#maría magdalena

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Lorenzo Pasinelli: Magdalena penitente, 1680-1685

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El soneto anónimo «¡Oh, paciencia infinita en esperarme!…»

El soneto «¡Oh, paciencia infinita en esperarme!…» http://wp.me/p2FM39-1kt

Seguimos con La conversión de la Madalena del cascantino fray Pedro Malón de Echaide, del que copio de nuevo —sin comentarios— una reflexión suya (en esta ocasión sobre los que denomina «pecadores de balde») y el bello soneto anónimo sobre el mismo asunto que incluye al final del § 11 de la «Parte segunda y estado primero de pecadora» de su tratado:   Tenía la estatua de Nabuco los pies de…

[gemmaamor]

El trauma de la bruja. Pamela Kribbe

El trauma de la bruja. Pamela Kribbe María Magdalena, canalizada por Pamela Kribbe  Querida gente, Soy María Magdalena, vuestra hermana e igual a vosotros. Quiero hablarles hoy sobre un trauma que se ha alojado en la energía femenina. Me gustaría hablaros de la bruja, de la caza de brujas y de las huellas energéticas que ha dejado esta persecución. Huellas que aún son perceptibles y palpables…

[maribelad]

¿A quién buscas?

Mujer, ¿a quién buscas? ¡Ay, Señor!, eres un poco travieso… Preguntar a María Magdalena, ¿A quién buscas? …Señor… si tú lo sabes, y le haces decir lo que siente por dentro. ¿A quién va a buscar? Al amor de su vida, al dueño de su corazón y su persona Al Señor que le cambió la vida de repente. ¿A quién va a buscar? Al que da sentido a sus noches oscuras, e ilumina el día con el regalo del…

[kafkasdiariies]

Santuario de Santa María Magdalena, Novelda, Alicante, Spain

[faustyeahrandombeats]

Mejores Canciones del 2024/Best Songs 2024

John Squire and Liam Gallagher El año 2024 terminó y nos dejó una suerte de sabor de slow news day (día lento). El mundo estuvo más pendiente de muchas otras cosas que de la música. Lamentablemente artistas como Taylor Swift y las playlist de reggaetón genérico de Spotify abarcan toda la atención y la gente simplemente ha dejado de explorar música nueva. Quizá sea una tendencia irreversible pero…

[shinandlux]

Reff sheets for art figjtyhygtt

[abwwia]

María Magdalena Campos-Pons

María Magdalena Campos-Pons (born July 22, 1959) is a Cuban-born artist based in Nashville, Tennessee. via W #PalianSHOW

Campos-Pons works primarily in photography, performance, audiovisual media, and sculpture. She is considered a “key figure” among Cuban artists who found their voice in a post-revolutionary Cuba. Her art deals with themes of Cuban culture, gender and sexuality, multicultural identity (Cuban, Chinese, and Nigerian) as well as interracial family (Cuban-American), and religion/spirituality (in…

[mainfaggot]

I've been low-key chipper for the last 45 mins thanks to my wonderful friend iced americano kicking in without giving me anxiety i love when I get all hyper on caffeinated beverages without my preexisting anxiety disorder interfering hahahahahahhaha

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[la-galeona]

Santa Maria Maddalena 

Archimede Bresciani

[nightmare-knight]

¿Cuál es la opinión de María de que su hijo de 30 años aún viva en casa? Siento que una parte actúa como la clásica madre latina sobreprotectora, pero la otra parte incrementa su preocupación cada año de que Fenton no haga camino propio, porque ella definitivamente espera nietos.

Voy a contestar desde mi experiencia personal con carreras relacionadas con las Ciencias, y la ventana de posibilidades que tienen algunas personas con respecto a otras. Considerando que Fenton está en lo que sería Estados Unidos en el mundo real, necesitas un patrocinador privado para hacer Ciencia, la NASA podría recibir dinero de los contribuyentes, pero es limitado su cupo, así que tienes que ingresar a compañías privadas para trabajar.

Sin experiencia laboral, es raro que te tomen como empleado, por eso las pasantías. Es bastante probable que Fenton haya hecho varias y nunca consiguió el puesto de trabajo, la de McDuck era su ultima chance, por eso estaba siendo más determinado, obviamente para cumplir su sueño.

María pierde a su marido, vaya a saber como (Yo tengo un headcanon en mi fanfic que fue asesinado) y Fenton es hijo unico, así que decide apoyar su sueño, a pesar de todos los fracasos. Tiene sentido que no le tenga estima a Gyro por su posición de poder, y creo que estaría bastante molesta si Fenton decide tras tan poco tiempo de relación, comenzar a vivir juntos.

Sería interesante escribir sobre eso en el futuro, pero si, ella quiere que Fenton siga su camino de adulto, pero a veces prefiere que se quede donde pueda vigilarlo para que no lo lastimen (como le paso a su marido, no lo olvidemos)

[cmatain]

Disponible en Acceso Abierto el libro «La presencia de María Magdalena en la poesía popular y culta de los siglos XVI y XVII», de Jordi Aladro (Colección «Batihoja», 96)

Se encuentra disponible en Acceso Abierto (Open Access) el número 96 de la Colección «Batihoja» del Instituto de Estudios Auriseculares (IDEA), el libro La presencia de María Magdalena en la poesía popular y culta de los siglos XVI y XVII, de Jordi Aladro. Jordi Aladro, La presencia de María Magdalena en la poesía popular y culta de los siglos XVI y XVII, New York, Instituto de Estudios…

[benmavininellitonu]

[TR] María Magdalena Campos-Pons, fotoğraflarla bir hikaye anlatıcısı. Çalışmamda otobiyografik unsurlar, narsist bir önerme olarak değil, örnek bir tekil deneyimin görünümü olarak önemlidir. Bu beden nasıl bu toplam deneyime aittir? Bu, bir anın daha büyük bir şeye dönüşmesine nasıl tanıklık edebilir? Nedensel soruları çalışmalarında araştırır. Yedi Polaroid'den oluşan post-modern bir mihrap olan Replenishing de, her rengi bir Yoruba tanrısına karşılık gelen çok renkli inci iplikleriyle annesini ilişkilendirir. 

[ENG] María Magdalena Campos-Pons is a storyteller with photographs. Autobiographical elements are essential in my work, not as a narcissistic proposition but as the appearance of an outstanding singular experience. How does this body belong to this total experience? How can this witness the transformation of a moment into something bigger? He explores causal questions in his work. Replenishing, a post-modern altarpiece composed of seven Polaroids, links the artist to his mother with multicoloured pearl threads, each colour corresponding to a Yoruba god.

[whileiamdying]

A Surprise Blockbuster in Brazil Stokes Oscar Hopes, and a Reckoning

Decades after her mother missed out on an Oscar, Brazil’s Fernanda Torres may have a chance to win a golden statuette with a role in a film that has set off deep soul-searching.

Fernanda Torres, 59, and her mother, Fernanda Montenegro, 95, at Ms. Torres’s home in Rio de Janeiro.

By Ana Ionova Photographs by María Magdalena Arréllaga Reporting from Rio de Janeiro

Fernanda Torres still remembers the day her mother, Brazil’s grande dame of film, came within reach of cinema’s most coveted prize: an Oscar.

“It had great symbolism for Brazil,” Ms. Torres, an acclaimed actress herself, said in an interview. “I mean, Brazil produced something like her, you know?” she added. “It was very beautiful.”

A quarter-century ago, Fernanda Montenegro, now 95, made history when she became the first Brazilian actress to be nominated for an Academy Award. She lost to Gwyneth Paltrow, and Brazil never got over what it considered a snub.

Now, Ms. Torres, 59, is attracting chatter in Hollywood that could put her in line to win the elusive golden statuette for a role that has ignited cinematic fever — and a national reckoning — in Latin America’s largest country.

Millions of viewers are packing theaters to watch “I’m Still Here,” a quiet drama starring Ms. Torres about a family torn apart by a military junta that ruled Brazil, by fear and force, for over two decades.

This past week, the movie was nominated for a Golden Globe for best foreign language film, and Ms. Torres was nominated in the lead actress category, bolstering Oscar hopes.

Though the Academy of Motion Picture Arts and Sciences, which oversees the Oscars, will not reveal its nominations until January, “I’m Still Here” is Brazil’s official entry in the international feature film category.

At home, the movie has struck a nerve in a nation that suffered through the brutal dictatorship from 1964 to 1985.

Ms. Torres in a scene from “I’m Still Here.” The movie depicts a family living under Brazil’s military dictatorship.

Set in Rio de Janeiro in the 1970s, “I’m Still Here” tells the story of Eunice Paiva and her five children, whose lives are upended when the family patriarch, Rubens Paiva, a former congressman played by Selton Mello, disappears at the hands of the military government.

By telling this family’s story, the film tackles a “piece of Brazilian history” that is being forgotten, said Walter Salles, the movie’s director and one of the nation’s most prolific filmmakers. “The personal story of the Paiva family is the collective story of a country.”

The film has quickly become a national treasure, breaking box office records and eclipsing usual crowd-pleasers like “Wicked” and “Gladiator 2.”

Since the release of “I’m Still Here” in early November, more than 2.5 million Brazilians have seen it in theaters, and it has grossed more than six times the amount made by last year’s most-watched Brazilian film.

In a troubling twist, the movie was being widely shown in Brazil just as the police revealed new details about a plot to stage a coup and keep the far-right president, Jair Bolsonaro, a defender of the military dictatorship, in power after he lost the 2022 election.

Against this backdrop, the film’s themes have gained an urgent new meaning, said Marcelo Rubens Paiva, whose book about his family inspired the movie.

“The timing was, unfortunately, perfect,” he said, “because it showed this story isn’t just in our past.”

The home in Rio de Janeiro where “I’m Still Here” was filmed. A military junta’s repressive rule lasted for more than two decades.

Human rights groups estimate that hundreds of people were disappeared and some 20,000 were tortured during the dictatorship. But, unlike Chile or Argentina, where many crimes committed there under military dictatorships have been tried and punished, Brazil has not pursued accountability for its military’s atrocities.

In recent years, what many had seen as the distant past began to creep into the present. Mr. Bolsonaro, a retired army captain, spoke frequently in nostalgic terms about the dictatorship, awarded thousands of government jobs to soldiers and dismantled a panel investigating crimes committed during the military’s rule.

Movies and other forms of cultural works were frequent targets of censorship during the dictatorship, which considered them political foes. Now, films like “I’m Still Here” can serve as “instruments against forgetting,” Mr. Salles said. “Cinema reconstructs memory.”

And the film has surely ignited Brazil’s collective memory. In classrooms and newspaper pages, heated debates are unfolding over the legacy of the dictatorship. On social media, stories of suffering at the hands of the military government have gone viral, drawing millions of views.

On a recent rainy weekday, as moviegoers packed a Rio de Janeiro theater, it was clear that “I’m Still Here” had cast a wide spell. Groups of teenagers, fathers and sons and older couples were all clutching tickets.

Some snapped selfies in front of the movie’s poster. Others took deep breaths before stepping into the theater’s darkness.

Inside, the crowd gasped at the sounds of the torture of political prisoners; teared up when Eunice, played by Ms. Torres, defiantly smiled for a newspaper photo, unwavering in the face of tragedy; and stifled sobs when Ms. Montenegro made a silent appearance in the closing scenes, as an older Eunice whose memories were fading.

The film echoed a familiar past for many. “It shows everything we lived through,” said Dr. Eneida Glória Mendes, 73, who grew up in a military family during the dictatorship.

Dr. Mendes, who has watched the film twice, remembers ripping up letters she received from friends who criticized the regime so that her father would not see them. Anyone sending or receiving such correspondence could have been detained.

“We were not free,” she said. “Even a silly criticism could lead to arrest.”

For younger Brazilians, the film offered a glimpse into a reality they had heard about only at school. “For my generation, there’s this thirst to know more,” said Sara Chaves, 25, an aspiring actress.

Sara Chaves outside a theater showing “I’m Still Here” in Rio de Janeiro. Referring to the military dictatorship, she said, “There’s this thirst to know more.”

“I’m Still Here” has also captivated audiences and critics abroad. When it premiered in Venice this year, it won an award for best screenplay and drew a thundering applause that lasted 10 minutes.

So when the academy shared an image on social media of Ms. Torres at a Hollywood industry gala last month, Brazilians went wild. “Give her the award already!” said one of the more than 820,000 comments on Instagram.

If she is nominated in the best actress category, Ms. Torres would be following a remarkably similar path to her mother, who was nominated in 1999 for her role as a letter writer for illiterate people in “Central Station,” a Brazilian classic also directed by Mr. Salles.

“There was this feeling in the country that she was deeply wronged,” said Isabela Boscov, a Brazilian cinema critic who has been reviewing films for three decades.

“I’m Still Here” is widely expected to receive a nomination in the international film category, according to Hollywood insiders, but Ms. Torres’s chances are more uncertain.

Sony Pictures Classics, the studio distributing “I’m Still Here” globally, which launched the successful best actress nomination bid for Ms. Montenegro, is making a concerted push for Ms. Torres. Yet she may face tough odds this year in a crowded field that includes names like Angelina Jolie and Nicole Kidman.

To Ms. Torres, an Oscar nomination “would be a big victory” in itself, but she is not getting her hopes up. “It would be an incredible story if I got there, following my mother,” she said. “Now, winning — I consider it impossible.”

Since the first Oscars ceremony in 1929, only two actresses have won awards for leading roles in foreign-language films.

On a recent Sunday afternoon at Ms. Torres’s home, she sat across from her mother, reminiscing about art and family and other films the two have made together.

“This is also a legacy of life, of a profession,” Ms. Montenegro said, gesturing toward her daughter, then herself.

In 1999, Ms. Montenegro became the first Brazilian actress to be nominated for an Oscar, for her role in “Central Station.”

After a career spanning more than seven decades, Ms. Montenegro is still acting in films and onstage. But her movements are slower, her eyesight is weakening and she rests more.

Sharing a character with her daughter, in a film that has inspired awe and soul-searching across Brazil, has carried personal symbolism, too. “It’s a really special moment,” Ms. Montenegro said.

After a final lipstick check in the mirror, the two actresses faced a camera for a photograph for this article. They moved their faces close together, their cheeks nearly touching. Like Eunice Paiva, in the movie both are in, they prefer to smile.

“My mother is still alive; all is well with her,” Ms. Torres explained. “I’m happy.”

“By chance, I’m still here,” Ms. Montenegro replied. Ms. Torres chimed in: “We’re still here.”

After a career spanning more than seven decades, Ms. Montenegro is still acting in films and onstage. But her movements are slower, her eyesight is weakening and she rests more.

Sharing a character with her daughter, in a film that has inspired awe and soul-searching across Brazil, has carried personal symbolism, too. “It’s a really special moment,” Ms. Montenegro said.

After a final lipstick check in the mirror, the two actresses faced a camera for a photograph for this article. They moved their faces close together, their cheeks nearly touching. Like Eunice Paiva, in the movie both are in, they prefer to smile.

“My mother is still alive; all is well with her,” Ms. Torres explained. “I’m happy.”

“By chance, I’m still here,” Ms. Montenegro replied. Ms. Torres chimed in: “We’re still here.”

Kyle Buchanan contributed reporting from Los Angeles. Lis Moriconi contributed research. A version of this article appears in print on Dec. 15, 2024, Section A, Page 4 of the New York edition with the headline: Brazil’s Oscar Contender Strikes a Nerve.