#robert sabatier

[fidjiefidjie]

😅 “Le rire sucre les larmes.” 🤣

Robert Sabatier

[ma-pi-ma]

Cosa chiedere all’ape? Di essere ape,

all’albero di essere albero, all’iris di essere iris.

Cosa chiedere all’uomo in questo giardino??

Di essere l’ape, l’albero e l’iris.

E di nominarli, assaporare la parola

dal gusto di miele, dal profumo vegetale;

di unirsi a tutto per unirsi a sé

nella conoscenza della fragile unità.

Cosa chiedere all’ape? Un silenzio,

all’albero l'ombra, all'iris la luminosità

e cosa dare di sé? Il rispetto

per questa offerta cui ci offriamo.

Robert Sabatier, da Le maschere e lo specchio, 2014

[kino51]

Rue des cascades 1964

[amoureusedesmots98]

On trouve toujours quelque chose à aimer chez l'autre, ne serait-ce que son absence.

Robert Sabatier

[byneddiedingo]

Serge Reggiani and Simone Signoret in Casque d'Or (Jacques Becker, 1952)

Cast: Simone Signoret, Serge Reggiani, Claude Dauphin, Raymond Bussières. Odette Barency, Loleh Bellon, Solange Certain, Daniel Mendaille, Dominique Davray, William Sabatier. Screenplay: Jacques Becker, Jacques Companéez. Cinematography: Robert Lefebvre. Production design: Jean d’Aubonne. Film editing: Marguerite Renoir. Music: Georges Van Parys. 

A gangster movie/love story set in the underworld of Paris at the start of the 20th century, Casque d'Or feels slight, but its images have a way of tantalizing you. Perhaps that's because it evokes paintings like Pierre-Auguste Renoir's Dance at Bougival and Luncheon of the Boating Party. Jacques Becker began his career as an assistant to Pierre-Auguste's son, Jean Renoir, so it's easy to guess that there's an element of hommage in Becker's film. (Jean Renoir's wife, Marguerite, also worked as Becker's film editor.) The film's title, which translates as "golden helmet," is a reference to the blond hair of Marie (Simone Signoret), whom we first see as part of a boating party that lands at a riverside dance hall. Marie is the mistress of the gangster Roland (William Sabatier), but they're clearly not getting along. So when a stranger, Georges Manda (Serge Reggiani), joins the company at the dance hall, Marie begins to flirt with him. Meanwhile, the head of the criminal syndicate of which Roland is a part, Félix Leca (Claude Dauphin), is also making a play for Marie. Georges is an ex-con, trying to go straight as a carpenter, but he is drawn into a fatal involvement with Marie. The performances of Signoret, Reggiani, and Dauphin, as well as a colorful supporting cast, carry the rather thin story a long way, greatly helped by Becker's finesse as a director. There is a real chemistry between Signoret and Reggiani, which Becker had noticed in their previous teaming as the prostitute and the soldier who set the sexual carousel turning in La Ronde (Max Ophuls, 1950). In their first dance together, which is reprised in a haunting flashback at the film's end, Georges holds Marie with one hand on her waist and the other arm hanging free at his side -- a suggestion of their innate intimacy. Later, when Georges sees her again at a café, Marie is dancing with Roland, but she keeps her gaze focused on Georges: Becker and cinematographer Robert Lefebvre execute a dizzying tour de force in following the spinning couple around the dance floor, as Marie turns to look at Georges after every spin. The evocation of the seamy side of the Belle Époque is greatly aided by the production design by Jean d'Eaubonne and the costumes by Mayo (né Antoine Malliarakis).

Pierre-Auguste Renoir, Dance at Bougival

Pierre-Auguste Renoir, Luncheon of the Boating Party

[codexurbanus]

Adélaide Labille-Guiard (1749-1803) était peintre, célèbre, et membre de l’académie royale de peinture, et pourtant on a du mal à trouver ses œuvres dans les collections publiques… c’est pourquoi elle figure en bonne place au Musée Muses, le seul musée vandale dédié aux grandes dames de l’Histoire de la Peinture… Ce musée est visible 7j/7 24h/24 au coin des rue Marcadet et Ramey à Montmartre (Paris 18), et grâce à l’appli BavART vous pourrez découvrir les visages de ces dames en réalité augmentée sur votre smartphone (leur visage et quelques ajouts codexiens chelous…)

Et jusqu’au 25 juin, les portrait sont présentés à la Bibliothèque Robert Sabatier , qui se trouve juste à côté, rue Hermel (et d’ailleurs si vous voulez en garder un en souvenir, hop! Envoyez-moi un message…)

Bonne journée avec Adelaide et ses ami.e.s!!

[alonewolfr]

Chi non è padrone di sé trova ben presto un altro padrone.

|| Robert Sabatier

[elcinelateleymickyandonie]

Le Tombeur 1986 - Trailer

Trailer de la Pelicula Le tombeur. 

Una comedia francesa de 1987 dirigida por Robert Lamoureux. La película sigue las aventuras de un hombre encantador y seductor que se encuentra enredado en múltiples relaciones amorosas, causando situaciones hilarantes y complicadas. A través de su ingenio y carisma, intenta manejar sus líos amorosos mientras aprende lecciones sobre el amor y la vida. 

 Año: 1987 

Director: Robert Lamoureux 

Reparto Principal: 

Michel Leeb ----- Michel Vignon 

Georges Montillier ----- Sabatier 

Madeleine Barbulée ----- Madame Sivelle 

Stéphanie Fugain ----- Anne-Marie 

Benoît Allemane ----- Le mari 

Fuente: https://youtu.be/UkOLgIip-8M?si=EcS9Om_kOByxmhQ6 

Sinopsis: https://www.lavanguardia.com/peliculas-series/peliculas/le-tombeur-455165

[dixvinsblog]

Les blagues de Sale Gosse -

“Le fou rire est immortel.” Robert Sabatier Deux connaissances discutent lors de l’enterrement de leur ami commun :– Il a vraiment a eu de la chance jusqu’au bout. Tu t’imagines, il a été opéré pour l’extraction d’une perle qu’il avait avalée par m��garde en mangeant des huîtres. Lorsque la perle a été examinée, elle s’est révélée avoir assez de valeur pour payer à la fois l’opération et les…

[fidjiefidjie]

"Il faut s’efforcer d’être jeune comme un beaujolais et de vieillir comme un bourgogne." 🍷🍷

Robert Sabatier

Gif Gfycat

[ma-pi-ma]

Piccoli passi, avanzo a piccoli passi

verso la conoscenza che ha il garofano.

Per acquisirla devo allontanarmi

e mantener in allerta i miei sensi.

Senza il pensiero si può vivere se l’essere

lascia il corpo per raggiungere un petalo.

La mia sola indagine è contemplarti,

mia terra dai riflessi d’ambra chiara.

Robert Sabatier, da Le maschere e lo specchio, 2014

[po1ntculm1nant]

« Le paradoxe de certaines séductions est qu’elles vous rendent séduisant dans l’incapacité de séduire. » Robert Sabatier

[archaeologyprehistoricstones]

NEWS

03 May 2023

Prehistoric pendant’s DNA reveals the person who held it

An innovative method reveals that an ancient trinket was handled by a woman some 20,000 years ago.

Elissa Welle

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Top view of the pierced elk tooth discovered at Denisova Cave in southern Siberia.

DNA analysis shows that this pendant, which might have hung from a necklace, was made of the tooth of a wapiti (Cervus canadensis).Credit: Max Planck Institute for Evolutionary Anthropology

Even Stone Age humans enjoyed the finer things in life, such as animal-tooth jewellery. Capitalizing on ancient fashions, scientists have extracted DNA from a 20,000-year-old deer-tooth pendant to identify the person who presumably either made or wore the ornament — a woman of north Eurasian ancestry1.

To do so, the team developed an elaborate process to extract DNA from the tooth without damaging the priceless specimen. The pendant was unearthed in Denisova Cave in Siberia, Russia, which was occupied by various species of hominin over 300,000 years. The study was published in Nature today.

“It’s almost like you open a time travel machine,” says study co-author Elena Essel, a molecular biologist who works on ancient DNA at the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany. “With each sample we are able to learn a bit more and make more inferences about how these people lived.”

Unidentified objects

An animal’s genetic material is stored deep within the pores of its bones and teeth. Artefacts that were extensively touched, such as a necklace pendant, can also carry the DNA of the person who handled them in the deep past. Previously, it was impossible to associate tools and jewellery with those who handled them unless the artefact was found near a specific burial.

Essel and her colleagues coaxed DNA from inside the pores of the ancient pendant by soaking it in increasingly warm salt solution, which they found did not alter the pendant. Once released, the small amounts of genetic material were sequenced and compared with other sets of ancient DNA.

Mitochondrial DNA — which is handed down from mother to offspring — extracted from the pendant show that the object is roughly 19,000 to 25,000 years old and that the tooth belonged to a wapiti, also known as an elk (Cervus canadensis). Analysis of nuclear DNA from the ornament suggests that it had been made or worn by a female Homo sapiens whose genetic make-up resembles that of north Eurasian individuals who lived around the same time but were previously known only from remains found farther east in Siberia.

Study co-author Elena Zavala, a geneticist now at the University of California, Berkeley, says that the technique can connect ancient humans to “the tools that they created” — but, unlike other methods, does not destroy the artefact.

The entrance to Denisova Cave

The entrance to Denisova cave, where the pendant was discovered.Credit: Richard G. Roberts

However, there are a number of drawbacks to the method. Modern DNA can easily contaminate an artefact, making analysis difficult. And even for the cleanest specimens, the DNA-extraction method is time-consuming, requires sophisticated technology and must be performed in a specialized laboratory. Essel and her colleagues are working to streamline their process. In the meantime, archaeologists can minimize contamination by wearing gloves and a face mask, and by immediately popping specimens into a refrigerator.

Still, Ludovic Orlando, a molecular archaeologist at the University Paul Sabatier in Toulouse, France, who was not involved in the study, was impressed by the thoughtfulness and efficiency of the team’s procedure. The technique is not “a magic bullet”, says Orlando. But it still provides “a signature from nothing, from a piece of bone or tooth”, he adds. “You see the population signature of the people who interacted with the animal.”

Essel finds it comforting that humans living so long ago took the time and effort to make jewellery to adorn themselves. “It’s so special for humankind that despite all odds, you have the hardest life on Earth, but you still try to seek the beauty in life.”

doi: https://doi.org/10.1038/d41586-023-01482-3

References

Essel, E. et al. Nature https://doi.org/10.1038/s41586-023-06035-2 (2023).

Article

[patriciacointelaurent]

On est écrivain quand on a quelque chose à dire et qu'on est le seul à pouvoir dire.Citation de Pierre Baillargeon

Ecrire est toujours un art plein de rencontres. 

La lettre la plus simple suppose un choix entre des milliers de mots, dont la plupart sont étrangers à ce que vous voulez dire. Alain   

Ecrire serait si triste si l'on ne déviait jamais de son plan.Citation de Giorgio Agambe

L'art de l'écrivain consiste surtout à nous faire oublier qu'il emploie des mots.Citation d'Henri Bergson

La littérature n'a rien à voir avec la richesse du vocabulaire, sinon le plus grand des chefs-d’œuvre serait le dictionnaire.

Citation de Paul Léautaud

Le métier d'écrivain fait apparaître celui de jockey comme une situation stable.

Citation de John Steinbeck 

Ecrire, c'est lire en soi pour écrire en l'autre.

Citation de Robert Sabatier

Produire beaucoup, ne publier que le meilleur.

Citation de Jules Renard

On doit publier ses œuvres posthumes de son vivant. Ne serait-ce que pour voir l'effet que ça fait.

Citation de Guy Bedos 

ll n'est pas nécessaire qu'un auteur comprenne ce qu'il écrit. 

Les critiques se chargeront de le lui expliquer.

Citation de l'Abbé Antoine Prévost

[villings]

(...) Yo soy amor y hago surgir su odio, y si yo fuera odio él también lo sería.

Robert Sabatier