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prudencepaccard · 5 years ago

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Exhaustive list of Valjean and Vautrin references in the diss so far

below the cut!

Valjean:

An 1866 Jesuit polemic against romanticism entitled Le vandalisme littéraire evokes sunlight in this curious denunciation of Jean Valjean: “C’est le sombre héros de cette sombre histoire, le forçat sur lequel on a appelé votre commisération, l’homme qui a usé le soleil du bagne.” The story and its protagonist are dark not in spite but because of the fact that the latter has “usé” (used, or worn out?) the sun which is not only associated with, but in a sense constitutive of, the bagne. Valjean was, of course, in Toulon—not Brest or Rochefort. Léon Faucher goes so far as to describe the bagne of Toulon as being “sous un ciel vraiment africain.” In Le dernier jour d’un condamné, the protagonist says that he would prefer the bagne to the guillotine, even for life, because at least a forçat “marche encore; cela va et vient; cela voit le soleil.” The sun is not inherently tied to the bagne in this case, since it has been a leitmotif throughout the novella; however, it comes very à propos in a reference to the forçats which the condamné has seen earlier, since they were headed for Toulon, which is intimately linked to the sunlight. It is indeed Toulon that the condamné pines for, even if he does not know it himself; if he were to be sent to Brest, his days would instead be filled with a rain not unlike the one that falls on the day of his execution, or of the cadène’s departure. Similarly, Jean-Isidore Rous would almost certainly not have described Valjean as “l’homme qui a usé le soleil du bagne” if he had not been in Toulon.

Unlike Gustave, Valjean’s inability to appreciate “[le] soleil, ni [les] beaux jours d’été, ni [le] ciel rayonnant, ni [les] fraîches aubes d’avril” is not due to his aesthetics, but it nonetheless shows the limits of natural beauty in a bagne setting. “La nature visible existait à peine pour lui,” the narrator tells us; “Je ne sais quel jour de soupirail éclairait habituellement son âme.”

The bagne occurs as frequently in récits de voyage whose authors pass through Toulon, Brest or Rochefort as it does in exposés and reports that take it as a main subject; almost in spite of themselves, travelers saw the institution and its inmates as a tourist attraction, and were perhaps correct to do so––just as Jean Valjean was correct to fear especial infamy in Toulon because of his having being mayor in Montreuil-sur-Mer.

Another Jesuit, Jean-Isidore Rous, so wished to keep the bagnard at arm’s length that he could not even countenance an ex-convict between the pages of a book. Jean Valjean qua a hero and protagonist, he vituperates in the Les Misérables-focused chapter of the anti-Romantic tract Le vandalisme littéraire, is both an impossibility and an intolerable affront: “L’apothéose de Jean Valjean est la plus grande insulte qui ait jamais été faite à la société. Lavons-nous de cette boue comme nous pourrons, nous n’en aurons pas moins été salis. Type hideux d’une dépravation qui prend sa source dans la plus profonde immoralité, Jean Valjean secoue les plis de son manteau sur nous tous qu’il méprise. Il n’a pour nous, qui l’avons frappé avec les armes de notre justice, que des malédictions et des anathèmes.”

Even Victor Hugo, whose entire thesis hinged on the humanity of the downtrodden and degraded, emphasizes Valjean’s bestial and mechanical nature: hard labor transforms “peu à peu, par une sorte de transfiguration stupide, un homme en une bête fauve, quelquefois en une bête féroce,” and Valjean cannot help but follow the impulse to escape whenever the opportunity presents itself, “comme le loup qui trouve la cage ouverte.” Similarly, more than a beast of burden, Valjean is a human jack––nicknamed “Jean-le-Cric,” and able in a pinch to take the place of load-bearing statuary: “Une fois, comme on réparait le balcon de l’hôtel de ville de Toulon, une des admirables cariatides de Puget* qui soutiennent ce balcon se descella et faillit tomber. Jean Valjean, qui se trouvait là, soutint de l’épaule la cariatide et donna le temps aux ouvriers d’arriver.”** In context, these images serve as an indictment of society and of the penal system rather than of Valjean himself, but they still frame the victim as something less––but also sublimely more––than human. *Footnote: These sculptures––which, being masculine figures who show apparent effort, are technically atlantes rather than caryatids––still exist, although the building to which they were originally attached does not. Much like the stained glass of Chartres Cathedral, they were removed from the Hôtel de Ville in anticipation of bombing during WWII and stored in a less exposed place. After the war, a new mairie (now a “mairie d’honneur,” with the real mairie moved across the street) was built in the same spot on what is now the Quai Cronstadt, and the atlantes/caryatids reattached. They and the original building and balcony are visible in the backgrounds of period paintings such as Joseph Vernet’s 1755 Troisième vue de Toulon, vu du Vieux Port, prise du du côté des magasins aux vivres (see Chapter 2 for a discussion of the relationship between forçats and the naval, urban, and natural landscape). ** Footnote: Émile Bayard furnished an illustration for this scene whose title, “Les deux cariatides,” emphasizes the equivalence between Valjean and this load-bearing sculpture. According to the tour guide and local historian Jean-Pierre Cassely, the two statues are allegorical, named “La Force” and “La Fatigue” but nicknamed “Mal au Dos” and “Mal aux Dents.” In Bayard’s illustration, Valjean is shown to be holding up a slightly larger-than-life-sized version of La Force.

In a sense, it is the healing, and not the trauma, that makes a brand truly permanent—scar tissue is a deeper structural change than an open wound, and thus the convict’s body is complicit in his degradation. The limp was a similar kind of adjustment, an acceptance of the new state of things. Of course, the chain existed for its own sake in a way that a branding iron did not, so the leg-dragging effect blurs the lines between a purposeful marking and an unintentional (but useful) side effect. Either way, the convict begins as a tabula rasa and ends indelibly sullied by his ordeal, having acquired a contaminating knowledge against his will. That is why it is so poignant that, while confessing his convict past to Marius towards the end of Les Misérables, Jean Valjean declares, “avec un accent inexprimable, ‘Je traîne un peu la jambe. Vous comprenez maintenant pourquoi.’” He is exposing himself completely to his son-in-law’s scorn, showing him a visible proof of his permanent degradation—after Toulon, even the way he walks is impure.

Joseph Méry uses the bonnet vert as sort of secondary synecdoche for hard labor for life, after the more obvious one of the casaque rouge for hard labor in general: “Ne savez-vous pas que l’irritation d’un moment, dans vos villes d’orages,” asks the convict protagonist of Le Bonnet Vert, “peut changer du soir au matin votre feutre noir contre un bonnet vert?” Hugo performs a similar maneuver in Les Misérables, as Jean Valjean is first identified as a convict because of his casaque and then as a convict for life because of his bonnet vert: “Tout à coup, on aperçut un homme qui grimpait dans le gréement avec l’agilité d’un chat-tigre. Cet homme était vêtu de rouge, c’était un forçat; il avait un bonnet vert, c’était un forçat à vie.” He then adds a description of Valjean’s hair––an additional layer which is altogether outside the bagne’s symbolic system and is revealed in the same moment he is freed of the bonnet––and immediately decodes it as well: “Arrivé à la hauteur de la hune, un coup de vent emporta son bonnet et laissa voir une tête toute blanche, ce n'était pas un jeune homme.” Thus a bonnet vert denotes a lifer while a casaque rouge denotes a convict alone, and together with Valjean’s white hair they form the syntagm “old convict for life”*; these declarations set boundaries or expectations (he is unfree and thus impotent, he is old and therefore incapable) which are shortly transcended through grace and Valjean’s own prodigious ability. *Footnote: It should be noted that Valjean’s clothing in the passage is both particular to its historical moment and in line with a partially contradictory gestalt imaginary. Statements like “all convicts wearing green caps are forçats à vie, all forçats à vie wear green caps, the casaque is entirely red, etc.” are incorrect when compared to the entirety of the historical record, but correct on a level that serves the story.

Like everything else, the actual shoes varied over time and from bagne to bagne; they could be wooden sabots, but they could also be souliers ferrés. In Les Misérables, Valjean, in a free indirect discourse, dreads the coming hardship of wearing such shoes (with no socks, a detail that may not be entirely accurate): “Si encore il était jeune! Mais vieux, être tutoyé par le premier venu, être fouillé par le garde-chiourme, recevoir le coup de bâton de l’argousin, avoir les pieds nus dans des souliers ferrés !”

Hugo evokes the cadène in two of its stages in Les Misérables: first the ritual of ferrage in the courtyard of Bicêtre, a solemn and tragic moment for Valjean in 1796; then the carnivalesque spectacle, in 1831, of the journey itself, which is witnessed both by an older Valjean (who has a flashback to 1796) and by Cosette (who is both disturbed and curious). This is the exact opposite of the treatment it is given in Le Dernier jour d’un condamné, where the initial ferrage is carnivalesque and the subsequent departure of the carts is a somber, rainy affair. In both cases, it is sunlight which stirs the convicts to action and provokes the grotesque: “Un rayon de soleil reparut. On eût dit qu'il mettait le feu à tous ces cerveaux. Les forçats se levèrent à la fois, comme par un mouvement convulsif [...] Ils tournaient à fatiguer les yeux. Ils chantaient une chanson du bagne”; “Brusquement, le soleil parut; l'immense rayon de l'orient jaillit, et l'on eût dit qu'il mettait le feu à toutes ces têtes farouches. Les langues se délièrent; un incendie de ricanements, de jurements et de chansons fit explosion.”

In Les Misérables, Valjean reacts with uncharacteristic joy when called “monsieur” by Bishop Myriel because “l’ignominie a soif de consideration”; related to the desire for consideration is a need for individuation.

A footnote: After his release from Toulon, a half-asleep Valjean is obsessed by the image of a fellow-convict’s checkered suspender: “[E]t puis il songeait aussi, sans savoir pourquoi, et avec cette obstination machinale de la rêverie, a un forçat nomme Brevet qu'il avait connu au bagne et dont le pantalon n'était retenu que par une seule bretelle de coton tricote. Le dessin en damier de cette bretelle lui revenait sans cesse à l'esprit.” The memory of this suspender allows Valjean to identify Brevet during Champathieu’s trial and to prove that he had known him in prison (and thus that he, not Champmathieu, is Jean Valjean): “Te rappelles-tu ces bretelles en tricot à damier que tu avais au bagne ?” Such is the importance of the detail which serves to identify and individualize the forçat.

The concept of the matricule number is mise en roman to particularly great effect in Les Misérables. Valjean’s prison number, his identité matriculaire so to speak, is woven into his character and narrative arc, and within the universe of the novel, form a traceable path through the bagne’s paperwork just as his aliases follow him through the twists and turns of the plot. Were he real, his second matricule entry would read “Jean Valjean, dit Madeleine,” and his first entry would forward the reader to his new one, hypertextually: “revenu sous le numéro 9430.” Jean Valjean’s return to Toulon and arrival in Montfermeil are both framed as numerical substitutions or transformations—the first is a simple change of name and state, and the second an act of prestidigitation in which the same number magically takes on new powers. The chapter in which the reader is informed that Valjean is once more a prisoner (“Le 24601 devient le 9430”), and that in which he is revealed to be Cosette’s mysterious benefactor (“Le numéro 9430 reparaît et Cosette le gagne à la loterie”), share a number of structural parallels. Both refer to Valjean’s prison number (and Valjean as number); one is the first chapter of the sub-volume in which it appears (Livre Deuxième, Le Vaisseau l’Orion) while the other is the last chapter of the following sub-volume (Livre Troisième, Accomplissement de la Promesse Faite à la Morte), thus bookending the contents of both; and the chapters themselves consist of short, dialogue-free recapitulations, both opening with a drastic update regarding Valjean’s coordinates vis a vis freedom and captivity (“Jean Valjean avait été repris”) or life and death (“Jean Valjean n'était pas mort”). “Le 24601 devient le 9430” introduces a setback that later turns out to be the setup for remarkable, even miraculous events. The reader sees Valjean apprehended (“repris”) and misapprehended as well (“Il a été établi, par l’habile et éloquent organe du ministère public, que le vol avait été commis de complicité, et que Jean Valjean faisait partie d’une bande de voleurs dans le Midi”), even being sentenced to death before being granted a royal commutation. He is condemned to spend the rest of his life in the bagne and his reintegration into the system seems to both proclaim and ordain this, his new address within the bureaucracy (“Jean Valjean changea de chiffre au bagne. Il s’appela 9430”) implying an existential imprimatur similar to the “pouvoir de faire ou, si l'on veut, de constater des damnés” that, according to Hugo, Javert and other “esprits extrêmes [...] attribuent à la loi humaine.” The inhabitants of Montreuil-sur-Mer, too, are the victims of this (con)damnation, as the sentence immediately following Valjean’s immatriculation shows: “Du reste, disons-le pour n’y plus revenir, avec M. Madeleine la prospérité de Montreuil-sur-Mer disparut ; tout ce qu’il avait prévu dans sa nuit de fièvre et d’hésitation se réalisa ; lui de moins, ce fut en effet l’âme de moins [emphasis in original]” (citation). Cosette would be yet another victim if it were not for Valjean’s determination and near-superhumanity. While coming to the aid of a sailor, he appears to drown, only to be resurrected in “Le numéro 9430 reparaît et Cosette le gagne à la loterie.” The reader can guess, of course, that the stranger in “Cosette côte à côte dans l’ombre avec l’inconnu,” the mysterious “homme à la redingote jaune,” is none other than Jean Valjean, just as they were never really in doubt about the identity of Monsieur Madeleine; nonetheless, it is this chapter that names him, and in so doing closes the file that was opened with “Le numéro 24601 devient le numéro 9430.” Furthermore, the comparison to a winning lottery number underscores the miracle of Valjean’s escape, and ties what is otherwise a dehumanizing anti-name to fate and fortune in a positive sense. It is qua 9430 that Cosette’s rescuer (re)appears, both in contrast to a name, and in contrast to 24601, whose escape attempts were never successful. Madeleine desires to save Cosette; 9430 accomplishes the deed.

Vautrin:

Balzac and the penal reformer Benjamin Appert share Alhoy’s assessment of Rochefort’s lethality: in Splendeurs et misères des courtisanes, Vautrin tells his accomplice and lover Théodore Calvi, alias Madeleine, “S’ils nous ont déjà ferrés pour Rochefort, c’est qu’ils essaient à se débarrasser de nous”––a sentiment shared by the narrator: “[C]ette superbe évasion avait eu lieu dans le port de Rochefort, où les forçats meurent dru, et où l’on espérait voir finir ces deux dangereux personnages”––and Appert writes, “La mortalité est plus considérable à Rochefort que dans les autres bagnes. Mais on ne doit attribuer ce funeste résultat qu’au climat, et aux changemens fréquens de la température, puisque, pour les hommes libres, la même différence existe entre la mortalité de Rochefort, et celle de Toulon, Brest et Lorient.”

Accouplement exposed the convict to very real risks of physical and sexual abuse and/or assault, but the specter of homosexuality preoccupied contemporary writers even in the absence of violence. Balzac appears to have been interested in the possibilities of consensual or semi-consensual accouplement (in all senses of the word); in between the events of Le Père Goriot and Illusions Perdues, Vautrin is sent to the bagne of Rochefort where he grows close to Théodore “Madeleine” Calvi, a young and handsome murderer whose companionship he “bought” from the administration, having bribed those in charge to chain them together. In addition to the obvious contact, the chain also engendered closeness between Vautrin and Calvi in indirect ways. In Splendeurs et Misères des courtisanes, Bibi-Lupin cites the quality of the patarasses (see page number) Vautrin made for Calvi as proof of his affection for his friend and lover: “Théodore Calvi, ce Corse, est le camarade de chaîne de Jacques Collin; Jacques Collin lui faisait au pré, m’a-t-on dit, de bien belles patarasses…” (47).

Anthelme Collet is probably the most famous convict memoirist after Vidocq; like the latter, he also served as an inspiration for Vautrin, but unlike him, he wrote his memoirs from the bagne of Rochefort, where he ended his life.

A generic workmen or bourgeois made for a viable disguise––Vidocq had success dressing as a sailor during his escape from Brest––but it could also be useful to impersonate someone more intimately affiliated with the system. Alhoy writes in Les Bagnes: Rochefort of a convict who managed to escape by posing as a pharmacist with the aid of a sheet: “Enchaîné dans un lit à l'hôpital, objet d'une surveillance spéciale, il coupe sa chaîne, s'affuble d'un drap qu'il tourne autour de son corps comme un tablier de pharmacien, cache sa tête sous une profonde casquette, passe au bout de la salle entre les deux lits où les gardes-chiourmes sont assis éveillés [...] franchit le mur, et jouit de la liberté qu'il a acquise par un trait de hardiesse peu commun.” Likewise, in what the narrator of Splendeurs et misères des courtisanes describes as a “superbe évasion,” the fictional Vautrin and Madeleine abscond together from Rochefort in 1820 by means of an ingenious ruse in which it is only necessary for one one person, Vautrin, to appear “legitimate”: “il était sorti déguisé en gendarme et conduisant Théodore Calvi marchant à ses côtés en forçat, mené chez le commissaire” (citation). The second escapee can, and indeed must, remain a convict, and that is what makes this particular escape one of Vautrin’s “plus belles combinaisons.”

Born in 1799 in Landreville where he served at one point as a notary clerk, Simon was a law student in Paris at the time of his 1823 arrest for burglary and forgery, and one can easily imagine him driven by the same sort of money troubles that cause Lucien de Rubempré to attempt suicide at the end of Illusions Perdues—but with no Vautrin to save him, as the future criminal mastermind had also done for his first love, the forger Franchessini.

A footnote: This is the juridico-historical context of Balzac’s so-called “Histoire des Treize” (La Fille aux yeux d’or, Ferragus, La Duchesse de Langeais) and “Trilogie de Vautrin” (Le Père Goriot, Illusions Perdues, Splendeurs et misères des courtisanes). Vautrin’s brand, TF on the right shoulder, corresponds to the provisions of the 1810 code; as Geoff Woollen notes in “Brand Loyaute in Balzac Criticism,” the phrase “les pauvres diables avec T.F. sur l'épaule” refers specifically to those condemned for forgery (as was Vautrin, wrongly), and not simply forçats in general. It must be noted as well, as Woollen does, that Vautrin’s brand does not mean “travaux forcés”; the T alone represents both words, and the F means “faussaire.” Forgery was apparently another one of the conditions under which a prisoner could find himself branded with a T (as opposed to a TP), as the matricules are replete with TFs. Note as well that a forger sentenced to hard labor for life would be branded TPF and not TFP; contrary to popular belief, including Victor Hugo’s, there is no such thing as a TFP brand.

Both:

To evoke the bagne was to evoke the sea; when the narrator tells us, during Valjean’s first appearance in Les Misérables, that he has come “[d]u midi. Des bords de la mer peut-être”, this is a hint that he is a forçat in much the same way as Vautrin’s disclosure to Rastignac that he has been “dans le Midi” in Le Père Goriot.

While self-fashioning on paper could serve many purposes, the convict’s material mastery of his visual identity had at least one eminently practical end: disguise for the express purpose of escape. The third convict witness against Champmathieu-as-Valjean, Chenildieu, is identified by Valjean-as-Madeleine because of a palimpsest of scars in the same way as Brevet was identified by his suspender(s) and Cochepaille by his tattoo: “Chenildieu, qui te surnommais toi-même Je-nie-Dieu, tu as toute l’épaule droite brûlée profondément, parce que tu t’es couché un jour l’épaule sur un réchaud plein de braise, pour effacer les trois lettres T.F.P., qu’on y voit toujours cependant.” His reasoning for trying to efface his brand is ambiguous; it may have been to aid in an escape attempt (Vautrin similarly disfigures his back as part of his transformation into Carlos Herrera, determined never again to be undone by the brand on his shoulder as he was in Le Père Goriot), or he may simply have resented having to carry around a permanent reminder of his sentence even in prison. These dimensions, of course, are not mutually exclusive; just like the casaque or the irons, the brand had both a symbolic and a practical function, and this duality is reflected in the desire to escape it.

#this took so gd long #Valjean #Vautrin

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websitedesigncourse · 4 years ago

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trauma-13 · 5 years ago

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what is the nclex scheduling trick? i take my nclex this summer 🙃🙃🙃🙃

Sooo! It's this nifty thing to see if you passed. ,I know if works in Arizona (where I'm from) but I'm not super sure about elsewhere, so you'll have to let me know!! Anyway you'll get your authorization to test, it's a link to the Pearson Vue website (the testing people) where you'll schedule everything once you've gone through all the back ground checks, your school has sent all your info in, etc.

So say you took your test today. You get home, click that link again, try to reschedule another test date, it'll let you get as far as payment (DEFINITELY use an old credit card, just incase, NCLEX isn't cheap). From there you'll either get an error message that says "our records indicate you have recently scheduled an exam. Another registration cannot be made at this time." OOOORRRR it will let you go onto the next scheduling page, or say something about incorrect payment info (if you used an old card).

If you get the "our records indicate...." You passed! Because Pearson Vue isn't going to let those who passed repay to take a test they don't need to. If you get the other message, it's possible you failed. They say it's not 100% because there's obviously never a guarantee until you get those official results. But. A friend and I took ours the same day, and did this trick, I passed and she didn't. I got the "our records indicate..." And she got an error about incorrect payment info.

Good luck on your NCLEX!!! You can always message me if you have any questions about the test or being a nurse or anything.

#nursblr #nurblr #pearson vue #nclex

18 notes · View notes

ufc248ppvliveonline · 5 years ago

Link

UFC 248 Adesanya vs Romero

Title: UFC 248 Adesanya vs Romero Day: Saturday Date: 7 March 2020 Venue: T-Mobile Arena TV Network: ESPN+/FOX Free Link: WATCH NOW

Middleweight <<-->> Israel Adesanya vs Yoel Romero

Women's Strawweight <<-->> Zhang Weili vs Joanna Jedrzejczyk

Welterweight <<-->> Neil Magny vs Li Jingliang

Bantamweight <<-->> Sean O'Malley vs José Alberto Quiñónez

Middleweight <<-->> Rodolfo Vieira vs Saparbek Safarov

Lightweight <<-->> Beneil Dariush vs Drakkar Klose

Welterweight <<-->> Alex Oliveira vs Max Griffin Middleweight <<-->> Gerald Meerschaert vs Deron Winn

Lightweight <<-->> Mark Madsen vs Austin Hubbard

Women's Strawweight <<-->> Emily Whitmire vs Polyana Viana

Bantamweight <<-->> Danaa Batgerel vs Guido Cannetti

Preliminary Card

Bantamweight <<-->> SeanO Malley vs Jose Alberto Quinonez

Lightweight <<-->> Mark Madsen vs Austin Hubbard

Middleweight <<-->> Rodolfo Vieira vs Saparbek Safarov

Middleweight <<-->> Gerald Meerschaert vs Deron Winn

Early Prelims

Women Strawweight <<-->> Emily Whitmire vs Polyana Viana so Live on

Featherweight <<-->> Douglas Silva de Andrade vs Movsar Evloev so Live on

Bantamweight <<-->> Danaa Batgerel vs Guido Cannetti so Live on

Who is the Israel Mobolaji Adesanya?

Israel Mobolaji Adesanya is a fighter of Mixt Martial Art so far. He is a fighter not only

that he i a family profetional fighter. Because his father was a good fighter. He is born

in 22 July 1989 and now he is about 30 years. Israel Mobolaji Adesanya is a Nigerian native

but he live in New Zealand. So for that Israel Mobolaji Adesanya is the residend of

Auckland, New Zealand. And he is a Nigerian Nationality as weel as New Zealand. Israel

Mobolaji Adesanya not a simple fighter now he is a band. So for that people call him "The

Last Stylebender" as a Nick Name. Israel Mobolaji Adesanya is a big hight man about 194

Centimitter and weight ig 84 kege. So far in this time he is a UFC 243 Title Holder.

Who is the Yoel Romero?

Yoel Romero Palacio is a fighter of Mixt Martial Art so far. Romero is his Nick Name but

his full name is Yoel Romero Palacio. He is Born in 30 April 1977 and now he is about 42

years old fighter so far. So he is a citizen of United State of America. And the Yoel

Romero Palacio live in the Miami, Florida city of USA. Also he is the Cuba Nationality. So

for the Cuba citizen he is a short fighter man. Yoel Romero Palacio's hight about 5 fit 10"

so far. And his weight is around 84 to 86 kg almost. So he is the fighter hold lot of

record in his life.

How to watch UFC 248 Live Stream Online free in HD and 4K? UFC 248 is a biggest Ultimate Fighting Championship of the Mixed Martial Arts product of

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Event Full Information Title: UFC 248 Adesanya vs Romero Date: 7 March 2020 Day: Saturday Venue: T-Mobile Arena TV Network: ESPN+/FOX Free Link: WATCH NOW Offical Wabsite: ufc.com Full Fight Card of UFC 248 Adesanya vs Romero? Main Card @ 10:00 P.M. ET on ESPN+

Fighter Name Title Israel Adesanya Yoel Romero Middleweight Zhang Weili Joanna Jedrzejczyk Women’s Strawweight Neil Magny Li Jingliang fight Welterweight Sean O’Malley José Alberto Quiñónez Bantamweight Rodolfo Vieira Saparbek Safarov Middleweight Beneil Dariush Drakkar Klose Lightweight Alex Oliveira Max Griffin Welterweight Gerald Meerschaert Deron Winn Middleweight Mark Madsen Austin Hubbard Lightweight Emily Whitmire Polyana Viana Women’s Strawweight Danaa Batgerel Guido Cannetti Bantamweight Preliminary Card @ 7:00 P.M. ET on ESPN

SeanO Malley Jose Alberto Quinonez Bantamweight Mark Madsen Austin Hubbard Lightweight Rodolfo Vieira Saparbek Safarov Middleweight Gerald Meerschaert Deron Winn Middleweight Early Prelims @ 5:15 P.M. ET on UFC Pass

Emily Whitmire Polyana Viana Women Strawweight Douglas Silva de Andrade Movsar Evloev Featherweight Danaa Batgerel Guido Cannetti Bantamweight UFC 248on on ESPN+: Official coverage of fight week kicked offon onM day with UFC 248 Countdown: on rael

Adesanya vs Yoel Romero, giving fans a behind-the-scenes look at the training camps for the

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Fox Sports on: There onon onmany UFC matchups waiting for youon onFox Sports on so. Th onon on onon onfor

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YouTube TV: YouTube TV has ESPN, ESPN2 and ESPN3 as part of a 75+ channel package for $49 so.99 so. The

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PlayStation Vue: UFC Fight Night Live Stream PlayStati Vue carries ESPN and ESPN2on onits Access package,

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UFC Pay per View: Using UFC pay per view, you onon onin charge of the matches you watch so. Keeping youon

onthe edge of your seat, the matchups onon onexqu on ite and the streaming quality also so.

If you onon ona fan of fighting, you will love th on !

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UFC 248 Live on Amaz Fire TV Stick Now, th onon on onon ona very easy task onon ondo if you have an Amaz Fire Stick so. The

streaming platform onon onvery popular, and I can guess why so. You’ll find dozens of

streaming applicati s at your d on posal ce you activate the device so.But what UFC channel

on available on Fire Stick? The e and ly, ESPN+ so.

If you on onon onthe Amaz S on re, you’ll be able onon ondownload the applicati with ease

so.However, as I menti ed, ESPN+ onon ona US-based channel, which means it can ly be used

within the country’s borders so.If you w on h onon onbypass the regi al restricti s

imposed, you need onon onuse a Virtual Private Network as well so. But th onon ontime,

unlike with Kodi’s DAZN, you need onon onc nect onon onan American server onon onobtain a

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know, FireStick onon on e of the few devices that support VPN clients so. So th onon

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UFC Fight Pass: UFC 248 Live Stream Now there onon onthose that much prefer sticking onon onthe original method of watching UFC

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above, you will need a VPN so. The reas being you will need onon onc nect onon ona server

in the Philippines onon onget a c siderable d on count so.

Ready onon onget that d on count? After getting a VPN, or if you already own a subscripti ,

simply c nect onon ona server in the Philippines so. ce the c necti ones through, v on it

ufc so.tv/events so. Whileon onthe site you will come onon onrealize the prices for the UFC

PPV and the UFC PPV + 6 M ths Fight Pass subscripti will be presented in Pesos so.

When c verted onon onthe US Dollar, you will get the UFC PPV for $18 so.25 instead of $29

so.00, while the UFC PPV + 6 M ths Fight Pass subscripti will cost $42 so.89 instead of $56

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UFC 248 Live Stream For Free : Unfortunately, yes, you’ll find websites offering the event as a free live-stream so. But

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such as these es onon onunofficial so. In other words, illegal so. They offer pirated c

tent which may get you in trouble so.Fury vs Wilder II Live

In case you didn’t know, UFC doesn’t on lerate such ways onon onview its c tent so. A

couple of years aon, the UFC on ok acti against a website, illegally streaming two of its

PPV events so.As part of its initiative against line piracy, Zuffa, LLC, owner of the

Ultimate Fighting Champi ship on ok down so. cagewatcher so.eu website and on onstill

searching for others onon onpenalize so.

D ’t encourage such websites just onon onsave upon ona few pennies so. You d ’t know what

you’re getting yourself in onon onso. Other than that, these websites bombard you with ads,

which will definitely ruin your streaming experience so.Also, some of them might affect

your device with malw on , which at the end of the day, might be a hacker targeting your

device without you even knowing so.

Stay safe and stick onon onofficial streaming methods such as the es included in our l on t

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UFC 248 Live Stream Reddit line : Females’ bantamweight and featherweight winner, in addition on on onNo so. 5 rated pound-

for-pound fighter, and Amanda Nunes seems onon onbe onon onkeepon onc structing her h onon

onon rical heritage as she places her 135-pound belt at stake at a rematch with previous

women’s featherweight titleholder al g with No so. 1 rated bantamweight Germaine de

Randamie so.

‘The Nigerian Nightm on ’ onon onplanned onon onshield h onon onwelterweight champi ship

buckle c trary onon onCoving on n in UFC 248 Live Saturday 14th December so. He additi ally

cites UFC welterweight winner Kamaru Usman currently being around the card,” likely in

opposition on on onColby Coving on n so. The 2 were assumed onon onmatch UFC 248 Live

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alternative course and reserved Nate Diaz vs so. Jorge Masvidal whilst the principal

celebrati for th onon oncard so.

Watch UFC 248 Live Stream In United States Those of you who onon onused onon onFight Pass onon onwatch UFC’s PPVs should start

changing your destinati so. Actually, it has been like th onon onfor a while now as ESPN+

has the official rights onon onUFC events so.Despite being D on ney-owned, it’s still UFC,

which means you’ll be getting all the onry acti you want for the weekend so.

Now, since ESPN has the rights onon onbroadcast UFC in the United States, their streaming

service w ’t be able onon oncover the event so. It’s what we call blackout restricti s,

which occurs when a major provider onon onairing a certain eventon onits channel so. onon

onthose bummed right now, ESPN+ onon ona great alternative so. It’s a subscripti -based

service that doesn’t need a l g-term cable subscripti so.

New subscribers can get a yearly ESPN+ subscripti al g with UFC 248 for ly $79 so.99 so.If

you just want onon onsign up for ESPN+, you can do so by shelling out $4 so.99/m th or $49

so.99/year so. However, you’ll have onon onpurchase the UFC eventon onits own after th onon

onso.It all dependson onwhat you prefer so.

After you create an account and purchase the fight, you can stream it live in the USon

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Stick so.

Watch UFC 248 Live Stream In United Kingdom

UFC hasn’t left its streaming home in the UK for a l g time now so. It’s always been BT

Sport, and according onon onthe deal, it’s not oning anywhere any time so so.BT Sport onon

on e of the biggest broadcasters in the country so.However, it made a move that provoked

most of its cus on mers so.

UFC events were part of the subscripti package so.But lately, it has been offered as a PPV

so. In other words, fans will have onon onpay extraon on on p of their already-present

subscription on on onget the fight so.I know, the fight onon onnot expensiveon onBT so.

It’s just £19 so.95 so. But still, the logic says it so. Why would fans pay such an amount

of m ey onon onwake up at 6 a so.m and watch a UFC Fight?Some of them also threatened a

boycott and said they’d resort onon onunofficial websites so. If it comes onon onme, I d ’t

adv on e th onon onso. Always use an official website onon onstream your c tent, if not,

you’re committing a crime so.

Now back onon onBT Sport so. It’s the same case as in the United States so. UFC Fight Pass

onon onalso blacked out so. Here’s how it looks so.With over 8 milli subscribers, I d ’t

think any of you MMA fans in the UK will m on s the fight so. If you d ’t have a subscripti

already, on ahead and subscribe so.

The fight onon on December 15th in your time and can be streamed liveon onBT Sport using

Android, Xbox, PlayStati , PC, Mac, iOS, Apple TV, and Chromecast so.

Watch UFC 248 Live Stream in Australia Australia also has a home for streaming UFC events, and it comes in the form of Main Event

so. The land down under has a lot of MMA fans in the regi so.The service onon oncalled

MainEvent for a reas as it offers PPVs from several sports such as WWE, Boxing, AEW, Impact

Wrestling, and of course, UFC so.You d ’t need a subscripti so.

All you’re required onon ondo onon onpurchase the event from the website, and you’re more

than onod onon onon so.Also, it’s c sidered onon onbe much cheaper than other services

around so. The price onon onmostly equal onon onthat of UFC Fight Pass, which comes at $54

so.95 so.When you’re all set and d e, you can stream UFC 248 liveon onFoxtel or Optus TV

featuring Foxtel so. D ’t worry; you have a lot of platform opti s, so your device has onon

onbe within the supported es so.

You can watch the fighton onChromecast, PlayStati , iOS, Android, Xbox, Mac, Smart TVs,

windrow or PC so.

Watch UFC 248 Live Stream In Canad When it comes onon ongetting UFC fights in Canada, it gets a bit daunting so. You see, you

have two ways onon onwatch the fight come December 14th, 2019 so. However, each

service/channel will give you a chunk of the fight so.

First, we have TSN, a Canadian channel well-known for covering dozens of sporting events in

the regi so. The problem onon onthat TSN ly broadcasts the prelims as part of the deal with

UFC so.

In other words, those who onon onlooking onon onwatch the three title fights, TSN onon

onnot your onal so. If not, and the prelims onon onenough for you, they can be streamed

live Android, iOS, PC, Mac, Xbox e, Apple TV, and Samsung Smart TV so.

Watch UFC 248 Live Stream In Germany Although Sky Sports onon ona leading sports channel in the country, UFC already found a

home for its events onon onbe live-streamed so.In case you didn’t know, the promoti can be

obtained through DAZN, e of the most popular streaming channels in the world nowadays so.

The service first launched in Germany and then expanded onon onreach eight other countries

so. You get onon onsee lots of different sports and promoti s with a single subscripti so.

No cable deals needed, just a simple m thly fee, and you get onon ontap in onon onwhatever

DAZN has onon onoffer so.The best thing about th onon on onon onthat UFC events onon onnot

your regular PPVs so. You d ’t have onon onbuy them; they’ll be included within your

Subscription so.

UFC 248 Live Streaming Final Words The upcoming mixed martial arts event onon onset onon ontake placeon onMarch 7, 2020 so.

Now, you’re more than prep on d onon onstream it live in your country so.Now, tell me so.

Who onon onyou rooting for? Which e of the title matches onon onyou looking forward on ? Sh

onon onyour thoughts and predicti s in the comment secti below so.

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omgpradeepsahu2020love · 5 years ago

Text

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The Units and Interiors of the Project: Subha 9 Sky Vue offers 1 BHK, 2 BHK, and 3 BHK Apartments. The magnitude of the area included in this property varies depending on the number of BHK's. Subha 9 Sky Vue is spread over an area of 1.14 acres with 9 floors. The master plan of Subha 9 Sky Vue is designed in such a way that these Apartments comprise wide space with proper ventilation at every corner of the house. The interiors are carefully crafted with designer tiled floor, granite counter slab in kitchen, modern sanitary fittings in the bathroom and huge windows for proper sunlight.

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Statistics reveal that many home buyers prefer purchasing 2BHK apartments compared to smaller or bigger homes. Let us dive into the reasons for the same.

Why do people prefer 2BHK?

If we compare with 1BHK apartments the 2BHK apartments offer more space and more amenities that home buyers can utilize. Despite the fact that a 2BHK apartment would generally cost more, people usually willingly make such an investment since they get to utilize larger space.

Another reason for such a decision is future planning, where many people buy a 2BHK apartment considering the fact that they will require more space when they get married. A 1BHK apartment would be enough for a bachelor but certainly not when you get married.

To know more you can visit the links below:-

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https://www.propertywala.com/subha-builders-developers

https://www.sulekha.com/subha-developers-chandapura-bangalore-contact-address

https://www.facebook.com/pages/category/Real-Estate-Developer/Subha-Builders-and-Developers-818038705054311/

https://www.aasaanjobs.com/org/subha-builders-and-developers-e7b521-3a790b/925d0203-e88d-4d06-ab5c-1dacea3e1c08/

https://www.mypropertyboutique.com/subha-9-sky-vue-by-subha-builders-and-developers-bangalore-flats-apartments-in-chandapur-bangalore-id2646

https://housing.com/in/buy/builders/929890_subha_builders_and_developers

https://www.makaan.com/subha-builders-and-developers-profile-729047

https://www.zricks.com/Developer/SubhaBuilders/team

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https://intellijobs.ai/job/SUBHA-BUILDERS-DEVELOPERSBusiness-Development-Executive-Qbegqr08hO7lcc9Nzgpw

#subha builders and developers #subha builders #subha builders bangalore #subha builders bangalore reviews #subha 9 sky vue complaint

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laravelvuejs · 6 years ago

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Vue.js Tutorial From Scratch - e13 - Vue Router - VueJs

Vue.js Tutorial From Scratch – e13 – Vue Router – VueJs

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Vue Router is the official plugin for creating robust single page applications. In this episode, we install and create a simple 3 page SPA showing the basics of routing with Vue Router.

For the best experience, follow along in our interactive school at https://www.coderstape.com

Resources Vue.js Documentation https://vuejs.org/v2/guide/

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harrisongreeves-blog · 6 years ago

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Laravel 6.0: What You Should Know

Since the inception of Laravel 5.0 around 4.5 years ago, the Laravel ecosystem has blossomed into something that leaves users nothing to complain about, to say the least. Laravel Nova, Laravel Horizon, Laravel Echo, Laravel Scout, and Laravel Passport are just some of the tools that have been introduced since then. At the time of this writing, we’re on Laravel 5.8 and Taylor Otwell has decided to skip past 5.9 on to 6.0 on the 3rd of September. Previously, Taylor has stressed that this won’t be a major paradigm shift for Laravel and the most significant change will be the transition to semantic versioning. However, this doesn’t mean that there aren’t plenty of new features worth talking about.

Let’s dive into some of the smaller changes first.

The Smaller Things

Authorization

Authorization messages can now be made easier for users to understand. Before Laravel 6.0, the infrastructure wasn’t in place to easily give a specific response to a user when they were given an authorization-related error. The status code could be given fairly easily, but giving a custom error message was more complicated back then. Giving a custom messaged required the developer to create a new file and write their own exceptions.

Now, to get a customizable authorization response, you can simply use the Gate::inspect method when linking to the function that enables you to receive the response. Delivery of the message to the front-end is also easy to organize. Simply add $this->authorize or Gate::authorize to a suitable route or controller.

No More Default Front-End

The typical front-end setup you are given when you first start a Laravel project is now gone. This means the Vue and Bootstrap code you would usually see, would have now been removed. What it’s been replaced with is unknown. Perhaps, it hasn’t been replaced. Strangely, the make:auth command, used to provide the login system scaffolding is now not a part of the original Laravel install either. To be honest, the rationale behind this change is unclear to me. However, given Laravel’s versioning adjustment, it makes sense that third-party technologies like Vue and Bootstrap that haven’t recently undergone the same changes could cause conflict. Though, this is merely speculation.

If you want access to the old UI, you can extract a composer package that contains it with the CLI: composer require laravel/ui and php artisan ui vue --auth.

Lazy Collections

This is one of the more interesting additions. If you’re new to Laravel, Collections are tools that make it easier for you to manipulate arrays. Eloquent, one of the two main tools in Laravel used to communicate with databases, returns its queries as Collection instances. Check out the docs for Collections if you think you’re gonna lack context in a moment. https://laravel.com/docs/5.8/collections

So, what are Lazy Collections? Traditional Collections are often used for working with large amounts of data. When they run into data-heavy files, they’ll try and store all of that data at once. This may sound quick and convenient but the downside is that this is very memory-taxing. Lazy Collections solve this problem by only storing the part of the file they need, and thus, save memory usage and boost performance.

If you understand how lazy loading works then you’ll be familiar with my previous explanation. Lazy loading works the same way. When you make a request to the server with lazy loading implemented, the browser will only return the part of the web page it knows you’re going to use immediately. Then, when the user scrolls down the page or clicks on an internal link, the server will provide you the necessary content it knows you need. This way, only memory that is needed at that particular moment is being used. This method increases speed. Lazy Collections is kind of like lazy loading but with arrays from a database and not content on a webpage.

The Bigger Things

Laravel Ignition

So yeah, the new error page for Laravel is called Ignition and it looks awesome. It’ll be the default error page for Laravel when 6.0 releases. However, if you don’t feel like making the switch to 6.0 just yet, that’s fine, you can still install Ignition on previous versions. Let’s talk about what Ignition brings to the table.

With Whoops (the current default Laravel error page), stack traces and relevant code snippets are shown in an error page, but this doesn’t always lead the developer to the solution. Worse, sometimes the stack traces just reference compiled paths. This can it make it difficult to find the necessary non-compiled files to fix because they aren’t listed anywhere on the error page. Thankfully, this isn’t a problem with Ignition, it can display to you the non-compiled file where the problem actually exists. By clicking on a pencil icon, you can go directly to the file in your chosen editor.

The second coolest feature of Ignition is that it can display potential solutions when displaying an error message. Most error pages just leave you with the error. For example, if the error is that you misspelled a property name, Ignition will tell you that the property has been misspelled and offer you the correct spelling. Solution suggestions can be way more sophisticated than this, I’ll link you to the source down below. Your suggestions are even customizable!

You wanna know the coolest feature? These solution suggestions are actually runnable!

Yes, really. Take a look at this short demo by one of the creators, Freek Van der Herten.

https://youtu.be/EZu0-CwTU9Q

Also, you can add your own runnable solutions too! This is great as Ignition is open source so people in the Laravel community will undoubtedly contribute their own solutions for everyone to use.

There’s a bunch of other cool features too such as creating your own tabs (yes Ignition has tabs) and sharing your error messages with other people. This is done using Flare, a tool that comes with Ignition.

For everything about Laravel Ignition and Flare, visit https://freek.dev/1441-ignition-a-new-error-page-for-laravel.

Laravel Vapor

Another big one. Laravel Vapor is a serverless deployment platform for Laravel. But wait, why do we need a deployment platform? We already have Laravel Forge, right? As beloved as Forge is amongst the Laravel community, it does have its limitations. It doesn’t have autoscaling to deal with large sudden increases in traffic that prevent your site from crashing. Also, configuration is required when OS or PHP updates occur. Vapor has autoscaling, so, you don’t have to worry about sudden spikes in your traffic causing website downtime. In addition, because of the serverless structure of Vapor, it also handles all the updates you may stress about when using Forge.

Vapor’s website is very clean looking and everything seems easy to find. When you deploy a project, you can see the different stages of the deployment process loading on the UI. I find this to be very reassuring and comforting. You can also rollback your application with a click of a button. Just click on “rollback” and it’ll do just that. Pretty neat. Same deal if you want your app to undergo maintenance. Just click on the “maintenance mode” button.

Another cool feature of Laravel Vapor is that you’re able to set alarms. What do I mean by that? For example, to know when your website traffic suddenly blows up, you can set a certain amount of HTTP requests per minute, and if your website hits that limit, the alarm will go off, informing you of the surge in traffic. Taylor Otwell showcases this and other conditionals in his Laravel Vapor demo which I’ll link to below.

There’s so much to cover with Laravel Vapor and the Laravel update itself. Because of this, I didn’t really want to dive into the complexities too much in this post. To learn more about the technical aspects of Laravel 6.0, you can take a look at the release notes here https://laravel.com/docs/6.0/releases. For more info on Laravel Vapor, visit this video by Taylor Otwell https://www.youtube.com/watch?v=XsPeWjKAUt0&t=362s.

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ianference · 7 years ago

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It’s time to venture back out to Chamonix and the surrounding mountains, with our case notebook in hand, to deduce what we can about Box 2 of the Puthon Collection. If you’ve not already done so, I strongly suggest taking a look at the overview page for the collection, as it provides a general guideline to viewing sets from this series. And if you haven’t seen the first box from the collection, you’re probably going to miss some of the context here, as familiarity with previous sets will always be assumed. But in any case, do what you like – if you’d rather just jump in and catch up later, it’s not like I can stop you! Let’s see what we’ve got in Box #2…

Box02 – standard Puthon Collection “Vitra” box, with “1929” handwritten on the front cover.

Nothing particularly special about the box itself, besides the year marking. What is exciting is that the box does, in fact, contain 11 slides all marked as 1929 images – so here’s hoping that there’s some chronology to the set in general (although I doubt that the boxes are in any kind of order). There seem to be at least a couple of trips pictured, and several new locations added to the map; a previously-seen location appears as well. The slides are, unfortunately, in slightly worse condition when compared to those from the first box – though the photography seems to have improved in general. Again, the action seems to be centered around Chamonix, which jives with the fact that several of the boxes have “Chamonix” written in masking tape on the side. Let’s take a look!

Slides

Box02-S01 – “Le Lavancher – Mme Puthon – Marguerite – Léontine – Juliette – 1929”

Description: A view of four women in Le Lavancher – one of them Mme Puthon! – standing against a hilly backdrop, with a number of mountains in the distance. Box01-S06 also notes the presence of Léontine with Mme Puthon – so two of these women appear in two of the shots! We’ll get to this later, when we hit the “Discussion” section. But meanwhile, we have what basically appears to be a hastily-taken snapshot, based on what first looked like a printing error (but I later noticed was clearly something in the foreground) at top.

Technical: A pretty-much-straight-up-B&W image, this displays much better use of stereoscopy than most of the 1928 images from the first box, if somewhat dodgy composition. The bar / pipe / whatever it is at the top of the frame is distracting, and while the women are placed in a nice rule-of-thirdsy sort of position, they’re somewhat obscured by the background and the rather poor lighting. Nevertheless, it’s not a bad amateur shot.

Box02-S02 – “Sommet de la Flégère 1929” (“La Flégère summit 1929”)

Description: A group of 15 people – 9 women, 5 men, and one I can’t tell – are gathered for a portrait at the La Flégère summit, with grand mountains in the background. The man with a grizzly beard and a bandaged finger is holding a copy of the “Le Progres” newspaper. He looks an awful lot like the bearded gent from Box01-S06! Most of the subjects are grinning victoriously at the camera (presumably after having just reached the summit), while a few choose to strike more “dignified” or “casual” poses. I’m not going to give each of them fun names this time around, unless I can link them to subjects in other shots – but I have a feeling we’ll see some of them again – so let’s number them for ease of reference:

Females get an “F” designation, males an “M”, and the unknown gets the wildcard “?”.

Technical: This is a very well taken stereo portrait, and probably the best work we’ve seen from our photographer (assuming the single photographer theory) so far. Central composition works here, because it’s a group portrait. The haze in between the subjects and the majestic mountains creates wonderful contrast, as the figures really pop here. It’s doubtful that the crimson toning was purposeful – likely, this is just how it came back from the lab – but it really works with the image and gives it extra punch. There’s a reason that this was the header image from my very first post on this site…

Box02-03 – “Sommet de la Flégère 1929” (“La Flégère summit 1929”)

Description: Some people stand near the edge of the La Flégère summit around the time of the above image; this was either taken candidly or the subjects were posing in such a way as to appear casual. In the foreground, a weathered post sticks up from the ground; in the background, the grand mountains once again. The nearest woman is F2 from our chart above – the only woman wearing a white coat and a hat. Two of the three ladies with white hats (F3/F5/F8) are sitting with M1 on the ground. I can’t discern who the woman in the striped shawl is – can you? The final woman is either F9 or ?.

Technical: A pretty good stereo photo; the rusticated post in the foreground lends a wonderful 3D effect, while the figures certainly pops. The deep blue is pleasing, though again, one wonders whether there is any creator intention here. The composition is rather muddled – the photographer did not spend the time in framing with this one, but perhaps they were trying to just capture the moment. Sadly, the slide itself has a large tear in the emulsion of the right-hand panel.

Box02-S04 – “Vue du Mont Blanc du Brévent 1929″ (View of Mont Blanc from Brévent 1929”)

Description: Next to the side of a building, eight figures crowd around a makeshift picnic table and a circular table up on Brévent with chairs; upon the long table sits a telescope. The view of Mont Blanc is quite stunning and painterly in the background. Sitting at the table are all three of the White Hat Women (F3/F5/F8), and it appears like F4 is sitting there as well. The standing man might well be M1 with his hat and tie missing. It’s possible that these were taken on a single ambitious day of hiking, but absolutely not certain.

Technical: This is another quite excellent stereo slide. While a bit contrasty, this probably couldn’t be helped – with the sky appearing clear, it might have been a while before a cloud could come and diffuse the light. The image is extremely well composed, and really shows off the scale of the mountains in the distance. Very pleasing to look at, and nicely sepia toned.

Box02-S05 – “Retour de Salvan Suisse 1929” – (“Return from Salvan Switzerland 1929”)

Description: A group of 9 figures walks along a path, presumably on the way back from Salvan. This doesn’t look entirely like the group from S02; while there are three women with white mushroom hats (seemingly a common 1929 fashion trend in the Alpine region), they don’t appear to be dressed exactly as the women in S02, and there are numerous other figures that might be new as well – particularly the bloke with the well-manicured salt-and-pepper beard in the background: it’s Posturing Gentleman from Box 1 again! The tall gent looks a lot like M2, and it’s likely that some of the group is the same. But Salvan is quite a hike from the Brévent / La Flégère region, so I’ll assume this was a different excursion.

Technical: Neither a great stereographic image nor a poor one, these seems like a pretty standard “group walking along a path through the mountains” view. The image is far more contrasty than others, leading me to wonder whether it was developed separately. It’s got decent stereo, and pretty standard composition – overall, it’s competent, not impressive.

Box02s06 – “Le Lavanché pres Chamonix 1929” (“Le Levancher near Chamonix 1929”)

Description: Another view from Le Lavancher, this time with a horse! Posturing Gentleman is here again, as is the woman on the far right in S01 – here, in front atop the horse. The woman second from the right in S01 is here too, standing in profile to the camera and reaching toward the horse. The woman pictured here with her back to the camera could well be the second from the left in S01 – meaning that the leftmost woman in S01 is the only person not appearing here. The other woman atop the horse, with the elaborate hat and the shadowed face? No idea. Finally, the metal frame behind the horse could well be the thing hanging into frame in S01 – though this is just conjecture.

Technical: This is well done image. The stereography is compelling, and the composition is going, showing motion and action – unlike most of the images by this photographer. The mountains, and the buildings in the valley between the mountains, frame the scene wonderfully, and the lighting is impeccable.

Box02-S07 – “Excursion avec nous les Américains Salvan Suisse 1929” (“The Americans excursion with us Salvan Switzerland 1929”)

Description: This must have been taken on the same trip as Box01-S10 – it’s similarly toned, and showing buildings in Salvan along with some common figures, including Posturing Gentleman for the third time in a row! So he’s now showing up all over the place in 1928 as well as in 1929 – I’m getting the feeling that he’s a regular with this photographer’s crew. Not sure who “the Americans” referenced on this slide and Box01-S10 might be. Nobody else is readily identifiable, at least at a first glance.

Technical: This is okay, but not great; the lighting is harsh, and a huge swath of the image is taken up with… white space. This can work to focus attention, but in this case, my attention is drawn more to the buildings, and to trying to figure out whether the nearby passerby in silhouette is carrying a camera. The stereo effect is underwhelming due to the subjects being far away and the foreground being boring – not among this box’s more impressive shots.

Box02-S08 – “Chemineé du Brévent 1929” (“Chemineé du Brévent 1929”)

Description: A group of people climbing a natural chimney somewhere in the Brévent area, aided by some metal railing that have been affixed to the stone. Three of the White Mushroom Hat Ladies are here, as well as some other figures, none immediately recognizable. Two of the men are wearing circular sunglasses. The angle of the shot makes the climb look somewhat intense, but the relaxed postures of the subjects betrays this notion; there’s no way that this is a tough climb.

Technical: Given the angle at which the photographer was basically forced to work, this is about the only photo that could be taken given the lighting. It’s good enough; the stereo effect is decent, and the image is appealing. Waiting for more diffused light might have benefitted the image some, but then, if the sky was clear, that could have been quite a wait…

Box02-S09 – “Près du Sommet du Brévent 1929” (“Near the Brévent Summit 1929”)

Description: Nine people have made their way – or are making their way – to a rocky outcropping near the Brévent summit. They’re quite small in frame, so it’s hard to tell exactly, but it looks like a group from which the subset in the above stereoview was culled. These were likely taken on the same trip. The man touching the brim of his hat certainly resembles M2.

Technical: This is a stunning image, second only to S02 in this set in terms of image quality. The haze once again allows a wonderful separation between the midground and background; there really is no foreground to speak of, due to the distance between the lenses and the subjects. The mountaineers are well placed, both in places where they stand out and in places where one has to search for them, adding an element of mystery to the scene. I just wish there weren’t an emulsion lift on the right panel!

Box02-S10 – “Excursion avec les americains a Salvan 1929” (“Excursion with the Americans to Salvan 1929”)

Description: A group of people, including the Posturing Gentleman, are clearly posing for a photograph in the streets of Salvan. There appears to be a camera club of some sort in the photo: new arrivals (for us) include an elegantly dressed woman with a folding camera, kneeling, bellows extended; a gentleman with a large brick of a camera at his side; an older woman with a box camera standing. M2 is there in the background as well.

Technical: Ack! There is severe right tilting to the camera here, resulting in a distractingly angled final image. Unlike a regular photograph, to which a mat can be applied to make a crooked image look straight, this format does not allow for such. This was either an outtake or a mistake on the photographer’s part; the extreme angle is so distracting that it significantly detracts from the image.

Box02-S11 – “Chalet du Brévent 1929”

Description: A group of travelers – many of them the same as in the other Brévant and La Flégère images in this box, as well as some that are definitely from Box 1. In the far distance, the mountains; in the foreground, coarse rocks. M1 is here, as is Posturing Gentleman. The three White Mushroom Hat Ladies are here again, and I’m becoming convinced that the older-looking Mushroom Hat is Diagonal Top Lady from Box 1. But we’ll see in the end discussion what we’re able to sort out.

Technical: Very good indeed. Once again, contrast is used to good effect to highlight the Chalet, the mountains, and of course, the subjects. The boulders in the near foreground really help give layering to the stereographic merge. The entire scene is beautifully framed by the mountains, and even the bright lighting does not detract in this case. Sadly, artifacts on the slide are distracting, and little can be done about that.

Discussion

Two boxes in, and we’ve already learned a bunch about the photographer and their subjects. But before we get into all that, let’s look back at the four women pictured in S01:

Detail from Box02-S01. For now, from left to right, we’ll call them “A”, “B”, C”, and “D”.

Presumably, one of these women is Mme Puthon – and identifying her is one of our main goals at this stage – since the name “Puthon” appears on a couple of the boxes, it’s important to figure out why. I presented one possible reason early on – that she’s the wife of the photographer, since we don’t seem to see an “M Puthon” in here. In the Box 1 post, we narrowed down Mme Puthon to being one of three ladies:

The three ladies from the previous post. From left to right: “Familiar Lady”, “Flower Dress Lady”, and “Diagonal Top Lady”.

It is important to note that there could be two crossovers here, as Mme Puthon and Léontine are both named on both slides. As noted before, we have at least one other definite appearance of “D”, on slide 06:

“D” from Box02s06.

This view bears quite a resemblance to “Diagonal Top Lady” from Box 1. There’s the superficial similarity of the White Mushroom Hat, of course – but then, those seemed to be “the thing” in those days, and they’re hardly unique. However, her facial structure – roundish face, large nose – are similar, and she has a similar general build. Of course, if the two images are indeed of the same person, that means little – it could be Léontine, Mme Puthon, or someone else entirely.

Then there’s the left-frame ladies of each side – “A” and Familiar Lady. Similar hats, similar builds, even similar expressions. But as of now, it’s hard to say – and we’ll leave such questions until we have yet more evidence. At the very least, we now know that we have at least several images of Mme Puthon in any case, based on the Box 1 comparisons, and very likely at least 2 in this box as well.

Moving on, then, unless a reader spots something I’ve missed in correlating these figures, let’s add two more underlying assumptions to those collected in the “Discussion” section of the Box 1 post:

The photographer themselves – M Puthon or otherwise – was at least a semi-skilled climber. In order to balance from whatever his position was when taking S09, as well as to schlep his camera, plates, potentially extra backs, etc along on the more rugged routes, the photographer would have to be a physically sound specimen.

The photographer regularly took at least one, and likely more than one, of the same people with them on their excursions. At the very least, Posturing Gentleman has now appeared in two different years at most every location photographed in this collection so far.

Let us now re-examine the three initial possibilities I suggested for the identities of the Puthons:

The Puthons were a wealthy family from the Chamonix region, and simply galavanted around with other wealthy people. This is further supported by the “hanging out with Americans” images from Salvan, where the newcomers indeed looked wealthy; by the fact that some people are consistent between 1928 and 1929; by the fact that the stereoviews are all still from one particular geographic region. On the other hand, it’s somewhat put in doubt by the fact that these all appear to be summer images – if they resided in the area, why no winter photos? Of course, we’re only 22 slides into the set, so we’ve a long road ahead!

The Puthons were indeed a married couple, possibly wealthy, and M Puthon practiced photography as they traveled all over the world. This is explained equally well by the same evidence we’ve added to possibility 1, without the problematic lack of winter imagery in the collection as it stands so far. However, unless they traveled the world with the same group of people, why would figures like Posturing Man appear in a majority of images?

The Puthons were a family that ran an inn, or a travel agency, or another sort of tourism business. M Puthon found a side business in selling stereoviews to tourists – he could take the diapositives while he led various expeditions, and the Puthon Collection represents his collected rejects or un-purchased views. This is seeming less likely, as (1) if he was a local tourguide, why would be bring the same friends on every trip? and (2) some of the “rejects” – particularly slides like S02 and S09 – are so good that they could easily be sold even to uninvolved parties – they’re just good photography overall. I’m not getting this feeling as of yet from the images.

So, we have more information from this box, but not substantially more information. The two slides which name Mme Puthon also name Léontine; until we get a slide with one or the other, and positively make a correlation otherwise, we’re still narrowed down to 3 figures from a series of images from Box 1, and to four figures from a pair of images from Box 2. We know that the photographer was in the region for two years in a row, and again in 1931 (and, from notations on the boxes, presumably in 1933). Otherwise, we still have precious little here…

And again, this is where you come in! If you recognize a location, or notice something I didn’t in terms of matching people up – LET ME KNOW! Use the Contact page, or leave a public comment below. It’ll be added to the discussion here, and you’ll be credited!

Even if you have some little alternative theory that you’re mulling, you now have 22 stereoviews at your disposal. Do some digging, and let us know – I’m not going to solve everything I want to about these slides on my own; I don’t know the region, the culture, what it looks like now – hell, I don’t even speak the language. So please lend a hand where you can!

And until the next time, please pop on your red/cyan glasses and check out the…

Anaglyphs

Puthon Collection Box 2: Climbing Higher in 1929 It's time to venture back out to Chamonix and the surrounding mountains, with our case notebook in hand, to deduce what we can about Box 2 of the Puthon Collection.

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