, how good the music was and how inappropriate it was, that it was too comedic to those who saw little humor and so on! I, therefore, did not know if I was going to be “excessively diverted” or “all astonishment”. (yes, I know that’s the wrong book!)

My reaction at the end was, to quote Miranda Hart, “Such fun”. It is always impossible to fully reflect an Austen novel in the time frame of a feature film compared to a six-hour series, but I came away thinking this was indeed the story I know and love despite its chopping and changing. Many of the characters were recognizable to those in my head, others not so much.

Emma certainly started as a heroine whom no one but Jane Austen would much like, with her utterly superior treatment of Harriet Smith. I felt so sorry for Harriet when Emma manipulated her into refusing the very eligible Robert Martin. Anya Taylor-Joy plays Emma well, allowing the audience to be a party to her thoughts even when she is silent. She makes a very public journey in the film from spoilt child to a much more enlightened young woman.

The actor who played her love interest and our hero pleasantly surprised me. I had seen many stills of Johnny Flynn as Mr. Knightley and was finding it difficult to reconcile myself to a blond hero, however, I really enjoyed his portrayal of the leading man. I think one of the reasons he comes across differently than other adaptations because we see far more of his story. Emma is written from Emma’s point of view, so we do not see what Mr. Knightley is like away from our eponymous heroine. This production allowed us to see his struggle which makes him even more human. It is a reflection of the beloved 1995 BBC Pride and Prejudice where we saw what Mr. Darcy was doing to recover Lydia even though, in the book, we are not privy to his actions until Elizabeth finds out. I liked this production for this. I have been known to say that Mr. Knightley is too perfect for me and I prefer my heroes more flawed and making a journey such as Mr. Darcy and Captain Wentworth, but this portrayal raised him in my estimation. Some criticized the nude scene but I enjoyed seeing how the gentlemen were dressed by their servants for a change.

The comedy value of the film was greatly enhanced by the presence of both Miranda Hart and Bill Nighy. I thought the performance of Miranda Hart was excellent as Miss Bates; her verbosity was well delivered and her reaction to Emma’s cruel remarks at Box Hill was perfection. In the book were know more about how Emma felt after the incident but Miranda Hart made me think much more about what Miss Bates was feeling. Bill Nighy was also very good and played the part written for him superbly, but he was not Mr. Woodhouse that lives in my head. Nighy’s Mr. Woodhouse was much more sprightly than I imagine and, other than draughts, his concern for his health and that of others was not much in evidence.

The comedy I did not enjoy was that of John and, in particular, Isabella Knightley. I found them quite grotesque caricatures and wonder if the writers were trying to produce a new Mr. and Mrs. Palmer from Emma Thompson’s Sense and Sensibility. I also did not like the nosebleed which intruded upon the proposal, which I considered a silly, unnecessary distraction from what should be the loveliest scene in the film and not an opportunity for comedy. However, I did enjoy the comedic value of the Eltons. Mr. Elton may have come across as rather Mr. Collinsish at times but Mrs. Elton was absolutely ripe for ridicule. Whoever came up with her outrageous hair creations was a genius. However, in a departure from the book for me, I even felt a tad sorry for Mr. Elton. This adaptation made me think that he really had married in haste and was repenting at leisure.

I loved the girls from Mrs. Goddard’s school with their identical red cloaks marching around the village. They reminded me of the pictures painted by Diana Sperling between 1812 and 1823 of scenes from Regency life.

I have to admit that I did not like Frank Churchill much. I always feel we should like him at the beginning of his arrival at Highbury, but, had I not known the story, I would have immediately identified him as a baddie. I found him very sneering and unlike-able. I also felt that Jane Fairfax was also rather underwritten.

For me, the role of Harriet was very well played by Mia Goth. Her “rabbits in the headlights expression” when first taking tea with Emma was wonderful; her discomfort at trying to fit in was palpable as she struggled to perform amongst the high society at Hartfield.

The locations were stunning and the houses sumptuous, although I did feel that Donwell was rather too sumptuous for Mr. Knightley who, “having little spare money”, would have had something a little smaller and less ostentatious. The costumes were utterly amazing and I spent far too long looking at how the clothes were constructed. There is a particular pelisse I would like to recreate now! The food should have also had its own credit. It was spectacular. I would love to know how many chefs, cooks and kitchen servants the Woodhouse’s employed!

There were many little things I really enjoyed too, including Emma wearing a replica of Jane Austen’s own topaz cross, gifted by her brother Charles, and a glimpse of Lucy Briers (Mary Bennet in 1995) as Mr. Knightley’s housekeeper, Mrs. Reynolds. Surely not THE Mrs. Reynolds? Had Mr. Knightley poached her from Mr. Darcy’s Pemberley?

However, the people who stole the show for me were the ever-present, all-seeing servants. I loved Charles and Bartholomew, the footmen for Emma and Mr. Woodhouse. Their ability to supposedly ignore what was going on around them with the foolishness of the gentry was superb, but I would love to know what they said to each other afterwards. It really struck me was how much the servants saw, from the coachman when Emma was being reprimanded and told that things were “badly done indeed” to a speedily retreating footman from a distraught Mr. Knightley on the floor.

So, all in all, I really enjoyed the production despite its flaws and I know many will take issue with some of my comments but I will be happily adding the DVD to my collection. Now did someone say there is a new Pride and Prejudice coming out?

Hazel Mills is a retired science teacher and a founder member of the Cambridge Group of the UK Jane Austen Society. Until her move to Denmark, she was a Regional Speaker for the Society. Hazel discovered Austen as a thirteen-year-old Dorset schoolgirl when reading Pride and Prejudice and fell in love for the first time with Mr. Darcy. She has researched the history of Jane Austen’s time, presenting illustrated talks around England and Scotland, on diverse subjects including Travel and Carriages in Jane Austen’s time; the Life of John Rawstorn Papillon, Rector of Chawton; Food production and Dining, and the Illustrators of Austen’s novels. She lives in a lovely house overlooking the sea with her husband who built her a library to house her extensive Austen collection, which includes over 230 different copies of Pride and Prejudice.

Hazel Mills reviews EMMA (2020) I was going to write my own review when I started talking to Hazel Mills - Editor at All Things Jane Austen on Facebook - and we found out we thought the same things about the movie.