#François Di Dio

[massimogilardi]

Vincent Feugere des Forts (1825-1889), scultore francese

Opera: La morte di Abel

Materiale : Marmo

Musée d'Orsay (Parigi)

Discepolo di François-Joseph Heim e dello scultore Jehan Du Seigneur, debuttò nella Sala del 1849 presentò lì il gesso del Denier de la veuve, il cui marmo espose nel 1852

Nel 1853 ha scolpito due bassorilievi raffiguranti San Juan e San Mathieu, per la cappella dell'ospedale Lariboisière di Parigi, e ha realizzato il gruppo Calvario per la cappella del Calvario nella chiesa di Saint-Jacques-Saint-Christophe a la Villette. Ha trionfato nel Salone del 1864 presentando il gesso del suo Abel morto (una copia a Chartres, Musée des Beaux-Arts), per il quale ha ricevuto una medaglia, prima di presentare il marmo nel Salone del 1866 (Parigi, Musée d'Orsay).

Una fonderia di bronzo dell'Abel si trovava alla fine del XIX secolo nello Château des Forts, vicino ad Illiers. (Eure-et-Loir). Ha vinto di nuovo medaglie nei saloni del 1865 e del 1867 (per il gesso e poi il marmo della sua Chevrier)

L'OPERA :

Rende omaggio ad Abel, protagonista assoluto, che appare sdraiato a terra, immobile. Darei l'impressione che si tratti di un giovane che sta dormendo se non fosse per la ferita che si può vedere sulla sua fronte, che traduce che si è verificato un atto violento.

Secondo la Bibbia, Caino e Abele erano figli di Adamo ed Eva. Caino era il fratello maggiore. Sono cresciuti insieme, Abele si dedicò al pascolo mentre Caino all'agricoltura. Un giorno fanno un'offerta a Dio: Caino dà i prodotti della terra e Abele dà alcuni dei primi neonati del suo gregge. Dio accetta l'offerta di Abele, ma non quella di Caino. Pieno di grande rabbia e gelosia Caino uccide Abele. E' il primo omicidio della storia.

[cywo-61]

Non avessi conosciuto il Cristo, Dio sarebbe stato un vocabolo vuoto di senso… il Dio dei filosofi non avrebbe avuto alcun posto nella mia vita morale. Era necessario che Dio si immergesse nell’umanità, che in un preciso momento della storia… un essere umano, fatto di carne e di sangue, pronunciasse certe parole, compisse certi atti, perché io mi gettassi in ginocchio.

François Mauriac

E grazie a te...si tu, che in primavera mi hai indicato la via giusta da seguire. E Lui non l'ho più lasciato. Grazie.

cywo

[ozkar-krapo]

[rec. François Di DIO]

"Les Dogon"

(2x10". Radiodiffusion De La France d'Outre-Mer. 1958) [MA]

[luigidelia]

i Regni Da domani, per due giorni, siamo al Teatro della Tosse di Genova con il nostro spettacolo dall'odore più forte, più sporco, più infestato di pulci e zecche di tutti gli altri: Tarzan ragazzo selvaggio. Del resto se volevamo attraversare il regno animale non potevamo che passare da lì. Se poi lo facciamo raccontando la storia di un bambino rimasto orfano nella giungla e adottato dalle scimmie allora… Sennò, come si dice, staremo a pettinare le bambole. Lo spettacolo è "nero" (chissà se non stava già arrivando Caravaggio), duro, con una scrittura secca, scarna. Frasi brevi. Molti punti. Come se non sapessimo come si nominano le cose. Molti ci hanno detto che è uno spettacolo per gli adulti ma figurati se nei teatri serali potrebbero mai mettere un titolo così. Viene da ridere solo a pensarci. Ieri sera a Busseto dopo la replica di Caravaggio abbiamo chiacchierato a lungo con Federico Abate e Giuseppe Liotta. Che bell'incontro. Federico mi chiedeva qual' era, se c’è, il filo che attraversa queste storie che sembrano così lontane. La risposta mi è arrivata stamattina mentre lavavo i denti. O almeno una: i Regni. Con la spazzolino dei denti in mano ho realizzato che da narratore non sto facendo nient’altro in questi anni che attraversare i Regni. Ho cominciato con quello vegetale e Dio solo sa quanti alberi ho piantato: Storia d’amore alberi, la Grande Foresta, André e Dorine… Poi quello animale: Zanna Bianca, Tarzan , Aspettando il vento… Poi quello degli uomini: Moby Dick, Cammelli a Barbiana, E la felicità prof, Caravaggio… Sì, non sto facendo altro che attraversare i Regni. … domani ore 16 e poi lunedì mattina per i ragazzi delle scuole Fondazione Luzzati Teatro della Tosse - Genova TARZAN RAGAZZO SELVAGGIO “Per me non si tratta di un bambino idiota. È semplicemente un ragazzo che ha avuto la sfortuna di passare sei, sette, forse otto anni nella foresta, in una solitudine e un isolamento completo.” Il ragazzo selvaggio, François Truffaut

[frateclaudio]

"Il mio Signore"

Commentando questo brano di Luca, noto come la visitazione di Maria a Elisabetta, François Bovon afferma: «Maria arriva a destinazione e saluta Elisabetta. Ci sono molti saluti in questi capitoli (vv. 28-29 e qui vv. 40.41.44) perché ci sono molti incontri. E gli incontri sono numerosi perché Dio interviene e inaugura la salvezza attraverso i rapporti umani». Stando a quanto Luca ci narra,…

[delectablywaywardbeard-blog]

Parigi, una donna velata grida Allahu Akbar, polizia spara

La polizia ha aperto il fuoco contro una donna alla stazione Bibliothèque François-Mitterrand di Parigi. Secondo informazioni di Bfmtv, la donna, che era completamente velata, ha gridato ‘Allahu akbar’ (‘Dio è il più grande’) e “ha fatto minacce” ha riferito una fonte, aggiungendo che “la polizia ha sparato perché temeva per la sua sicurezza”. La donna è stata ferita all’addome e portata in…

[edizionimedusa]

“Quale dei due è più credibile, Mosè o la Cina?”, chiedeva Pascal. In questo Saggio d’interculturalità, François Jullien esorta a uscire dall’antico conflitto tra ragione e fede, per guardare alla nozione di Dio dall’esterno, dall’Altrove cinese dove tale nozione non ha fatto presa, ben presto assorbita dal Cielo-Natura. L’immagine di una realtà scandita dal succedersi armonioso di fasi, sul modello dell’alternarsi delle stagioni, e regolata dalla logica interna della Via, il Tao, non ha aperto in Cina l’interrogazione sull’origine da cui muove la nostra filosofia, non ha reso necessario il ricorso a un Agente trascendente. La Cina non ha sviluppato il momento religioso della coscienza che si rivolge nella preghiera a un Dio personale, si è affidata alla dimensione rituale, legata al culto degli antenati. Ora che Dio “muore”, non per l’ateismo che lo nega, ma per l’indifferenza nella quale la sua idea è caduta, possiamo meglio comprendere quale risorsa essa abbia rappresentato per l’Europa e cosa possiamo ancora trarne. Forse è giunto il tempo, suggerisce Jullien, di ripensare ciò che è stato attribuito a Dio per riportarlo al vivere, per vedere in un incontro, uno sguardo, un momento d’intimità quel che incrina d’infinito la comune misura dei giorni.

Disponibile in libreria e sulle diverse piattaforme di vendita: FRANÇOIS JULLIEN, Mosè o la Cina, a cura di Mario Porro Pagine: 252 Euro: 25,00; Isbn: 978-88-7698-442-6

[eugeniocaruso]

PER MAURIAC LA SERENITA' ESISTE SOLO NELLA FEDE IN DIO http://www.impresaoggi.com/it2/2426-francois_mauriac_racconta_langoscia_di_vite_aride_prive_di_sentimenti_e_di_speranza/ Negli anni settanta, ebbi modo di partecipare a un salotto letterario di Carlo Bo; il grande poeta iniziò a parlare di François Mauriac, ritenuto da lui il più grande romanziere del XX secolo, d'altra parte, Bo era ritenuto il massimo letterato cattolico esistente in Italia e per qualche anno si suppose che potesse vincere il Nobel. Ma i giudici di Stoccolma non sono stati mai teneri con i letterati cattolici. Il poeta ci spiegò che se Dio emerge nei romanzi di Mauriac "Lui" si presernta come l’unico rifugio per la serenità dell’uomo, e che la presenza di Dio la si deve attribuire solo al bisogno dello scrittore di condividere la sua sincera concezione spirituale con gli altri. Nel salutarmi mi suggerì di leggere Il bacio al lebbroso. https://www.instagram.com/p/Cot3kGDthb_/?igshid=NGJjMDIxMWI=

[padrebaldo]

👇🏻🇮🇹🇫🇷🇪🇸🇺🇸👇🏻 🇮🇹 « Guardate, fratelli, l’umiltà di Dio, e aprite davanti a lui i vostri cuori; umiliatevi anche voi, perché siate da lui esaltati » - san Francesco (da Fonti francescane 221) 🇫🇷 « Regardez, frères, l'humilité de Dieu, et ouvrez vos cœurs devant lui ; humiliez-vous aussi, afin que vous soyez exaltés par lui » - Saint François (des Sources Franciscaines 221) 🇪🇸 « Mirad, hermanos, la humildad de Dios, y abrid ante él vuestros corazones; humíllense ustedes también, para que sean exaltados por él » - San Francisco (de Fuentes Franciscanas 221) 🇺🇸 « Look, brothers, at God's humility, and open your hearts before him; humble yourselves too, so that you may be exalted by him » - St. Francis (from Franciscan Sources 221) #bible #dieu #jesus #jesuschrist #evangile #seigneur #chretienlifestyle #saintesprit #paix #pensée #pensiero #sagesse #penséeincomplète #mindfulness #frasifamose #vie #motivation #peace #leadership #life #lifestyle #trainingtime #training #vita #bibbia https://www.instagram.com/p/Ci-XHyfqWr4/?igshid=NGJjMDIxMWI=

[thinkingimages]

Ghérasim Luca, Théodore Brauner | Le vampire passif, 1945 - Centre Pompidou

Ghérasim Luca's Le Vampire Passif has for many years been surrounded by an aura of mystery, like a ‘forgotten' or lost grimoire of surrealist writing; a book that, like its author, has had something of a ‘phantom existence'. First published in Bucharest in 1945, by the appropriately named Éditions de l'Oubli (‘Forgotten Books') - written in French, and not his native Romanian - in an edition of only 460 copies, the book was not republished until 2001, by José Corti. It was not only its inaccessibility that created the book's legendary status, and not only amongst that minority readership interested in surrealism, but the personality of its author.

The Passive Vampire caught the attention of the French Surrealists when an excerpt appeared in 1947 in the magazine La part du sable. Luca, whose work was admired by Gilles Deleuze, attempts here to transmit the "shudder" evoked by some Surrealist texts, such as André Breton's Nadja and Mad Love, probing with acerbic humor the fragile boundary between "objective chance" and delirium.

The Passive Vampire itself is an object that is incredibly difficult to describe, as elusive as its subject matter, being a concoction of theoretical enquiry and deeply personal observation, mixing poetic prose and psychoanalytic investigation. On the surface, it deals with the creation and exchange of (highly personal) surrealist objects, illustrated throughout with enigmatic photographs, presented as pictorial evidence in such a way as to place the book in a lineage stemming from André Breton's Nadja. In places it possesses a distinct lyrical quality, most likely inspired by Lautréamont, but rather than taking a delirious plunge into the imagination's depths through any purple prose, Luca writes with a disarming honesty and directness in describing and interpreting events.

----------

Born in Bucharest the son of a Jewish tailor, he spoke Yiddish, Romanian, German, and French. During 1938, he traveled frequently to Paris where he was introduced to the Surrealist circles. World War II and the official antisemitism in Romania forced him into local exile. During the short pre-Communist period of Romanian independence, he founded a Surrealist artists group, together with Gellu Naum, Paul Păun, Virgil Teodorescu and Dolfi Trost. His first publications, including poems in French followed. He was the inventor of cubomania and, with Dolfi Trost, the author of the statement "Dialetic of Dialectic" in 1945. Harassed in Romania and caught while trying to flee the country, the self-called étran-juif ("StranJew") finally left Romania in 1952, and moved to Paris through Israel. There he worked among others with Jean Arp, Paul Celan, François Di Dio and Max Ernst, producing numerous collages, drawings, objects, and text-installations. From 1967, his reading sessions took him to places like Stockholm, Oslo, Geneva, New York City, and San Francisco. The 1988 TV-portrait by Raoul Sanglas, Comment s'en sortir sans sortir, made him famous for a larger readership. In 1994, he was expelled from his apartment officially for "hygiene reasons." Luca had spent forty years in France without papers and could not cope. On February 9, at the age of 80, he committed suicide by jumping into the Seine.

------------

Luca developed a stuttering kind of poetry that he called "ontophonie" - the one so inspired by Gilles Deleuze — that he called “ontophonie”; as according to Luca, "[i]n... language that serves to designate objects, the word has only one or two meanings and it keeps sonority imprisoned. But let one break the form in which it has become bogged down and new relationships appear... Liberate the breath and every word becomes a signal."

Quotations: "Only a hallucinated cup or a watermelon would be deluded enough to think that there are common traits between myself and humans, since what humans call love is the encounter of two imbecile hearts."

[tournevole]

TOUJOURS MOUVEMENT

toujours mouvement du violent à l’imperceptible ―  l’immobile ― l’immobile jamais ― semblant de fixité au mieux ― froissement invisible de tout son corps invisible ― à ne pas voir jamais vu de là où il voit non vu ― le frémissement sans prise ― lisse ― sans coulée pas de larme ― ni sueur ―  éclatement ― ni frisson ― le froid inanimé ― non ― quelque part le nerf de la douleur ― quelque part la respiration

Danielle Collobert, Œuvres I, P.O.L, 2004 in X poètes au féminin, L’arachnoïde, Collection Sous le signe du soleil noir, créée par François Di Dio *, 2005, p. 55.

[dreamer-of-gold]

a complete list of final words that make me feel something

— “All compounded things are subject to vanish. Strive with earnestness.”  (”वयधम्मा सङखार्आ अप्पमादेन सम्पादेथा”). Buddha.

— “Heaven has turned against me. No wise ruler arises, and no one in the Empire wishes to make me his teacher. The hour of my death has come.” Confucius. 479 BCE. 

— “For, no Athenian, through my means, ever wore mourning.” Pericles, discussing what he felt was his greatest accomplishment, 429 BCE.

— “To the strongest.” ("τῷ κρατίστῳ"). Alexander the Great, explaining who his empire should go to. 323 BCE.

— “Stand away, fellow, from my diagram!”. Archimedes, to the soldier who interrupted his work, and killed him. 212 BCE.

— “You too, my child?” (”καὶ σὺ, τέκνον"). Julius Caesar, to his stepson Brutus. 44 BCE.

— “There is nothing proper about what you are doing, soldier, but do try to kill me properly.” ("Nihil propriis quid facis, latro, autem non tentant recte ut interficias me”). Cicero, facing his assassin. 43 BCE.

— “Have I played the part well? Then applaud as I exit.” Augustus Caesar. 14 CE.

— “It is finished.” Jesus Christ. circa 30.

— “Woe, I think I’m turning into a God... An emperor should die on his feet.”  ("Vae, puto, deus fio... imperatorem stantem oportet mori.") Vespasian, referring to the Roman tradition of deifying their emperors. 79.

— “I have made but one mistake.” Titus. 81.

— “I am making my last effort to return that which is divine in me to that which is divine in the Universe.” Plotinus. 270.

— “Oh God, the Friend Most High!” Muhammad. 632.

— “I have loved justice and hated iniquity; therefore I die in exile.” ("Dilexi iustitiam et odivi iniquitatem propterea morior in exilio.") Pope Gregory VII. 1085.

— “For the name of Jesus and the protection of the church I am ready to embrace death.” Thomas Becket, Archbishop of Canterbury when speaking to his murderers. 1170.

— “I have not told half of what I saw.” ("Non ho detto metà di quello che ho visto.") Marco Polo. 1324.

— “O, holy simplicity!” Jan Hus. 1415.

— “Hold the cross high so I may see it through the flames!” Joan of Arc. 1431.

— “I have offended God and mankind because my work did not reach the quality I should have.”  ("Ho offeso Dio e l'umanità perché il mio lavoro non ha raggiunto la qualità che dovrebbe avere.") Leonardo da Vinci. 1519.

— “Happy.” Raphael. 1520.

— “I am curious to see what happens in the next world to one who dies unshriven.” Pietro Perugino. 1523.

— “Mine eyes desire thee only. Farewell.” Catherine of Aragorn in her final letter, addressed to her former husband. 1536.

— “The king has been good to me. He promoted me from a simple maid to a marchioness. Then he raised me to a be a queen. Now he will raise me to be a martyr. Oh God, have pity on my soul. Oh God, have pity on my soul.” Anne Boleyn. 1536.

— “We are beggars, this is true.” ("Wir sind Bettler, Hoc est Verum.") Martin Luther. 1546.

— “I owe much; I have nothing; the rest I leave to the poor.” François Rabelais. 1553.

— “I’m still learning.” (“Ancora imparo.”) Michelangelo. 1564.

— “You pronounce sentence upon me with greater fear than I receive it.” Giordano Bruno, before he was executed for holding beliefs against the Catholic faith. 1600.

— “May I not seem to have lived in vain.”  ("Ne frustra vixisse videar.") Tycho Brahe. 1601.

— “All my possesions for a moment of time.” Queen Elizabeth I. 1603.

— “Doest thou think that I am afraid of it? This is that that will cure all sorrows.” Sir Walter Raleigh, commenting on the axe that would execute him for acting against the monarchy. 1618.

— “I have the consolation of leaving your kingdom in the highest degree of honour and reputation.” Cardinal Richelieu, in his final letter addressed to King Louis XIII. 1642.

— “I shall have to ask leave to desist, when I am interrupted by so great an experiment as dying.” William Davenant, as he putting aside his unfinished final poem. 1668.

— “A great leap in the dark.” Thomas Hobbes. 1679.

— “Take me, for I come to Thee.” John Bunyan. 1688.

— "I am about to—or I am going to—die; either expression is correct." ("Je vais ou je vas mourir, l'un et l'autre se dit ou se disent.") Dominique Bouhours. 1702.

— “Why are you weeping? Did you imagine that I was immortal?” King Louis XIV. 1715.

— “Don’t be afraid.” ("Var intet rädd.") King Charles XII of Sweden, assuring his troops shortly before he was killed in action. 1718.

— "I don’t know what I may seem to the world. But as to myself I seem to have been only like a boy playing on the seashore and diverting myself now and then in finding a smoother pebble or a prettier shell than the ordinary, whilst the great ocean of truth lay all undiscovered before me." Isaac Newton. 1727.

— “Is this dying? Is this all? Is this what I feared when I prayed against a hard death? Oh, I can bear this! I can bear this!” Cotton Mather. 1728.

— “It is high time for me to depart, for at my age I now begin to see things as they really are.” Bernard de Fontenelle. 1757.

— “It has all been most interesting.” Mary Wortley Montagu. 1762.

— “No, it is not.” Oliver Goldsmith, upon being asked “Is your mind at ease?”. 1774.

— “Now is not the time for making new enemies.” Voltaire, when asked to renounce Satan. 1778. 

— “I pray for you to bear me witness that I meet my fate like a brave man.” John André, right before being hung for being a spy. 1780.

— “Waiting, are they? Well - let ‘em wait.” Ethan Allen, responding to a doctor who told him angels were waiting for him. 1789.

— “A dying man can do nothing easy.” Benjamin Franklin. 1790.

— “The taste of death is upon my lips... I fell something, that is not of this word.” Wolfgang Amadeus Mozart. 1791.

— “Oh Liberty, what crimes are committed in thy names!” (”O Liberté, que de crimes on commet en ton nom!”) Madame Roland. 1793.

— “Yes my friend, but it’s from the cold.” (”Oui mon ami, mais c’est de froid.”) Jean Sylvain Bailly, responding to a heckler who asked if he was shaking on his way to the guillotine. 1793.

— “’Tis well. I die hard, but am not afraid to go.” George Washington. 1799.

— “Remember that I leave Lady Hamilton and my daughter, Horatia, as a legacy to my country – and never forget Horatia.” Horatio Nelson, speaking of his wife and daughter after being wounded in battle. 1805.

— “I die happy.” Charles James Fox. 1806.

— “I am all yours.” (”Je suis toute à vous.”) Adrienne de La Fayette. 1807.

— “Cheer up, children, I am all right.” Franz Joseph Haydn. 1809.

— “I am not a coward, but I am so strong. It is hard to die.” Meriwether Lewis. 1809.

— “I want nothing but death.” Jane Austen, in response to her sister asking if she wanted anything. 1817.

— “Let’s go, this will be for the last time.” Sophie Blanchard, as she lit fireworks from her hot air balloon, something she was known to do.

— “Nostitz, you have learned many a thing from me. Now you will learn how peacefully a man can die.” Gebhard Leberecht von Blüche, speaking to his aide-de-camp. 1819.

— “I am mortally wounded... I think.” Stephen Decatur. 1820.

— “I’m going now. My time has come.” Daniel Boone. 1820.

—  “France, the army, the head of the army, Joséphine...” ("France, armée, tête d'armée, Joséphine...") Napoleon Bonaparte. 1821.

— “I leave something dear to the world.” (”Lo lascio qualque cosa di car nel Mondo.”) Lord Byron. 1824.

— “Pity, pity - too late!” Ludwig van Beethoven, upon learning that his publisher had gifted him several bottles of wine. 1827. 

— “Well, I’ve had a happy life.” William Hazlitt. 1830. 

— “How do I get out of this labyrinth!” Simón Bolívar. 1830.

— “I regret that I should leave this world without again beholding him.” James Monroe, referring to James Madison. 1831.

— “Only you have ever understood me... and you got it wrong.” (”Immer nur du hast mich verstanden... und sie haben es falsch.”) Georg Wilhelm Friedrich Hegel, in his last conversation with his favourite student. 1831.

— “My mind is quite unclouded. I could even be witty.” Samuel Taylor Coleridge. 1834.

— “Nothing more than a change of mind, my dear.” James Madison, responding to his niece who asked him what the matter was. 1836.

— “Thank you - but don’t kiss me; it is the sweat of death. I am dying, and it’s for the best.” John Field to his friend. 1837.

— “Try to be forgotten. Go live in the country. Stay in mourning for two years, then remarry, but choose somebody decent.” Alexander Pushkin, speaking to his wife after being wounded in a duel with her rumoured lover. 1837.

— "I hope to meet each of you in heaven. Be good, children, all of you, and strive to be ready when the change comes." Andrew Jackson. 1845.

— “Peace! Joy!” Henry Francis Lyte. 1847.

— “This is the last of Earth. I am content.” John Quincy Adams. 1848.

— “In all my past life I have done nothing either great or good.” Branwell Brontë. 1848.

— “If you will send for a doctor I will see him now.” Emily Brontë. 1848.

— “Take courage, Charlotte; take courage.” Anne Brontë, speaking to her sister. 1849.

— “I love you, Sarah. For all eternity, I love you.” James K. Polk, to his wife. 1849.

— “Lord, help my poor soul.” Edgar Allan Poe, quoting one of his poems. 1849. 

— “Play Mozart in memory of me - and I will hear you.” (”Jouez Mozart mémoire de moi et je vais vous entendre.") Frédéric Chopin. 1849.

— “I regret nothing, but I am sorry to leave my friends.” Zachary Taylor. 1850.

— “I still live.” Daniel Webster. 1852.

— “If I am in danger, tell me; do not deceive me.” (”Se tenho perigo, diga-mo; não me engane.") Maria II of Portugal, speaking to her surgeon during the birth of her 11th child. 1853.

— “I fear we are in a mess.” George Cathcart, shortly before his death during the Battle of Inkerman. 1854.

— "I no longer see you." ("Eu já o não vejo.") Almeida Garrett, speaking to his friend. 1854.

— “Oh, I am not going to die, am I? He will not separate us. We have been so happy.” Charlotte Brontë, who was speaking to her husband. 1855.

— “Do not kill me! I did not come to fight you!” Andrew Bolon, right before his through was cut by a member of the Yakama. 1855.

— “God will pardon me. That’s his line of work.” (”Dieu me pardonnera. C’est son métier.”) Heinrich Heine. 1856.

— “What an irreparable loss!” Auguste Comte. 1857. 

— “Comfort my Peter.” (”Consolem o meu Pedro.”) Stephanie of Hohenzollern-Sigmaringen, speaking of her husband. 1859. 

—  “I, John Brown, am now quite certain that the crimes of this guilty land will never be purged away but with blood. I had, as I now think, vainly flattered myself that without very much bloodshed it might be done.” John Brown, speaking of ending slavery. 1859.

— “No noise, no music, no Bohemia!” Henri Murger. 1861.

— “It is most beautiful.” Elizabeth Barrett Browning. 1861. 

— “Perhaps it is best.” John Tyler. 1862. 

— “I did not know that we had ever quarreled.” Henry David Thoreau, upon being asked to make his peace with God. 1862. 

— “Congestion. Stopped.” Joseph Henry Green, measuring his breathing and then his pulse. 1863.

— “Lay me down, and save the flag!” James A. Mulligan, who was wounded in battle. 1864.

— “She won’t think anything about it.” Abraham Lincoln, telling his wife that their friend would not mind them holding hands shortly before he was shot. 1865.

— “Ah, Luisa, you always arrive just as I am leaving.” Massimo d’Azeglio, speaking to his estranged wife. 1866. 

— “Whatever the result may be, I shall carry to my grave the consciousness that at least I meant well for my country.” James Buchanan. 1868.

— “I die for my homeland.” (”Muero por mi patria.”) Francisco Solano López. 1870.

— “Oh, do not cry. Be good children, and we shall meet in Heaven.” Andrew Johnson. 1875.

— “Farewell, the martyrdom is no more!” ("Adeus, acabou o martírio!") Inocêncio Francisco da Silva. 1876.

— “I am not the least afraid to die.” Charles Darwin. 1882. 

— “Go on, get out! Last words are for fools who haven’t said enough!” ("Hinaus! Letzte Worte sind für Narren, die noch nicht genug gesagt haben!") Karl Marx. 1883.

— “This is the fight of day and night. I see black light.” (”En moi c’est le combat du jour et de la nuit.”) Victor Hugo. 1885.

— “I must go in, for the fog is rising.” Emily Dickinson. 1886. 

— “Now comes the mystery.” Henry Ward Beecher. 1887. 

— “I haven’t got time to be tired.” Wilhelm I. 1888.

— “A little while and I will be gone from among you. Whither I cannot tell. From nowhere we came, into nowhere we go. What is life? It is a flash of a firefly in the night. It is the breath of a buffalo in the wintertime. It is the little shadow which runs across the grass and loses itself in the sunset.” Crowfoot. 1890.

— “The sadness will last forever.” Vincent van Gogh. 1890.

— “I am not going. Do with me what you like. I am not going. Come on! Come on! Take action! Let’s go!” Sitting Bull, yelled while trying to be taken from his home. 1890.

— “May God grant me these last wishes - peace and prosperity for Brazil.” Pedro II of Brazil. 1891. 

— “I know I am going where Lucy is.” Rutherford B. Hayes, referring to his wife, who had died in 1889. 1893. 

— “I am imploring you - burn all the indecent poems and drawings.” Aubrey Beardlsey. 1898.

—  “Keep up the fire, men.” Emerson H. Liscum. 1900.

— “My wallpaper and I are fighting a duel to the death. One or the other of us has to go.” Oscar Wilde. 1900.

— “Bertie.” Queen Victoria, calling to her son. 1901.

— “Goodbye, all, goodbye. It is God’s way. His will be done.” William McKinley. 1901.

— “So little done, so much to do.” Cecil Rhodes. 1902.

— “It’s a long time since I drank champagne...” ("Давно я не пил шампанского...") Anton Chekhov. 1904.

— “In spite of it all, I am going to sleep; put out the lights.” Thomas Bailey Aldrich. 1907.

— “I have tried so hard to do right.” Grover Cleveland. 1908. 

— “Pull up the shades; I don’t want to go home in the dark.” O. Henry. 1910.

— “Here I go.” Cromwell Dixon, said just before his biplane crashed. 1911.

— “One last drink, please.” Jack Daniel. 1911.

— “I am just going outside and may be some time.” Lawrence Oates, an explorer who walked out of his tent and into a blizzard. 1912.

— “Had we lived, I should have had a tale to tell of the hardihood, endurance, and courage of my companions which would have stirred the heart of every Englishman. These rough notes and our dead bodies must tell the tale.” Robert Falcon Scott in a final message to the public. His party was found frozen in Antartica. 1912.

— “The ladies have to go first... Get in the lifeboat, to please me... Goodbye, dearie. I’ll see you later.” John Jacob Astor IV, pleading with his pregnant wife to board a lifeboat as the Titanic sank. 1912.

— “Well boys, do your best for the women and children, and look out for yourselves.” Edward Smith, captain of the Titanic, giving orders before he went down with his ship. 1912.

— “Swing low, sweet chariot.” Harriet Tubman. 1913. 

— “It is nothing... it is nothing...” (”Es ist gar nichts... es ist gar nichts...”) Archduke Franz Ferdinand, after being fatally shot in an event that would start WWI. 1914.

— “Hullo.” Rupert Brooke, to his friend who came to visit him. 1915.

— “Patriotism is not enough. I must have no hatred or bitterness towards anyone.” Edith Cavell, a British nurse to the Anglican Chaplain who visited her the night before her execution by German forces. 1915.

— “Why fear death? Death is only a beautiful adventure.” Charles Frohman, quoting Peter Pan as the Lusitania sunk. 1915.

— “There does not seem to be anything to do.” Alice Moore Hubbard, to her husband as the Lusitania sunk. 1915.

— “It is unbelievable!” Mata Hari. 1917.

— “Goodbye, until Heaven!” ("Adeus, até ao Céu!") Saint Francisco Marto, to his cousin. 1919.

— “Now we can cross the Shifting Sands.” L. Frank Baum, referring to a place in Oz. 1919. 

— “Never mind, it is good to die for our country.”  ("אין דבר, טוב למות בעד ארצנו") Joseph Trumpeldor. 1920.

— “I’m all right; tell Mays not to worry... ring... Katie’s ring.” Ray Chapman, referring to Mays, the pitcher who threw the ball that accidentally killed him and his wedding band. 1920. 

— “Some day, when things look real tough for Notre Dame, ask the boys to go out there and win one for Gipper.” George Gipp, to his football coach as he was dying of pneumonia. 1920.

— In sign language, “No.” Alexander Graham Bell, responding to his deaf wife who signed, “Don’t leave me.” 1922.

— “Don’t let it end like this. Tell them I said something...” Pancho Villa, to his friend after he was shot. 1923. 

— “I thought this was the most beautiful spot in the world, and now I know it.” W.P. Ker, who was on the Pizzo Bianco when he suffered a fatal heart attack. 1923. 

— “That’s good. Go on, read some more.” Warren G. Harding, to his wife who was reading a positive article about him. 1923.

— “Good dog.” (”Vot sobaka.”) Vladimir Lenin, speaking to his dog who had brought him a dead bird. 1924.

— “You’re too slow... too slow.” Floyd Collins, speaking to rescuers who were trying to free him from the cave he had become trapped in. 1925.

— “Goodbye, my friend, goodbye / My dear friend, you are in my heart / Predestined separation promises a future meeting.” Sergei Yesenin, in his suicide note.1925.

— “I don’t feel good.” Luther Burbank. 1926. 

— “Farewell, my friends. I go to glory!” (”Adieu, mes amis. Je vais à la gloire!”) Isadora Duncan. 1927.

— “Get my Swan costume ready.” Anna Pavlova. 1931.

— “Everything’s gone wrong, my girl.” Arnold Bennett, to his mistress. 1931.

— “So long... Goodbye...” (Wiedersehen... Gruss...”) Paul Anlauf. 1931.

— “It’s very beautiful over there.” Thomas Edison. 1931. 

— “Curtain! Fast music! Lights! Ready for the last finale! Great! The show looks good. The show looks good.” Florenz Ziegfeld Jr. 1932.

— “If this is dying, I don’t think much of it.” Lytton Strachey. 1932.

— “So the beginning of the eighth day has dawned. It is still cool. I have no water... I am waiting patiently. Come soon please. Fever wracked me last night. Hope you get my full log. Bill.” Bill Lancaster, in his final journal log after his plane crashed in the Sahara Desert. 1933.

— “When I am dead, and over me bright April Shakes out her rain drenched hair, Tho you should lean above me broken hearted, I shall not care. For I shall have peace. As leafey trees are peaceful When rain bends down the bough. And I shall be more silent and cold hearted than you are now.” Sara Teasdale, in her suicide note. 1933.

— “I’m glad it was me and not you, Mr. President.” Anton Cermak, who was shot instead of Franklin Roosevelt. 1933. 

— “I don’t want it.” (”Je ne le veux pas.”) Marie Curie, who was rejecting an injection of painkiller. 1934. 

— “When all usefulness is over, when one is assured of an unavoidable and imminent death, it is simplest of human rights to choose a quick and easy death in place of a slow and horrible one.” Charlotte Perkins Gilman, in her suicide note. 1935. 

— “Indeed - very good. I shall - have to repeat that - on the Golden Floor.” A.E. Housman, laughing at a joke his doctor had told him. 1936.

— “All fled, all done, so lift me on the pyre; The feast is over and the lamps expire.” Robert E. Howard, quoting “The House of Caeser” in his suicide note. 1936.

— “I can do no more.” (”Ich kann nicht mehr.”) Toni Kurz, who died just before reaching a team come to rescue him. 1936. 

— “I can’t sleep.” J.M. Barrie. 1937. 

— “I’m bored. I’m bored.” Gabriele D’Annunzio. 1938. 

— “I was going too fast for the conditions - it was entirely my own fault - I am sorry.” Richard Seaman, racecar driver who was fatally injured during a race. 1939.

— “Does nobody understand?” James Joyce. 1941. 

— “I don’t think two people could have been happier than we have been.” Virginia Woolf, addressing her husband in her suicide note. 1941.

— “Put an end, Lord, to all our sufferings.” (”Setzen sie ein ende, o Gott, für alle unsere leiden.”) Elisabeth von Thadden, right before she was executed by the Nazis. 1944.

— “The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I'm always up against a more powerful enemy.” Anne Frank, discussing in her final journal entry how she feels split in tow. 1945.

— “What I done, I did in self-defense, or I would have been killed myself. Where I was I could not overcome it. God has forgiven me. I have nothing against anyone. I picked cotton for Mr. Pritchett, and he has been good to me. I am ready to go. I am one in the number. I am ready to meet my God. I have a very strong conscience.” Lena Baker, an African-American maid who was convicted and executed for killing her employer. 1945.

— “What is the answer? In that case, what is the question?” Gertrude Stein. 1946. 

— “Go away. I’m all right.” H.G. Wells. 1946. 

— “You can keep the things of bronze and stone and give me one man to remember me just once a year.” Damon Runyon. 1946. 

— “I’m going over the valley.” Babe Ruth. 1948.

— “Frenzy hath seized thy dearest son, / Who from thy shores in glory came / The first in valor and in fame; / Thy deeds that he hath done / Seem hostile all to hostile eyes... / Better to die, and sleep / The never waking sleep, than linger on, / And dare to live, when the soul’s life is gone.” James Forrestal, quoting “Ajax” in his suicide note. 1949.

— “This is it! I’m going. I’m going.” Al Jolson. 1950. 

— “Say goodbye to my wife and kids.” Ray Wetmore, said as his plane crashed. 1951.

— “I hope the exit is joyful and hope never to come back.” Frida Kahlo. 1954.

— “I hope it won’t take long.” Enrico Fermi, said 10 days before he died of cancer. 1954. 

— “I want to go when I want. It is tasteless to prolong life artificially. I have done my share, it is time to go. I will do it elegantly.” Albert Einstein, who was declining surgery. 1955.

— “I’m glad to sit on the back row, for I would rather be a servant in the House of the Lord than to sit in the seats of the might.” Alben W. Barkley, referencing the bible just before dying of a heart attack during a keynote address. 1956. 

— “No. Thanks for everything.” Max Beerbohm, responding to the question of if he’d had a good sleep. 1956. 

— “Goodbye, kid. Hurry back.” Humphrey Bogart, speaking to Lauren Bacall as she left to get their children. 1957. 

— “Were a midair collision - midair collision. How we are going in - uncontrollable - uncontrollable - we are... we’ve had it boy - poor jet too - told you we should take chutes - say goodbye to everybody.” Archie R. Twitchell, said shortly before a midair collision. 1957.

— “Beautifully done.” Stanley Spencer, to the nurse who injected him. 1959. 

— “Is everybody happy? I want everybody to be happy. I know I’m happy.” Ethel Barrymore, to her maid. 1959. 

— “Dying is easy. Comedy is difficult.” Edmund Gwenn. 1959. 

— “I’ve had a hell of a lot of fun and I’ve enjoyed every minute of it.” Errol Flynn. 1959. 

— “Oh God, here I go.” Max Baer. 1959.

— “He is safe! He is safe! Oh, joy!” (”È salvo! È salvo! Oh, gioia!”) Leonard Warren, an opera singer who was in the middle of a performance when he died onstage. 1960.

— “I am so bored.” St John Philby. 1960.

— “Too much pain... Do something, please... to kill the pain.” Valentin Bondarenko, a cosmonaut fatally injured in a chamber fire. 1961. 

— “Goodnight my kitten.” Ernest Hemingway. 1961. 

— “Remember, honey, don’t forget what I told you. Put in my coffin a deck of cards, a mashie niblick, and a pretty blonde.” Chico Marx, telling his wife a final joke. 1961.

— “I’m going to stop now, but I’m going to sharpen the ax before I put it up, dear.” E.E. Cummings, assuring his wife that it wouldn’t be too hot to chop wood. He suffered a stroke soon after. 1962.

— “Don’t cry! This is a moment of joy, a moment of glory.” (”Non piangere! È un momentio di gioia questio, un momento di gloria.”) Pope John XXIII, speaking to his secretary. 1963.

— “I am sorry to trouble you chaps. I don’t know how you get along so fast with the traffic on the roads these days.” Ian Fleming, to the ambulance drivers who came to help him. 1964.

— “I’m bored with it all.” Winston Churchill. 1965. 

— “Brothers! Brothers, please! This is a house of peace!” Malcolm X, trying to calm people down before he was murdered. 1965. 

— “Dying is a very dull, dreary affair. And my advice to you is to have nothing whatever to do with it.” Somerset Maugham, speaking to his nephew. 1965. 

— “Why can’t I give up at last?” Buster Keaton. 1966.

— “I know you are here to kill me. Shoot, coward, you are only going to kill a man.” ("Sé que estás aquí para matarme. Dispara, cobarde, solo vas a matar a un hombre.") Che Guevara, to the people who were to kill him. 1967.

— “Ben, make sure you play ‘Take My Hand, Precious Lord’ in the meeting tonight. Play it real pretty.” Martin Luther King Jr., speaking to the musician who was to play at the meeting. 1968.

— “Is everybody alright?” Robert F. Kennedy, after being shot. 1968.

— “Human life is limited; but I would like to live forever.” Yukio Mishima. 1970.

— “Good night my darlings. I’ll see you tomorrow.” Noël Coward. 1973.

— “Drink to me.” Pablo Picasso. 1973.

— “A certain butterfly is already on the wing.” Vladimir Nabokov. 1977.

— “Die, my dear? Why, that’s the last thing I’ll do!” Groucho Marx. 1977.

— “I hope I haven’t bored you.” Elvis Presley, in his last public appearance. 1977.

— “Why not? After all, it belongs to him.” Charlie Chaplin, responding to a priest who said “May the Lord have mercy on your soul”. 1977. 

— “Of course I know who you are. You’re my girl. I love you.” John Wayne, responding to his wife. 1979.

— “Are you guys okay?” Thurman Munson, asking a question to passengers who had been in a plane crash with him. 1979.

— “One never knows the ending. One has to die to know exactly what happens after death, although Catholics have their hopes.” Alfred Hitchcock. 1980.

— “Money can’t buy life.” Bob Marley. 1981. 

— “Everybody has got to die, but I have always believed an exception would be made in my case. Now What?” William Saroyan, in a final message to the Associated Press. 1981.

— “Just don’t leave me alone.” John Belushi. 1982.

— “I am going.” Sobhuza II, shortly after a meeting. 1982.

— “It’s all been rather lovely.” John le Mesurier. 1983.

— “What I cannot create, I do not understand.” Richard Feynman, written upon his chalkboard. 1983.

— “You know, I’m not frightened. It’s just that I will miss you all so much.” Roald Dahl, who was then injected with morphine, making his last words officially “Ow!”. 1990.

— “Will it be an interesting experience? Will I find out what lies beyond the barrier? Why does it take so long to come?” Graham Greene. 1991.

— “Don’t worry. Relax.” Rajiv Gandhi, said to a policewoman shortly before he was assassinated. 1991.

— “Thank you.” Freddie Mercury. 1991.

— “You only live so long.” Richard Versalle, performing during an opera shortly before dying on stage. 1996.

— “I love you. Sleep well, my sweetheart. Please don’t worry too much.” Rob Hall, speaking to his wife before he died on Mount Everest. 1996. 

— “My God, what’s happened?” Princess Diana. 1997. 

— “Please don’t leave me.” Chris Farley, to the prostitute who was leaving his motel room. 1997.

— “I’m losing it.” Frank Sinatra. 1998.

— “I’ll finally get to see Marilyn.” Joe DiMaggio, referring to his estranged late wife, Marilyn Monroe. 1999.

— “Surprise me.” Bob Hope, whose wife had asked him where he wanted to be buried. 2003. 

— “Jeb. Just remember, whatever happens, happens.” Dwain Weston, to another skydiver before a fatal accident. 2003.

— “Let me go to the house of the Father.” (”Pozwólcie mi iść do domu Ojca.") Pope John Paul II. 2005.

— “I’m dying.” Steve Irwin. 2006. 

— “Lucy.” Augusto Pinochet, calling to his wife. 2006. 

— “I’m going away tonight.” James Brown, said to his manager before he died in his sleep. 2006. 

— “And if I should ever die, God forbid, I hope you will say: ‘Kurt is up in heaven now’. That’s my favourite joke.” Kurt Vonnegut. 2007.

— “I’m the happiest man in the world. I’ve just summitted a beautiful mountain.” Clifton Maloney, who later died on Cho Oyu. 2009.

— “A life is like a garden. Perfect moments can be had, but not preserved, except in memory. LLAP” Leonard Nimoy, telling his fans to live long and prosper in a final tweet. 2015.

— “Music has been my doorway of perception and the house that I live in.” David Bowie, speaking of music. 2016.

— “I want to be with Carrie.” Debbie Reynolds, speaking of her daughter, who had died the day before. 2016.

— “God bless. Take care of my boy, Roy.” Stan Lee, speaking of Spider-Man. 2018.

— “A full, intense and profound greeting to my children Marco, Alessandra, Andrea, Giovanni, my daughter-in-law Monica, and to my grandchildren Francesca, Valentina, Francesco and Luca. I hope they understand how much I loved them. Last but not least, Maria. I renew to you the extraordinary love that has held us together and that I am sorry to abandon. The most painful farewell to you." Ennio Morricone, writing a final letter to his family. 2020.

— “People deserve abundant life, special moments. They’ve been through hell battling disease. If we were able to ease their suffering and bring joy for a moment, and hopefully moments as he goes through the bags, then we made a difference in his life.” Chadwick Boseman, sending a final text about visiting a fan through Make-A-Wish. 2020.

“My most fervent wish is that I will not be replaced until a new president is installed.” Ruth Bader Ginsburg. 2020.

[zef-zef]

Dogon - Annonce Des Funérailles (Funeral Announcement) from: Les Dogon - Les Chants De La Vie, Le Rituel Funéraire (Ocora, 1957)

"Funeral Party Music". Hopefully people are dancing and having a party when my time has come.

Recorded in April 1956 on the cliffs of Bandiagara by François Di Dio.

"First Issued in 1957, these recordings appeared on Les Dogon (SOR 1 & 2), a 12 page booklet with two (10") discs produced not for sale by SORAFOM (Société de Radiodiffusion de la France d’Outre-mer, what would later become Ocora). Later, the first commercial version came out with a 16 page booklet and one LP (Les Dogon: OCR 33) produced under my direction by Ocora. This album being out of print for years, François Di Dio and I decided to reissue on CD all recordings from both versions." - Charles Duvelle, 2011

[vecchiorovere-blog]

-°- Dio ha creato il gatto per dare all'uomo il piacere di accarezzare una tigre. (François Joseph Mery) -°- [Opera di Raphaël Vavasseur]

[ochoislas]

EL LLANTO

Ya mismo cumplo cincuenta, y, a Dios gracias, me resigno. Mas una aprensión me azora: a más años, menos lloro.

No sufro menos ahora que antaño, y aún me alabo de compadecer al vivo toda la miseria ajena.

¡Ay aquel tierno venero que el alma surte a los ojos! ¿En tal grado envejecí que está casi restañado?

¿Para el amigo que sufre o para mí, ya no habrá llanto que conjure y calme ajeno dolor, o propio?

Mismo ayer con este frío al pobre medio desnudo di, pero sin conmoverme, di, casi por la costumbre.

Y la otra noche aquel viudo —sin que vertieran mis ojos de compasión ni una lágrima— me confió su abatimiento.

¿Es así? ¿Se postra el alma igual que se encorva el cuerpo? ¿Seré un viejo cabizbajo que va solo y embebido?

¡No, eso es ya morir a medias! Aspiro —naturaleza cruel— a contrastar tu ley: guardar mi piedad ilesa.

Las canas y las arrugas las acepto, me conformo; mas quisiera, aún anciano, no tener enjutos ojos.

Pues fealdad y perversión sólo ve el seco egoísmo, y es un prisma cada lágrima que transforma el universo.

*

LES LARMES

J’aurai cinquante ans tout à l’heure; Je m’y résigne, Dieu merci! Mais j’ai ce très grave souci: Plus je vieillis, et moins je pleure.

Je souffre pourtant aujourd’hui Comme jadis, et je m’honore De sentir vivement encore Toutes les misères d’autrui.

Oh! la bonne source attendrie Qui me montait du cœur aux yeux! Suis-je à ce point devenu vieux Qu’elle soit près d’être tarie?

Pour mes amis dans la douleur, Pour moi-même, quoi? plus de larme Qui tempère, console et charme, Un instant, ma peine ou la leur!

Hier encor, par ce froid si rude, Devant ce pauvre presque nu, J’ai donné, mais sans être ému, J’ai donné, mais par habitude;

Et ce triste veuf, l’autre soir, ―Sans que de mes yeux soit sortie Une larme de sympathie,― M’a confié son désespoir.

Est-ce donc vrai ? Le cœur se lasse, Comme le corps va se courbant. En moi seul toujours m’absorbant, J’irais, vieillard à tête basse?

Non! C’est mourir plus qu’à moitié! Je prétends, cruelle nature, Résistant à ta loi si dure, Garder intacte ma pitié…

Oh! les cheveux blancs et les rides! Je les accepte, j’y consens; Mais, au moins, jusqu’en mes vieux ans, Que mes yeux ne soient point arides!

Car l’homme n’est laid ni pervers Qu’au regard sec de l’égoïsme, Et l’eau d’une larme est un prisme Qui transfigure l’univers.

François Coppée

di-versión©ochoislas

[justforbooks]

Federico Fellini, Cavaliere di Gran Croce OMRI, was born on January 20, 1920 in Rimini, then a small town on the Adriatic Sea. He was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 film ​8 1⁄2 as the 10th-greatest film.

For La Dolce Vita Fellini won the Palme d'Or, was nominated for twelve Academy Awards, and won four in the category of Best Foreign Language Film, the most for any director in the history of the Academy. He received an honorary award for Lifetime Achievement at the 65th Academy Awards in Los Angeles. His other well-known films include La Strada (1954), Nights of Cabiria (1957), Juliet of the Spirits (1967), the "Toby Dammit" segment of Spirits of the Dead (1968), Fellini Satyricon (1969), Roma (1972), Amarcord (1973), and Fellini's Casanova (1976).

Personal and highly idiosyncratic visions of society, Fellini's films are a unique combination of memory, dreams, fantasy and desire. The adjectives "Fellinian" and "Felliniesque" are "synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general". La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).

Contemporary filmmakers such as Tim Burton, Terry Gilliam, Emir Kusturica, and David Lynch have cited Fellini's influence on their work.

Polish director Wojciech Has, whose two best-received films, The Saragossa Manuscript (1965) and The Hour-Glass Sanatorium (1973), are examples of modernist fantasies, has been compared to Fellini for the sheer "luxuriance of his images".

I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and influenced Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1982), among many others. When the American magazine Cinema asked Stanley Kubrick in 1963 to name his ten favorite films, he ranked I Vitelloni number one.

Nights of Cabiria was adapted as the Broadway musical Sweet Charity and the movie Sweet Charity (1969) by Bob Fosse starring Shirley MacLaine. City of Women was adapted for the Berlin stage by Frank Castorf in 1992.

​8 1⁄2 inspired, among others, Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970), Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (François Truffaut, 1973), All That Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad Planet (Vadim Abdrashitov, 1984), La Pelicula del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo, 1995), ​8 1⁄2 Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), and the Broadway musical Nine (Maury Yeston and Arthur Kopit, 1982). Yo-Yo Boing! (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini inspired by ​8 1⁄2.

Fellini's work is referenced on the albums Fellini Days (2001) by Fish, Another Side of Bob Dylan (1964) by Bob Dylan with Motorpsycho Nitemare, Funplex (2008) by the B-52's with the song Juliet of the Spirits, and in the opening traffic jam of the music video Everybody Hurts by R.E.M. American singer Lana Del Rey has cited Fellini as an influence. His work influenced the American TV shows Northern Exposure and Third Rock from the Sun. Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to Fellini.

Various film-related material and personal papers of Fellini are in the Wesleyan University Cinema Archives, to which scholars and media experts have full access. In October 2009, the Jeu de Paume in Paris opened an exhibit devoted to Fellini that included ephemera, television interviews, behind-the-scenes photographs, Book of Dreams (based on 30 years of the director's illustrated dreams and notes), along with excerpts from La dolce vita and ​8 1⁄2.

In 2015, the Blue Devils Drum and Bugle Corps of Concord, California, performed "Felliniesque", a show themed around Fellini's work, with which they won a record 16th Drum Corps International World Class championship with a record score of 99.650. That same year, the weekly entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward with The Thousand Miles, a project based on various Fellini works and first developed with Demian Gregory and Tommaso Rossellini, including his unpublished drawings and writings.

Filmography

As a director

1950 Variety Lights co-credited with Alberto Lattuada

1952 The White Sheik 

1953 I vitelloni

1953 Love in the City Segment: Un'agenzia matrimoniale

1954 La strada

1955 Il bidone

1957 Nights of Cabiria

1960 La Dolce Vita

1962 Boccaccio '70 Segment: Le tentazioni del Dottor Antonio

1963 ​8 1⁄2

1965 Juliet of the Spirits

1968 Spirits of the Dead Segment: Toby Dammit

1969 Fellini: A Director's Notebook

1969 Fellini Satyricon

1970 I Clowns

1972 Roma

1973 Amarcord

1976 Fellini's Casanova

1978 Orchestra Rehearsal

1980 City of Women

1983 And the Ship Sails On

1986 Ginger and Fred

1987 Intervista

1990 The Voice of the Moon 

As a screenwriter

1942 Knights of the Desert

1942 Before the Postman

1943 The Peddler and the Lady

1943 L'ultima carrozzella Co-scriptwriter

1945 Tutta la città canta Co-screenwriter and story author

1945 Rome, Open City Co-scriptwriter

1946 Paisà Co-scriptwriter

1947 Il delitto di Giovanni Episcopo Co-scriptwriter

1948 Senza pietà Co-scriptwriter

1948 Il miracolo Co-scriptwriter

1949 Il mulino del Po Co-scriptwriter

1950 Francesco, giullare di Dio Co-scriptwriter

1950 Il Cammino della speranza Co-scriptwriter

1951 La città si difende Co-scriptwriter

1951 Persiane chiuse Co-scriptwriter

1952 Il brigante di Tacca del Lupo Co-scriptwriter

1958 Fortunella Co-scriptwriter

1979 Lovers and Liars Fellini not credited

Television commercials

TV commercial for Campari Soda (1984)

TV commercial for Barilla pasta (1984)

Three TV commercials for Banca di Roma (1992)

Documentaries on Fellini

Ciao Federico (1969). Dir. Gideon Bachmann. (60')

Federico Fellini - un autoritratto ritrovato (2000). Dir. Paquito Del Bosco. (RAI TV, 68')

Fellini: I'm a Born Liar (2002). Dir. Damian Pettigrew. Feature documentary. (Arte, Eurimages, Scottish Screen, 102')

How Strange to Be Named Federico (2013). Dir. Ettore Scola.

Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier, a day after his 50th wedding anniversary. The memorial service, in Studio 5 at Cinecittà, was attended by an estimated 70,000 people. At Giulietta Masina's request, trumpeter Mauro Maur played Nino Rota's "Improvviso dell'Angelo" during the ceremony.

Five months later, on 23 March 1994, Masina died of lung cancer. Fellini, Masina and their son, Pierfederico, are buried in a bronze sepulchre sculpted by Arnaldo Pomodoro. Designed as a ship's prow, the tomb is at the main entrance to the Cemetery of Rimini. The Federico Fellini Airport in Rimini is named in his honour.

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