#balises

[grandboute]

Partir

[kris33390]

Lien html vers un endroit précis d'une autre page

Le langage HTML Le langage HTML est très simple mais tolère peu les erreurs. Il est parfois nécessaire de s’y mettre, les éditeurs de pages ou articles, ne permettent pas certaines actions comme le lien vers un endroit précis d’une autre page. Il faut créer une ancre et un lien vers cette ancre. Sur WordPress, on écrit l’article ou la page, puis on passe en mode HTML pour insérer les balises…

[philoursmars]

Troisième étape de mon périple dans l'Ouest pour retrouver des ami(e)s lointain(e)s : Christian en Bretagne, près de Brest, il y a un mois déjà.

Porspoder, le hameau de Melon.

[jeanfrancoisrey]

Balise même pas…

[jawnressources]

Toi aussi, tu veux une jolie balise TW ? Ouais vous savez, ce truc qui permet de cacher un texte mais pas vraiment; et qui aide à ne pas trigger les personnes concernées par les sujets concernés. Pour ça, on va juste utiliser un "hover", c'est à dire un truc qui se passe au passage de la souris sur un élément. Rien de bien difficile, on va juste suivre le petit tuto suivant. Mais avant tout, voilà ce que c'est censé donner avant :

Et au passage de la souris :

Voilà maintenant qu'on a le visuel, on va expliquer le truc. Quand vous voulez cacher un texte, vous allez le mettre sous cette balise : <tw></tw> Exemple : <tw>je suis un texte sous balise TW coucou</tw>

Maintenant que c'est fait, c'est bien joli mais il se passe rien ? Pas de panique ! Vous allez juste rajouter un petit quelque chose dans le CSS de votre forum (Panneau d'administration > Affichage > Images et Couleurs > Couleurs & CSS > l'onglet "feuille de style CSS") et vous allez ajouter n'importe où ceci : tw { transition: all 500ms; /**permet que la transition soit fluide**/ background: #ccc; padding: 2px; border-radius: 5px; /**l'arrondi du fond**/ position: relative; /**permet que ça passe par-dessus le texte**/ z-index: 99; /**ça c'est comme un calque Toshop, ça veut dire que ça va passer par-dessous tout le reste**/ color:#ccc; } tw:hover { transition:all 500ms; background:transparent; position:relative; }

Et voilà c'est tout. En gros, on a appliqué la même couleur de fond que la couleur du texte, ce qui rend le tout "invisible", dans le sens qu'on a un texte qui n'apparaît pas et une couleur visible pour montrer qu'il ne faut pas passer sa souris si on ne veut pas (on ne le répétera jamais assez, mais si y'a un trigger qui vous choque, ne lisez simplement pas sinon venez pas vous plaindre). Et quand on passe sa souris ? Le fond disparaît simplement pour laisser le texte en couleur derrière. Et voilà ! Une petite balise TW facile et rapide qui permet de pouvoir cacher ce qui doit l'être ! (merci de penser à me créditer au passage svp)

[jb-nonsense]

my brain: why are my two cyphers so hypersexual and gay

psychology side of my brain: their gayness is the only part of themselves they can maintain from before they were experimented on and the hypersexuality is because they can't form proper connections with people like they did before so this is how they can find some form of intimacy

my brain: ...rude.

[contremineur]

Esteban Richard, Balise (2018)

from here

[commander-krios]

Erik + Kieran = date? ( do not judge him)

So Kieran has a strict "don't date spies" rule because he can't trust that they aren't secretly working for his mother. The only spy he does trust is his sister but that's because Keshani has it worse than he or Helene did since they are both Force Sensitive.

Erik, he wouldn't trust him, especially with his past being so secretive. So chances are very low, even if Erik has 'good' intentions. Maybe one day they could be friends, but that would be a long way off.

Sorry, Erik.

[phytine]

Perrault’s “Cendrillon”

So, why do I want to speak about Cinderella on this website? Because I see way too much bullshit about it going around. Especially when it’s about Disney animated version. Because yeah, Disney indeed sanitized quite a bit the version they took inspiration from to make their own, for children. But not the way you think they had done it. They did not suppress violence. They did not need to: they took Perrault’s version of Cinderella, not the Brother Grimm’s one.

So, in this post, we are going to talk about Perrault’s version of Cinderella, or “Cendrillon ou la petite pantoufle de verre*”. Because I'm pretty sure you most likely do not have a complete reading of this tale.

*I want to clarify here that, verre = glass. The idea that it was in another fabric comes from XIXs century's authors who thought it did not make sense and thus said that it was a mistake and that it was “vair” (which is a type of fur) because you know, fairy tales had to be realistic… ANYWAY.

N.B.: English is not my first language so bear with me the mistakes.

1. Charles Perrault did not write tales for children (and without adding gore for that)

Yes, because before we talk about the tale, we have to do some context. It’s very important.

Okay, so repeat after me, “Charles Perrault did not write tales for children.”

I know, you are going to think that I think it’s because they were trash or something, thus not good for children. It’s not for this reason.

Charles Perrault wrote tales for the French high-society circle. He wrote his tales at the end of XVIIs century (“Cendrillon” was published in 1697). At this time, tales were not thought for children but for everyone (I'm not going to expand on the oral tradition of tales in France in the XVIIs century, sorry, but keep in mind it was oral, and not specific to old women).

Now, don’t get me wrong, Perrault did everything to make you believe it was for children. He called it “Contes de ma mère l’oye” at first, which is a way to create the idea that these tales were just stories he heard from old women. Yes, it’s the old storyteller cliché. I mean, he even put this frontispiece to really, really, be sure you understand:

He even went as far as telling it’s his own son who wrote them and put a dedication where his son (Pierre) was saying :

“On ne trouvera pas étrange qu’un Enfant ait pris plaisir à composer les Contes de ce Recueil […].”

“Nobody will find strange that a child took pleasure in composing this tales collection […].”

(At this time, Pierre was 19 and you have to take into account that childhood was not perceived the same way as today – and teenage years just did not exist. At the time, childhood was considered a lack. When you were a child, you were lacking something – something you would gain in adulthood. So, at 19, Pierre was not considered a child.)

So why I’m saying that it’s just a stratagem.

Because what Perrault did is called a "jeu mondain". People in literary circles were playing at this, composing poetry, little stories, and other texts to entertain each other. It's especially true in Perrault's epoch: numerous writers, especially women, were writing tales for this circle. For example, the first one who used the term “Conte de fees” (“Fairy Tale”) was Madame d’Aulnoy. And we also have several versions of the same stories from different people who were playing a game: with the same beginning, do your own story (Perrault did that with his niece and another woman, don’t remember who).

Perrault's writing might look simple. It's anything but. I'm not going to talk in detail about it but basically, he imitates oral and popular style. But at the same time, he did it with enough talent to make it okay for the high society to read. It’s a very elaborate fake popular style.

It’s a way for his readers to appreciate some “low” style with a bit of distance. They laugh but they understood Perrault’s mirth behind his tales. It’s not for children or the masses, far from it.  

That's also why it's for adults but you will not find gore or something: it would have been absolutely abhorrent for people of this circle. A few salacious jokes, okay. If you do it right. But more? Oh god, no. A lot of women around Perrault were part of the preciosity. Make your heroin having her eyes tear off and they would have judged you sooo much.

(On top of that, you have to notice that general, tales for children of this time are about children… most of Perrault's ones aren't. They are about young men, and especially young women… like the ones he meets in his social circle, and who are listening ?)

2. Perrault’s tales’ pretty messed up moralities (on purpose)

This leads us to this point: Perrault did not make moral tales. Or at least, not in the way we might perceive them today.

Oh, of course, like for the children thing, he went really hard to make you believe it in the paratext.

You have to understand that tale was a low genre in the French tradition (to make it short, Tragedy, Poetry, and Epic poems were the big YES because they came from Antiquities with noble subjects, when Tales, Novels, and Comedy were the big You're a joke of a writer). That's why Perrault used the same technic as La Fontaine to make it nobler: he used the didactic strategy.

I mean, if it’s here to make you learn something, it’s way better than just entertainment, right? Yes, things never changed. That’s why Perrault was selling it as a didactic thing.

However, he might sell it as much as he wants, he can’t hide the content he produces, right?

Have you ever read Perrault’s moralities at the end of the tales? They are WILD.

Sometimes there is one morality and it has nothing to do with the tale. Sometimes there are two of them and they contradict each other. Sometimes they are just mocking you and/or society. At no point was Perrault like "yes, that's the meaning of my text, FOLLOW IT TO THE LETTERS".

See this example from “La Barbe Bleue” (Blue Beard) :

« Moralité

La curiosité malgré tous ses attraits,

Coûte souvent bien des regrets ;

On en voit tous les jours mille exemples paraître.

C’est, n’en déplaise au sexe, un plaisir bien léger ;

Dès qu’on le prend il cesse d’être,

Et toujours il coûte trop cher. 

 Autre moralité

Pour peu qu’on ait l’esprit sensé,

Et que du Monde on sache le grimoire,

On voit bientôt que cette histoire

Est un conte du temps passé ;

Il n’est plus d’Epoux si terrible,

Ni qui demande l’impossible,

Fût-il malcontent et jaloux.

Près de sa femme on le voit filer doux ;

Et de quelque couleur que sa barbe puisse être,

On a peine à juger qui des deux est le maître. »

In the first one, Perrault is saying that women are very curious beings and that it's bad behavior. In the second one, Perrault is saying that fortunately, nobody is that bad of a husband today and that even if they were, men are submitting to their wives.

(You have to take into account that Perrault was… feminist might be anachronistic, but he fought for women's education, etc. He even wrote a treaty during a famous quarrel between two camps in French literature. The dude was here to stay.)

So which moral do you take into account? And more than that, the tale in itself does not give you the answer because it can be read as a wedding between nobility and the bourgeoisie (a big problem at the time). And that’s just an example.

In another one, he is going to say that you have to be intelligent to become something in life but then just after he will be like "well… I say that but better have a good heritage. It works better.”.

You can consider that tales have for goal to teach you something. Perrault’s ones do not. And it’s logic you know: it’s not for children. Whose aristocrats would like to entertain themselves by learning some morals when it is normally about trying to outsmart everyone?

3. “Cendrillon ou la petite pantoufle de verre” or “The strategy to find a good husband”

When you read “Cendrillon” for the first time, you can easily understand it as the following: be good and you will be rewarded. It’s a “nice things happen to nice people” situation, as a reward for being nice to everyone, Cendrillon marries the Prince.

That’s what you can understand from the first morality.

« Moralité

La beauté pour le sexe est un rare trésor,

De l’admirer jamais on ne se lasse ;

Mais ce qu’on nomme bonne grâce

Est sans prix, et vaut mieux encor.

C’est ce qu’à Cendrillon fit avoir sa Marraine,

En la dressant, en l’instruisant,

Tant et si bien qu’elle en fit une Reine :

(Car ainsi sur ce Conte on va moralisant.)

Belles, ce dont vaut mieux que d’être bien coiffées,

Pour engager un cœur, pour en venir à bout,

La bonne grâce est le vrai don des Fées ;

Sans elle on ne peut rien, avec elle, on peut tout. »

And on top of that, her short presentation emphasizes these characteristics :

« Le mari avait de son côté une jeune fille, mais d’une douceur et d’une bonté sans exemple ; elle tenait cela de sa Mère, qui était la meilleure personne du monde. »

« The husband had one young girl, whose gentleness and kindness were without equal; she was inheriting it from her Mother, who was the best person in the world.”

She is beautiful but most importantly, she is kind.

But there is another reading, of course. Another layer. There is always one in Perrault’s tale. Is Cendrillon just kind? Is it the only reason she is rewarded in the end? Kindness is not naivety.

The answer is linked to the second morality.

« Autre Moralité

C’est sans doute un grand avantage,

D’avoir de l’esprit, du courage,

De la naissance, du bon sens,

Et d’autres semblables talents,

Qu’on reçoit du Ciel en partage ;

Mais vous aurez beau les avoir,

Pour votre avancement ce seront choses vaines,

Si vous n’avez, pour les faire valoir,

Ou des parrains ou des marraines. »

So, it's saying that it's great to be good, intelligent, and beautiful but if you want something, better count on having someone to help you and be able to strategize for your social climbing, you know.

Yes, you can read Perrault’s Cendrillon as a girl who is not that honest but who is well aware of what she needs to do to live a good life.

That’s what I meant when I said that your “girl boss” Cendrillon may exist but not in the way you hoped for. Through the tale, you can interpret her behavior as a way to go to the ball to seduce the prince or at least find a good husband.

Yes, Cendrillon is good and nice. But she is also very aware of the situation she is in. For example, on one hand, this is the dialogue between Cendrillon and her sister:

« En les coiffant, elles lui disaient : "Cendrillon, serait-tu bien aise d’aller au Bal ? – Hélas, Mesdemoiselles, vous vous moquez de moi, ce n’est pas là ce qu’il me faut. – Tu as raison, on rirait bien si on voyait un Cucendron aller au Bal." »

“While doing their hair, they were saying: “Cendrillon, would you be pleased to go to the ball? – Alas, misses, you are making fun of me, it is not what I need. – You are right, we would laugh well if we were to see a Cucendron go to the ball.”

On the other hand, here is the conversation with her fairy godmother just after her half-sisters leave:

« Sa Marraine, qui la vit toute en pleurs, lui demande ce qu’elle avait. "Je voudrais bien… je voudrais bien…" Elle pleurait si fort qu’elle ne put achever. Sa Marraine, qui était Fée, lui dit : "Tu voudrais bien aller au Bal, n’est-ce pas ? – Hélas oui, dit Cendrillon en soupirant." »

“Her godmother, who saw her in tears, asked her what was happening. “I would like to… I would like to…” She was crying so hard that she could not finish. Her godmother, who was Fairy, said to her: “You would like to go to the ball, wouldn’t you? – Alas yes, said Cendrillon, sighing.””

Do you see the difference? She lies to her sisters by saying it's not what she “needs” (“ce qu’il me faut”) when it’s clearly what she wants. But she knows very well who she can tell and who she can't. This dissimulative behavior continues when she teases her sisters about the beautiful woman (her) they meet at the ball. At this point, Cendrillon asks one of them if she could lend her a dress to go with her. Of course, the sister refuses, and here is Cendrillon’s reaction:

« Cendrillon s’attendait bien à ce refus et elle en fut bien aise, car elle aurait été grandement embarrassée si sa sœur eût bien voulu lui prêter son habit. »

« Cendrillon expected well this refusal et she was pleased about it because she would have been greatly embarrassed if her sister had accepted to lend him her clothes.”

She knew pretty well and she is playing with her sisters. She is not naïve and she already has a plan for the following night, to meet again the prince. And she plays so well her game that she wins in the end: she marries the prince.

So yes, Cendrillon is good but she can also be scheming. Both are possible. You can see it, especially at the end. After being married, she forgives her mean half-sisters :

« Cendrillon, qui était aussi bonne que belle, fit loger ses deux sœurs au Palais, et les maria dès le jour même à deux grands Seigneurs de la Cour. »

« Cendrillon, who was as good as beautiful, made her two sisters stay in the Palace, and married them on the same day to two high lords of the Court.”

She knows that what is needed for women in her time is a good marriage. And that’s why she also gave it to her sisters after she has her own. Elle ne perd pas le nord.

And that’s why I like this character and tale. Well, Perrault’s version of it.

 It's funny because when everyone criticizes Cendrillon as this nice but naïve and quite dumb girl in the end, I’m like no? She isn’t? And no need to have gore for that. No need to add blood and torture. You just have to take into account the context she is living in and how she manipulates it to her own advantage while staying true to her goodness.

So maybe, before criticizing fairy tales, making them simpler and dumber than they are, just put them in their context. Especially when it comes to moralities.

Authors lie all the damn time and Perrault is very good at it. He is part of the wittiest circle of his country’s epoch, after all.

 And if you are interested (and you speak French, sorry), I would suggest you read the following books on the subject:

BRIERE-HAQUET Alice, Politique des contes – Il était une fois Perrault aujourd’hui…, Paris : Classiques Garnier, 2021, 168p.

ESCOLA Marc, Contes de Charles Perrault, Editions Gallimard, 2005, 235p.

SIMONSEN Michèle, Perrault – Contes, Paris : Presses Universitaires de France, 1992, 124p.

SORIANO Marc, Les Contes de Perrault – Culture savante et traditions populaires,  Gallimard, 1968, 525p.

[dongtopus]

For my good friend, and local flyboy, @taonpest

In the calm of the Matron’s office, a nib scratched on rough parchment, dragging the inconsistent tones of an under mixed ink.

Below the balcony behind her, the gentle bustle of the late evening market was beginning. wood scraped against wood as stalls were put into their places and small trinkets clattered together on woven cloths.

A vampiric woman kneeled below the statue of their long departed Ascended Lord, His outstretched arm ending in upturned, gently curled fingers. She spoke her prayers under her breath, stopping between verses to place her hand into a clay bowl in front of her. With one hand clutching at jagged, bladed prayer beads and the other reaching out, she gently caressed the statues bare foot. The blood sank into the stone hungrily and without a trace as she continued her prayers. Beneath the threads of a delicately embroidered mask which covered her face all the way to her upper lip, golden rings which pierced the width of her jawbone shook without a sound.

From an alcove in the upper walls of the Necropolis, a flutter of pink ebbed it’s way down toward the market, savoring the now-lit incense and open perfumed oils. A funerary black with flashes of an Azalea’s petal whipped upwards to the Matron’s balcony and through the open doors.

With a light, chitinous clink, the tiny pink-striped fly landed at the end of Vivian’s page and began to preen itself.

The Matron finished her sentence and wiped the excess on her nip back into the well before placing the domed glass lid into place.

“Balise, what is it?”

The vampire sat in the dark as they pointed outwards from their recessed perch in the Necropolis’ walls. The reply came through the beating of thousands of tiny wings in the vampires lungs and larynx,

“A mass grave has been revealed to me. I must tend to my flock urgently to save who we can and then I must commune with those that are lost.”

Vivian met the vampires gaze, though their eyesockets had been replaced by swarming flies. They emerged from their nostrils and followed their paths through the mouth or eyes, beating wings and interacting with their hivemates along their journey.

Even in the dark, the bright pink between the plates of their thorax was visible like a beacon in the night.

Matron Vivian folded her arms behind her back as she looked out into the distant setting sun. Around her feet, the stone had removed the lingering dust from her presence, settling into a near perfect ring away from her long charcoal dress.

“How many?”

“It is hard to tell. Perhaps a dozen.” The vibrating swarm inside Balise settled down for a moment before thrumming back up.

“Perhaps two dozen. We cannot see.”

The vampire tilted their head back a little,

“They cry out for me, Matron.”

“I will ask for a cart to be ready. Can you lead us?”

“I can-” Vivian lingered on her words briefly, “The largest cart we have suited to this task however-”

“Oh please, not him”

Down in the market, a fly flashed pink as its thorax wriggled in flight, cutting through an entryway and down the path past the Ambassadors office, following the smell of old, dried blood.

At the end of the path, through a dark doorway stood the Surgeon, methodically stripping flesh from bone.

[guilbertjj]

                             balise (amer) le long de la côte à marée basse

[grandboute]

Harbor

[mstarastarsstarhstar]

i had the strangest dream about Radar the other night.

He was running down a road trying to "beat his best time" and I was following when we came up to a storm ditch with a metal storage shed in it

There was a fence and trees up the drain ditch on the other side, and a soldier with a rifle was either dead or unconscious. We went to check him out but then we heard a horrible awful demonic noise.

We ran behind the storage shed to hide but it was totally hoarded and only I could actually get behind it, so I threw a blanket over both Radar and I, hoping it looked like a lamp maybe??

Anyway he keeps trying to get my attention and I keep telling him to shut up so the demon thing doesn't find us... but then he goes "but sir (??not me), the tortured souls are with the children."

MF WHAT??? THE WHAT ARE WITH THE CHILDREN??? 😭😭

so we run back out and there's a trap door in the ground with scary ass looking spirits?? souls??? coming out of it and there absolutely were children sitting in chairs right there.

then the scary demon thing was coming back and I woke up.

Anyway wtf does this mean 😅

[salrat]

[frontispieces]

Patrick, Maria and her grandfather

I have been on a search to find the full name and hope the history of a man whose letter was slipped into a book he sent to someone. And someone else donated to our Oxfam bookshop. But meanwhile, it being a book about an Admiral, I have fallen into more naval history than I ever thought I would want to know – but it turns out I do. So, if you have missed previous episodes, we are with a…