#suzanne augustine

[chicinsilk]

US Vogue May 1, 1957

Joanna McCormick wears a Suzanne Augustine suit: gray cotton checks: Bianchini black chiffon bodice. Canvas bag: Bergdorf Goodman. Mr. John's hat.

Joanna McCormick porte un tailleur de Suzanne Augustine : carreaux de coton gris : corsage en mousseline de soie noire Bianchini. Sac en toile : Bergdorf Goodman. Chapeau de Mr. John.

Photo John Rawlings vogue archive

[history-of-fashion]

1816 Jean-Baptiste Jacques Augustin - Suzanne Fleuriot née du Garzpern, Comtesse de Langle, in white dress, holding a bouquet of roses

(Private collection)

[sisterdivinium]

Finding "the meaning" to a show that could have had up to five or seven seasons but was cancelled after the second is somewhat like trying to understand a novel composed of seventy chapters by having read only twenty — there is a whole wealth of information which we do not possess that could alter our reading of any given element or of the entire thing in itself.

Still, there are always patterns that weave a story into a cohesive unit and they can help us to better grope in darkness towards comprehension. One such pattern in Warrior Nun appears to be how the consequences to mistakes, "sins" or evil deeds committed by characters manifest.

Basic storytelling usually requires characters to act on something so that complications or resolutions may arise from their choices and move the plot forwards. In Warrior Nun, many of these actions are quite tragic in nature: Suzanne's arrogance and pride lead to the death of her Mother Superion; Vincent's allegiance to the higher power he believed Adriel to be inspired him to kill Shannon; Ava's flight from the Cat's Cradle ends up damning Lilith as she is mortally wounded and taken away by a tarask... All of these events have negative outcomes and heavy repercussions on all characters directly or indirectly involved. Something changes permanently because of them, be it in the world around them or within the characters themselves.

And yet, it would seem that all of these dark deeds not only move the story forwards but might also have overall positive results. We would have had no protagonist without Ava — and she would arguably never have received the halo to begin with had she not been murdered. What's more, on a personal scale, the horrifying crime she suffers is, in the end, the very thing that allows her a second chance in life, a new life.

An act of outside evil permits Ava to grow and develop, shows her a path she would not otherwise have found. Without her own season in some sort of hell, Lilith would not have been able to advance towards other ways of being and understanding beyond her very strict limitations. Vincent and Suzanne would not have embarked on their own journeys of enlightenment without having caused the pain they are responsible for.

Beatrice might have been paying for someone else's mistakes, but she, too, is given the chance to grow into herself through it. The afflictions that torment these characters advance the overall plot, but they also advance them, as individuals, as long as they are willing to learn and keep going despite the calamities large and small that they are faced with. Beatrice keeps going after parental rejection, Mary keeps going after losing Shannon, Jillian keeps going after losing her son (in part through her own actions, adding insult to injury)... Trouble and the adaptation that follows it, if one is open enough to learn from the experience, motivates the characters, propels them forward, teaches them.

The problem of evil has occupied the minds of many a thinker throughout the ages, given how the very existence of it, evil, might call into question that of God (a good, omniscient, omnipotent one, anyway). A common way of justifying suffering (and also God), then, is by claiming, as Saint Augustine, that "God judged it better to bring good out of evil than not to permit any evil to exist".

Now, it would be rather ridiculous to say of Warrior Nun that it follows in Leibniz's footsteps, also because this philosopher, expanding on the augustinian concept, attempted to defend the goodness of a real God with his "best of all possible worlds" while all we have is... Well, whatever/whoever Reya is.

But there seems to be an inclination towards some sort of optimism as a worldview nonetheless.

Betrayals reveal truth and grant knowledge (Vincent's culminates with the coming of Adriel, which allows us to know of the threat of a "Holy War" and thus prepare for it; Kristian's gives Jillian much needed insight, William's lights up the fuse for the fight to be taken more seriously...), crimes committed willingly or not open the way for Ava (Suzanne's killing of her Mother Superion causes the loss of the halo, which is transferred to Shannon, whose death opens the gates for Ava to walk through after being herself murdered by sister Frances)... The magnitude of these positive outcomes is perhaps not "balanced" when compared to the evil that brings them about, but there is still something to take out of the catastrophe.

However tragic the tones of a given event, the show itself appears to shun the predetermination that makes tragedy as a genre; if everything is connected, here it at least appears to not necessarily drag everyone into their horrible dooms.

What's more is that this lurking "optimism" matches really well with our own protagonist's personality.

And it makes perfect sense that Ava would do the best she could with whatever she is given.

Life for her, in the conditions she experienced after the accident, would have been unbearable without some sort of positive outlook on life. However deadpan, the joking and the "obscene gestures" and whatever other forms of goofing around beside Diego are a way of turning a portion of the situation in her own favour. Proverbial eggs have, after all, already been broken right and left — might as well make an omelette of whatever remains.

Humour is just another way of looking at the bright side of something, or, at the every least, of mitigating the utter horror it might bring. If the show allows for moments of lightness, if it lets us laugh, if it takes us through a perilous voyage which still bears ripe, succulent fruit instead of the rot of pessimism and its necessary contempt for humanity, it is because Ava herself sees things in this way. It isn't gratuitous or naïve in this case, but a true survival strategy, especially as it is confronted with the morbidity of Catholicism.

Here is a religion that soothes its faithful with the promise of reward in the afterlife — how else does one charge into battle against the unknown, risking one's own death along with that of one's sisters, without the balm of believing that we shall all meet again eventually, "in this life or the next"? How else does one come to terms with the ugliness and the pain of this existence if not by looking forward to a paradise perfect enough to make all trials and tribulations here worth it?

True nihilism would have annihilated Ava. Her present perspective is what avoided the abyss.

And there is nothing Panglossian to her attitude or what the show might imply by giving us her view on things. This isn't about "the best of all possible worlds", but of making the best of whatever situation we're in, of taking what we have and doing something with it, something good, something of ourselves. It isn't God making good out of evil, but our choices.

Killing innocent people and feeling no remorse will never be the best someone can aspire to do. Sister Frances, cardinal William, Adriel all learn this the hard way.

Those who do their best find that, somehow, they can move on from whatever it was that paralysed them. Ava, most of all, knows what it is to be stuck, frozen in place; she can never be the character who refuses to grow, even through pain, lest she condemns her spirit to the same fate her body is all too familiarised with. Those around her wise enough to let themselves be touched by her, by the dynamic power she carries, walk forth with her and live.

It says very little about "God" that Warrior Nun should adopt its heroine's views and seem "optimistic" as it progresses — but it speaks volumes about the values it presents for pondering, of the inspiration its protagonists provide, and of the multiple reasons why this is a story unlike most others.

[harrowscore]

tag 9 people you want to get to know better

i was tagged by my darling @binatalia - thanks, love!

3 ships you like: mercy/augustine from the locked tomb, syd/richie from the bear, and the Ship That Must Not Be Named from the hunger games 🤐🤐

first ship ever: luffy/nami from one piece and vegebul from dragon ball (my first villain/heroine pairing, it sets a high standard for all the others).

last song you heard: shadow preachers by zella day.

favorite childhood book: i had so many but hp used to be very important to me as a little kid. then i grew up and jkr became... jkr, but while this kinda soured the whole franchise for me i'm still fond of it and the characters (and sometimes i unapologetically read - fucked up, of course! - fanfics about it, if the premise is really that good).

currently reading: a reread of the ballad of songbirds and snakes (🤡🤡🤡) by suzanne collins, this time in the original english, and the bloody chamber by angela carter. my next read will be my name is red by omar pamuk.

currently watching: the glory, so far a very promising korean drama with two great female protagonist and villain who share an (albeit extremely fucked up) interesting dynamic that i haven't seen often in mainstream media - between two women, i mean. it's mean girls but what if the alpha bitch was really evil, physically and mentally abusive, and borderline psychopathic? and the victim grows up to be a stone-cold bitch obsessed with vengeance? as you can see, really juicy stuff.

currently consuming: as in food? last thing i ate a nutella crêpe my brother made, it was delicious!

currently craving: a new healthy brain some junk food tbh. but i must resist the temptation :||

tagging @pontipines, @mircallaruthven, @littlelattewanders, @moi-ennepe, @feydrautha, @pristina-nomine, @pasdetrois, @dying-suffering-french-stalkers and @liesmyth (no pressure!)

[rjjameshiii]

RJ's Platinum Collection #13: Sly Cooper & The Thievius Raccoonus

Achieved on 10/8/2022 at 12:55 PM

Sly Cooper was one of my favorite games as a kid. I just thought Sly was so damn cool. So when I noticed that the Sly Collection, the PS3 edition of the first three Sly Cooper games all bundled into one, was available for free on PS Plus, I decided to replay this childhood classic.

Unfortunately, Sly Cooper's first game does not have the most interesting trophy list. Almost all of the trophies are earned by collecting all the clue bottles in the levels and then unlocking all of the vaults. Vaults either contain blueprints that will help you find clue bottles in other levels, or new moves learned from pages of the Thievius Raccoonus. As long as you get all the vaults opened, you'll get the Platinum.

Weirdly enough, you literally get your first trophy the MOMENT that you press Start on the game for the first time.

1/36: Sucker Punched! - Enter the world of Sly Cooper!

Then you have the Tutorial level in Paris, breaking into Carmelita Fox's office to steal files on the Fiendish Five, where I got two more trophies.

2/36: Coin Collector - Collect a single coin.

3/36: Foxy Lady - Collect a police file from Carmelita.

Next up is the real first level, a stormy water and boat-themed area run by Sir Raleigh the Frog. Each level has a hub world where you can complete seven other levels to earn treasure keys to make your way to the boss. Playing through the first world, I got 10 more trophies.

4/36: Learn The Ropes - Start out on your Cooper adventure.

5/36: Coin Recycler - Collect 60 coins.

6/36: Bottle Hoarder - Collect all clue bottles in any level.

7/36: Dive Bomb - Learn Drake Cooper's Fast Attack Dive.

8/36: Coins, Coins Everywhere! - Collect 99 coins.

9/36: Programmers Could Do Anything - Collect some watery blueprints.

10/36: Take It Slow - Learn Dev Cooperinda's Slow Motion Jump.

11/36: Nimble Like A Thief - Find all of the dive moves.

12/36: Coin Sucker - Learn Karen Cooper's Coin Magnet Technique.

13/36: Frog Legs - Defeat Sir Raleigh the Frog.

Next up was Mesa City, a Las Vegas ripoff in the middle of the desert run by gangster dog Muggshot. Completing this world earned me seven more trophies.

14/36: Pug Gambling - Enter Muggshot's territory.

15/36: Top Of The Morning - Learn Rob McCooper's Explosive Hat Technique.

16/36: Freeze, You're It - Learn B.F. Cooper's Speed Up The Clock Technique.

17/36: French Bulldog Style - Collect a blueprint from Muggshot.

18/36: Waterlogged - Learn Suzanne Cooper's Water Safety Technique.

19/36: Now Ya See Me - Learn Sir Andrew Cooper's Thief Replica Technique.

20/36: Giving The Dog A Bone - Defeat Muggshot.

World #3 is a haunted swamp where voodoo priestess crocodile Mz. Ruby is lurking around. This world had a lot less trophies than the first two worlds, offering only five more trophies from the list.

21/36: Bayou Lily - Enter the Voodoo Swamp.

22/36: Singing Gator - Collect a voodoo blueprint.

23/36: Slow Stacker - Upgrade your Slow Motion Technique.

24/36: Time Stopper - Max out all Slow Motion Techniques.

25/36: Dance, Dance, Ruby - Defeat Mz. Ruby.

World 4 is a snowy temple in China run by the Panda King. This is where you discover that you won't get the final vault, no matter what level it is in, until you beat the final boss. But completing as much of this world as I could earned me 7 more trophies.

26/36: Run Like An Egyptian - Learn Slytunkhamen's secret move.

27/36: Slytunkhamen Approves - Upgrade your Shadow.

28/36: Complete Darkness - Max out all Shadow Techniques.

29/36: Spikes Suck - Learn Sir Augustine of Cooper's Briefly Defy Gravity Technique.

30/36: Snowy Blueprints - Collect some snowy blueprints.

31/36: Meeting The Ancestors - Find all of the blueprints.

32/36: Pandas Aren't Always Cute - Defeat Panda King.

And then the final level was a volcanic lair for the leader of the Fiendish Five, the giant robotic owl Clockwerk. Unlike the other levels, this level is completely linear, and has only two trophies that you get simultaneously for defeating the final boss.

33/36: Clash Of The Clockwerk - Track down Clockwerk.

34/36: Oh No He Didn't! - Defeat Clockwerk.

With Clockwerk beaten, I could return to the Panda King's level and grab the final vault.

35/36: Greedy Raccoon - Open all the vaults.

Which got me the Platinum!

36/36: True Thievius Raccoonus - Unlock all the trophies in Sly Cooper's first outing.

I think Sly Cooper 1 is a very fun game and a classic platformer. I could see myself replaying it again in the future.

However, this is a very uninspired and boring trophy list, which does take some of the fun of getting the Platinum out.

Rating: 8/10

[orpheusz]

Gérard Grisey - Les Chants de l’amour (1984), pour douze voix mixtes et bande.

Un film de David Daurier Filmé à l’Opéra de Lille le 22 avril 2021.

Le Balcon Direction musicale Maxime Pascal

Direction artistique Florent Derex.

Réalisation en informatique musicale Augustin Muller

Scénographie David Daurier

Conception st��le Romain Ronflette

Direction de la photographie Arthur Cemin

Prise de son et mixage Michel Pierre

Régie son Grégoire Lavaud

Conseil costumes Pascale Lavandier

Habillage Sylvie Dermigny

Opéra de Lille – Avec Sopranos : Marie Picaut, Myrianne-Fleur Le Ralle, Elise Chauvin Contraltos : Pauline Sikirdji, Elise Dabrowski, Camille Merckx Ténors : Safir Behloul, Manuel Nuñez Camelino, Xavier de Lignerolles Basses : Mathieu Dubroca, Thill Mantero, Florent Baffi

Production exécutive de la captation Gingerlemon | Laetitia Bartoli

Avec le soutien de l’Opéra de Lille et de ses équipes

Remerciements à Caroline Sonrier, l’IRCAM – Centre Pompidou, Michalis Boliakis, Ágnes Czingulszki, Sivan Eldar, François-Xavier Féron, Michaël Levinas, Jasmine Libiszewski, Suzanne Saint-Cast, Xin-Yun Wu

[brookstonalmanac]

Birthdays 5.10

Beer Birthdays

Edward F. Sweeney (1860)

George F. Wiessner (1860)

Fred Eckhardt (1926)

George Fix (1939)

Marty Nachel (1958)

Five Favorite Birthdays

Fred Astaire; dancer, actor (1899)

Chris Berman; television sportscaster (1955)

Thomas Johnstone Lipton; tea merchant (1850)

Gary Owens; announcer, actor (1936)

Homer Simpson; cartoon character (1955)

Famous Birthdays

Jim Abrahams; film director (1944)

Milton Babbit; composer (1916)

Jean Becker; French actor and director (1933)

Bono; rock singer (1960)

John Wilkes Booth, American actor, assassin of Abraham Lincoln (1838)

Barbara Taylor Bradford; English-American author (1933)

T. Berry Brazelton; pediatrician, television host (1918)

E. Cobham Brewer; English lexicographer (1810)

Maybelle Carter; country singer (1909)

Caroline B. Cooney; author (1947)

Teri Copley; actor (1961)

Fats Domino; rock singer, pianist (1929)

Donovan; Scottish singer-songwriter (1946)

Carl Douglas; Jamaican singer-songwriter (1942)

Sly Dunbar; Jamaican drummer (1952)

Ariel Durant; historian (1898)

Wayne Dyer; author (1940)

Linda Evangelista; Canadian model (1965)

Missy Franklin; swimmer (1995)

Augustin-Jean Fresnel; French physicist (1788)

Johann Peter Hebel; German writer (1760)

Donovan Leitch; pop singer (1946)

Dave Mason; rock musician (1946)

Desmond MacNamara; Irish artist (1918)

Mae Murray; actor (1889)

Lisa Nowak; astronaut (1963)

Konstantinos Parthenis; Greek painter (1878)

Marie-France Pisier; French actress, director (1944)

Hildrus Poindexter; bacteriologist (1901)

George Ross; signer of the Declaration of Independence (1730)

Rick Santorum; political nutjob (1958)

John Scalzi; writer (1969)

David O. Selznick; film producer (1902)

George E. Smith; physicist and engineer (1930)

Max Steiner; Austrian-American composer (1888)

Pat Summerall; television sportscaster (1930)

Suzanne, Duchess of Bourbon (1491)

Dimitri Tiomkin; Ukrainian-American composer (1894)

Sid Vicious; punk bassist (1957)

Nancy Walker; actor (1921)

[cr33pz-mck3nna]

Family tree

The AU of today is...

Glitchtale Prime/GPR

Elizabeth Beverley family tree

Disclaimer: Please be aware GPR is a WIP and so is the family tree, at any point between now and the end of Underverse Prime Act 1 finale part 2, or Act 2 if the storyline of Act 1 gets too compressed and needs to be finished in Act 2, GPR and it's details may change. This is my first time posting about something as big as my AUs so be easy on me. Hate comments will be deleted!

During the war

The parents:

Augustin Bell

Maria Shannen

The children:

Suzanne Bell(deceased)

REDACTED(deceased)

REDACTED

Ezekiel Bell

Cheyenne Bell

Lewis and REDACTED Bell(both deceased)

Miranda "Mimi" Bell

Modern day

Descended from Mimi Bell

Parents:

Franklin Beverley

Vanessa Bell-Cole(deceased)

Children:

Tessa Beverley(deceased)

Elizabeth "Liz" Beverley

Nicolai "Nico" Beverley

Shannon "Shay" Beverley

[naran-blr]

Yvonne Meley , Yvonne Valérie Henriette Meley (1888-1982) pintora francesa.

Nació en París. Su padre era profesor y su madre fue Victorine Laconte.

Nació y vivió en el número 2 de la rue Barye en el distrito 17 de París hasta la década de 1920.

Fue alumna de la miniaturista Marthe Bougleux, Louis-François Biloul, el paisajista Émile Cagniart, el anatomista Édouard Cuyer y la acuarelista Mathilde Delattre.

Expuso en los Salones a partir de 1907. En 1913 recibió una tercera medalla de plata de la Sociedad de Amigos de las Artes de Seine-et-Oise, segunda medalla de plata en 19194. En 1920 se convirtió en miembro del grupo de artistas franceses.

Creó principalmente retratos (incluido el de Suzanne Vauthier, esposa del escultor Jean Augustin Moreau).

Estudió, entre otros, con el impresionista francés Joseph Delattre. Meley expuso sus obras en el Salón de los Artistas desde 1914.

Expuso en 1907 y 1914 en el Salón de la Unión de Mujeres Pintoras y Escultoras. Su obra formó parte del concurso de pintura de los Juegos Olímpicos de Verano de 1924.

Murió en Gonesse.

[franckdalmeida-zolty]

Carlos d'Almeida e eletricidade.

Museu da Electricidade de Lisboa por Franck de Almeida.

https://lisbonne.net/maat-lisbonne

Saint-Quentin,

terça – feira, 23 de janeiro de 2023.

Senhor,

Em 2023, por ocasião do 150º aniversário da Sociedade Francesa de Física, foi publicada em 30 de junho de 2023 uma obra pelas Edições Edp Sciences "O 150º aniversário da Sociedade Francesa de Física", na página 10: Sr. Nicolas Nio dedica uma página ao Físico Joseph Charles d'Almeida (Paris 1822 - Paris 1880). Em Portugal, é José Carlos de Almeida, filho ilegítimo de um diplomata português instalado em Paris e filho abandonado de Manuel de Almeida nascido no Porto em 14 de março de 1780, feito prisioneiro a bordo do navio Suzanne e Marie sob O Imperio. Charles d'Almeida foi o fundador do Journal de Physique em 1872 e desempenhou um papel importante na criação da Société Française de Physique em 1873; conforme mencionado na página 10 desta obra: d'Almeida trabalhou em telegrafia elétrica e mais precisamente em telegrafia pelo Sena = telegrafia terrestre. Ao lado do engenheiro Gustave Bourbouze (Paris 1825 - Paris 1889) e do físico Quentin Paul Desains (Saint-Quentin 1817 - Paris 1885), membro do Comité Científico sob a égide do seu amigo Marcelin Berthelot, o Sr. Charles d'Almeida teve a missão a pedido do Governo de Defesa Nacional para estabelecer comunicação telegráfica entre a Província e Paris durante a Guerra de 1870-1871 utilizando a água do Sena como elemento condutor. O princípio desses experimentos é o mesmo das transmissões telegráficas ou telefônicas por Terra: A telegrafia por Terra será utilizada pelo segundo-tenente André Delavie (Vayres 1882 - Paris 1951) até 1918, sob a égide do futuro General Gustave Ferrié (1868 Santo -Michel-de-Maurienne - 1932 Paris). O trabalho na telegrafia terrestre permitirá ao General Ferrié progredir na telegrafia sem fio e em 1900, Gustave Auguste Ferrié assumiu o comando da TSF militar francesa. Gustave Ferrié, em associação com Gustave Eiffel, salvou a Torre Eiffel usando-a como antena. O inventor oficial da telegrafia sem fio é o Sr. Edouard Branly (Amiens 1844 - Paris 1940), este cientista foi aluno de Edouard Desains (nativo de Saint-Quentin, aluno de Charles d'Almeida).

O Sr. d'Almeida, cidadão português até 1844 e cidadão francês até à sua morte em 1880, ajudou a máquina de Gramme em 1872; Em 1871, Zénobe Gramme (1826 Bélgica - 1901 Bois-Colombe) apresentou à Academia de Ciências e patenteou um gerador ou dínamo de corrente contínua que permaneceu conhecido como máquina de Gramme. Carpinteiro que se tornou eletricista, Gramme é uma mente empírica que compreendeu claramente que a rotação de um enrolamento no entreferro de um ímã deve gerar uma corrente contínua, mas não possui ferramentas físicas e matemáticas. Foi José Carlos de Almeida quem o desenvolveu em 1872. Por ocasião da morte de Charles d'Almeida, foi erguido um busto dele na Sala de Reuniões da Sociedade Francesa de Física com as palavras "Fundador da Sociedade Francesa de Física",o físico Augustin Bertin - Mourot (1818 - 1884), embora tendo dado o seu parecer favorável, mandou retirar este busto alguns anos depois, (situado na rue de Rennes 44 em Paris), alegando ao seu amigo Louis Pasteur (Dole 1822 - 1895 Marnes – la – Coquette) que não tinha recebido o merecido reconhecimento dos seus alunos, o Sr. Bertin ficou amargurado.

; Ao contrário de d'Almeida, Bertin-Mourot não era republicano, mas monarquista. Em Paris a concessão do túmulo de Charles d'Almeida terminou no ano 2000 e o corpo do falecido foi transferido para o ossuário Père Lachaise e o Arquivista do Cemitério desconhecia o que o Sr. Charles d'Almeida tinha feito na electricidade e para Ciências Físicas convidando todos os cientistas do mundo para o Journal de Physique.

. Penso que seria sensato expor o trabalho eléctrico deste académico franco-português no vosso museu da electricidade em Lisboa.

Atenciosamente.

Mr Franck d'Almeida

Charles d'Almeida et l'électricité.

Musée d'électricité de Lisbonne

Par Franck d'Almeida.

Saint-Quentin,

terça – feira, 23 de janeiro de 2023.

Monsieur,

En 2023, à l'occasion des 150 ans de la Société Française de Physique, un ouvrage est sorti le 30 juin 2023 aux Editions Edp Sciences "Les 150 ans de la Société Française de Physique", à la page 10 : Mr Nicolas Nio consacre une page au Physicien Joseph Charles d'Almeida (Paris 1822 - Paris 1880). Au portugal, il s'agit de José Carlos de Almeida fils illégitime d'un diplomate portugais installé à Paris et fils abandonné de Manuel de Almeida né à Porto le 14 mars 1780 , constitué prisonnier à bord du navire Suzanne et Marie, sous L'Empire. Mr Charles d'Almeida est le Fondateur du Journal de Physique en 1872 et joua un rôle majeur dans la création de la Société Française de Physique en 1873 ; comme le mentionne la page 10 de cet ouvrage : d'Almeida a travaillé dans la Télégraphie électrique et plus précisément dans la Télégraphie par la Seine = Télégraphie par le Sol. Aux côtés de l'ingénieur Gustave Bourbouze (Paris 1825 - Paris 1889) et du physicien Quentin Paul Desains (Saint-Quentin 1817 - Paris 1885), membre du Comité Scientifique sous l'égide de son ami Marcelin Berthelot (Paris 1827 – Paris 1907, Mr Charles d'Almeida avait pour mission à la demande du Gouvernement de la Défense Nationale d'établir une communication télégraphique entre la Province et Paris lors de la Guerre de 1870 - 1871 en se servant de l'eau de la Seine comme élément conducteur. Le principe de ces expériences sont les mêmes que celles des transmissions télégraphiques ou téléphoniques par le Sol : la Télégraphie par le Sol sera utilisée par le sous-lieutenant André Delavie (Vayres 1882 - Paris 1951) jusqu'en 1918, sous l'égide du futur Général Gustave Ferrié (1868 Saint-Michel -de - Maurienne - 1932 Paris). Les travaux sur la Télégraphie par le Sol vont permettre au Général Ferrié de progresser dans la Télégraphie sans fil et en 1900, Gustave Auguste Ferrié prit en main la TSF militaire Française. Gustave Ferrié en s'associant avec Gustave Eiffel sauva la Tour Eiffel en l'utilisant comme Antenne. L'inventeur officiel de la Télégraphie Sans Fil est Mr Edouard Branly (Amiens 1844 - Paris 1940), ce savant fut l'élève d'Edouard Desains (natif de Saint-Quentin, élève de Charles d'Almeida).

Mr d'Almeida de nationalité portugaise jusqu'en 1844 et de nationalité française jusqu'à sa mort en 1880 va aider la machine de Gramme en 1872; En 1871, Zénobe Gramme (1826 Belgique - 1901 Bois- Colombe) présente à l'Académie des sciences et brevète une génératrice à courant continu ou dynamo qui restera connue sous le nom de machine de Gramme. Menuisier devenu électricien, Gramme est un esprit empirique qui a bien conçu que la rotation d'un bobinage dans l'entrefer d'un aimant doit y générer un courant continu, mais n'a pas d'outillage physique et mathématique. C'est José Carlos de Almeida qui la mettra au point en 1872. A la mort de Charles d'Almeida, un buste lui a été érigé à la Salle de Réunion de la Société Française de Physique avec la mention "Fondateur de la Société Française de Physique", le physicien Augustin Bertin - Mourot (1818 - 1884) , bien qu'ayant donné son avis favorable, fera retirer ce buste quelques années plus tard, (situé au 44 rue de Rennes à Paris), prétextant à son ami Louis Pasteur (Dole 1822 – 1895 Marnes – la - Coquette) qu'il n'avait pas eu la reconnaissance tant méritée de ses élèves , Mr Bertin était aigri. Contrairement à d'Almeida, Mr Bertin - Mourot n'était pas républicain mais royaliste. A Paris la concession de la tombe de Charles d'Almeida prit fin en l'année 2000 et le corps du défunt fut transféré à l'ossuaire du Père Lachaise et l'Archiviste du Cimetière de Montparnasse ignorait ce qu'avait fait Mr Charles d'Almeida dans l'électricité et pour les Sciences Physiques en conviant tous les scientifiques du Monde dans Journal de Physiqe.

Je pense qu'il serait judicieux d'exposer les travaux d'électricité de ce savant franco - portugais dans votre musée d'électricité de Lisbonne.

Bien cordialement.

Franck d'Almeida

[artejoke]

Living in the pastel

Marie-Suzanne Giroust, Augustine Suzanne Roslin, the Artist's Daughter, 1771, Nationalmuseum, Stockholm

The artist Marie-Suzanne Giroust was admitted to the Académie royale de peinture et de sculpture in Paris in 1770, one of only fifteen women to be accepted as full academicians in the 145-year history of the institution. Giroust died of breast cancer in 1772, aged 38.

[lanadel-heyyy]

Incredibly Niche Content Ahead - Catholic Theology Warning

*THIS IS MY ROMAN EMPIRE*

I think one thing that always resonated with me about The Hunger Games is the depth of theological/philosophical principles that guide its story. Suzanne Collins herself is a Catholic (no idea if practicing) and while she's expressed in interviews how "just war theory" as developed by St. Augustine of Hippo influenced her, I do believe other aspects of the Catholic faith tradition are evident in the text as well.

Briefly, I'll discuss my favorite theological theory and of course, it revolves around Peeta.

I believe Peeta represents the Christ-character in the narrative.

Firstly, his name is a homophone for "pita," an unleavened Mediterranean quick bread. Collins may be referencing the unleavened bread used in the Pesach (Passover) meal Jesus celebrates on the night he is arrested (Mt 26:26; Mk 14:22; Lk 22:19). In the Last Supper narratives, Jesus equates the unleavened bread with his sacrificed body. A distinctly Catholic reading of these passages treats his words, "This is my body, which will be given for you" literally as the basis of the Catholic doctrine of the Real Presence of Jesus in the Eucharist. In other words, Catholics believe that Jesus is present body, blood, soul, and divinity, under the accidents of bread (and wine) in every celebration of the Eucharist. St. Thomas Aquinas clarifies: Jesus is present in the substance of the Eucharist (what it *is*) though we perceive the Eucharist under the appearance of bread (what it *looks like*). For Catholics, every celebration of the Eucharist is a memorial of Jesus' broken body on Calvary - all in attendance are at Calvary with him. What does the Real Presence have to do with Peeta?

Well - while it is true that Peeta first saves Katniss when they are children by tossing her the burned bread, this is not the last way he tries to save her. His small sacrifice at age eleven - giving her literally the Bread of Life (John 6:22-59) - foreshadows the ultimate sacrifice he is willing to make for her, his very body. Yes, like Jesus at Calvary, Peeta *literally* lays down his broken body in sacrifice so that she may live (Jn 6:54).

He not only gives her the Bread of Life, he becomes it.

That is the Catholic doctrine of the Real Presence in one sentence.

Secondly, Peeta undergoes his own Paschal Mystery (the suffering, death, resurrection, and ascension into heaven of Christ).In every celebration of the Eucharist, Catholics believe they receive the graces of the Paschal Mystery. Or, in other words, are given helps/gifts from God that he earned on our behalf by his sacrifice, death, and resurrection.

In being captured by the Capitol, mentally/emotionally dying through hijacking, and resurrecting his identity through the power of love (sorry that sounds cheesy) - he mirrors the last events of Christ's life, the events that open the gates of heaven and allow for all people to be redeemed before God, even though humanity has done nothing to earn that reward. BUT IN DOING SO - Peeta invites Katniss into a fullness of life she otherwise would not have had the opportunity to posses. And he gives it freely! It's not about what he "owes" Katniss, though Katniss is obsessed with the idea of debt and payback. Like Christ, Peeta does not subscribe to this view of relationship! He gives freely, expecting nothing in return. He does what Catholics believe the Eucharist does: delivers a life free from the bondage of the Capital (the bondage of sin), gives Katniss hope to have children (embracing of new life), and sustains her in peace and happiness (spiritual nourishment).

Collins did write a deeply religious book, but in a way that is not overt and proselytizing.

Thinking how TBoSaS as a whole seems to have more mentions of anything alluding to religion than the previous three books together... By no means is there a lot of it here either - but there's Sejanus' District 2 funeral customs and it crops up in Lucy Gray's songs... "I know the soul that you struggle to save" is explicitly religious terminology (likely not correct religious terminology, but never mind) and of course "You're headed for Heaven, the sweet old hereafter". I'm almost hesitant to count the latter, because the characters in the trilogy also have some vague ideas about some sort of afterlife - Katniss comforts herself thinking "Rue is safe and happy now" after the girl dies, and - I'm not sure it's in the books, but it's in the movies - there is the "If I see you again it will be in another world" line (meaning "either we overthrow the Capitol or we all die"). But neither actually says the word "heaven" outright.

And I know I'm sort of grasping at evidence here, but I do like to think it points to the conspicuous lack of religion of any sort in THG being a state manufactured by the Capitol, if it increases the longer it has been in power.

[chicinsilk]

US Vogue November 1, 1956 🖤🖤🖤🖤🖤

For all grand evenings (big dinners, the charity balls) the peerless blend of white satin, crystal-and pure shape. A great stole skims the shoulders-otherwise totally bare (much of this bare-shouldered look in Paris this year), and the skirt curves wide and firm. This, by Suzanne Augustine, in Catoir silk.

Pour toutes les grandes soirées (les grands dîners, les bals de charité) l'incomparable alliance du satin blanc, du cristal et de la forme épurée. Une grande étole effleure les épaules, sinon totalement nues (une grande partie de ce look épaules nues à Paris cette année), et la jupe se courbe large et ferme. Ceci, par Suzanne Augustine, en soie Catoir.

Model/Modèle: Lucinda Hollingsworth

Photo Karen Radkai

vogue archive

[gorbigorbi]

Ekaterina Pervushina as Suzanne and Egor Motuzov as Figaro, "Figaro", libretto by Andrey Petrov based on the comedy duology "La Folle Journée, ou Le Mariage de Figaro" (1784) by Pierre-Augustin Caron de Beaumarchais, music by Wolfgand Amadeus Mozart and Gioachino Rossini, choreography, direction and musical adaption by Andrey Petrov, scene design by Grigory Belov, costume design by Olga Polyanskaya, Kremlin Ballet, The Great Hall of the State Kremlin Palace, Moscow, Russia (June 4, 2021)

Photographer Andrey Stepanov

[brookstonalmanac]

Birthdays 8.12

Beer Birthdays

Antoine-Augustin Parmentier (1737)

Samuel Allsopp (1780)

August J. Lang (1865)

Steve Shapiro (1950s)

Ed Chainey (1957)

Jennie Hatton (1971)

Five Favorite Birthdays

Cecil B. de Mille; film director (1881)

William Goldman; writer (1931)

Peter Krause; actor (1965)

Erwin Schrödinger; physicist (1887)

Abbot Thayer; artist (1849)

Famous Birthdays

Casey Affleck; actor (1975)

George Bellows; artist (1882)

Thomas Bewick; artist, illustrator (1753)

Michael Ian Black; comedian, actor (1971)

Helene Petrovna Blavatsky; Russian mystic, theosophist (1831)

"Diamond" Jim Brady; businessman (1856)

Cantinflas; actor, comedian (1911)

John Derek; actor (1926)

Rebecca Gayheart; actor (1972)

Bruce Greenwood; actor (1956)

Edith Hamilton; classicist, writer (1867)

George Hamilton; actor (1939)

Parnelli Jones; race car driver (1933)

Michael Kidd; dancer, choreographer (1915)

Mark Knopfler; English rock guitarist (1949)

Ann M. Martin; writer (1955)

Christy Mathewson; New York Giants P (1880)

Norris & Ross McWhirter; founders of Guinness Book of Records (1925)

Pat Metheny; jazz guitarist (1954)

Sir Mix-a-Lot; rapper (1963)

Buck Owens; guitarist (1929)

Marjorie Reynolds; actor (1917)

Mary Roberts Rinehart; writer (1876)

Pete Sampras; tennis player (1971)

George Soros; businessman (1930)

Robert Southey; English writer (1774)

Dominique Swain; actor (1980)

Suzanne Vega; pop singer (1959)

Porter Wagoner; country singer (1927)

Jennifer Warren; actor (1941)

Jane Wyatt; actor (1910)

[lostprofile]

THE PORTRAIT OF THE ARTIST IN 18th-CENTURY FRANCE

Portraits by French artists of their colleagues abound in the 18th century. This was not the result of a demand for images of artists, sculptors or engravers, but a reflection of certain realities of artistic education and professional advancement under the ancien régime.

In the hierarchy of genres established by the Académie Royale, portraiture was second only to history painting. Having yet to attract an illustrious clientele, students wishing to demonstrate their portraiture abilities, often called on each other to serve as subjects.

Thus, the most accomplished and renowned portrait painter of the last two decades of Louis XIV’s reign, Hyacinthe Rigaud, first demonstrated his talents in the 1690s painting multiple portraits of his fellow junior academicians Charles de la Fosse and the Flemish sculptor known in France as Martin Desjardins. Academic painters used portraits for subtle political purposes as well. To commemorate his appointment as the director of the academy in 1691, Pierre Mignard commissioned the young Rigaud to paint his official portrait. Rigaud in turn exhibited the portrait in the salon of 1704. This gesture of homage to Mignard was also an unstated declaration of Rigaud’s anomosity towards Mignard’s arch-rival, Charles LeBrun, who had pressured prix-de-Rome winner Rigaud into foregoing his séjour in Rome. Rigaud used the Mignard portrait to express his hostility to LeBrun again in 1712, by donating the picture to the academy on the condition that it be hung next to Largillière’s portrait of LeBrun.

Stemming from the prohibition of women from attending life drawing classes and their subsequent disqualification from history painting, women artists had few opportunities for painting the male figure. Female portraitists could, however, call upon their male counterparts to sit for portraits without impropriety. These works would then serve as demonstration pieces advertising their abilitities. Marie-Suzanne Roslin became one of only four women to gain admission to the academy, with her accomplished portrait of the sculptor and academician Pigalle serving as her morceau de réception.

Élisabeth Vigée-Lebrun’s portrait of her friends and fellow painters Joseph Vernet and Hubert Robert not only proved to prospective clients that prodigious technical skill could be achieved outside the academy, but also associated her work with the most advanced artistic currents of the period.

Joseph Siffred Duplessis, Jean-Marie Vien, 1784, Paris, Musée du Louvre.

Noel-Nicolas Coypel III, Simon Guillain, c. 1747, Versailles, Musée du Chateau.

Hyacinthe Rigaud, Charles de la Fosse, c. 1697, Milan, Castello Sforzesco.

Hyacinthe Rigaud, Martin van den Bogaert (Desjardins), 1700, Paris, Musée du Louvre.

Hyacinthe Rigaud, Pierre Mignard, 1691, Versailles, Musée du Château.

Adeleïde Labille-Guiard, Augustin Pajou modelant le buste de son professeur Jean-Baptiste Lemoyne, 1782, Paris, Musée du Louvre.

Marie-Suzanne Roslin, Jean-Baptiste Pigalle, c. 1770, Paris, Musée du Louvre.

Elisabeth Vigée-LeBrun, Joseph Vernet, 1778, Paris, Musée du Louvre.

Elisabeth Vigée-LeBrun, Hubert Robert, 1788, Paris, Musée du Louvre.