#hippolyte-c

[arte-e-homoerotismo]

Jean-Hippolyte Flandrin (francês, 1809–1864). "Polytès, filho de Príamo", c. 1834. Óleo sobre tela

Polytes, filho de Príamo, observando os movimentos dos gregos contra Troia.

Jean-Hippolyte Flandrin (French, 1809–1864). "Polytès, son of Priam", c.1834. oil on canvas

Polytès, fils de Priam, observant les mouvements des Grecs vers Troie / Polytes, son of Priam, watching the movements of the Greeks against Troy.

[diana-andraste]

Stilleben (Still life with plaster casts), Hippolyte Bayard, c. 1839

[whencyclopedia]

Amazon Women

In Greek mythology, the Amazons were a race of warlike women noted for their riding skills, courage, and pride, who lived at the outer limits of the known world, sometimes specifically mentioned as the city of Themiskyra on the Black Sea. Their queen was Hippolyte, and although Homer tells us they were 'the equal of men', they most famously fought and lost separate battles against three Greek heroes: Hercules, Theseus, and Bellerophon. Scenes from these battles were popular in Greek art, especially on pottery and in monumental sculpture adorning some of the most important buildings in the Greek world, including the Parthenon of Athens. Intriguingly, archaeological investigation of tombs across Eurasia has shown conclusively that many women of nomadic steppe tribes were indeed warriors, particularly around the Black Sea area.

Origins & Name

In mythology, the Amazons were daughters of Ares, the god of war. They were members of a women-only society where men were welcomed only for breeding purposes and all male infants were killed. They were thought to dwell at the edge of what the Greeks considered their 'civilized' world and were most often associated with the area around the southern coast of the Black Sea, particularly the city-state of Themiskyra. Another Anatolian connection was at Ephesus, where it was thought Amazons had sacrificed to the goddess of hunting Artemis at her temple there and performed war dances, a ceremony repeated annually thereafter. Indeed, the foundation of many settlements in Asia Minor was credited to Amazons, notably Ephesus, Cyme, Sinope, Priene, Myrina, Smyrna, and Mytilene on Lesbos.

Herodotus (c. 484 – 425/413 BCE), writing in his Histories (Bk. 4, 110-117), gives a lengthy description of a meeting between Amazons and Scythians. Young warriors of the latter group persuaded a number of visiting Amazons to set up a new society together, with the women insisting neither they nor their offspring would change their lifestyles at all. This new race was considered the origins of the Sarmatians in southern Russia, appropriately enough, a people famous for their horses and military aggression.

Essentially, the society of the Amazons was thought of as Greek male-society in reverse and so they pursued such traditional male-dominated activities as horse-riding, hunting, and warfare. In legend (with no supporting historical evidence), the Amazons burnt off their right breast in order to better use a bow and throw a spear, indeed, the term a-mazon was popularly understood as meaning 'breastless', although alternative meanings include 'one breast' or 'not breast-fed.' Another alternative origin of the name is that it comes from Persian and means simply 'warrior.' One final interpretation is that the name derives from the Armenian, meaning 'Moon-goddess', and refers to priestesses of the Moon on the southern shores of the Black Sea who did, on occasion, bear arms. Interestingly, Amazons are not depicted in ancient Greek art with a missing breast. The historian Adrienne Mayor suggests that the literary confusion, therefore, comes from the similarity between mazon and the Greek word for breast mastos. In art, Amazons are most often depicted wearing hoplite armour and they frequently ride a horse. The most common weapons are the bow and spear, but there are also examples where Amazons carry axes. They were not only regarded as capable warriors but also particular experts at ambush and cavalry charges.

Continue reading...

[mea-gloria-fides]

Martyrdom of St Hippolyte: Dieric Bouts, c. 1420–1475.

[voltairineandviolethaze]

The State is born of military might; it has grown through recourse to military might, and, logically, it is upon military might that it must rely if it is to retain its omnipotence. Whatever the form it may assume, the State is merely oppression organized for the benefit of a privileged minority. The present conflict offers a striking illustration of this: all forms of the state are embroiled in the present war—

The misfortune of the peoples, who were nevertheless all deeply committed to peace, is that they trusted in the State with its scheming diplomats, in democracy and in the political parties (even the opposition parties, like the parliamentary socialists) to avert war. That trust was deliberately abused and continues to be abused when those in government, with the help of their whole press, persuade their respective peoples that this war is a war of liberation.

- Leonard D. Abbott, Alexander Berkman, L. Bertoni, L. Bersani, G. Bernard, G. Barrett, A. Bernardo, E. Boudot, A. Calzitta, Joseph J. Cohen, Henrry Combes, Nestor Ciele van Diepen, F.W. Dunn, Ch. Frigerio, Emma Goldman, V. Garcia, Hippolyte Havel, T.H. Keell, Harry Kelly, J. Lemaire, E. Malatesta, H. Marques, F. Domela Nieuwenhuis, Noel Panavich, E. Recchioni, G. Rijnders, I. Rochtchine, A. Savioli, A. Schapiro, William Shatoff, V.J.C. Schermerhorn, C. Trombetti, P. Vallina, G. Vignati, Lillian G. Woolf, S. Yanovsky, “Anti-War Manifesto” (1915)

[less-ismore]

Hippolyte Bayard, The artist's studio, c. 1842-1850.

[rjalker]

well here's this a while. not sure how well it'll copy and paste into tumblr. The actual document uses different fonts and strikethroughs to reflect the state of the original PDF as a base for proper transcripts in either direction

yeah tumblr removed all the strikethroughs. Oh well.

I'm going to transcribe a shorter thing before continuing this. It's nowhere near done lol

___

“Arsene Lupin”

A drama

in

Three Four Acts

By Francis de Croisset and Maurice Leblanc

Produced by Charles Frohman at the Lyeeum Theatre, N. Y, 26 August 1909

Characters.

Arsene Lupin: Guerchard: Gournay-Martin: Examining-Magistrate: Charolais, the elder. Charolais’ three sons, Hippolyte, Anastase & Bernard. Commissary of Police: Janitor: Boursen: Firmin: Agent of Police: Jean, a Chauffeur. Bonavert: Alfred, a Footman. Sonia Kritchnoff: Germaine: Victoire: Jeanne: Marie: Janitress: Irma, a Maid.

Act 1

Scene: The drawing room of a French Chateau. At back a terrace

Discovered: Sonia, alone seated in chair C at writing table R.H. addressing letters. Outside are gearing Germaine, Jeanne, and Marie playing tennis and calling “Thirty, Forty, game.” ect. A ripple of laughter.

Sonia: (Reading) “Monsieur Gournay-Martin has the honor to inform you of the approaching marriage of his daughter Germaine with the Duke of Charmerace.” (Repeating reflectively) The Duke of Chamerace!

Germaine: (Heard off C.L.) Sonia! Sonia!

Sonia: (Calling) What is it, Mademoiselle?

Germaine: Tea. Order tea!

Sonia: Very well, Mademoiselle. (Rises and rings bell at back L.) (Enter Alfred L.2E. Remain L.C. near door) Oh – Tea at once, please, Alfred.

Alfred: For how many Mademoiselle?

Sonia: For four. That is, unless --- has M. Gournay-Martin come home?

Alfred: Oh, no, Mademoiselle. He took the roadsterl, and went to Rennes. He won’t be back for an hour.

Sonia: And the Duke? The duke went out riding. Has his grace returned?

Alfred: Not yet, Mademoiselle.

Sonia: The servants start for Paris this afternoon?

Alfred: We are all ready, Mademoiselle.

Sonia: Thank you, and now for tea, please.

(Exit Alfred L. 2E. Sonia crosses and sits again to at writing table R and resumes writing.)

Sonia: (writing Reading) “Monsieur Gournay-Martin has the honor to inform you of the approaching marriage of his daughter Germaine”… (Pauses. Looks up – Enter Germaine C.L. Running. She goes directly down C then lays her racquet on chair Q.)

Germaine: What are you doing, DSonia? Why aren’t you writing?

Sonia: (Setting + Resuming her work.) I am. I am.

Enter Marie and Jeanne C.L. following Germaine. Marie goes to head of table B (R:H) Jeanne behind Sonia.)

Marie: Are all these invitations to your wedding?

Germaine: Every one. And we’ve reached the letter V. (By chair Q – is putting her racquet in its case.)

Jeanne: (Reading over Sonia’s shoulder) Princess of Vernon. Duchess of Vauvinense. What swells! (Up to piano, puts racquet on it – gets case and puts racquet in case.)

Marie: You won’t know poor little “us” when you’re Duchess of Charmerace.

(Marie gets her case from chair R and puts her racquet in it)

Sonia: (Writing) Madame de Vauleglise.”

Germaine: (Coming down stage – in front of sofa O.) (Meditating) Out she to have a single, double, or triple cross?

Marie: (Surprised) What do you mean by that?

Germaine: (LC) One cross – an invitation to the church; two crosses – invitation to church and breakfast; three crosses – invitation to church, breakfast, and dance afterwards.

Jeanne: (Down C and sitting on sofa O. Marie sits on arm of chair R. Germaine remains standing C.) We don’t know her ---

Germaine: She’s rather a cat, but she goes to church three times on Sunday.

Marie: Then give her three crosses.

Jeanne: Why not consult your fiancé?

Germaine: Jacques? He’s bored to death with all this. Oh, dear! Oh dear! He has so changed in seven years. Seven years ago he sailed for the South Pole just because “exploring” was the fashion. Now he scoffs at fashion. He’s as prim as a school master and fashion sets his teeth on edge.

Germaine: Yes, but only when he’s making fun of people. Usually, he’s as serious as an old magpie.

Jeanne: Your father is delighted at the change in him.

Germaine: He’s a Duke, you see: So everything he does is right. (Going up; suddenly stops before piano up RC.) Sonia, who put that statuette there?

Sonia: (Astonished) I don’t know, when we I came in, it was over there, as usual.

Germaine: Alfred, were you in the drawing-rom while we were in the garden?

Alfred: No, Mademoiselle.

Germaine: Has anybody been here?

Alfred: I didn’t hear anybody, I was in the pantry.

Germaine: How very odd. (Gives statuette to Alfred who places it on chiffonier L. He then closes the doors at back – and is going L2E.) Has anyone telephoned from Paris?

Alfred: Not yet, Mademoiselle. (Fastens the right half of door L2E. Exists L2E. Sonia rises, comes above the table C and pours out a cup of tea.)

Sonia: Well, it’s Sunday you see. Nothing can be delivered today.

Jeanne: Is the dear Duke coming to tea with us?

Germaine: (Returns to C. Sits on Chair Q, and takes cup of tea which Sonia offers her.)

Germaine: Of course, I expect him at half past four. He went riding with George and Andre Durand and he’s going to bring them back with him.

Marie: When did you he go riding with the Durands?

Germaine: This afternoon.

Marie: Oh, no, he didn’t really. My brother was to have lunched with them today and found they were both out; not expected home till late.

Germaine: (Surprised) Really! (then to herself) What ever made him tell me such a lie?

(Enter Irma, a Maid, R2E. Germaine rises and goes a little to R. Puts cup on table.)

Irma: Some one wants to speak to you from Paris, Mademoiselle. (Marie rises and crosses to Jeanne, sitting on sofa beside her.)

Germaine: (RH BUS: ‘phoning) Hello! Is that you, Victoire? Yes? More presents have arrived. Oh, splendid! What are they? Open them! Open them, you hear? -- all right – what is it? -- paper knife? That’s the sixth! Another Loui XVI. Inkstand – Oh dear! That’s the tenth. Who from? Countesse de Rudose, Bardon de Yarlery! Is that all? Splendid! (To Sonia) there is something else. (Listens to telephone) Is it possible? What? What? WHAT? (To Sonia) Sonia! Sonia! A pearl necklace! Big pearls? Big pearls, really, big ones, Sonia. Pearls big and pure! How lovely – who sent it? A friend of father’s – just think, a necklace of pearls. Lock it in the safe – yes, thanks I’ll see you tomorrow, Victoire.

Jeanne: It hasn’t been properly advertised.

Germaine: Please don’t be funny! His cousin, Mme. De Relzieres, is the only one who seems to know.

Jeanne: She’ll – why her son is fighting a duel today.

Sonia: With whom?

Marie: Nobody knows. She picked up a letter dropped by one of the seconds.

Germaine: She needn’t worry about Relzieres, he is the finest fencer in Paris.

Jeanne: He knew your fiance long ago, didn’t he?

Germaine: It was through him we knew Jacques.

Marie: Where?

Germaine: In this chateau.

Marie: In Jacques’ own house?

COVERED OVER WITH NEW PAGE:

Germaine: Yes. Isn’t life strange? If, for a few months after the death of his ___ ilgod to get money for his expedition to the South Pile, and if father and I had not wanted to ____ el place, and if father hadn’t ____my hand ___(___)

Marie [PRESUMABLY]: What ___

Germaine: (___ to C.) Everything. Father was afraid the Chateau would be damp, so Jacques invited us to visit him and his son! Isn’t it ___ and father was cured, while Jacques fell in love with me. Daddy bought the Chateau and I engaged to Jacques. (___)

PASTED OVER THE ABOVE: Marie: How did you become engaged to the Duke?

Germaine: Why father admited the Duke’s old historical place, so the Duke invited us to visit him – then he promptly fell in love with me. As he wanted money for his expedition to the South Pole, father bought his chateau. And that’s how I became engaged to the Duke.

Marie: But, you were only sixteen.

Germaine: Yes, I was only sixteen. So Jacques went off to the South Pole.

Jeanne: Why?

Germaine: Father thought me too young to be engaged. So I promised Jacques to wait till he came back – only between ourselves...if I had known he was going to be so long at the South Pole--

Marie: Seven years is a long time, isn’t it?

Jeanne: Almost the best years of your life, poor dear.

Germaine: Thanks.

Jeanne: Well, but you’re 23 now, aren’t you?

Germaine: I shall be – soon. (Moves to chair R) I suffered tortures. The Duke fell ill, and was nursed at Montevideo. As soon as he got well, he went off for another two years – then all at once we could get no news of him at all. For six months we thought he was dead. (Sits armchair “R” R.C.)

Sonia: You must have been very unhappy.

Germaine: I was. For months and months I didn’t dare to wear a colored frock. (Sonia moves to arrange a kettle C)

Jeanne: (Sarcastically.) What agonies you must have endured. (Sonia goes up stage a little C)

Germaine: However, the Duke had the grace to put me out of suspense at last. He telegraphed that he was safe and well, and three months ago the Duke came home.

Jeanne: (Mocking, to Marie) The Duke! The Duke!

Marie: And in all this time you never fell in love with someone else?

Germaine: I didn’t fall in love but I came near becoming engaged --

Marie: To whom?

Germaine: The Duke’s cousin, M. de Relzieres.

Jeanne: But you say you didn’t love him?

Marie: How could she? He’s a mere Baron, you see.

Jeanne: And Jacques was a duke. (Marie rises. Jeanne rises and goes to Germaine up by around table N. up to piano and getting racquet)

Germaine: (Rises to C.) Must you?

Marie: (Moving a little up C. Affectedly) Yes, we promised to call on the Viscountess of Grosjhean. (Carelessly) Do you know the Viscountess of Grosjean? (Sonia comes down R near chair “C” in front of writing table.)

Germaine: Father knew her husband, on the Bourse when he was plain Mr. Grosjean. My father keeps the name he inherited from his ancesters. (Crosses down L. Marie goes to arm chair R to get her racquet.)

Jeanne: (going up - to Marie – aside) Did he have any ancestors? (To Germaine) We shall see you in Paris? (Jeanne kisses Germain and goes up C)

Germaine: Yes. Tomorrow. Goodbye.

Marie: (Kisses her and up C joines Jeanne.) Goodbye, dear, good bye. (Alfred appears C from L and holds C doors open for them.) Regards to the dear Duke.

Marie & Jeanne: (Together) Au revoire. (They go out C to L. Germaine escorts them up and remains RC near piano. Alfred holding open the door for them. Sonia sits down RH.)

Alfred: Are you at home to two gentlemen, Mademoiselle?

Germaine: (To Sonia) The Durands, I suppose. (To Alfred) Ask them to come in?)

Alfred: Has Mademoiselle my any orders for Victoire or the concierges janitors in Paris?

Germaine: No – when are you going?

Alfred: By the seven o’clock train. We shall be in Paris tomorrow morning by nine.

Germaine: Is everything packed?

Alfred: Everything, Mademoiselle. The cart has taken the heavy luggage to the station. We have only our bags to pack.

Germaine: Very well. Show the gentmen in! (Exit Alfred CL. Germaine turns, sees broken pane in window C, utters another startled cry.) Look!

Sonia: What?

Germaine: A pane of glass in the window – just above the catch. It isn’t there. It seems to have been cut out.

Sonia: How extraordinary!

Germaine: Didn’t you feel a draught?

Sonia: No. Perhaps there are bits of glass on the floor. I’ll...(Rises and goes near Germaine RC, looks on the floor.) (Enter Alfred CL)

Germaine: (turning cordially) How do you?… (Stops in amazement.) (Enter Charolais and Hippolyte, his son, the latter twisting his hat in his hands, and smiling in a silly way. Charolais enters first, then his son. They come down L, pass in front of table N – to extreme R. Charolais in front of armchair R. Hoppolyte passes him and gets R in front of table B. There is a moment’s akward silence.) Er...may I ask?…

Charolais: (Bobbing) My name is Charolais. M. Charolais, formerly a brewer, now Chevalier of the Legion of Honor, landed Proprieter at Rennes. Hippolyte, my son, is an engineer. (Hippolyte bows) We have just been lunching near here are Kerlor Farm. We left Rennes this morning and have called for the purpose of...of…

Sonia: (Low to Germaine) Shall I send for offer tea?

Germaine: (Low to Sonia. Sonia passes behind Germaine to L to back of tea table LC) No. (To Charolais, curtly.) I beg your pardon?

Charolais: Thank you. We asked to see your father, learning that he was out and that you were at home, we couldn’t resist the pleaseure...hem...of popping in. (They bow and both sit. Germaine and Sonia look at them enquiringly.)

Hippolyte: Father, what a beautiful house.

Charolais: Yes, dear boy, it’s beautiful indeed. (To Germaine and Sonia) Ladies, this is a very fine place.

Germaine: Excuse me, sir, may I ask the nature of your buisness?

Charolais: The point is this. We read in a local paper than M. Gournay-Martin wanted to sell an automobile. Hippolyte has a frantic desire to “scorch” as he terms it, in a “roadster”.

Germaine: We have a roadster, but and it’s for sale; my father’s using it today.

Charolais: Perhaps it’s the car we saw near the stables.

Germaine: No, that’s a touring car. It belongs to me. But, if your son wishes to “scorch” --- (Charolais Jr. nods.) We have a hundred horse power that my father has decided to sell. Where’s the photograph, Sonia? (The girls turn their backs. Sonia goes between table N and chair M. Germaine comes to sofa O. Her back to Charolais and the two women look on table N. During which Hippolyte takes statuette from table B. Hippolyte grabs a statuette.)

Charolais: (Low.) Draop that, you fool.

Germaine: (Turning – comes to centre with photo which she offers to Charolais.) Here’s the photograph.;

Charolais: (Rising) Oh, thank you; yes, yes! A fine car! A hundred Horse Power! May I ask what is your lowest price?

Germaine: I don’t know at all. Won’t you come back later and see my father?

Charolais: With pleasure. So very kind of you, really. (Bowing – goes up to door C with his son. Germaine follows them.) Come, dear boy. (The two Charolais bow again at the door and exit C to L. Germaine watches them exist and comes down RC. Sonia goes up to the chiffonier (up LC) and arranges her hair before the mirror on chiffonier.

Germaine: What weird people! (Impatiently) But, dear, oh dear. Why doesn’t the Duke come?

Sonia: (Comes down takes envelope from table N and ? In front of table ?) And the Durands, too? (Begins to write again, seated in chair C) Perhaps the Duke called on his cousin, M. de Relzieres.

Germaine: (At LC) Why should he? They hate each other. I heard they quarrelled no later than yesterday.

Sonia: (Moving ___ TLC) (Throwing down pen) Quarrelled! Then perhaps – perhaps --

Germaine: Perhaps what? What’s the matter?

Sonia: (Rises and crosses to table N) (Backing away towards table L) The duel – M. de Relzieres’s duel!

Germaine: You don’t suppose?…

Sonia: It’s horrible. Think. If the Duke...your fiance…

Germaine: (Quite calm) How interesting if the Duke has been fighting for me?

Sonia: (Excited) With the best swordsman in Paris! (Goes up to terrace C. Toward L of table) What’s to be done? What can we do? (Looking out C to R.) Listen.

Germaine: What is it?

Sonia: Some one on horseback.

Germaine: (Running up C and looking off R) Yes – galloping.

Sonia: (Clapping hands) It’s he! It’s he!

Germaine: Do you think so?

Sonia: I’m sure. It is.

Germaine: Then he’s just in time for tea. He knows I hate waiting.

Sonia: He’s riding in straight from the fields.

Germaine: He can’t do it. There’s the fence; an enormous fence; and a mill stream.

Sonia: He’s going to jump the river (Hides face – turns away, hiding her eyes) Ah!

Germaine: He jumped. He’s clear. Bravo, Jacques, bravo. (She moves down RC) That horse cost 7,000 francs. Quick. (Germaine comes down stage R, takes pendant from table B. Sonia goes to backof table P.) A cup of tea. He deserves it. He really is a Duke. Did I show you his latest present? A pendant of pearls.

Sonia: (Distracted) They’re magnificent.

(Enter the Duke C from R in high spirits)

Duke: If that’s for me, very little milk, please, and three small lumps of sugar. (He kisses Germaine’s hand – bows to Sonia and puts his loves and hat on table B.) (Germaine stops suddenly as she is about to put the pendant in the drawer.) Five o’clock. I’m in good time. (Germaine gives the pendant to Sonia who puts it on table N as near possible to the edge – then goes up to the tea table and pours out of a cup for the Duke)

Germaine: You’ve been fighting a duel? (She moves to sofa O)

Duke: How do you know that?

Germaine: (Sits on sofa O. The Duke sits chair Q and during these lines is buttering bread and drinking tea) Why did you fight?

Sonia: (Behind table P) You’re not wounded? (Coming _ Of Duke)

Germaine: (Waving her aside) Sonia, you have the addresses to write. (Sonia up to piano) (To the Duke) Was it for me?

Duke: Would you like me to fight for you? (He laughs)

Germaine: Yes, but it’s obvious you didn’t. You fought about some other girl.

Duke: If I fought about a girl, it must have been for you.

Germaine: Well, it certainly wasn’t for Sonia or a housemaid. (Vexed) Was Relzieres hurt?

Duke: He’ll be only six months in bed.

Sonia: (Near piano looking at picture RC) Poor fellow.

Duke: Do him good, lying down is the best thing in the world for a man with a liver. But, good heaven, are all those things invitations?

Germaine: Yes. And we’ve got no further than only reached the letter V.

Duke: You’re inviting the whole population. We shall have to enlarge the Cathedral?

Germaine: One expects a crush at a wedding like this. There’ll only be a few accidents, I dare say.

Duke: (With laugh) One or two, perhaps. (Puts down unlighted cigarette on the table) (To Sonia) Will you be an angel?

Sonia: (Wondering) Will I?

Duke: Yes. Play me some Grieg. I heard you yesterday. No one plays Grief like you?

Germaine: It would be very nice. But Mademoiselle Kritchnoff has her work to do.

Duke: A little change will do her good – and me too.

Germaine: Oh, Jacques, you’re most annoying.

Duke: And you are very sweet.

Germaine: I shall finish by disliking you.

Duke: (Laughing) Plenty of time for that when we’re married. (Rising – moves to _RC) (To Sonia) Excellent bit of work that, isn’t it? It’s a Clouet. Lots of character in the face.

Sonia: Is he one of your ancestors?

Germaine: (Rises) Of course. Those are all family portraits. There are only Charmeraces here, and father wouldn’t have any of them moved. (Goes around table N up L/ towards chiffonier.)

Duke: (Down stage C towards sofa O, his back to audience.) Except mine. (Sonia and Germaine look surprised.) Where that tapestry hangs there was formerly a portrait of me. (Moves to in front of sofa O) What has become of it?

Germaine: (To C up) Are you joking again?

Sonia: (Coming down R) Doesn’t Your Grace know?

Germaine: We wrote you all the details, and sent you the newspapers, three years ago. Didn’t you get them?

Duke: Three years ago I was lost in the Polar regions.

Germaine: All of Paris talked of it. Your picture was stolen.

Duke: Stolen? By whom?

Germaine: Look! (She pushes back the tapestry, and shows in red crayon, the name of Arsene Lupin.) Don’t you know the name?

Duke: Arsene Lupin!

Sonia: He left his signature. He always does.

Duke: Who?

Germaine: (Coming down to Duke) Arsene Lupin. You must know who Arsene Lupin is.

Duke: (Sits on sofa O) I never heard of him.

Germaine: (Down to chair Q) You never heard of Lupin. Why he’s the most whimsical, daring, and original man alive – and a burglar.

Sonia: (RH in front of writing table B) For ten years he has defied the police. He is the only thief who has been able to get the better of the great detective, Guerchard.

Germaine: You really don’t know our most fashionable thief?

Duke: Not even well enough to ask him to dinner. What sort of a person is he?

Germaine: (Sitting chair 2) Why, nobody knows. He has a thousand disguises of the most elaborate description. He dined twice running at the American Embassy.

Duke: If nobody knows him, how do you know that?

Germaine: Because the second time about ten o’clock, one of the geusts disappeared and with him all the embassy plate.

Duke: Phew!

Germaine: Lupin left his card with these words: “This is not a theft. It’s a restitution. I have taken the exact value of Mr. Morgan’s French collection.”

Duke: But the theft in this house was not worthy of your hero. My portrait was of no value.

Germaine: Don’t think he was satisifed with that. Father’s collections were also pillaged.

Duke: I thought your father guarded them as if they were the treasures of the Louvre.

Germaine: He takes too much care of them. That’s how Lupin got them.

Duke: I see. He has accomplices in the house.

Germaine: Only one.

Duke: Who was it?

Germaine: Father.

Duke: What? Your father?

Germaine: One morning Father had a letter --- wait --- (to Sonia) Look in the desk and bring me the papers marked Lupin.

Duke: You have a Lupin portfolio?

Germaine: Of course. It was such an extraordinary matter we kept everything.

Sonia: (Goes to desk, takes papers from it, then returns to C. Germaine rises and takes the letters from her) Here they are. Mr. Gournay-Martin, collector, at his Chateau of Charmerace. (Gives it to Germaine who sits on sofa right of Duke)

Duke: What peculiar writing.

Germaine: Read the letter aloud.

Duke: (Reading) “Sir, pardon me for writing without an introduction. I think you will know my name. In your picture gallery there’s an excellent Murillo, which I like very much. Yoiur Rubens’ also please me, as well as your Vandyke. In your drawing-room I like a Louis XIII alter table, the Beauvais tapestries are Beauvais, the Empire card-tables, the Boule clock and other charming things of less importance. I admire very much a tiara which you bought at the same of the Marquis de la Ferronomaye, and which was once worn by the unfortunate Princess of Lamballe. This tiara has a double interest for mel first, for its tragic memories and also, though it’s hardly worth speaking of, for its intrinsic value. I should say, that the stones in this tiara are worth at least 150,000 francs.

Germains: What do you think of that?

Duke: (Continues) “I beg, sir, that you will be good enough to pack these beautiful things with care, and send them to me, prepaid, to the Station at Batignolles, before a week passes. Unless you do this, I shall take steps for their removal the night of Wednesday the 27th or Thursday the 28th of September. Excuse any trouble I may be giving you, and allow me to sign myself, with great devotion, Arsene Lupin.” Funny! Very funny! How your father must have laughed. (Duke returns letters to Germaine who rises and gives them to Sonia)

Germaine: Laughed! I wish you could have seen his face. He took it all very seriously. (Sonia puts papers back in writing-desk R)

Duke: But surely he didn’t send the things to the Batignolles?

Germaine: No. But he took the first train to Paris and placed the tiara in the vaults of the Credit Lyonnsis. Then he went to the Public Prosecutor.

Duke: Who laughed at him and reassuredhim.

Germaine: Of course, but before morning this was what he got. (To Sonia who is at the desk RH) Give me the dispatch!

Sonia: (Taking telegram from box, reads it) “The things are not at the Batignolles. Get everything ready by tomorrow evening.”

Duke: No.

Sonia: (Advancing and handing telegram to Duke.) Look!

Duke: Why, it’s really true. (He returns telegram to Sonia, who takes it back to desk B)

Germaine: (Sitting on Chair R of table C) Thereupon Father conceived the idea. Two days before, we had seen in the newspaper t hat Guerchard the celebrated detective, the only real opponant of match for this Arsene Lupin – that Guerchard was at Rennes on his vacation! We rushed to him, found him rusticating under a big straw hat, and in a little Curate’s garden, watering tulips.

Sonia: He Guerchard has a passion for flowers.

Germaine: He began by sending us to the devil, but as soon as father spoke of Lupin, he was a different person. He immediately placed himself at our disposal, and wired to Paris for two men in whom he placed absolute confidence.

Duke: Well? Go on!

? He had been in the hopes that Guerchard the celebrated detective was on a vacation he rushed to him. He rushed to him. He _ _ to be a match for the clever (doublestrikethroughunknown) Lupin. When we told him about Lupin, Arsene Lupin, he immediately headed _ at an _ _ and wired for two men in whom he placed absolute confidence. Duke: Well! Go on.

Germaine: (Rising and kneeling (one knee) on chair) The night of the 27th came. Guerchard shut all the servants in their room in the Chateau, and remained with his men in the hall where the collections were. Will you ever forget that night, Sonia?

Sonia; Never! Those three men with revolvers and guns, and dark lanterns – Ugh!

Germaine: It was awful. Father, Sonia, and I retired to the left wing and locked ourselves in. The night passed quickly, not a sound. In the morning we rushed out.

Duke: Well?

Germaine: The deed was done.

Duke: What?

Sonia: It was done.

Duke: What. The pictures!

Germaine: They were gone.

Duke: The altar table?

Sonia: Gone.

Duke: And the tiara?

Germaine: Oh, the tiara was in the vaults of the Credit Lyonnais. I really don’t know why he took your portrait. He did not speak of that theft in his letter.

Duke: It’s incredible. He must have hypnotized Guerchard, or given him chloroform.

Germaine: Guerchard! The man wasn’t Guerchard.

Duke: What?

Sonia: The gardener was a false Guerchard. He was Lupin.

Duke:

Ha! Ha! Not bad! When the real Guerchard found this out, what did he do?

Sonia: (Puts telegram back on desk with other papers) He lost his _. It almost killed Guerchard.

Germaine: And But he will devote the rest of his life to running Lupin down.

Duke: And has no one been able to put their hands on this temporary Guerchard?

Germaine: No, there wasn’t a shadow of a trace of him, except the letter and telegram and that signature. (She points to signature of Lupin behind the tapestry. Germaine goes up stage RC. The Duke rises and moves to C)

Duke: (Rises + moves to C) What a clever devil!

Germaine: (Laughing) Too clever! I shouldn’t be a bit surprised if he were here now.

Duke: Here now?

Germaine: Several things in this room have been moved. For instance that’s been moved. And look at the window, a pane has been broken just above the catch.

Duke: (At RC behind chair R) Great scott!

(Enter Firmin C from L)

Firmin: Are you at home, Mamzelle?

Germaine: Yes, but why are you answering the door?

Firmin: I have to Mademoiselle. All the other servants have gone to Paris. Shall I “usher in” the visitors?

Duke: (Laughs) Usher them in? A droll card this.

Germaine: Who is it?

Firmin: Two gentlemen. They said they were here before.

Germaine: Who are they?

Firmin: I never remember names.

Duke: A useful person.

Germaine: They are not the little man about the motor car and his son, I do hope.

Firmin: I really can’t say.

Germaine: Well, Yes, show them in! (Exir Firmin LC) (Germain comes down to Duke RC. Charolais enters CL with his two sons. They move down L between table and boxing. Charolais goes around in front of table to in front of chair. The 1st son in front of chair M, the second, extreme L)

Duke: Charolais!

Germaine: Yes, when they called Just now, two gentlemen were here. I thought they were George and Andre Durand, when in came – (She sees Charolais and Anastase)

Charolais: Popped in again, you see. (He bows; Anatase bows also and stepping aside, discloses Bernard)

Sonia: (To Germaine) Look. There’s another one.

Charolais: (Introducing) Anastase, my second son – a medical student. (Anastase bows)

Germaine: Sir, I am sorry; my father has not come back yet.

Charolais: It really doesn't matter. (He sits and the two sons sit also) (_ sofa A. Bernard chair L of _)

Germaine: (Surprised for an instant. Repeating more loudly) I’m sorry, sir; my father hasn’t yet come home. He may not be back for an hour. It would be a pity to waste your time.

Charolais: Don’t worry about it. This place is so delightful. (Points to Duke) If this gentleman belongs to the family, perhaps he and I can fix a price for the motor.

Duke: I’m sorry – I can’t – I know nothing about it.

Bernard: (Rises) If you’ll come with us to the stables--

Charolais: (Sharply) I told you to wait at Park Gate?

Bernard: (L of TC) I wanted to see the motor.

Charolais: Bernard, my third son. He is to go to the bar. (Bernard bows and sits)

Germaine: How many sons has he?

(Enter Irma L2E)

Irma: Your father has just come in, Mademoiselle.

Germaine: (Relieved) At last! (To Charolais) If you will come with me. (Exits in front of others to DL2E) You can go into the matter with my father at once. (During this Charolais and his sons rise, Bernard stands up near table P. Germaine is followed by Charolais and his twon sons. Bernard appearing to admire the parlor, goes out more slowly. Bernard comes between tables P and seat and passing takes the cigarette case which the Duke left there, and puts it in his hat, then, passing in front of table N takes the pendant and puts it in his hat, then passing in front of table N takes the pendant and puts it in the inside of his vest, after knocking envelopes and books off table, he then starts to go out L2E)

Duke: (Quickly to Bernard) Hello! Hello!

Bernard: Are you speaking to me, monsieur? (Duke goes to him. Bernard approaches to the lower sofa)

Duke: (Moves to C) That’s a very useful cigarette case, but it happens to be mine.

Bernard: I took no cigarette case. (The Duke takes his R arm and leads _ him forward. Then pulls the case of out his hat. Shows it to Sonia and places it on the table.)

Duke: A little accident I suppose.

[fancyfade]

Comparisons of the origin of Themyscira/Paradise Island

I do not claim this to be a comprehensive guide, these are just focusing on the origins I have read recently and am most familiar with. Comparison of Golden age (All Star Comics #8 and Wonder Woman vol 1#1) tellings, silver age telling (wonder woman vol1 #105), and New Earth telling (Wonder Woman vol2 #1)

All Star Comics and Wonder Woman vol1 #1 are pretty similar. the main difference is Wonder Woman #1 goes into more detail, and in All Star Comics, men are not explicitly forbidden from entering the amazonian city.*

Here you can see in All Star #8, they take him to a hospital in the city.

After that, we have some basics that are established:

Amazonia is the most powerful nation in ancient Greece and women rule.

Heracles sees this as a challenge and tries to conquer them. HIppolyte challenges him to single combat b/c she knows she is undefeatable due to her magic girdle that Aphrodite gave her.

Heracles tricks Hippolyte out of her girdle after being defeated - but we don't see how. Then, the Amazons are enslaved by Heracles' men and Aphrodite does not help, because she is mad at HIppolyte for "having succumbed to the wiles of men".

Eventually, Aphrodite agrees to help and they overthrow the men, take their fleet, and leave for another shore because Aphrodite wants them to establish a new world of their own and always wear the bracelets fashioned by their captors as a reminder to keep aloof from omen.

Okay, next origin. most of the details will be the same, because it's the same author, just more in detail

This builds on. We get why Amazons were created:

Aphrodite and Ares were at war. Ares has his men who kill weaker men and keep women in slavery, Aphrodite makes the Amazons to be stronger than men and have the power of love. She gives her magic girdle to their queen so they will be unconquerable.

Ares has Heracles go after the amazons and heracles challenges the queen to personal combat. she defeats him and says she will spare his life if he promises to leave and he invites them to a banquet in friendship. After the banquet, he asks Hippolyte to hold her girdle and she says she knows she shouldn't but she can't resist him, and he and his men capture the Amazons.

in this one, Aphrodite comes to Hippolyte the first time she pleads to her, but says she must wear the wrist bands always to teach her the folly of submitting to men's domination.

the silver age comic, Wonder Woman #105, is super weird. It starts with Aphrodite, Athena, Hermes (Mercury), and Heracles visiting baby Diana and giving her powers.

We don't get a ton of explanation but it seems as if the Amazons were just like any other Greek nation and then all the men died?

Anyway, because of this they decide to start building a stout ship that will take them away from terrible wars. they sail around a bunch and young diana uses her powers to save people from disaster, then when getting to Paradise Island they sail through the mists of eternal youth, which Athena tells them will keep them young provided they never leave Pardise Island.

It does not fit well with Golden age or New Earth telling

OK so New Earth telling, Wonder Woman #1 (vol 2).

It starts with Ares and Artemis each proposing ways to make man worship the Greek gods. Ares says through force, Artemis proposes making a new race of mortals, the Amazons, brave, strong, compassionate, to show men and women their place with each other.

The characters involved in the creation of the amazons are: demeter, artemis, athena, aprhodite, hestia, and hermes. they reincarnate the souls of women whose lives were cut short by man's fear and ignorance to create the amazons

artemis tells them their job is to lead humanity, and athena grants them wisdom, she grants them skill in the hunt, demeter makes their fields always fruitful, hestia builds them a city, and aphrodite grants them love. she gives them both gaea's girdle (so there are two copies) which represent the trust the goddesses place in them

man fears the amazons, because they do not control them.

Ares manipulates Heracles into going after the Amazons by offending his ego. Heracles and Hippoltye fight after Hippolyte tries to give Heracles the opportunity to embrace peace, he refuses and gets his ass kicked, she tells him to surrender or die and he pretends to be won over. he and his men trick the amazons and drug them and capture them.

Athena shows up to Hippolyte to say she has failed herself by withdrawing from mankind rather than leading it. Hippolyte says she wants bloody vengeance on Heracles, Athena says not to take vengeance and to cleanse her soul and rededicate herself to "that which gaea gave you" and then she will be free. Hippolyte leads teh amazons against Heracles' men and they kill them all. Hippolyte says no more vengeance after this, Athena has a ship for them to leave on, Antiope, her sister, says she takes nothing from the gods.

The amazons are tasked with guarding the unspeakable evil that lies beneath themyscira due to having forgotten their purpose, and they have to wear the symbols of their bondage as a sign never to err again. the amazons are told to let no mortal man trespass on themyscira.

Anyway, both WW vol 1 #1 and WW vol 2 #1 had the theme of Ares vs one of the goddesses of the Amazons, but it changed which goddess it was. the silver age is the odd one out in the basic set up, but the new earth one is the odd one out in that themyscira has some element of punishment for the amazons.

*even in WW#1, Men are not forbidden from setting foot on Paradise Island and it's not like anything bad happens if they do.

[brookstonalmanac]

Birthdays 9.23

Beer Birthdays

James Poole (d. 1905)

Yuseff Cherney (1969)

Jamie Bergman; model, St. Pauli Girl 1999 (1975)

Five Favorite Birthdays

John Coltrane; jazz saxophonist (1926)

Walter Lippman; writer, propagandist (1889)

Chi McBride; actor (1961)

Elizabeth Pena; actor (1961)

Bruce Springsteen; rock singer, songwriter (1949)

Famous Birthdays

Jason Alexander; actor (1959)

Augustus; Roman emperor (63 B.C.E.)

Charlie Barnett; comedian (1954)

James Carroll Beckwith; painter (1852)

Sam Bettens; Belgian singer-songwriter (1972)

Colin Blakely; Northern Irish actor (1930)

Giovanni Maria Bononcini; Italian violinist & composer (1642)

Robert Bosch; German inventor (1861)

Tiny Bradshaw; singer-songwriter & pianist (1907)

Roy Buchanan; guitarist (1939)

Ray Charles; R&B singer, pianist (1930)

Tom C. Clark; U.S. Supreme Court justice (1899)

Paul Delvaux; Belgian artist (1897)

Ani DiFranco; pop singer, songwriter (1970)

Euripides; Greek playwright (480 B.C.E.)

Hippolyte Fizeau; French physicist (1819)

Pekka Halonen; Finnish painter (1865)

Ellen Hayes; mathematician & astronomer (1851)

Julio Iglesias; pop singer (1943)

Robert Irvine; British celebrity chef (1964)

Harumi Inoue; Japanese model, actress (1974)

Robert James-Collier; English actor[ (1976)

Kublai Khan; Mongol emperor (1215)

Stan Lynde; author and illustrator (1931)

Mary Mallon; "Typhoid Mary" (1869)

John Loudon McAdam; Scottish engineer (1756)

William Holmes McGuffey; author (1900)

Theodor Körner; German soldier & author (1791)

Hasan Minhaj; comedian (1985)

Louise Nevelson; Russian-American artist (1889)

John Boyd Orr; Scottish biologist (1880)

Julian Parkhill; English biologist (1964)

Carl-Henning Pedersen; Danish painter (1913)

Walter Pidgeon; actor (1897)

Karl Pilkington; English radio personality (1972)

Mary Kay Place; actress (1947)

Mickey Rooney; actor (1920)

Romy Schneider; actor (1938)

Tony Smith; sculptor (1912)

Jakob Streit; Swiss anthroposophist (1910)

Shyla Stylez; adult actress (1982)

Suzanne Valadon; French model & painter (1865)

Victoria Woodhull; suffragist (1838)

Mighty Joe Young; guitarist (1927)

[whencyclopedfr]

Phèdre

Phèdre est une princesse de Crète et l'épouse du héros grec Thésée dans la mythologie grecque. Elle est l'un des principaux personnages de la tragédie grecque Hippolyte d'Euripide (v. 484-407 av. J.-C.), qui raconte comment son amour pour le fils de Thésée, Hippolyte, connut une fin tragique.

Lire la suite...

[philippebresson]

Angot, Breillat, et moi, et moi...

Christine Angot a le mérite de savoir d'où elle parle, et c'est ce qui fait pour moi sa qualité.

Je ne sais pas ce que Catherine Breillat dit sur son film "L'été dernier", et à la limite je m'en fiche. C'est son film qui m'a parlé. Ému. Touché. Dérangé. Bouleversé.

Je suis sans doute l'un des "esthètes" que pointe du doigt C. Angot dans sa "critique" du fim. Oui, sans aucun doute. Et je l'assume.

C. Angot m'intéresse et me touche, mais peut-être parfois mélange-t-elle différentes choses, différents "plans", différents sujets ; le film de C. Breillat n'est pas un film à thèse sur l'inceste, loin de là, pas plus que "Théorème" de Pasolini n'en est un, même si toute la famille - italienne et bourgeoise - finit par coucher avec le même homme (climat incestuel plutôt qu'inceste dans le théorème de P.).

Le film de Breillat ne nous dit pas que c'est bien ou beau de coucher avec son jeune beau-fils. Il montre les choses telles qu'elles sont dans cette histoire-là, dans cette famille-là, la vérité complexe de ces personnages-là, de cette fiction-là. Sans jugement sur l'un ou l'autre des personnages, sans encouragement à les imiter non plus, sous prétexte que l'image serait belle, que la lumière serait belle, car en effet elle irradie !

"Familia Grande" (cité par Angot) parlait de "l'affaire Kouchner" ; il s'agit d'un récit autobiographique avec des personnes impliquées (qui ne sont pas des personnages de fiction), des plaignants, un ou des accusés, des complices.

Je ne crois pas que le scénario de C. Breillat et Pascal Bonitzer ("L'été dernier" est un remake du film danois "Dronningen" réalisé par May el-Toukhy en 2019 et jamais sorti en France), repose sur le témoignage intime d'un homme incesté durant son adolescence. Nous ne sommes pas non plus dans la transposition d'un fait divers à l'écran. Pas plus, dans un autre registre, que pour Médée, Œdipe, Antigone (Antigone n'est pas incestueuse, mais elle est le fruit d'un inceste), ou Phèdre (qui avoue à sa nourrice son amour coupable pour Hippolyte, son beau-fils, fils de Thésée).

D'une certaine manière, le plaidoyer de C. Angot me rappelle la fameuse polémique autour du film de Cyril Collard "Les nuits fauves" ; à l'époque certains lui reprochaient de montrer un personnage qui, se sachant séropo, couchait avec une jeune fille qu'il aimait, sans préservatif et sans qu'elle soit informée de sa séropositivité. Mais depuis quand un film de fiction devrait-il assumer le rôle d'une campagne de prévention ou de sensibilisation ?

Quand Almodovar réalise avec "Parle avec elle" l'un de ses longs-métrages les plus aboutis - Eros et Thanatos dans une chambre d'hôpital, le tout filmé par un cinéaste qui touche avec ce film à la perfection absolue -, je ne me demande pas si cet homme a raison d'avoir une relation sexuelle avec une femme qui est dans le coma. Ça me dérange certes, mais je ne suis ni cet homme, ni cette femme, ni l'un des membres du personnel hospitalier. C'est la vérité de cette histoire et de ces personnages qui m'intéresse.

Connaissant (comme nous tous) son histoire personnelle, je peux comprendre le malaise de C. Angot face au film de C. Breillat ; et son point de vue, sa prise de position, m'intéressent. Elle pique l'esthète en moi à un endroit où, volontiers funambule sur le fil qui relie fond et forme, je pourrais parfois me sentir en déséquilibre. Mais encore une fois, je n'attends pas d'une oeuvre artistique qu'elle s'autocensure dans son propos, dans son processus de création, et quel que soit le sujet dont elle se fait, in fine, l'objet (filmique ici).

Est-ce que la relation du personnage de Léa Drucker avec son jeune beau-fils de dix-sept ans dans "L'été dernier" de Catherine Breillat banalise le climat incestuel, la relation incestueuse ? Je ne le crois pas. Elle nous montre au contraire que le crime (presque) parfait se passe sous nos yeux, dans la chambre d'à côté, et que la vie est ainsi faite qu'elle mérite, en dehors des salles de cinéma j'entends, que nous lui accordions la plus grande vigilance.

Philippe Bresson

[antonio-m]

Pierre-Narcisse Guérin, c.1815. (French, 1774-1833). "Phèdre et Hippolyte" (detail). oil on canvas

[worldsandemanations]

Jean-Hippolyte Flandrin (French, 1809–1864). “Polytès, son of Priam”, c.1834

[grafologiaforense]

COMIENZOS DE LA GRAFOLOGÍA

Es en el año 1500 AC., cuando aparece el alfabeto, siendo su difusión y origen atribuida a los fenicios.

Antes de esta aparición, las primeras escrituras fueron las ideográficas, basadas en figuras que simbolizan ideas, transmitidas por medio de una representación icónica.

Estas representaciones consistían en una serie de dibujos que mediante símbolos e imágenes (existentes o imaginadas) plasmaban la idea o el mensaje que se quería transmitir.

Ejemplos de estas escrituras fueron: la japonesa, china, sumeria, azteca, los jeroglíficos egipcios, etc. En este tipo de escritura a cada símbolo corresponde un concepto, concreto o abstracto. En muchos de los casos, los símbolos ideográficos asumían un valor puramente fonético.

El sistema silábico reduce el número de signos, no siendo más de cien signos (el sistema ideográfico podía llegar a mil).

El epitafio inscrito en el sarcófago del rey Ahiram alrededor del año 1.200 a. C. es la inscripción más antigua conocida que se considera escrita en alfabeto fenicio. (Coulmas, Florian, 1989)

Durante la Edad Media, antes de que se inventara la imprenta, el arte de escribir se encontraba en manos de los monjes los encargados de cultivar la cultura y con ello la escritura.

Fue en esta época cuando estos hombres cultos, comenzaron a interesarse por conocer la escritura y les movió la intuición de llegar a conocer a través de ella la personalidad del hombre que escribía.

De esta manera conoceremos algunos de los precursores de esta ciencia como son:

CAMILO BALDI

En el siglo XVI, el profesor de la Universidad de Bolonia, Camilo Baldi, publicó en el año 1620. “Trattato come di una lettera missiva si conoscono la natura e qualità dello escritore”.

Esta fue considerada la primera obra rudimentaria de grafología redactada en el año 1621 y publicada en el 1625.

Este teólogo, poeta y escritor político que se interesó por la fisionomía y las ciencias paranormales, entre 1775 y 1778, publicaría la obra “Fragmentos fisionómicos para el fomento del conocimiento y el amor humano”.

Colaborador de esta obra fue Goethe, donde se aprecia también el interés y curiosidad que ambos manifestaban en la relación entre carácter y escritura. En ella, Lavater propugnaba una visión holística de todos los fenómenos expresivos y pone de manifiesto su hipótesis acerca de la grafología.

LEOPOLD EDOUARD HOCQUART

Escribió en 1812 su obra más influyente, denominada “L´art de juger l´esprit et du caractère des hommes et des femmes sur leur écriture”, donde aporta varios e innovadores conocimientos sobre las relaciones que existen entre el carácter y la escritura, donde destacaría:

- “Una escritura dura y angulosa indica un carácter firme y severo en exceso”.

- “Una escritura vacilante, variada y flojamente trazada indica una falta total de energía”.

- “Una escritura pequeña, bien colocada en hilera, uniforme, que todas las letras “i” tienen su punto, todas las “T” están barradas, no se ha omitido ningún acento ni coma indica un espíritu de orden que llega hasta la minucia”.

- “Si la escritura está sobrecargada de adornos indica un carácter frívolo y ligero, además de un defecto de juicio si el exceso es en las mayúsculas”.

- “Una escritura mediana, ligera, elegante y fácil anuncia un espíritu vivaz, una imaginación brillante..."

MAESTROS DE LA GRAFOLOGÍA

Es a principios del siglo XIX y a lo largo del XX; cuando el auge de la grafología alcanza su mayor esplendor, fundándose escuelas y surgiendo nuevos grafólogos que aportan con sus estudios nuevas teorías y leyes a esta ciencia, destacando que, desde sus comienzos, se ha tratado de explorar y estudiar el comportamiento y conflicto humano a través de la escritura, introduciendo para este fin, dos ramas imprescindibles como eran la psicología y la filosofía en esta búsqueda.

Entre los grandes maestros de la grafología, encontraremos 3 destacados autores:

JEAN HIPPOLYTE MICHON

Creó el boletín "La Grafología" (1872) y Realizaría múltiples conferencias, llegando a organizar el I Congreso Grafológico Internacional, en 1880.

Jean Hippolyte Publicaría su obra más destacada en 1872, llamada “Les Mysteres de L´Ecriture”.

Juan Hipólito Michon, desarrolló la grafología psicológica estableciendo principios y leyes, donde la teoría principal de su obra consiste en que a cada signo grafológico le corresponde un rasgo característico de la personalidad y que la ausencia de un determinado signo supone también la ausencia del rasgo de personalidad, partiendo así del concepto de signo fijo, (interpretar psicológicamente cada signo, rasgo o particularidad gráfica).

MAX PULVER

La aportación más valiosa del psicólogo suizo Max Pulver a la grafología, es la introducción del psicoanálisis en la escritura, siendo sus teorías junto a las aportaciones de otros grafólogos, las bases de la interpretación grafológica.

Para Max Pulver, la hoja de papel en blanco simboliza el espacio donde el individuo se mueve, se expresa con su espontaneidad y libertad innatas; allí se proyecta el individuo mismo tal cual es, dirigido por su inconsciente, “desde el Yo al Tú”.

El Simbolismo del Espacio y de las Formas, descubre cuatro vectores o direcciones cardinales del gesto gráfico:

Para su interpretación, parte de la línea horizontal (considerada la ideal) que delimita dos zonas: superior e inferior. Sobre esta línea traza una línea vertical, que separa derecha e izquierda. Y en el punto de intersección entre ambas se encuentra el Yo. Este cruce, es el punto de reencuentro de leyes fisiológicas, psicológicas y espirituales que conforman el individuo (Faideau, 1983).

Manifestaciones gráficas

- la zona media: el Yo,

- la zona superior: el pensamiento, la conciencia, nuestras aspiraciones, convicciones psicológicas o filosóficas, nuestro mundo intelectual, espiritual, imaginario, idealismo, ambición de poder. (hampas),

- la zona inferior: tendencia y deseo de lo material, subconsciente, instintivo, necesidades sexuales, excitación, goces (jambas).

Manifestaciones gráficas

- la derecha: es la representación de la figura paterna, la proyección del porvenir, extraversión, sociabilidad, creación, la visión del futuro (del Yo hacia el Tú).

- la izquierda: Es la representación de la figura de la madre, la regresión al vientre materno, la introversión, soledad, temor, el egoísmo, el egocentrismo, la contemplación del pasado.

AUGUSTO VELS

En 1944, es nombrado corresponsal en España de la Société Française de Graphologie, publicando en 1945, su Tratado de Grafología.

En 1949, aportó a la grafología un sistema de medición de los signos gráficos, al que llamó Grafoanálisis.

Augusto Vels fue el fundador de la Agrupación de Grafoanalistas Consultivos de España.

Entre sus obras destacan: Escritura y Personalidad, La Selección de Personal y el problema humano en las empresas, Diccionario de Grafología y términos psicológicos afines, Manual de Grafoanálisis, Grafología Estructural y Dinámica, Grafología de la A a la Z, entre otras obras.

Augusto Vels falleció el 1 de julio de 2000, en Barcelona, lugar donde en 1997, fue nombrado Profesor Honorario de los Programas de Grafología de la Universitat Autònoma de Barcelona.

Como hemos podido observar, a través de todos estos autores, el estudio de la escritura cautivaría y fascinaría a numerosos especialistas de diferentes campos y ciencias, quedando todos ellos envueltos en el inconfundible aura de misterio y realidad que encierra la escritura.

“Escribir es, en definitiva, una ejecución individual, la materialización singular de la personalidad que, sin duda, pone de manifiesto los aspectos más íntimos del psiquismo humano, lo que los psicólogos investigan en las palabras o en los sueños y que los grafólogos afirman encontrar en el análisis del grafismo”

[stephaneparede]

Hippolyte Plantet (1829-1882)

Algérie, c. 1855. Portrait de chef arabe. Épreuve sur papier salé-albuminé, d'après papier négatif, contrecollée sur carton. 21 x 15,5 cm

[ruou-tot]

Chateau Malartic Lagraviere

Chateau Malartic Lagraviere là một trong số những loại vang đỏ hảo hạng đến từ Bordeaux, thể hiện dấu ấn tuyệt vời của một di sản đã có từ lâu đời. Màu sắc của rượu cùng phổ hương thơm của trái cây và gia vị cay hứa hẹn sự cân bằng tuyệt vời trên vòm miệng.

Tổng quan về rượu vang Chateau Malartic Lagraviere

Dung tích: 750ml

Giống nho: Petit Verdot

Xuất xứ: Vang Pháp

Vùng: Pessac Leognan

Thương hiệu: Chateau Malartic

Loại vang: Vang đỏ

Nồng độ cồn: 13%

Hương vị rượu vang Chateau Malartic Lagraviere Chateau Malartic Lagraviere mang đến cho người dùng một trải nghiệm tuyệt vời khi toàn bộ các giác quan trong cơ thể đều được kích thích. Sắc đỏ tím đặc trưng của ba loại nho được chiết xuất một cách tối ưu, đem lại cho rượu vang một vẻ đẹp mãn nhãn, dễ chịu. Mùi hương chân thực của các loại quả mọng không làm mất đi mùi vị tươi mát đặc trưng của các loại vang đỏ Grand Crus.

Hương thơm phức hợp của tiêu đen cay cay, với chút khói và mùi socola đen nhẹ nhàng lướt qua khứu giác, đánh thức sự tò mò về hương vị thực sự của rượu. Sự phức tạp, tinh tế và sang trọng của Chateau Malartic Lagraviere được thể hiện rõ nét hơn trên vị giác. Nốt hương nổi bật nhất là anh đào đen và đỏ, nho đen, mận chín. Tiếp đó, rượu dần trút bỏ mùi vị trái cây ban đầu, thay bằng vị vani, tuyết tùng và gia vị.

Tannin trong Merlot ở mức trung bình cao, khi được kết hợp với Cabernet Sauvignon, yếu tố này lại càng thêm rõ nét, tròn trịa. Acid đem đến vị chua vừa phải, khiến vòm miệng không bị quá khô. Chai vang Pháp này cho thấy một tiềm năng lão hóa, trưởng thành trong 3 đến 7 năm và mở ra những ghi chú vô cùng lạ miệng.

Giá rượu vang Chateau Malartic Lagraviere Chateau Malartic Lagraviere có giá thành khá cao, dao động từ 2,756,900 đến 2,767,000 đồng/chai, tùy từng thời điểm và số lượng mua hàng. Rượu Tốt đem đến cho khách hàng những loại sản phẩm chính hãng với đầy đủ giấy tờ kiểm định, mã CO CQ nên quý khách có thể tự mình tra cứu và kiểm tra nguồn gốc xuất xứ của các loại rượu vang.

Chúng tôi đã khẳng định uy tín của mình trong nhiều năm qua. Các dòng sản phẩm phổ rộng từ phân khúc bình dân đến cao cấp được áp dụng mức chiết khấu cao nhất thị trường, tạo điều kiện cho người tiêu dùng Việt có thể trải nghiệm những dòng rượu vang thơm ngon, thượng hạng từ nhiều nơi trên thế giới. Liên hệ qua hotline để được tư vấn và đặt hàng ngay hôm nay!

Thưởng thức rượu vang Chateau Malartic Lagraviere Chateau Malartic Lagraviere mang đến hương vị tươi mát và nâng cao hơn khi được phục vụ ở nhiệt độ từ 15 đến 17 độ C. Nếu rượu còn trẻ, quý khách hãy gạn rượu bằng bình Decanter từ 1-2 giờ đồng hồ để đảm bảo hương thơm được phát triển một cách tối đa và vị rượu trở nên mềm mại hơn.

Chai vang đỏ này phù hợp với các món ăn làm từ thịt, đặc biệt là các loại thịt đỏ. Thịt bê hấp sả, bò sốt vang, thịt cừu áp chảo, heo quay giòn bì hay các loại thịt thú rừng nướng sẽ vô cùng phù hợp với vị rượu. Món thịt gà nướng, gà quay tẩm gia vị hoặc om nước dừa sẽ là người bạn đồng hành lý tưởng với loại rượu đậm vị trái cây này.

Đôi nét về thương hiệu Chateau Malartic Lagraviere Chateau Malartic Lagraviere sở hữu Domaine de Lagraviere - một bất động sản luôn được công nhận và đánh giá cao về chất lượng đất đai. Bá tước Hippolyte de Maurès de Malartic đã mua khu bất động sản này vào khoảng cuối thế kỉ XVIII. Năm 1850, tài sản được Madame Arnaud Ricard mua lại. Cô cũng là người đã thêm tên của bá tước vào tên Lagraviere để bày tỏ lòng thành kính với người chủ cũ.

Chateau Malartic Lagraviere nằm ở trung tâm vùng Gironde, thường sản xuất vang đỏ và trắng. Trải qua một khoảng thời gian dài liên tục đổi chủ, khu đất của thương hiệu đã được gia đình Bonnie mua lại và cải tạo hoàn toàn vào năm 1997 và tiếp quản cho đến ngày này. Với 73ha đất sỏi, gia đình Bonnie luôn cố gắng duy trì hương vị truyền thống, cổ điển của rượu vang Bordeaux. Chateau Malartic Lagraviere là một vùng đất độc đáo với các loại nho chất lượng, cho ra các loại rượu vang trang nhã và tinh tế.

Gia đình Bonnie sử dụng những bí quyết độc đáo, dành sự quan tâm đến vườn nho nhằm đáp ứng tiêu chí khắt khe của một loại rượu vang cao cấp. Ngày nay, một thế hệ mới Véronique và Jean-Jacques Bonnie đã lên nắm quyền kiểm soát. Mục tiêu của họ là giúp vườn nho thích ứng với thổ nhưỡng nơi đây và biến Chateau Malartic Lagraviere thành một địa điểm cho du khách ghé thăm và trải nghiệm rượu.

Quy trình sản xuất rượu vang Chateau Malartic Lagraviere Để sản xuất rượu vang đỏ Chateau Malartic Lagraviere, người ta sẽ bắt đầu với việc thu hoạch nho bằng tay. Sau khi phân loại theo lô, phân loại kép, rửa sạch và nghiền ép, quá trình lên men diễn ra trong sự kết hợp của 20 thùng thép không gỉ và 10 thùng gỗ sồi. 30 thùng hình nón khác nhau cho phép ủ rượu theo từng loại nho. Quá trình lên men malolactic diễn ra trong thùng từ 3 đến 5 tuần ở nhiệt độ dao động từ 28 đến 30° C. Rượu được ủ trong thùng gỗ sồi truyền thống, trong đó 70% là thùng gỗ sồi mới khoảng 18-20 tháng.

#wine #winelover #vangphap #ChateauMalarticLagraviere #ruoutot