#jean-henri fabre

[mauvais--sang]

« Rude besogne que cette exhumation à coups de tête fendue et palpitante. En outre, l'exténuant effort s'impose au moment de la plus grande faiblesse, lorsque l'insecte sort de sa pupe, coffret protecteur. Il en sort pâle, sans consistance, disgracieux, à peine vêtu des ailes qui, plissées en long et raccourcies par une échancrure sinueuse, couvrent pauvrement le haut de l'échine. Hirsute de cils farouches et coloré de cendré, il a piteux aspect. La grand voilure, apte à l'essor, s'étalera plus tard. Pour le moment elle serait un embarras au niveau des obstacles à traverser. Viendra plus tard aussi le costume correct où la sévérité du noir fait ressortir le bleu chatoyant de l'indigo. »

—Jean-Henri Fabre, Souvenirs entomologiques, 1879



[publicdomainbooksdevotee]

See the extravagant appendage to [the Weevil's] little head. It is here a short, thick snout; there a sturdy beak, round or cut four-square; elsewhere a foolish reed, thin as a hair, long as the body and longer. At the tip of this egregious instrument, in the terminal mouth, are the fine shears of the mandibles; on either side, the antennæ, with their first joints fitting into a groove. What is the use of this beak, this snout, this caricature of a nose? Where did the insect find the model for it? Nowhere. The Weevil invented it and retains the monopoly. Outside his family, no Beetle indulges in these nasal eccentricities. […] Though the Weevil be but little glorified by his talents, this is no reason for despising him. As we learn from the lacustrian schists, he was in the van of the insects with the armoured wing-cases; he was long stages ahead of those which were working out new forms within the limits of the possible. He speaks to us of primitive shapes, sometimes so quaint; he is in his own little world what the bird with the toothed mandibles and the saurian with the horned eyebrows are in a higher world. Jean-Henri Fabre, The Life of the Weevil

[retroanimechris]

I recently, in collaboration with my source, archived their collection of Yoshikazu Yasuhiko (安彦 良和)'s concept art for the cancelled 1990s Sunrise adaptation of Fabre's Book of Insects. To view the archives as well as some history on their background, visit below!

Website backup - https://t.co/9sjYoKkMBP

MEGA - https://t.co/bCGWGWCQZf

Internet Archive -https://t.co/FLOwznWKfD

History:

I was graciously allowed to document, clean and archive these illustrations created by Yoshikazu Yasuhiko during the early to mid 1990s by their original owner. I have been in conversation with the owner on Twitter for over two years now after they sent an open request to the community to identify the nature of these works and to help them locate any and all information about them. After touching base, we began our conversations, though the trail often ran cold.

To this date, the current definitive information on these pieces is as follows: Yoshikazu Yasuhiko, while still employed actively by Sunrise's animation department in the early 1990s, created these pieces for an internally held contest to decide who would be in charge of character design for Sunrise's adaptation of Jean Henri Fabre's eponymous text. The dates of the contest are not known, though based on the illustration quality, I can personally say that these are very indicative of Yasuhiko's early 1990s hand and manner of rendering. This would place them in a window between 1990 to 1995 before he made a genuine departure from animation to focus on his work with manga.

Yasuhiko's animation credits, while ending in the early 1990s with F91 Gundam, did not totally cease. The 1990s proved to be a unique time in which Yasuhiko took major forays into character design work for titles such as Super Atragon, Assault Suits Valken II, and Chikyū SOS Soreike Kororin. However, the proposal for Fabre never took off and it became a phantom work, never to see the light of day again until my source was given these items.

These are pencil and watercolor/gouache renderings of the original character designs for not only the protagonist Fabre, but an additional 13 other characters drafted. Each drawing measures 25 cm in height and 20 cm in width (9 x 7 inches), and the character names and their related roles are glued on from clippings made in a word processor. under the character drawings. In addition, since all the characters are numbered from 1 to 13, it is believed that Each drawing is very careful and detailed, and Yasuhiko's specialty full-color watercolor technique and character creation can be seen on each item. These are believed to be the entirety of the lineup as each one is numbered 1-13.

Yoshikazu Yasuhiko himself mentioned the animation of Fabre's Book of Insects in his lecture "Anime and Gundam in the 1970s" held at Hiroshima City University on August 3, 2008. Its existence is also known by his official biographer and interviewer Makoto Ishii. I, too, knew of their existence though only though asking Makoto via Twitter alongside my source, who was told in turn that these works were forgotten by Yasuhiko as well. However, since these works disappeared at the planning stage, they were never mentioned in any books such as "The Complete Works of Yoshikazu Yasuhiko" or "My Back Pages".

Since there are basically no materials left for the anime since it was canceled at the early planning stage, these works haven't seen the public eye. These pieces were preserved in museum glass and carefully stored for years and were photographed by me. I edited them to match their true color and dimensions as I don't have them physically on hand (they are now going to auction in commemoration of the opening of the "Yasuhiko Yoshikazu, the Artist" exhibition in Hyogo).

[ozkar-krapo]

V/A "Le Bruit de la Conversation" // Pierre HENRY "Lévitation, pour le Corticalart de Roger Lafosse en 1973, Version 2013"

(split 10". Ah Ah Ah Éditions. 2014) [FR]

[publicdomainbooksdevotee]

Project Gutenberg's recently-added section:

Me:

[publicdomainbooksdevotee]

What is the use of this beak, this snout, this caricature of a nose? Where did the insect find the model for it? Nowhere. The Weevil invented it and retains the monopoly. Outside his family, no Beetle indulges in these nasal eccentricities. Observe also the smallness of the head, a bulb that hardly swells beyond the base of the snout. What can it have inside? A very poor nervous equipment, the sign of exceedingly limited instincts. Before seeing them at work, we have a poor opinion of the intelligence of these microcephalics; we class them among the obtuse, among creatures deprived of industry. These surmises will not be greatly belied. Though the Weevil be but little glorified by his talents, this is no reason for despising him. As we learn from the lacustrian schists, he was in the van of the insects with the armoured wing-cases; he was long stages ahead of those which were working out new forms within the limits of the possible. He speaks to us of primitive shapes, sometimes so quaint; he is in his own little world what the bird with the toothed mandibles and the saurian with the horned eyebrows are in a higher world. --The Life of the Weevil, Jean-Henri Fabre

Snff .. . S hniff . .. auahh... Sob s .. sNFF.. SNIFFL... AAheeMM.... SSNRRFF.... .. AHEEM HE EMM WHIMPER

[lolochaponnay]

[marzipanandminutiae]

some things the main characters of Crimson Peak like, according to their official character bios

Lucille

Dark chocolate

The smell of pipe tobacco

Fine leather gloves

Sunlight on her skin in winter

Dinner parties (that one surprised me)

Jean-Henri Fabre's entomology texts

Thomas

Roses

Religious effigies

The smell of shoe polish

Rodin's sculptures

Chestnuts

Travelling the world

Edith

French fries

The smell of tar

Combing her hair

Staying up late

Feather pillows

Byron's poetry

[psalm22-6]

Comoedia, 5 February 1934 (note the picture of Harry Baur by the masthead!) So I learned that the 1934 Les Mis film premiered two nights before a far-right anti-government riot! And you can feel that there was a crisis about to happen in this account of the movie's premiere:

A rough start to the night: there’s the taxi driver’s strike and there’s the parliamentary crisis. The latest information passed from mouth to mouth and most journalists arrived late, bearing the most recent news. “So Emile Fabre is jumping ship?” [Fabre was the director of the Comédie-Française and was apparently being pressured to leave.] “It’s a scandal!” “It’s disgraceful!” “What folly!” “And who is replacing him?” “George Thomé.” [Thomé was a musician as well as the former director the Sûreté.] “Seriously?! They’re going to be cuffing the Comedie-Francaise.” Emile Fabre makes his entrance, followed by his charming daughter. He is just as soon surrounded and interrogated. “I don’t understand! I don’t understand!” “No one understands.” “There is too much to understand.” Our editor-in-chief, who has not always been fond of Emile Fabre, is spotted by his side; he shakes his hand cordially and I note that Pierre Lazareff [editor-in-chief of Paris-Soir] notes this effusive sympathy. A political star enters!...M. [François] Piétri [briefly the Minister of Finance]…thoughtfully and hurriedly, he passes by on swift feet which recently exercised a wise retreat that was, if I dare say, a step ahead of wisdom. He joins Mme. Piétri….It’s impossible to get him to open up!... Caught up in the commotion of the crowd, I hear this brief dialog between a political columnist and a deputy: “And how are your ‘misérables’ doing?” “They are waiting for their Monseigneur Myriel!” The huge Marignan theater is too cramped for this crowd of guests. Luckily Jean-José Frappa and his second in command, Mme. Audibert, thought of everything, took care of everything… And everyone is able to get to the coat check and find his place easily. Because the taxi strike and political events delayed hundreds of people, who then arrived all at once and with haste, this was not an easy task. Who was there? Tout-Paris...I randomly noted with my pencil: Messueirs Paul Abram, Achard, De Adler, Berneuil, Archimbaud, André Aron, Arnaud, Louis Aubert, Aubin, Kujay, Kertée, Azaïs, Bacré, Barthe, Baschet, Baudelocque, Harry-Baur, Bavelier, Robert de Beauplan, Antonin Bédier, Pierre Benoit, Mme Spinelly, Charles Delac and Marcel Vandal, Léon Benoit-Deutsch, André Lang, René Lehmann, Bellanger, Mag Bernard, Tristan Bernard, Jean-Jacques Bernard, Louis Bernard, Dr. Etiënne Bernard (all the Bernards!)...Bernheim, Bernier, Guilaume Besnard, Bétove, Bizet, Blumsteien, Mme Rocher, Boesflug, Pierre de la Boissière, Bollaert, Bouan, Boucher, Robert Bos, Pierre Bost, Paul Brach, Henry Roussell, Charles Burguet, Pierre Brisson, Simone Cerdan, Henry Clerc, Albert Clemenceau, Pière Colombier, Germaine Dulac,Henri Diamant-Berger, Julien Duvivier,Jean Epstein, Fernand Gregh, Mary Glory, René Heribel, Tania Fédor, Alice Field, Jacqueline Francell, Mary Marquet, Florelle, Marguerite Moreno, Françoise Rosay, Becq de Fouquière, Jean Servais, Vidalin, Maria Vaisamaki, Orane Demazis, Rachel Deviry, Rosine Deréan, Jacques Deval, Christiane Delyne, Renée Devillers, Jean Chataigner, Germaine Dermoz, Léon Voltera, Robert Trébor, our director, Jean Laffray, Lucie Derain, Paul Gordeaux, Jean Narguet, Parlay, Suzet Maïs, Antoine Rasimi, Renée de Saint-Cyr, Jean Toulout, Mady Berry, Yolande Laffont, Jean Max, Parysis, Charles Gallo, Léo Poldès, Jean Fayard, Edmonde Guy, Mario Roustan, Paul Strauss, Cavillon, Emile Vuillermoz, Josselyne Gaël, Charles Vanel, S. E. Si Kaddour ben Gabhrit, the duke and duchess of Mortemart, Madame Henry Paté, Marcel Prévost, Louise Weiss, Alfred Savoir, Henri Duvernois, Paul Gémon, magistrate Maurice Garçon, magistrate Campinchi, Sylvette Fillâcier, Jean Heuzé, Pierre, Heuzé, Mona Goya, Simon-Cerf, W.E. Hœndeler, Georges Midlarsky, Michel, Nadine Picard….and others I must be forgetting…pardon me!....Silence!....

In the glow of the half-light from the screen….there are applause! Not since les Croix de bois has a movie been so highly anticipated and now it is time for the verdict….Raymond Bernard can be sure that the audience is rooting for him. Our eyes are full with light and pretty colors. This Paris night is practically magical…and departing from that magic, we are plunged into the great river of les Misérables, into the furious waters of this social storm. Luckily André Lang and Raymond Bernard have made the trip for us. What contrast!  From the spectacle of an elegant and distinguished gathering, we move to the misfortunes of Jean Valjean.

The audience picks up on everything that could be an allusion to the present times. But of all these allusions, one stands out. It’s the lament of two gossips, at the moment when the barricades are rising. “What sad times!” “We’ve barely made it through the cholera…and here is the Republic!” Thunderous applause and mad laughter. When, on the barricades, the Republic calls on us to act, the spectators think of other promised actions which haven’t happened and they forget to applaud. But the whole audience is prodigiously virtuous; whenever a good deed is shown on the screen, when some sentence about the heart graces the white canvas, it is punctuated by applause. After the first film, stop!... Time to eat! There’s a mad dash to the punchbowl. In the haste of this day of crisis and running late, many in the audience did not have time for dinner….the buffet, in the blink of an eye, is emptied and the dry drinks make vindictive and impassioned discussions flow. High and low, here and there, everyone was speaking of the Parliment's chances and the intermission bell sounds in an atmosphere charged with electricity. The two other parts of the film, cut by another intermission, each end with a double ovation for Harry Baur, both in the lobby and in the theater. The little Gaby Triquet is passed from person to person towards a chocolate eclair, which she leaves a trace of on the cheeks of Harry Baur. And then as usual everyone rushes to the coat check.  Then we go to the fifth floor of the Marignan building. There, in an unoccupied apartment, dinner waits for us. There are more than a thousand of us around little eight-person tables. Ten thousand meters of film, that will make you hungry! Three orchestras pour out waltzes, tangos, and other tunes, while the masters of the hotel fill up our cups. And that continued to six thirty in the morning, in an atmosphere of charming cordiality as each person attested to the pleasure of seeing French cinema accomplish such a feat. Bernard Natan and Raymond Bernard were too surrounded for me to speak to them. Besides, what could I say to them that they haven’t already heard ten times, a hundred times, a thousand times that evening, which was the apotheosis of cinema and of Les Misérables. -Jean-Pierre Liausu

[mauvais--sang]

«  Le réactif cause de cette liquéfaction échappe à mon examen. Les vers doivent le dégorger par doses infinitésimales, tandis que leurs bâtonnets gutturaux, en mouvement continuel, émergent un peu de la bouche, rentrent, reparaissent. Ces coups de piston, ces sortes de baisers s'accompagnent de l'émission du solvant ; du moins je me le figure ainsi. L'asticot crache sur sa nourriture, il y dépose de quoi la convertir en bouillon. Évaluer en quantité cette expectoration n'est pas dans mes moyens ; je constate le résultat, je n'aperçois pas l'agent provocateur. »

—Jean-Henri Fabre, Souvenirs entomologiques, 1879

[byneddiedingo]

Line Noro and Jean Gabin in Pépé le Moko (Julien Duvivier, 1937)

Cast: Jean Gabin, Gabriel Gabrio, Mireille Balin, Saturnin Fabre, Fernand Charpin, Lucas Gridoux, Gilbert Gil, Marcel Dalio, Gaston Modot, LIne Noro. Screenplay: Henri La Barthe, Julien Duvivier, Jacques Constant, Henri Jeanson. Cinematography: Marc Fossard, Jules Kruger. Production design: Jacques Krauss. Film editing: Marguerite Beaugé. Music: Vincent Scotto, Mohamed Ygerbuchen. 

When Walter Wanger decided to remake Pépé le Moko in 1938 as Algiers (John Cromwell), he tried to buy up all the existing copies of the French film and destroy them. Fortunately, he didn't succeed, but it's easy to see why he made the effort: As fine an actor as Charles Boyer was, he could never capture the combination of thuggishness and charm that Jean Gabin displays in the role of Pépé, a thief living in the labyrinth of the Casbah in Algiers. It's one of the definitive film performances, an inspiration for, among many others, Humphrey Bogart's Rick in Casablanca (Michael Curtiz, 1943). The story, based on a novel by Henri La Barthe, who collaborated with Duvivier on the screenplay, is pure romantic hokum, but done with the kind of commitment on the part of everyone involved that raises hokum to the level of art. Gabin makes us believe that Pépé would give up the security of a life where the flics can't touch him, all out of love for the chic Gaby (Mireille Balin), the mistress of a wealthy man vacationing in Algiers. He is also drawn out of his hiding place in the Casbah by a nostalgia for Paris, which Gaby elicits from him in a memorable scene in which they recall the places they once knew. Gabin and Balin are surrounded by a marvelous supporting cast of thieves and spies and informers, including Line Noro as Pépé's Algerian mistress, Inès, and the invaluable Marcel Dalio as L'Arbi.

[oneanimalpictureaday]

(A friendly baby) Stag Beetle, in the Parisian suburbs.

Fact from wild life in France: Most people I speak to seem to be at least a little bit fascinated by these spectacular creatures, particularly the males which have the large antler like mandibles and although these look rather threatening it is the female which is about half the size of the male and lacks the antlers who is more likely to give you a bit of a pinch if you pick her up; she is equipped with very powerful and sharp mandibles like clippers. Should you need to move one out of harms way, from a road, a path or even from your house, it is best to nudge them from behind into a tin, plastic container or simply on to your hand and tip them out under a bush or by a tree, making sure that they don’t end up on their back. In most of the regions of France the Stag Beetle and the Lesser Stag beetle  are doing reasonably well  compared to many other insects,  although overall in Europe they have declined and are now scarce in many parts of their previous range.   Jean Henri Fabre, 1823–1915, French entomologist and author, reported that he easily filled a top hat with Stag beetles in one evening, which is unimaginable now even if you took a month where they are plentiful. 

[brookstonalmanac]

Birthdays 1.19

Beer Birthdays

James Watt (1736)

George Bechtel (1841)

Frank Reisch (1842)

Frank H. Bechaud (1848)

Henry “Zadie” Benesch (1920)

Five Favorite Birthdays

Lester Flatt; bluegrass musician (1914)

Janis Joplin; rock singer (1943)

Richard Lester; film director (1932)

Robert MacNeil; journalist (1931)

Tom Yeates; cartoonist (1955)

Famous Birthdays

Ursula Andress; actor (1936)

Julian Barnes; writer (1946)

Henry Bessemer; engineer, inventor (1813)

Paul Cezanne; French painter (1839)

Auguste Comte; French philosopher (1798)

Michael Crawford; actor (1942)

Phil Everly; pop singer (1939)

Shelley Fabres; singer, actor (1944)

Terry Hanratty; Pittsburgh Steelers QB (1948)

Tippi Hedren; actor (1935)

Patricia Highsmith; writer (1921)

Alfrederick Joyner; olympic triple jumper (1960)

Ken Keyes; writer (1921)

Dogen Kigen; Japanese spiritual leader (1200)

Robert E. Lee; Confederate general (1807)

Paul McCrane; actor (1961)

Mohammed; spiritual leader (570)

Robert Palmer; rock musician (1949)

Dolly Parton; country singer (1946)

Edgar Allan Poe; poet, writer (1809)

Simon Rattle; conductor (1955)

Paul Rodriquez; comedian (1955)

Katey Sagal; actor (1954)

Junior Seau; San Diego Chargers LB (1969)

Lysander Spooner; philosopher (1808)

Jean Stapleton; actor (1923)

Isaiah Thomas; printer, patriot (1749)

James Watt; scientist, inventor (1736)

Shawn Wayans; actor (1971)

Fritz Weaver; actor (1926)

Alexander Woollcott; writer (1887)

[russellian-j]

　バートランド・ラッセルの言葉366_画像版 n.2846j (Aug. 16, 2024)

　ファーブル（Jean Henri Fabre, 1823-1915.フランスの昆虫学者）は,リーダーの後を追う習性を持つ昆虫の集団について描写している。彼は,それが円形であることを知らないリーダーの昆虫とともに,一群の昆虫を円盤の上に置いた。彼らは円盤の上をぐるぐる回り,ついには疲労で死んでしまった。現代の政治家とその信奉者たちは,これらの昆虫と同等かつ非常に似た愚行を犯している。

Fabre describes a collection of insects which had the habit of following their leader. He placed them on a circular disc which their leader did not know to be circular. They marched round and round until they dropped dead of fatigue. Modern statesmen and their admirers are guilty of equal and very similar folly. 　出典： Bertrand Russell: Fact and Fiction, 1961, part VI, chap.1 　詳細情報.: https://russell-j.com/cool/57T_PT2-0101.HTM

＜寸言＞ 　これは政治の世界に限った話ではありません。宗教やスポーツの世界でも同様の現象が時々起こります。ファーブルは昆虫を観察しましたが、 ラッセルは人間を幅広く観察しました。もちろん、ラッセルは自分も観察される対象だということはよく自覚しており、しばしば自分を戯画化し、自分の文章にユーモアを添えました。

[entomoblog]

Harmas Jean-Henri Fabre : Le jardin

See on Scoop.it - Les Colocs du jardin

Le domaine a retrouvé son plan architectural d’antan, renouant avec l’esprit et l’atmosphère laissés par J.-H. Fabre dans son « laboratoire entomologique » : un jardin d’agrément, une garrigue arbustive et un harmas arboré – dont certains grands arbres ont été plantés par J.-H. Fabre –, un potager, un bassin, une fontaine, un puit et un lavoir.

  ------

via Muséum national d'Histoire naturelle sur X, 27.07.2024

  "Besoin de nature ? Voilà plus d'un an que l'Harmas Jean-Henri Fabre a rouvert ses portes rénové ! 🪲🌷 Ces photos récentes susciteront peut-être l'envie de visiter ce domaine du Muséum dans le Vaucluse. Ici, on prend le temps d’observer la nature... 👉 https://t.co/wz0L6OZ0m7 https://t.co/Mj3brQzaS2"

https://x.com/Le_Museum/status/1817085008705912901

    Bernadette Cassel's insight:

  'Harmas de Jean-Henri Fabre' in Variétés entomologiques https://www.scoop.it/topic/le-monde-des-insectes?tag=Harmas%20de%20Jean-Henri%20Fabre

[yoyochey]

“History celebrates the battlefields whereon we meet our death, but scorns to speak of the plowed fields whereby we thrive. It knows the names of the king’s bastards but cannot tell us the origin of wheat. This is the way of human folly.”

Jean-Henri Fabre

via Graison Gill