#transalpina
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alexandermagedler · 5 months ago
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Transalpina, Rumänien, 24.08.2024
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Transalpina Romania dragos_cimpoiasu
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badtolka · 1 year ago
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Transilvania roadtrip 2023 teaser :)
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diagnozabam · 2 months ago
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Circulația pe Transalpina, sectorul Rânca – Curpăt, a fost închisă din cauza ninsorii
Circulația rutieră pe Transalpina a fost suspendată pe segmentul dintre Rânca (județul Gorj) și Curpăt (județul Alba), începând de luni, 11 noiembrie 2024, din cauza ninsorilor abundente. Compania Națională de Administrare a Infrastructurii Rutiere (CNAIR) a emis un comunicat prin care informează că traficul pe acest sector montan, între km 34+800 și km 79+200 de pe DN 67C, va rămâne închis până…
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romaniasweetromania · 10 months ago
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https://romaniasweetromania.com/2022/03/ziua-olteniei-oltenia-day/
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thebehaviourist · 1 year ago
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Crazy Uncle
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travelella · 1 year ago
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Transalpina, Sebeș, Romania
Taken by Calin Stan
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felixmayrphotography · 2 years ago
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6. Tag, Transalpina
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View On WordPress
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mothmiso · 2 months ago
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Romania (2) (3) (4) by Emily Rae
Via Flickr:
(1) View of the town of Rânca. (2) (3) (4) Transalpina Highway     
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gayboygaming · 5 months ago
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Dont tell Elon Musk about Transalpina and Cisalpina. Also dont tell him about Latin
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flashquatsch · 1 year ago
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Character Design - Zygaena transalpina
New character design, I haven't picked a name for him yet 🤔 Suggestions?
Buy me a Ko-fi ^^ https://ko-fi.com/flashquatsch Support me on Patreon https://patreon.com/FlashQuatsch My Linktree https://linktr.ee/flashquatsch
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alexandermagedler · 4 months ago
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Transalpina, Rumänien, 24.08.2024
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0mega-x · 1 year ago
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The idea of one personification for Gaul is tricky because, like I said in this post , the different Gaulish tribes were conscious of belonging to a same sort of "nation" (not the same way we define it now), like they knew they were similar and belonging to an approximate geographical area, but they felt different from each other in a way.
My idea for a (Celtic) Gaul OC is a woman (I can't picture her as anything but that) who likes to travel between her different tribes and territory. She feels free this way, and it's a sentiment that she enjoys very much. I saw over the years that a lot of people saw Gaul as "feral," and while the idea seems interesting, I don't really know. I feel like in Rome's eyes, she'd definitely be feral, but would she be like almost ""savage""? What would that mean ? Eh. However, she knows how to fight. Her people did have a society that loved their warriors after all. But she also liked the calmness of nature. She could be quite the solitary woman in some ways. She was also very close with the average people, not only with the aristocracy. She often crashed at their houses, ate with them, and took part in working on farms sometimes as well.
She has a lot of children, they each represent a tribe. Because of how much they are, she can't have a close relationship with a lot of them, and while they are her biological children, she'd only really know those who are from the most prominent tribes (The Aeduii, the Remii,...). The other kids are usually closer to their siblings from tribes theirs interact with the most or are clients of. She believed it was better for her children to be raised independently from her so that 1. they wouldn't be too attached to her if something happened to her and 2. so they could enjoy the same sense of freedom she liked. She thought that since her people took care of her children, they'd be fine without seeing her for months, even years. It's not that she didn't love or care for them. She absolutely did in her own way, and so did her children.
Talking of children, I see France as one of her many biological children. Which tribe was he from? It doesn't matter (I haven't thought about it). For now, because I can't see how to reconcile both France being Gaul's kid and Gaul having a child for each tribe in any other way, I see this as what happened in regards to why he seems to be the only one left. Let's just say that he got "lucky". Gaul died shortly after 52BCE and her children slowly followed suit until they were only a few one. France managed to get close enough to Rome that he could survive easily with his favour, and so that's how he outlived all his children. This might have made him feel guilty a little bit, he felt as if he was betraying his family. But still being a kid and not wanting to leave no trace of his family, that's what he did. Then Germania killed Rome eventually, he brought France over to the Franks and so on and so on...
Back to Gaul, she had 2 or 3 other siblings. Belgae is definitely her closest sibling. He is slightly crazier than his sister, but she doesn't mind. She has/had Transalpina as another sibling, I don't know it if either died following being made a Roman Province or not, I haven't thought about it that much. As for Aquitania, I also don't really know if they are really related to the Gauls. From what I read, they seemed way more different than the rest of Gaul, so yeah.
Her relationship with Rome was... interesting. She had an interest in him. Not necessarily romantic, but she was intrigued by his people, his culture, and his goods. They were rivals, ever since the sack of Rome, actually. Her favourite thing to do when see him is tease him. But she was mostly suspicious of him. When Transalpina became a Roman province, she started being wary of him expanding onto her territory. However, at the beginning of the Gallic Wars, she only realised what Rome (or Caesar, but anyway) was trying to do and to what extent he went too late to stop it immediately. She was fully for Vercingetorix's counterforce, but they lost. She tried to escape but was caught. Rome emprisoned her for having taken part in Alesia, but he didn't have her killed. As she realised she might never get her full freedom again, she decided to kill herself and be free instead of living under bars for who knows how long (very shakespearian, I know 💃). As for her children, they were each caught, and as the Gauls became Gallo-Romans, at some point, only one was left.
While France didn't have many occasions to be close to his mom, he only had good memories of her. And one that stuck with him was how close she liked to be with her people. He doesn't miss her as often as one would think as he had been used to her absence even in her life. But when, in recent centuries, his people started putting the spotlight on the Gauls, he started to become a little nostalgic. It felt gratifying to hear that his people from today (French) regarded his people from his early childhood (Gauls) as their ancestors, it was sort of validating, even if he knew very well why this interestet grew. I like to picture him talking to historians about daily life in gaul or to linguist about the gaulish language and then suddenly sidetracking to make a whole speech on his mom and how free and inspiring and happy she was.
What would her name be though? I don't know yet...
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mihaievoiu · 1 year ago
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A car to match where you're sleeping / Transalpina / Aug '23
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jesterghost · 1 year ago
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Fantastic paragraph.
Trans and cis are also literally latin words.
Hello.
Cis- means "over here" trans- means "over there". What today is nothern italy used to be called "Gallia Cisalpina". What today is france was "Gallia Transalpina". Before the mountains/over the mountains.
I know that arguing with fascists about words and shit means nothing. But this is not for them, this is some fun little trivia for my over the mountains tumblr girlies 💜
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elmartillosinmetre · 2 months ago
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Giacomo Puccini en el diván
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[Giacomo Puccini en 1914 / Collezione ICCD, Fondo Nunes Vais]
Acantilado publica un clásico estudio de la musicóloga Alexandra Wilson en torno a la recepción crítica de las óperas de Puccini
En 1924, el año de la muerte de Puccini, el marqués Gino Monaldi, crítico, empresario, compositor, había publicado un libro titulado Giacomo Puccini e la sua opera que incluía un Prólogo de Fausto Salvatori, poeta y libretista, autor del Inno a Roma sobre el que el mismo Puccini había escrito una música de circunstancias. Salvatori afirmaba en él: “Giacomo Puccini es un conquistador de multitudes. Ha llevado, como una bandera desplegada al viento el día de la victoria, la tricolor de Italia, el nombre de Italia, la divina melodía de Italia a través de montañas, torrentes, océanos, a través de ciudades bulliciosas y salvajes territorios, en teatros de piedra y de oro macizo, y en las barracas de los mineros nómadas”. Pasado un siglo, la opinión mayoritaria de los aficionados a la ópera resulta, salvada la exaltada retórica chovinista, curiosamente coincidente. Se ha presentado hasta la saciedad al compositor toscano como el último gran representante de la tradición operística italiana, el triunfador entre los músicos de la Giovane Scuola como el genuino heredero del arte de Verdi. Incluso no es difícil leer aquello de que la ópera italiana muere con él.
La idea del italianismo acérrimo de Puccini entra sin embargo en crisis con sólo mirar la trama de sus óperas: Le Villi es una fantasía mitológica de ondinas y bacantes; Edgar transcurre en el Flandes medieval; Manon Lescaut pasa por Amiens, París y El Havre antes de terminar en un desierto norteamericano; La bohème, La rondine e Il tabarro están ambientadas en París; Madama Butterfly, en Japón; La fanciulla del West, en el oeste americano; Turandot, en una China legendaria. Sólo Tosca, Suor Angelica y Gianni Schicchi tienen atmósferas italianas, pero la primera es un drama granguiñolesco sobre un fresco histórico debido a un autor francés y la segunda es una pieza de interiores, intimista: ese convento del siglo XVII podría estar lo mismo en Siena que en Lisboa, La Haya o Lima. Sólo Schicchi, aunque ambientada en la Florencia del medioevo, es una comedia verdaderamente italiana, que además parte de una gloria nacional como Dante.
La joven nación transalpina vivió una seria crisis de identidad en el paso del siglo XIX al XX, y por ello esta cuestión resultaba especialmente relevante. En este clásico de Alexandra Wilson, que ahora edita Acantilado en español, se estudian con detalle las implicaciones culturales de esas dinámicas de naturaleza política que cogieron a Puccini justo en medio, y cómo sus óperas fueron la excusa perfecta para dirimirlas intelectual e ideológicamente. Lejos de la unanimidad que parece provocar hoy día respecto al carácter inconfundiblemente italiano del autor, en su tiempo, los campos se deslindaron con claridad entre partidarios y detractores, con la cuestión nacionalista como vértice de otro tipo de diatribas: ¿esa pretendida italianidad era compatible con la modernidad?, ¿el hecho de que las óperas de Puccini tuvieran tanto éxito en el extranjero eran prueba de su progresivo alejamiento de la tradición italiana o muestra del vigor expansivo que esta seguía manteniendo?, ¿podía la ópera italiana acercarse al carácter orgánico de la música de Wagner sin dejar de ser italiana?, ¿era la ópera en realidad un subproducto cultural, burgués, inferior a la música absoluta y aristocrática, la instrumental?
Todas esas cuestiones, y algunas más, alimentan lo que Wilson denomina el “problema” Puccini. No deja de resultar curioso que esas polémicas parecieran resolverse a la muerte del compositor siempre en su favor, salvo por una cuestión: la de la sentimentalidad. De hecho, en las últimas décadas, las discusiones en torno al mayor o menor valor de las óperas de Puccini giran en torno a esa variable, la de la sentimentalidad hecha sensiblería o la capacidad del músico para manipular los sentimientos del espectador. Aunque Wilson también atiende a este asunto, en el fondo se trataría de un falso problema, generado por el cambio de perspectiva histórica sobre el sentimiento, sinónimo un tiempo de sinceridad y nobleza moral, y convertido luego en sospechoso de superficialidad, debilidad e hipocresía.
Alexandra Wilson plantea su estudio de forma cronológica, atendiendo a la evolución de la recepción crítica de Puccini ópera a ópera, con abundancia de citas sacadas de infinidad de periódicos y revistas, que se listan comentados en un impagable apéndice. Hace la musicóloga británica un especial hincapié sobre el estudio monográfico que en 1912 dedicó al compositor Fausto Torrefranca, en el que se consideraba que Puccini encarnaba “la decadencia actual de la música italiana, su cínico mercantilismo, su lamentable impotencia y la triunfante moda del internacionalismo”. En el libro de Torrefranca, por entonces un joven de 29 años, pareció encontrar expresión de forma descarnada un nuevo nacionalismo militante, antiliberal y aristocratizante, que, aunque de naturaleza aparentemente conservadora, coincidía en muchos de sus postulados con el futurismo, pretendidamente moderno, de Marinetti, que preconizaba igualmente la necesidad de un rearme de la nación en torno a la autoridad de un enérgico hombre de acción. Para ambos, el enemigo era el internacionalismo del Art Nouveau, con sus formas sinuosas y femeninas. No en vano, una de las acusaciones más repetidas por Torrefranca contra la música de Puccini era la de su afeminamiento.
El próximo día 29 se cumplen los cien años de la muerte de Puccini, uno de los compositores más representados del mundo. Pareciera que la historia ha dictado sentencia en su favor, pero no dejan de existir resquemores que pueden considerarse herencia del mundo dogmático de las vanguardias, cuando se consideraba la ópera un producto comercial de escaso valor artístico. Por eso era (es) posible encontrar manuales sobre la música del siglo XX en los que a Puccini ni se lo menciona. Acaso es que el problema Puccini esté en sus críticos.
[Diario de Sevilla. 17-11-2024]
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La ficha El “problema” Puccini. Ópera, nacionalismo y modernidad Alexandra Wilson. Traducción de Juan Lucas. Barcelona: Acantilado, 2024 (versión original, 2007). 409 páginas. 26 euros
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