Sasusaku Love Stories

Dark Mirror

What is the "dark mirror"? And 'the image of our guilty conscience? consciousness made unhappy? of unspeakable human drives? It happens that among the Hesperides there are also storytellers. So why not talk about it?

Francescantonio Di Dionisio signature is that many readers have already met on the culture, journalism online. But not only is the author of photographic books and two novels as "The leaking of the identity" and "Eldorado." Born in San Vito in the province of Chieti, Chieti, Genoa is adopted. Suspended between painting and writing, performing arts, in parallel, returns with a collection of stories whose common thread to tie them is the controversial issue of identity. The title of the book "Dark Mirror" is taken from the first epistle of St. Paul to the Corinthians, XII - 2, published editions "of books Peralto" - Genoa 2010. A sore

Ulysses, disenchanted, former anti-hero than Homer, but also with respect a quello joyciano in fondo assai più picaresco,  è quello che emerge dal primo racconto " Per maligne inestricabili trame " (titolo tratto da un verso dell'Odissea). La sua, in chiave moderna, è la condizione dell'uomo itinerante costretto a peregrinare non già per scoprire con orgoglio avventure ed esperienze inconsuete legate a nuove frontiere, ma per "seguire un'occulta linea fatale, un percorso che potevo solo subire", come egli stesso confesserà alla fanciulla Nausicaa che lo ritrova.


E' ancora la voce delle radici, degli istinti più profondamente ancestrali che arma la mano di Austina, " La Rapita", quando dopo il sequestro di un malvivente che la sottrae al suo focolare domestico e dopo il ritrovamento da parte del suo consorte nella caverna dove è stata nascosta, spara. Ma non già al suo rapitore come sarebbe ovvio, bensì al marito che vuole trarla in salvo. Perché? Forse perché troppo grande sarebbe stata per lei l'onta di tornare a casa da "svergognata"? In questo caso, l'identità è la voce oscura degli antenati e di tradizioni ataviche, cui la donna resta intimamente soggiogata.

"La travestita ",  è, al contrario della precedente, una donna cosiddetta emancipata dei primi del Novecento dall'identità labile  che copia l'ambiente in cui si muove, attraversa deserti che sono dei labirinti without end, dresses as a man, smoking, drinking, sexual promiscuity to practice self-destruction.

Narrated in first person, is tender and moving "The Ugly Duckling " where the author performs a reverse narrative (but similar) to that of Morante in the 'Island of Arthur ": identify adolescent Viviana , as well as incorporated in the boy Arturo Morante. Penetrating only with great sensitivity in mind and the body of this anorexic girl who denies the mirror to see themselves not "bad," you can describe the fears, anxieties, insecurities of the rites of passage, leaving forever behind childhood in a metamorphosis that can not be painless. The ugly duckling eventually becomes, yes, a beautiful swan, but the ending will not be so comforting fairy tale, as other tough battles ahead for the teenager who becomes a woman. After all, life is eternal initiation: it is a bit 'This is the moral of the story.

Finally, " Dark Mirror," the story that gives the title to the entire collection. Story of two "inseparable" twin violinists, who pursue the myth of their strength and invincibility, swapping roles in study, work, in which women share. Here the theme of nineteenth-century and disturbing the "double" ( doppelgaenger) rolled over in a modern not only in the dualism es / ego, self and other, but as a partial identity and halved together in a mechanical symbiosis, through which it will attempt a revanche social, psychological and sentimental. The end will be tragic and devastating for both, since the authors of a heinous crime, they are forced to undergo this symbiotic association more and more like a straitjacket. No coincidence that the term "individual" (Latin for "individuum", that is indivisible, unique, not repeatable) shows us that no two drops of water in the end, are identical. Our life is personal, unique and precious and none is given to relive it "by proxy". Even in monozygotic twins.
(above: the film poster David Cronenberg's "Dead Ringers" addressing the issue of twinning ).

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Live blog Oct. 23, 2010

Bloggggggggggg Hello! Here
the fourth episode of Friends live .. Today we have a lot to see! I hope that one of the first things that will show us the challenge of Frank .. I look forward to seeing drop even lower this program, and then to see Emmanuela thrown out, as I said before, haha!
Let's see how the boys will perform after the verification, and if Anna and Deborah once again confirm their first place in the class! A soon guys, I'm going to cook, since they are riapprodata in the capital and I have to do everything alone, haha!

Zanfi, before the beginning of the episode makes an announcement to support research on "cystic fibrosis", inviting everyone to participate in the action of "voluntary" ..
The boys sing then the symbol and the background of the big screen are made to see pictures of former competitors of the previous editions of Friends ........... I did not see Robert, but I hope it was just a my "lack", and that was actually in the video ..! Vabbèèèèèèè!

De Filippi enters and immediately gives bad news to the boys .. Because they have less time available, the boys have already had a vote, which was given with the verification of the Ve yesterday ........ I said that there was something strange!
There are 6 failures, 3 in song and dance in 3! As you perform, the boys discover the evaluation ..
Salas gave inadequate ... Garcia sufficiency, as well as for Prina .. Portal
want to know because of the failure, and Salas tells him that he lacks the coordination to foster a strong reaction of the teacher! Salas
Accusation of little objectivity, but Portal replied that the choreography has three objectives: the energy, expressiveness and musicality, and the Andrea has met all three! Salas says that something is missing, it lacks the technique, and even gave him an inadequate total, or 4! Andrea
just can not understand, and Salas said that despite having seen the best live performance recording, however, remains weak! There it ..............

Log Emma for her new cd, but Roberta and no trace of his cd ............ Forget it, I omit!

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Forte Fuentes

(photo: main entrance)

(photo: main entrance)

(photo: back of the governor's mansion)

(photo: at the local input)

(photo: building Governor)

(photo: interior of the church of Santa Barbara)

(photo: Church of Santa Barbara)

(photo: housing for soldiers)
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Party in privacy from Milan at the end of October 1604, made a stop in Como to inspect the troops there allocated, Nov. 3 was to Gravesend, where, by boat and with only three people in tow, arrived at the Fort at night: Forte Fuentes .

not have been easy for a seventy-five deal with what in those days was a long and tiring trip, made on horseback and boat in order. But it was not going to Colico to enjoy one of many the most beautiful views in the world - one that views from its promenade - but to check with their own eyes the result of his stubbornness. Clashing against the wishes of neighboring Swiss Grisons, who did not take kindly to the creation of a fortress on the border with their status, fiercely wanted to create this jewel of military architecture.

From the early days of English domination of Milan had been made safe, before closing strong walls, which are still a source of pride to the Milanese and English nostalgic. In this regard it will be good to remember that the English walls of Milan (the which, however, has not been practically anything) were the largest civil works carried out in Europe in the sixteenth century. Made the city impregnable, must now cover the shoulders of any massive, large-scale invasions. The crucial point, the easiest from which could have easily passed invading hordes, it was the extreme northern tip of Lake Como, where three valleys converge separate passes by which they could infiltrate the armies or bands from the center and northern Europe. The weakest point of the ring was just Colico, or rather that portion of land in memory of the English Fuentes has been named Pian di Spagna. Strategic area, and at the same malarial time in those days. A seasoned military outpost located in that area could control and stand in the way the enemy forces from the north through the three easiest access points Chiavenna, Valtellina and Passo San Jorio.

Count Fuentes, who became governor of Milan in old age, at the end of a glorious military career, having understood the machinations going on between the French and Grisons to annex, recover or regain the three valleys above, resulting in the loss also of the whole 'Alto Lario, peremptorily broke the plunge and decided on the spot to build a great fortress in Colico; immediately sent military experts to explore the place and position, and just seven days the decision was fully implemented in the project, informing the King of Spain in what has been done. The first stone was laid October 28, 1603 in the presence of the Governor of Como on behalf of Fuentes. After less than a month of work, November 24th, wishing you would have already been able to install a permanent garrison of soldiers.

For history buffs Lombard recommend reading the following post, The Count of Fuentes ,
where I transcribed pages from a rare book and hard to find (there is only one copy in a library of Lecco, among other things only available locally). I copied the story of the Count of Fuentes and the construction of the fortress, of which this post is a short essay, But neglecting to copy text and tables of 11 annexes bodied entire chapter.

omit stories about the life of the fort and go at an end. With the arrival of the Austrians, the fort was declared useless by the military point of view (a bit like the Maginot line of recent times) and they established the slaughter or sale. We opted for the sale that seems to have won the last Governor of the fortress itself, the colonel Schroder, who had acted through the nominee's widow Anna Casanova League. With the arrival of Napoleon on the European stage, these, to accommodate the desire of the neighbors of Graubünden, in exchange for their neutrality ordered its destruction. Destruction occurred by means of aggressive teams devastating Graubünden (happy to perform the task long coveted). At the cost of destroying the very people he was forced Comense that had once paid for its construction. In the post
Dresden and Lodi, a city of fate I wrote that, according to my thesis, for better or for worse the Napoleonic legend was born in Lodi. Among its pages is black senzaltro ascribed the killing of Forte Fuentes, who, if it was still standing, would have long since joined the ranks of World Heritage 's UNESCO instead of being reduced to ruins as photos. Ruins sempe more difficult and expensive to maintain, and where the vegetation is slowly taking over everything.

The photos were provided by Angela Acerboni which claims the Copyright

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.......

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the other a bag of jeans fodereta and enriched with flowers felted wool and semi-precious stones:

now greet you and goodnight to all !!!!!

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PAUL BIRD THE MAGIC OF PERSPECTIVE AND FUNCTION OF MATHEMATICS

Paolo Uccello, in an age of great painters such as that in which he lived and worked, the first Italian Quattrocento marked by the achievement of a painting technique already superfine but still retains the innocence of vision, the wonder in the face of things in the world, the fantasy that turns everything into a beautiful dream, stands out for its ability to create an atmosphere enchanted and rare, today we would say surreal compositions crystallized in the magic light of a mythical, enchanted, that in the scenes so to speak of action, the most important of its production, the three main planks of the Battle of San Romano (one of the few However, survivors, much has been lost because of this painter) and appear illuminated by a light as a storm about to blow that seems to stop the characters in the act on which the glittering flash of light they block the way of a snapshot photo (comes to mind the theory of Cartier-Bresson: stop the moment pregnant), conferring an air of solemnity and eternity and, precisely, legendary, as I said earlier. Not at all realistic painter, then, but for that very surreal for excellence its ability to create their own works in mythical and magical aura that goes beyond the reality and transformed in the dream. If it is true, as told by Vasari, ch and should spend much of his time in the study of perspective, it did so only to deny, distort or better, return in an unnatural way that very perspective in which he not only deep thinking in his time, but many other artists working in painting. On the question of the use of perspective in the light was magical and surreal De Chirico, including contemporary painters, it is invoked, to do with it, in a certain way, the sample. If, as Borges says in one of his most intriguing paradoxes, each author creates his own precursors, there is no doubt that De Chirico had created (say, rather, more realistically, elected) to its precursor own Paolo Uccello. At first glance it is difficult to realize, because the pictorial results of one are very different from those of the other. But we can put disappearance De Chirico who has long studied the great Paul on the yield perspective, and that studying it, he understood that in order to create that surreal, frozen in time and definitely he has put in his dream best paintings, what he has voluto definire “metafisica”, il segreto stava nel distorcere la prospettiva, nell’usarla come elemento di straniamento dalla realtà. Gli esiti pittorici sono molto diversi, come ho detto, perché De Chirico usava l’ironia in quanto la contemporaneità non consente di abbandonarsi all’incanto della favola e il suo atteggiamento è quello di chi, di fronte alle brutture della modernità, pu ò solo difendersi irridendo il gusto di coloro che, mentre non esitano ad accostare una fabbrica industriale ad un castello rinascimentale, mettono alla ribalta, come se fossero statue classiche, dei manichini di sartoria (parlo, lo si è capito, de “Le muse inquietanti”). And I do not think it is a case which, by the character of Paolo Uccello, we speak of "dummies" (to stay in the speech of those who are the "precursor" to whom), because their composure and icy, though committed as they are in a battle full of trumpets and banners, bristling with spears and crossbows, estraneizza them, so to speak, the context in which they occur.

But the world is that of Paolo Uccello's tale, a world that draws abundantly harmony, to return that he does not hesitate to resort to mathematics and geometry, for mathematics and geometry was entrusted the work of creation. Let's look at the layout of the weapon depicted in the three sequences of the Battle of San Romano: it's all built on mathematical rules. The weapons must be matched to groups by number: for example, if three springs and three boats are yellow, red contrast with three boats, or if there are five seats, five are the baldric, so the plumes and helmets, and faces uncovered and horses, always opposing groups and the corresponding two and three, three and five. The scene, in three different times when the battle unfolds, it is always placed in a interlocking geometric shapes included in a lattice geometrically defined yet, as the forest of spears raised above that form a right angle corresponding that, placed inside of a perfect square, broken spears on the ground. The colors then, lying in a pot, absolutely unreal, like horses yellows and reds and whites and blacks or runaway rampant in the commitment of the battle but always graceful and elegant attitude, and de-ver fallen to the blue ones ground under the impetus of the clash between the two factions, competing in a decisive way, together with the lack of blood and bloody death that brings the war (there is one dead, but it crushed on the ground that it seems more a ' armor abandoned in the dust that a real man), to create the fairytale atmosphere, over the real and mythical scene depicted by the artist. A painting of pure beauty, in short, which translates into high poetry and that only a painter like the mild Paolo Uccello said Doni (because he loved to paint animals but especially birds), an artist "with his feet resting firmly in the clouds" (the definition , happy, is by Ennio Flaiano) could achieve.

I realize that he had spoken only of the Battle of San Romano. Other things to Paul, at least those come down to us, be counted among the minor works, though at all irrelevant, as the female portrait preserved in the Museum Garden Boston or hunting in the forest of ' Ashmolean Museum di Oxford, e soprattutto il San Giorgio e il drago della Nati onal Gallery di Londra, altra opera favolosa per l’impianto, per l’atmosfera e, ancora una volta, per il sovra realismo della scena. Addirittura l’opera di salvazione della principessa prigioniera del drago da parte del San Giorgo vi appare superflua (concorrendo quindi all’effetto di straniamento o di stupore) perché la principessa tiene al guinzaglio il drago e quindi appare evidente che è lei a tenerlo sottomesso. Ma forse qui è da vedersi un significato simbolico ed edificante: la figura del drago rappresenta il male, e l’immagine della donna che l’ha ridotto his control (the one who, at least in Paul Bird, was ideally continence, clemency), wants to remind us that evil is in human nature itself can not eradicate forever, but we must learn to keep it brake to put it on a leash, to overcome it. And St George wants to kill us but the figure of the unrealistic and obstinacy. With today's eyes, and putting it in jest, would say the men, because they do not realize that the woman already has thought to put a leash the animal nature and human evil.

Dionisio

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Trauma in Art and Charles Sims



In History (of the arts, but we are rapidly approaching the point of painting only a few), some of the most famous painters or originals of which were characterized by a disturbance or a deep psychic pain. Anyone who has experienced this condition is often found in reality through the filter even more personal visions, or to reveal a situation that is completely 'other' through his works. If
, already in general, the function of art is to filter the reality through its interpretation, and return it into art in a new way, in these other cases also
the world of psychic suffering is transfigured in the works themselves, and in turn produces forms and meanings. In addition, a more intimate aspect comes into play in the works of these artists tormented existence.
The cases are numerous: F. Goya , R. Dadd, J. Ensor, E. Munch, V. Van Gogh, L. Wain, F. Bacon , or as in our bet Charles Sims, to name a few.
Trauma in Art, therefore, as the wound that you can pour in a work of art has become an integral part of art as the genesis of the wound. But Art of the trauma, stigma-sign, vent or impossible to repair, transfer or immersion in a particular condition.





Charles Sims was an English painter (1873-1928): his typical production in the first part of the activity ranged from portraits, landscapes, to the subjects of decorative painting in general, including if revisited in a very personal way, through the use of oil, tempera, watercolor. On the other hand it was also one of the artists against the long continued to treat symbolic themes and romantic until after the First World War.






son of a producer of textiles and costumes, she began to turn to work as part of the curtains, but soon he joined the South Kensington College of Art, then was in Paris at the ateliers and Julian Baschet to further his studies in painting and decorating. He moved back to London to join the Royal Academy School in 1893, but he was expelled in 1895.
In 1897 he married Agnes, daughter of the painter John MacWhirter .
Since 1896, his career got approvals rising, he exhibited with success "The Vine" at the Royal Academy in 1896, and "Childhood" at the Musée du Luxembourg.






The peculiarity of his painting in recent years is the adoption date a kind of magical realism, characterized by an intense strength and plastic Representative:
dreamy-Edenic idea of \u200b\u200breality is the foundation of his visions,
reveals a particular skill in showing the chiaroscuro portraits in direct sunlight to 'open, giving new life to British neo-classical and classical themes with the transfiguration hours exuberant hour-vitalistic dream of some people with the representation of childhood, fairies, the choice of backgrounds bright and unreal in his personal plein air, the intrusion of fabulous and mythical element in everyday life. E 'was considered for these stylistic choices-one of the last Romantic themes.



In 1906 again a critical and financial success of its staff following the Leicester Gallery. In 1910 he was elected a Fellow of the Royal Watercolour Society and the Royal Academy in 1915, his painting is now well established and received official licenses.




The First World War will instead be a traumatic experience for Sims and his entire family in 1914, a son he is killed, Sims has since worked for a time as an artist of war from the front until 1918.
After the war and its deadly events, around 20 years of his painting style changed completely, and also the character traits of the painter developed mystical così come manifestò la progressiva tendenza a condurre una vita sempre più isolata e solitaria. La sua pittura divenne meno schematica, più libera, violenta, tipica dell'improvvisazione, più emozionale; le figure mostrano adesso un'aura, o sembrano immerse in una luce spettrale.




In questa fase rimase letteralmente sconvolto dalle critiche ricevute per il suo ritratto di George V. Nonostante ricevette nuove cariche di rango alla Royal Academy nel 1920, si dimise e preferì recarsi negli Stati Uniti a dipingere, ma ben presto avvertì incompatibilità anche con quel mondo.

In uno dei ultimi dipinti, denominato "I am the Abyss and I am the Light" presentava figure nude contro fondali astratti particolarmente drammatici. Gli ultimi lavori non sono stati accolti dall'approvazione del mondo dell'arte, per il loro contenuto sconcertante e per lo stile considerato troppo moderno e apocalittico.



Nel 1928, l'artista tormentato da allucinazioni, paranoia e insonnia, causate principalmente dalle scene orribili cui aveva dovuto assistere come artista di guerra ufficiale, e dal dolore per la morte del figlio, si tolse la vita nei pressi della sua casa a St. Boswells, in Scozia.



Poco dopo la sua morte, la Royal Academy espose alcune delle sue opere finali. Il Presidente Sir Frank Dicksee ha descritto the latest works of Sims as "in stark contrast to all his previous work, with a violent change of mindset." A review of the Times for other pictures of the last period of Sims, compares him to the works of Greek speaking of El 'use of forms for torn emotional', but the impression
more persistent in the face of his last works, together with the above is that Sims, following the tragic events of his private, he wanted to mean that the reality was instead dominated by a kind of order that was left uncovered as dissonant and menacing, together with the indelible marks of the experience of war.

(the chronological and biographical Sims follows up on the card is from Painter UK Wikipedia, the scarcity of news about him was key)

the link: the work of Sims kept the Tate Gallery

and another collection.
remarkable iconographic still here.


Josh