Monday, August 27, 2012

ANNA HALCZAK (dades biogràfiques)


ANNA HALCZAK, archivera a Cracòvia
de la "Cricoteka" sw Tadeusz Kantor

***********************************


De dades biogràfiques d'Anna Halczak, col.laboradora de Tadeusz Kantor, n'he trobat poques, per no dir cap.

Només la notícia de la seva mort, del Cricot 2, que traduïda del polonès, diu així:


ANNA HALCZAK HA MORT
--------------------

El 3 d'agost de 2011, a Cracòvia, va morir inesperadament Anna Halczak, la nostra col·lega, durant un molt llarg termini al cap de la revista Archives of Cricoteka. Experta i insubstituïble en l'obra de Tadeusz Kantor.
El sepeli d'Anna Halczak tindrà lloc el dimecres, 10 d'agost a les 12.20 hores a l'antiga capella del Cementiri Batowickim, a Cracòvia.


Anna Halczak (nascuda el 16-7-1960) a Słupsk, traspassada el 3-8-2011 a Cracòvia ).


Acadèmica de teatre, vha treballart des de 1980 amb la formació de Tadeusz Kantor en la companyia Cricot 2, que va produir:
Recluta - "Wielopole, Wielopole", 1980,
La Senyora - "Mai tornaràs", 1988),
amb l'assistència amb tallers a càrrec seu
i les actuacions dutes a terme fora de Cricot 2 (cricotages:
"El casament", 1986,
"Màquina de l'Amor i de la Mort", 1987,
"Una breu lliçó," 1988,
"Nit de Pau", 1990),

i també la realització d'exposicions, publicacions i pel·lícules
dedicada a l'obra de l'artista.

Des del començament del Tadeuszem Kantorem Archiwum Cricoteki, creat amb Tadeusz Kantor (Arxius Cricoteka), Anna Halczak en va ser des de 1986, la seva gestora, en qualitat de ser-ne el seu representant, per voluntat de Tadeusz Kantor.


En els anys 80, Tadeusz Kantor va construïr una col·lecció de gairebé 300 dibuixos, que presenta les successives etapes en el desenvolupament del seu art.
Aquesta obra, que porta la lletra "A", es va dedicar només a ella, i l'artista els va deixar confiats a la seva cura.

Després de la mort de Tadeusz Kantor (990), Anna Hlczak va ser l'autora de totes les
Exposicions a la Cricoteka, tant a casa com a l'estranger, així com també de nombroses publicacions sobre el seu art.

Sense cap dubte, Anna Halczak va ser un dels experts més importants en l'obra de Tadeusz Kantor, a la qual va dedicar tota la seva vida professional.


___________________________________________

Hi ha unes fotos on es veu que s'ha començat
la construcció d'un nou Cricoteka (?)
___________________________________________





NO ÉS UNA BIOGRAFIA MASSA EXTENSA per una figura
que s'endevina important en l'art de Tadeusz Kantor.

No n'he trobat d'altra, però a continuació copiaré
uns comentaris que va publicar en ocasió de la seva
mort, en JOSEP Mª DE SAGARRA ÀNGEL, que com a gran
traductor del polonès i el rus, i literat, va tenir
ocasió de conèixer-la millor.

(Confio que amb el seu assentiment, en ser un article
publicat al Punt Avui del 8-12-2011)






===========================




....



Sunday, August 26, 2012

TADEUSZ KANTOR






Fotos:
1 - Tadeusz Kantor
2 - Cadira esculpida en ciment,14m.d'alt
3.- Bust commemoratiu de Tadeusz Kantor
________________________________________





TADEUSZ KANTOR

**************

Tadeusz Kantor (6 d'abril de 1915, Wielopole Skrzyńskie, Galítsia, Polònia - 8 de desembre de 1990, Cracòvia) fou un pintor, artista, assemblatgista director de teatre, escenògraf, escriptor, actor i teòric de l'art polonès.

Kantor és famós per les seves presentacions teatrals revolucionàries tant a Polònia com a l'estranger.

La seva actitud artística s'inspira en el constructivisme, el dadaisme, la pintura informal i el surrealisme.

[
Va néixer a Wielopole Skrzyńskie, Galítsia (aleshores part de l'Imperi austrohongarès) i es graduà a l'Acadèmia de Belles Arts de Cracòvia el 1939.
Durant l'ocupació nazi de Polònia fundà el Teatre Independent i exercí com a professor a l'Acadèmia de Belles Arts, així com de director de teatre experimental
a Cracòvia del 1942 al 1944.

Després de la guerra es féu conegut pel seu treball vanguardista en el disseny d'escena, incloent-hi el disseny per a 'Sant Joan' (1956) i per a 'Mesura a mesura'
(1956).
Entre els canvis específics al teatre tradicional es troben els escenaris estesos cap a l'audiència i l'ús de maniquís com a actors reals.

VIDA ARTÍSTICA
--------------
Desencantat per la creixent institucionalització del vanguardisme, el 1955 formà un nou ensemble teatral amb un grup d'artistes visuals: Cricot 2.
Als anys 60, Cricot 2 realitzà presentacions a molts teatres de Polònia i de l'estranger, i obtingué reconeixement pels seus happenings en escena.
El seu interès estigué centrat sobretot en l'absurdisme i en l'escriptor i dramaturg polonès Stanisław Ignacy Witkiewicz (conegut també com Witkacy).
Les produccions teatrals de les obres de Witkacy La sípia (1953) i La gallina d'aigua (1969) foren vistes com als seus èxits més grans durant aquella època.
Una representació de 1972 de La gallina d'aigua fou descrita com "l'esdeveniment més comentat al Festival d'Edimburg".

Als anys 70 La classe morta (1975) fou la més famosa de les seves obres.
El propi Kantor hi dóna vida a un mestre que presideix una classe de personatges aparentment morts que són confrontats per maniquís que es representen a ells mateixos però més joves.
Ja als anys 50 Kantor havia començat a experimentar amb la juxtaposició de maniquís i actors de debò.

Els seus últims treballs als anys 80 foren reflexions molt personals.
Com a La classe morta, algunes vegades es representava a si mateix en escena.
Als anys 90 el seu treball es féu famós als Estats Units gràcies a les presentacions del club de teatre experimental d'Ellen Stewart.

(FINS AQUÍ, és informació treta de Vikipedia)
¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨


La informació que segueix, és extractada d'un reportatge
de J.M. de SAGARRA ÀNGEL, publicat a CULTURA el 8-12-2011
_________________________________________________________

Tadeusz Kantor, conscient dfel caràcter efímer i en gran mesura intangible de la seva obraescènica, sempre va demostrar un interès gairebé obssessiu per la conservació -per tots els mijants i en tots els suports a l'abast- dels testimonis
del procés de creació dels seus espectacles: Quaderns de direcció, croquis, figurins, projectes escenogràfics, filmacions d'assajos i de representacions, això, a banda dels inconfusibles objectes escènics elevats a la categoria d'obres d'art (com la Màquina aneantisòria i l'Invent del Sr. Daguerre), com també els originals manuscrits i mecanoscrists dels seus textos teòrics, redactats a Polònia i arreu del món, durant les gires de la companyia del "Teatre Cricot 2", en cambres d`hotel, aeroports, autocars, i sovint no passats a net: tot un desgavell de documents i objectes heterogènis que, a partir del 1986, Kantor va decidir aplegar en un centre de documentació que ell mateix va anomenar 'Cricoteka' (de Cricot, el nom de la companyia i kartoteka, que vol dir fitxer en polonès), l'organització del qual va encomanar a la seva estreta col·laboradora Anna Halczak, en qui l'artista tenia posada una confiança absoluta.

Al llarg dels anys 80, especialment durant les gires del Teatre Cricot 2, Tadeusz Kantor va anar produint una col·lecció de dibuixos, pastels i aquerel·les, aplegats en l'anomenat "Diari de Viatge", cap a tres-cents treballsx que completen,per una via paralel·la, la seva producció artística dels darrers deu anys.
Aquests treballs, identificats per una A majúscula, els va dedicar justament a Anna Halczak, a qui Kantor en va confiar la custòdia, i també la de les "Notes de viatge" i els "Comentaris íntíms"(les impressions personals -però també formulacions de caràcter conceptual i teòric-, consignades durant les gires de la companyia).

A més a més Anna Halczak va ser la font d'inspiració d'una colla de quadres de Kantor, pertanyents a la sèrie "Més enllà no hi ha res", de final dels anys 80, període fecundíssim de la seva producció en què, en el transcurs de quatre anys (del 12987 al 1990), Kantor reprèn l'activitat com a artista plàstic, desenvolupa diversos tallers escènics i produeix dos espectacles del Teatre Cricot 2, "Mai més ja no tornaré aquí" i "Avui és el meu aniversari" (aquest darrer, estrenat pòstumament, al gener del 1991, al Théatre Garonne de Tolosa).






==========================




Seguirà (si m'és possible) una entrada-resum de la
persona d'Anna Halczak, i la seva lluita (després de
la mort de Kantor) per les tensions que es van produir
i la seva lluita per conservar la Cricoteka que a ella
li va ser confiada per Kantor.






......
......

THE INDEPENDENT DOESN'T LIKE FRANCE





PHOTO: CARTOON on "THE INDEPENDENT"
seems to show dislike towards France
------------------------------------




A TALE OF TWO CULTURES
**********************

While a sober, relaxed British middle class man reacts to the cuts
by making tea in a kitchen with sunlight streaming through the window
and his adoring cat looking up at him,...
a Frenchman with hunched shoulders reacts by making a Molotov cocktail
in his poorly-lit kitchen overshadowed by his neighbours, with an empty
wine glass and even a lighted cigarette close by (that’s how stupid he is).



____________________________________________

Such is the implication in this cartoon from
today’s Independent.
It is difficult to imagine such a crude
stereotype of any non-European racial group
coupled with an implication of white British
superiority being printed in a newspaper that
prides itself on its liberalism.

_____________________________________________


(A search of Le Monde shows just one reference
to a Molotov cocktail in recent days.)






===========================







....

Saturday, August 25, 2012

AVEL·LÍ ARTÍS-GENER






FOTOS: pORTADES del Llibre
"Paraules d'Opòton el vell", en
català i en castellà.
I retrat d'Avel·lí ARTIS-GENER
________________________________





PARAULES D'OPÒTON ELVELL (1968),
d'Avel·lí Artís-Gener

*******************************
Paraules d'Opòton el Vell
(Nou Diccionari 62 de la literatura catalana)


Novel·la d'Avel·lí Artís-Gener, elaborada a Mèxic, que requerí un enorme treball de documentació històrica i antropològica i que ha estat considerada per la crítica la seva obra mestra pel seu artifici lingüístic i estructural. És una subversió de la crònica de la conquesta d'Amèrica perquè narra la "descoberta" a la inversa, és a dir, són els asteques els que per motius religiosos, l'any 1489, arriben a Galícia. Ara bé, no es tracta només d'una excel·lent paròdia temàtica i estilística de les cròniques, sinó que construeix de manera enginyosa un text humorístic i irònic que li serveix per parlar de la situació catalana a través del poble mexicà. Se serveix de dos nivells narratius molt ben interrelacionats per donar versemblança al relat i deixar marge a la ironia. El primer és el narrador editor que es presenta com l'encarregat de traduir al català el text escrit en nàhuatl i que demana al lector occidental, que llegirà aquesta adaptació, la seva complicitat. En el segon nivell cedeix la paraula a Opòton, un vell asteca terrissaire, que fou testimoni de la descoberta de la Península Ibèrica, i que ja de vell decideix escriure aquests fets basant-se en el record. Per tal de fer-lo creïble, el text està ple de repeticions, arcaismes, elisions i dubtes que l'editor intenta clarificar amb notes a peu de pàgina o amb l'ús de parèntesis; tanmateix, a mesura que avança el relat, la qualitat de la prosa millora i el narrador es mostra més atent a l'etimologia i la retòrica. Aquesta preocupació per la llengua no és gratuïta, es basa en la teoria que el llenguatge limita el nostre món i alhora és el que ens permet conèixer-lo. L'autor, a través d'aquesta construcció lingüística, ens vol oferir l'altra cara de la història i ho fa a través del canvi de punt de vista narratiu: intenta explicar la vida i costums gallecs des del prisma de la cultura asteca, la qual cosa els mostra ridículs i absurds. D'aquesta manera, amb una bona dosi d'ironia i sarcasme, relativitza les veritats absolutes i condemna la imposició d'uns pobles sobre els altres.


Copyright text © 2000 Edicions 62




N'han dit...
------------

I és, precisament, a partir d'aquestes potencialitats de fabulació, bastides per un escenari juxtaposat al mite, que Avel·lí Artís-Gener crea Paraules d'Opòton el Vell (1968), una mena de "Crónica de Indias" a la inversa.

En aquesta novel·la, el contacte entre el Nou Món i el Vell es remet a un origen fictici, mitjançant uns suposats papers redactats al segle XVI per Opòton, un aventurer i cronista asteca que va participar, figura, en el descobriment de la Península Ibèrica (i, doncs, del continent europeu).

Reflexió intel·ligent sobre el centrisme dels universos culturals, paròdia del "descobriment" (malanomenat així, segons el manuscrit pretextual, ja que "res no estava tapat i ves d'on sortíem amb descobrir") i crítica intencionada de la història. Aquesta fàbula dels indis, astorats davant els costums primitius dels homes pàl·lids, proporciona una altra versió del contrast entre civilitzacions, basada en un higiènic canvi de punt de vista.

Maria Campillo: "L'experiència de l'exili i la prosa" dins Glòria Bordons i Jaume Subirana (eds.)
Literatura catalana contemporània (Barcelona, Ediuoc i Proa, 1999)


"Paraules d'Opòton el Vell" és el llibre de Mèxic, la declaració d'amor a Mèxic.
A través de l'Opòton (que podria ser un Tísner trapella), se'ns conta la història d'un descobriment al revés, dels indis que descobreixin Europa, Galícia per ser més exactes. És un llibre ple de tendresa i de sentit de l'humor, àgil i fresc, però no frívol ni simple. Hi ha una quantitat ingent de bibliografia consultada per l'autor que, no obstant això, la sap amagar amb mestria. Per això és un llibre extraordinari, la lectura del qual recomano.

Maria Antònia Oliver: "Avel·lí Artís-Gener, Tísner", Serra d'Or, núm. 359 (novembre 1989)


L'exili, però, es pot considerar un llarg parèntesi durant el qual no va fer si no incrementar les seves conviccions morals aplicables al seu entorn i a la mateixa història. En aquest sentit, Paraules d'Opòton el Vell és l'homenatge a Mèxic, la terra que l'acollí i que, cercant paral·lelismes amb el cas català, va veure com la seva cultura fou subjugada pels espanyols en un moment donat de la història. És l'anomenat "descobriment" i que Tísner rebatejà com un "encontre", una teoria perfectament explicada al pròleg del seu llibre: "el nostre primer contacte amb les civilitzacions americanes –amb la veu de l'experiència puc parlar concretament de la mexicana– dóna idea d'una enorme subversió de valors, però solament és aparent. En realitat, entra en joc el nostre rudimentari bagatge, massa ple d'enfarfegada verticalitat, i provoca un seguit d'inadvertides inhibicions. I quan fem l'esforç d'alliberar-nos del prejudici descobrim que contra la tafaneria occidental d'Amèrica ha bastit el mur de l'estupor. I àdhuc de la nàusea. Fins molt més tard no ens adonem de la licitud del sistema defensiu. Els primers encontres, sota el signe de la mesquinesa, solen ser desoladors i ens fan aplicar plens de benevolència el qualificatiu de bàrbar a tort i dret. Nosaltres, crema de la civilització, observem des de dalt de la nostra peanya com pul·lula aquella púrria. Però paga el tret arraconar la casaca, fer l'esforç d'enfilar nos al mur, quedar-nos-hi eixancarrats i guaitar una estona l'altra banda (recomano, especialment, la lectura de Laurette Séjourné) perquè, vençuda aquella nàusea inicial, l'empresa esdevé fortament recompensada".

David Escamilla i Jordi Finestres: L'univers Tísner. 1912-2000: gairebé un segle (Barcelona, Angle Editorial, 2001)



El uso inteligente de los paratextos y un notabilísimo trabajo estilístico hacen de la verosimilitud uno de los grandes logros de esta espectacular novela de historia ficción, fruto de una planificación calculada al milímetro para no caer nunca en el panfleto.

Paraules d'Opòton el Vell se inscribe en el género especulativo del apócrifo con una escritura poderosa y una gran capacidad de resolución. Dos traducciones al español –la primera, nefasta, de Angelina Gatell (Ediciones 29, 1977), y la segunda del propio Tísner en 1967 (Siglo XXI, 1992)– han permitido que algunos lectores iberoamericanos conozcan una de las mejores novelas catalanas del siglo XX.

Màrius Serra: "Tísner, hombre de letras", En recuerdo de Tísner. Semblanza (Guadalajara, El Colegio de Jalisco, 2001)


El català coincideix amb l'aventura duríssima de l'autor llatinoamericà de l'època que intenta explicar-se quina és la seva cultura, quina és la seva realitat, quin és el paper de la literatura, i assaja de crear una obra pròpia en el concert del món. L'acceptació del mestissatge cultural i alhora la demostració d'una identitat, el rebuig del colonialisme modern, un cop assumit el mestissatge, la voluntat de conquerir una veu personal malgrat el fracàs, de descriure, de transformar mitjançant l'escriptura, de reinventar o de distorsionar com a camins de sortida davant d'una realitat que es rebutja o que no es pot arribar a comprendre, són actituds que l'escriptor català pot assimilar molt bé. Pot creure molt bé que són les seves [...]

Així, doncs, l'univers ficcional que organitza Opòton és, al capdavall, un univers lingüístic que intenta trobar l'ús just i precís dels termes que puguin explicar la complexitat dels nombrosos mons de referència, contextos i ideologies que han jugat en l'aventura del Descubrimiento. Una aventura que comença cada vegada que algú, pels motius que sigui, s'endinsa en els àmbits d'una altra terra, d'una altra llengua, d'un altre món. El joc de lectura que proposa la novel·la d'Avel·lí Artís-Gener amb Paraules d'Opòton el Vell és un joc ameníssim, ple de cultura, de respecte i d'humanitat. La seva fantasia alimenta l'imaginari col·lectiu català amb una sèrie de personatges que mereixen de figurar entre els nostres protagonistes literaris més il·lustres. La crítica no s'hauria d'encaparrar més a voler classificar la novel·la: pertany, tal com deia l'escriptor, a la Biblioteca de Babel.

Margarita Aritzeta: "Opòton el Vell, o l'intent de comprendre", Tísner. Miscel·lània d'homenatge (Barcelona, Abadia de Montserrat, 1996)




L'autor n'ha dit...
–------------------

Quin és el procés de gènesi d'aquesta crònica de la conquesta inversa que és Paraules d'Opòton el Vell?

– El procés és clar. És el nacionalista català que té unes ganes tremendes d'escriure alguna cosa demolidora contra Espanya sense anomenar-la. Pertanyo a un país ocupat militarment. Per tant, el llibre té una finalitat política tremenda, però si això fos literal fóra un pamflet, i jo no puc fer literatura pamfletària perquè no està d'acord amb el meu tarannà.
Aleshores invento la trapelleria. La conquesta al revés.
En Rafael Tasis, que va llegir la novel·la primer que ningú, em va dir que els asteques havien d'arribar a Catalunya perquè seria una conya molt bona. I jo li vaig dir que justament per això no els hi faria arribar. Jo no en volia fer cap, de conya. Volia fer una cosa molt seriosa. No volia fer una novel·la antihispànica, sinó condemnar l'ocupació dels pobles per les armes. Era un llibre que, a més, havia de passar la censura franquista. Aquest fet va condicionar molt la seva redacció [...]



Tísner dins de Màrius Serra:

"La ena de Tísner", Cultura, núm. 37 (setembre 1992)

– Tu sempre has demostrat un gran amor per Mèxic, la terra que et va acollir. I Paraules de l'Opòton el Vell, doncs, seria la novel·la de Mèxic.

– És una novel·la que m'estimo molt. Té la gràcia que em vaig inventar la conquesta al revés. I el mèrit de la documentació que vaig haver de fer per a escriure-la. Pensa que no havia estat mai a Galícia i que vaig haver de treballar molt per a fer versemblant el viatge d'Opòton per terres gallegues. Però jo crec que el seu mèrit principal és la trapelleria".

Tísner dins de Jaume Fuster:
"Avel·lí Artís-Gener, un home del Renaixement", Tísner. Miscel·lània d'homenatge (Barcelona, Abadia de Montserrat, 1996)


– Cuando yo me muera, quedará una cosa por la que podré ser recordado: las "Paraules d'Opòton el Vell". Quizás por las demás cosas no, pero las Palabras... sí, ¿verdad?

Testimoni de Tísner a Maria Antònia Oliver recollit a "De Tisner": En recuerdo de Tísner. Semblanza (Guadalajara, El Colegio de Jalisco, 2002)


___________________________________


Què hi ha a la Biblioteca de Catalunya.
Què hi ha a les biblioteques universitàries catalanes (CCUC).

Per comprar-ne llibres Articles sobre l'obra (Traces) Articles de l'autor (Traces)
Avel·lí Artís-Gener
Pàgina sobre l'autor de Paraules d'Opòton el Vell.Avel·lí Artís-Gener
Pàgina de Lletra dedicada a l'escriptor.Pàgina de l'AELC
Biografia, informacions i publicacions.





===============================





.....


Friday, August 24, 2012

HENRI MASSIS




PHOTO: Henri Massis
____________________




HENRI AMEDÉE FELIX MASSIS

*************************

Né à Paris le 21 mars 1886 et mort à Paris le 16 avril 1970, est un critique littéraire, essayiste politique et historien de la littérature.
Engagé aux côtés de l'Action française, il participa à l'éveil de la Jeunesse de droite après le premier conflit mondial, créa des revues comme Roseau d'Or et la Revue universelle qu'il mit sur pied avec son ami Jacques Bainville.

«Figure majeure de la scène intellectuelle française, Henri Massis est encore, un des maurassiens les plus diffusés à l'étranger.
Il peut d'ailleurs être considéré comme l'ambassadeur de la culture maurassienne.»


ÉLÉMENTS BIOGRAPHIQUES
----------------------
Un critique littéraire de la Droite catholique.
Elève d'Alain au lycée Condorcet, Henri Massis poursuit en lettres à la Sorbonne une licence de philosophie qu'il obtient en 1908.
Pendant ses études, il publie son premier ouvrage de critique littéraire, "Comment Émile Zola composait ses romans" alors remarqué par Emile Faguet comme début prometteur.
Politiquement, le jeune Massis est alors Barrès.
Massis est très tôt attiré par Charles Maurras et l'Action française.
Fervent polémiste, il rejette la diffusion de la culture allemande à la Sorbonne et le déclin de la culture classique (enquête avec Alfred de Tarde sous le pseudonyme d'Agathon).
Un second " Agathon " suivit en 1913 : " Les Jeunes gens d'aujourd'hui ", dont il applaudit le goût de l'action, la foi patriotique, la renaissance catholique et le réalisme politique.

Durant les années 1920, Massis renouvelle ce type de critique à propos des écrivains de son temps comme André Gide ou Romain Rolland.
Au premier il reproche, notamment, ses mœurs «sataniques» et ses attaques contre l'institution familiale (Nourritures terrestres);
Il dénonce le penchant socialiste du second et voit en lui un traître qui pactise avec «l'ennemi».

Pour faire contre-feu à la condamnation de l'Italie par la Société des Nations en 1935 après l'invasion de l'Éthiopie, Massis, partisan d'une entente avec le régime fasciste de Mussolini, se fait le porte-parole d'une certaine droite lorsqu'il rédige le "Manifeste des intellectuels français pour la défense de l'Occident et la paix en Europe".

Comme pour ses confrères de l'Action française, la germanophobie de Massis lui fait condamner -logiquement- le régime hitlérien (Chefs, 1939).
Il manifestera son appui au dictateur Salazar.

Face à la NRF, Henri Massis essaie de mettre sur pied avec Maritain une sorte de NRF catholique avec la collection du Roseau d'Or publiée chez Plon.

Journaliste et pétainiste sous l’Occupation, Massis s'est longuement consacré au journalisme.
Il a fait ses débuts à L'Opinion avant d'être rédacteur en chef à la Revue universelle de 1920 à 1936, puis directeur de ce même journal de 1936 à 1944.
La revue s'installe à Vichy en 1940 et y défend la collaboration.

Sous l'Occupation allemande, il est membre du Conseil national mis en place par Vichy.
Il obtient la Francisque.

Son nom figura dans la Liste des écrivains indésirables dressée par le Comité National des écrivains en 1944.
Néanmoins, en retrait, il échappa à l’Épuration.

Après la Seconde Guerre mondiale, il se consacre en particulier à des études biographiques, s'intéressant entre autres à Renan, Barrès, Proust et Salazar.

Le 19 mai 1960, il est élu membre de l'Académie française.


UN ÉCRIVAIN ANTIMODERNISTE
--------------------------
Massis fut un témoin engagé des bouleversements sociaux et politiques de la France du XXe siècle.
En homme de droite, catholique et antimoderniste, il a pris part à de nombreux débats de son temps en se démarquant du pangermanisme, du protestantisme et de l'engouement pour le communisme.

Loin du modernisme littéraire, il garde la mémoire d'écrivains qui sont restés dans l'ombre de Proust et du surréalisme, tels que Ernest Psichari et Jacques Rivière.

Ses témoignages sur Barrès et Maurras sont de précieux documents pour la compréhension de la genèse des idées d'extrême droite après l'affaire Dreyfus.



OEUVRES
-------
· Comment Émile Zola composait ses romans, 1905.
· Le Puits de Pyrrhon, 1907.
· La Pensée de Maurice Barrès, 1909.
· Agathon (et Alfred de Tarde) L'Esprit de la nouvelle Sorbonne, 1911.
· Agathon (et Alfred de Tarde) Les Jeunes Gens d'aujourd'hui, 1913.
· Romain Rolland contre la France, 1915.
· Luther prophète du germanisme, 1915.
· La Vie d'Ernest Psichari, 1916.— Réédité en 2008, à la suite du Voyage du centurion d'Ernest Psichari (Paris, Éditions Saint-Lubin (ISBN 9782917302026)).
· Impressions de guerre, 1916.
· Le Sacrifice (1914-1916), 1917.
· La Trahison de Constantin, 1920.
· Jérusalem le Jeudi-Saint de 1918, 1921.
· Jugements I : Renan, France, Barrès, 1923.
· Jugements II : André Gide, Romain Rolland, Georges Duhamel, Julien Benda, les chapelles littéraires, 1924.
· De Lorette à Jérusalem, 1924.
· Le Réalisme de Pascal, 1924.
· Jacques Rivière, 1925.
· En marge de "Jugements", 1927.
· Réflexions sur l'art du roman, 1927.
· Défense de l'Occident, 1927.
· Avant-postes, 1928.
· Évocations. Souvenirs (1905-1911), 1931.
· Dix ans après, 1932.
· Débats, 3 vol., 1934.
· Les Cadets de l'Alcazar, 1936.
· Notre ami Psichari, 1936.
· Le Drame de Marcel Proust, 1937.
· L'Honneur de servir, 1937.
· Chefs. Les Dictateurs et nous, 1939.
· La Guerre de trente ans (1909-1939), 1940.
· Les Idées restent, 1941.
· La Prière de Lyautey, 1942.
· Découverte de la Russie, 1944.
· D'André Gide à Marcel Proust, 1948.
· Allemagne d'hier et d'après-demain, 1949.
· Portrait de M. Renan, 1949
· Maurras et notre temps, 2 vol, 1951.
· L'Occident et son destin, 1956.
· Visage des idées, 1958.
· À contre-courant, 1958.
· L'Europe en question, 1958.
· De l'homme à Dieu, 1959.
· Salazar face à face, 1961.
· Maurras et notre temps, éd. définitive et augmentée, 1961.
· Barrès et nous, suivi d’une correspondance inédite (1906-1923), 1962.
· Au long d'une vie, 1967.
· Préface: "Robert Brasillach" en: R. B.: Œuvres complètes Vol XII. Au Club de l'honnête homme, 1964, p. X - XVI


Voir aussi:
· Collaboration en France
· Conseil national (gouvernement de Vichy)
· Pour un parti de l'intelligence (manifeste rédigé par Henri Massis en 1919)

Références :
1.↑ selon le site de l'Académie Française [archive]
2.↑ Le maurassisme et la culture, Michel Leymarie, Olivier Dard, Jacques Prévotat, Neil McWilliam, Presses Univ. Septentrion, 1 juin 2010 - 370 p., p. 220

Liens externes :
Notice biographique de l'Académie française
L. Dubeon, «Henri Massis ou la génération de l'absolu »,
dans L'Éclair, 12 juin 1923



ACADÉMIE FRANÇÁISE :
------------------
Précédé par Henri Massis
Suivi par Georges Grente
Fauteuil 32 de l’Académie française
1960-1970
(Georges Izard)


Composition de l’Académie française au jour
de l'élection d'Enri Massis (19 mai 1960) ▶
___________________________________________

Par numéro de fauteuil:
----------------------
1. Louis de Broglie
2. François Albert-Buisson
3. Jérôme Carcopino
4. Alphonse Juin
5. -fauteuil vacant-
6. Pierre Benoit
7. Daniel-Rops
8. Jean Rostand
9. Émile Henriot
10. -fauteuil vacant-
11. Maurice Garçon
12. Jules Romains
13. Wladimir d'Ormesson
14. Robert d'Harcourt
15. André Chamson
16. Antoine de Lévis-Mirepoix
17. Jean Delay
18. André François-Poncet
19. -fauteuil vacant-
20. Henry Bordeaux
21. Marcel Achard
22. François Mauriac
23. Étienne Gilson
24. L. Pasteur Vallery-Radot
25. Marcel Pagnol
26. André Maurois
27. Auguste de La Force
28. Henri Troyat
29. Henry de Montherlant
30. Georges Duhamel
31. Jean Cocteau
32. Henri Massis
33. Jean-Louis Vaudoyer
34. Maurice Genevoix
35. Maxime Weygand
36. Pierre Gaxotte
37. Maurice de Broglie
38. Henri Mondor
39. Jacques de Lacretelle
40. Jacques Chastenet.

Par date d’élection:
-------------------
1919 Henry Bordeaux • 1925 Auguste de La Force • 1931 Pierre Benoit • 1931 Maxime Weygand • 1933 François Mauriac • 1934 Maurice de Broglie • 1935 Georges Duhamel • 1936 Jacques de Lacretelle • 1938 André Maurois • 1944 Louis de Broglie • 1944 Louis Pasteur Vallery-Radot • 1945 Émile Henriot • 1946 Robert d'Harcourt • 1946 Maurice Garçon • 1946 Marcel Pagnol • 1946 Jules Romains • 1946 Henri Mondor • 1946 Étienne Gilson • 1946 Maurice Genevoix • 1950 Jean-Louis Vaudoyer • 1952 André François-Poncet • 1952 Alphonse Juin • 1953 Pierre Gaxotte • 1953 Antoine de Lévis-Mirepoix • 1955 Jean Cocteau • 1955 Daniel-Rops • 1955 François Albert-Buisson • 1955 Jérôme Carcopino • 1956 Wladimir d'Ormesson • 1956 André Chamson • 1956 Jacques Chastenet • 1959 Jean Rostand • 1959 Henri Troyat • 1959 Marcel Achard • 1959 Jean Delay • 1960 Henry de Montherlant • 1960 Henri Massis • xxx • xxx • xxx


◀ Composition de l’Académie française
au jour de sa mort (16 avril 1970)
_____________________________________

▶ par numéro de fauteuil:
------------------------
1. Louis de Broglie
2. Marc Boegner
3. -fauteuil vacant-
4. Pierre Emmanuel
5. René Huyghe
6. Eugène Ionesco
7. Pierre-Henri Simon
8. Jean Rostand
9. Jean Guéhenno
10. Jean Guitton
11. Paul Morand
12. Jules Romains
13. Wladimir d'Ormesson
14. Jean Mistler
15. André Chamson
16. Antoine de Lévis-Mirepoix
17. Jean Delay
18. André François-Poncet
19. René Clair
20. Thierry Maulnier
21. Marcel Achard
22. François Mauriac
23. Étienne Gilson
24. L. Pasteur Vallery-Radot
25. Marcel Pagnol
26. Marcel Arland
27. Joseph Kessel
28. Henri Troyat
29. Henry de Montherlant
30. Maurice Druon
31. Jacques Rueff
32. Henri Massis
33. Marcel Brion
34. Maurice Genevoix
35. Louis Leprince-Ringuet
36. Pierre Gaxotte
37. Eugène Tisserant
38. Louis Armand
39. Jacques de Lacretelle
40. Jacques Chastenet

Par date d’élection:
· 1933 François Mauriac
• 1936 Jacques de Lacretelle
• 1944 Louis de Broglie
• 1944 Louis Pasteur Vallery-Radot
• 1946 Marcel Pagnol
• 1946 Jules Romains
• 1946 Étienne Gilson
• 1946 Maurice Genevoix
• 1952 André François-Poncet
• 1953 Pierre Gaxotte
• 1953 Antoine de Lévis-Mirepoix
• 1956 Wladimir d'Ormesson
• 1956 André Chamson
• 1956 Jacques Chastenet
• 1959 Jean Rostand
• 1959 Henri Troyat
• 1959 Marcel Achard
• 1959 Jean Delay
• 1960 Henry de Montherlant
• 1960 Henri Massis
• 1960 René Huyghe
• 1960 René Clair
• 1961 Jean Guitton
• 1961 Eugène Tisserant
• 1962 Jean Guéhenno
• 1962 Marc Boegner
• 1962 Joseph Kesse
l • 1963 Louis Armand
• 1964 Thierry Maulnier
• 1964 Marcel Brion
• 1964 Jacques Rueff
• 1966 Louis Leprince-Ringuet
• 1966 Jean Mistler
• 1966 Pierre-Henri Simon
• 1966 Maurice Druon
• 1968 Pierre Emmanuel
• 1968 Marcel Arland
• 1968 Paul Morand
• 1970 Eugène Ionesco
• xxx

Portail de la littérature
Portail de l'Académie française
Portail de la politique française

___________________________________


Ce document provient de « http://fr.wikipedia.org/w/index.php?
Title =Henri Massis&oldid=81565555 ».

Catégories :
Journaliste français du XXe siècle
Écrivain français du XXe siècle
Action française
Membre de l'Académie française
Membre de l'ordre de la francisque
Polémiste
Naissance en 1886
Décès en 1970
Membre du Conseil national (gouvernement de Vichy)
| [+]

Catégories cachées :
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Outils personnels

(Dernière modification de cette page le 4 août 2012 à 19:56)






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....

Wednesday, August 22, 2012

FLESH EATING DISEASE






FLESH EATING DISEASE
____________________


So do we all agree that the picture looks truly horrifying and makes us thankful for our healthy bodies and over all hygiene.

This is an actual disease.
This bacterial infection starts when ever bacteria gets a chance to enter the body.

It starts damaging the soft tissue on top of the skin and the thin layer of sheath that covers the muscles.

If it is treated properly, the bacteria is completely removed from the body but areas operated on are left open so that bacteria removal is ensured.

STREPTOCOCCUS PYOGENES is a spherical, Gram-positive bacterium that is the cause of group A streptococcal infections.
=S. pyogenes displays streptococcal group A antigen on its cell wall.

S. pyogenes typically produces large zones of beta-hemolysis (the complete disruption of erythrocytes and the release of hemoglobin) when cultured on blood agar plates, and are therefore also called Group A (beta-hemolytic) Streptococcus (abbreviated GABHS)....

Streptococci are catalase-negative.
In ideal conditions, S. pyogenes has an incubation period of approximately 1–3 days.

It is an infrequent, but usually pathogenic, part of the skin flora.

It is estimated that there are more than 700 million infections world wide each year and over 650,000 cases of severe, invasive infections that have a mortality rate of 25 %.
Early recognition and treatment are critical; diagnostic failure can result in sepsis and death.

S. pyogenes has several virulence factors that enable it to attach to host tissues, evade the immune response, and spread by penetrating host tissue layers.



---Mac Justine Aguirre
---(Junior Admin I)







================================








.......

Tuesday, August 21, 2012

SLUMDOGMILLIONAIRE





PHOTO:
Dev Patel and Freida Pinto,
in "Slumdog Millionaire" film
_____________________________





SLUMDOG MILLIONAIRE

********************


In this rag to riches story, Jamal, an 18 year old orphan
from the slums of Mumbai is just one question away from
winning 20 million rupees on Indias TV Program "Who Wants
to be a millionaire".

And he wins !

When the show ends for the night, Jamal is taken to
the police under suspicion of cheating.
After all, how much can a boy from the slums know?

In an attempt to prove his innocence, the young man
tells the story of his life, his love and his losses.

Each period of his life revealing how he knew the answer
to the game shows questions.

The underlying issue being, how does anyone come
to know the things they do about love and life.






===============================










----




Thursday, August 16, 2012




PHOTO: Fractional Reserve Banking
------ make Cats Sad,...
for Cats and sound people prefer
***** Full Reserve Banking *****
________________________________




WHAT EXACTLY IS FULL RESERVE BANKING ?
======================================

Thu, 21st Jul 2011,
by Michael Reiss (guest author)


The definition of full reserve banking can be a source of much confusion and consternation.
The confusion revolves around the definition of “reserve ratio”.
Normally, the reserve ratio is defined approximately as follows:


Reserve ratio = The money held by the bank

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

The money deposited in the bank by its customers



It is easy to see that the higher the reserve ratio, the smaller the risk of a bank run.
With a ratio of 100% this means that even if every single customer demanded to take out their money, the bank will have it all available.
This is clearly a very safe form of banking, but as described so far, the bank would simply be acting like a safe deposit box.
It would not be able to make any loans.

It appears that banks can not act as financial intermediaries between savers and borrowers.
Indeed there are some economists that have pronounced that Full Reserve Banking is useless for precisely this reason… but they are mistaken and here’s why:

In the context of a full reserve banking system, we need to be slightly more precise about the meaning of the reserve ratio.


Reserve ratio = The money held by the bank
------------------------------------------
The money that the customers currently have
the legal right to withdraw.


Expressed like this, a mechanism for banks to make loans becomes available.
The mechanism is via the use of time deposits.
A time deposit is where a customer makes a deposit with an agreement not to take that money out again until some kind of term or notice period is served.
During the term of the time deposit, the customer has no legal right to take it out. Now the banks can lend out that money whilst still maintaining a 100% reserve ratio.

Now you can see that in a full reserve system, banks can act as intermediaries between savers and borrowers.
This fact has been accepted by some very famous economists indeed, including Irving Fisher and Milton Friedman.
What would happen in practice is that two types of account would be needed: Demand deposit accounts for day to day transactions, and savings accounts (involving time deposits) for long term savings. Banks would not be able to lend out any of the money from the demand deposit accounts, indeed the banks may charge fees for their trouble in keeping the money safe and processing transfers. The banks would however, be able to lend out money stored in savings accounts.

A full reserve system is in fact very natural.
It works just as people would expect money to work if there were no banks and no cheques.
In such a system, if Henry lends $500 to Bob for three months, then Henry would not expect to be able to spend his $500 until after three months had gone by and Bob has paid the money back.

It is the fractional reserve system that is unnatural.
With fractional reserves, Henry can still spend his $500(using cheques) despite the fact that the bank holding his deposit account may have lent most of the $500 to Bob! Now that’s crazy!

There are many details that need to be added to the definition given here, before you have a complete monetary and banking system.

For example, some people suggest that an institution that deals in time deposits can not be called a “bank” and instead must be called a kind of “mutual fund”.
In my personal opinion this is an arbitrary distinction and is simply a matter of definition.
There are also many subtle details about the rules and regulations surrounding time deposits, their durations, “maturity matching” etc.

Then there are arguments about whether you need mechanisms to discourage hoarding – for example demurrage or deliberate inflation via government money printing.

Then there is the issue of whether or not there are any government guarantees protecting depositors in case a bank goes under.
Because of all these yet-to-be-decided things which are not included within the definition, there is more than one system that could be called “full reserve banking”.

This is why there have been so many different proposals put forth over the years.

It would be a mistake to think that any one proposal is the definitive one.

Some proposals will undoubtedly be better or more practical than others.









================================




---

Monday, August 13, 2012






PHOTOS OF: Reigate's Castle, Surrey-UK
________________________________________



REIGATE CASTLE
**************

Reigate castle is a ruined castle in the market town of Reigate in the county of Surrey, England.

King William I granted the land around Reigate to one of his supporters, William de Warenne, who was created Earl of Surrey in 1088.

It is believed that his son, William de Warenne, 2nd Earl of Surrey, ordered that Reigate Castle be built, although the de Warennes had their southern base in Lewes, Sussex, as well as Castles in Yorkshire and Normandy.

Around 1150 the de Warennes ordered that a town be constructed below the castle. This town forms the basis of modern-day Reigate.

The origin of the name Reigate is uncertain, but appears to derive from Roe-deer Gate, as the town was situated near to the entrance to the de Warenne's deer park.

In 1216 the castle was one of many captured by the French in southern England, including Chichester Castle.

In 1347 the castle became the property of Fitzalan, Earl of Arundel.
From 1397 it was owned by a number of Lords of the Manor of Reigate, including the influential Howard family.

It was occupied until the 16th century, but fell into disrepair afterwards.

It was demolished in 1648 after occupation as a garrison during the Civil War by followers of a Royalist uprising.

In 1777 a mock medieval gateway was built over the ruins of the original castle.
An inscription is written on the side of the gateway, in Latin on one side and English on the other:

"To save the memory of William Earl Warren who in old days dwelt here, and was a loyal champion of our liberties from perishing like his own castle by the ravages of time, Richard Barnes at his own expense erected this Gateway in the year 1777."

"Ne willi comitis Warren veteris hujusce loci incolae fidique libertatum nostrarum vindicis memoria temporum injuria cum ipso castello intercideret propriis R. B. impensis H.P.E anno MDCCLXXVII."

None of the original castle buildings have survived, with the exception of the Barons' Cave.

Little more is known of the Castle which has never been excavated on any great scale.
Local legend says prior to the signing of the Magna Carta, the rebellious barons met to hammer out the details of the document in the extensive caves beneath the castle. The story however has no truth to it.


MODERN DAY
----------
The Reigate Castle Tunnel runs under the grounds of Reigate Castle and was constructed in 1823. It is believed to be Europe's first road tunnel.

The castle grounds remain as public gardens.

Caves-Tours of the Baron's Caves take place on a handful of weekends over the summer months between May and September.





===============================





----

Sunday, August 12, 2012

POR QUÉ "ORION" SE VE EN DOS HEMISFERIOS



PHOTO: Constelación de ORION
____________________________



POR QUÉ LA CONSTELACION DE"ORION"
SE VE EN DOS HEMISFERIOS
********************************

(By Eleazar on 30/01/2012)

Por su posición en relación con la Tierra. Orión se sitúa en el llamado.
“Ecuador celeste“, un gran cicirculo trazado en la esfera imaginaria del
Universo situada en el mismo plano que el Ecuador de la Tierra o, según otra definición, “una proyección del Ecuador terrestre”.

Existen otras constelaciones que guardan esa misma condición, aunque en el hemisferio Sur (la mitad del planeta situada al sur de la línea del Ecuador)
se ven en una posición inversa a la que corresponde al Norte.

Entre estas cabe mensionar a Piscis, Tauro, Leo, Acuario y Virgo, correspondientes a los signos zodiacales.

El caso de ORION es más conocido por ser una de las Constelaciones más brillantes y visibles en el cielo nocturno.

Su nombre remite a Orión, un cazador gigante de la mitología griega a quien el dios Zeus colocó en ese lugar celestial.







============================







.....

Friday, August 10, 2012

LLENGÜES DE FRANÇA




Foto: ----llengües de França-------------
Mapa de les llengües d'oïl en groc i verd,
(al Nord Est), i en variats tons diferents
les altres llengües regionals de França.
___________________________________________




LES LLENGÜES DE FRANÇA

**********************

La llengua d'oïl (llengua en la que 'oïl' vol dir 'sí' (igual com passa amb la llengua d'oc), va ser una llengua romànica que va evolucionar i va formar les seves variants anomenades en plural (perque eren nombroses aquestes variants): Llengües
d'oïl, i, d'una de les llengües d'oïl se n'ha derivat el francès.

El francès conté igualment elements de vocabulari i de sintaxi de l'Occità (llengua d'oc) i d'altres idiomes.


SÓN llengües dites regionals a França. Segons la llista establerta sobre la base de l'informe d'abril del 1999 del professor Bernard Cerquiglini les següents:

· Borgonyó-morvandià.
· Xampanyès.
· Franc-comtès.
· Francès, que ha esdevingut la Llengua Oficial
· Gal·ló.
· Lorenès.
· Mayennais.
· Occità,
· Català,
· Picard.
· Poiteví-saintongès.
· Való.
· Normand,

...................

Algunes varietats de normand (Jerseiès, Guerneseiès i Sercquiès) són parlades a les Illes Anglonormandes i reconegudes com a llengües regionals pels governs de les illes (Jerseiès i Guerneseiès són reconeguts com a llengües regionals de les Illes Britàniques).
...................


El való, el picard, el lorenès (anomenat gaumais) i el xampanyès són reconegts a Valònia (Bèlgica) com a llengües endògenes.


=============================

Endògenes vol dir:

Llengües pròpies dels territoris annexionats,i que
ja existien i es parlaven abans que el francès.









====================





.....

Monday, August 06, 2012

PIERRE MICHON





PHOTO: Pierre Michon
"Les Onze" Portada de la traducció catalana
___________________________________________



PIERRE MICHON

*************


Activités: écrivain
Naissance: 28 mars 1945 (au hameau Les Cards)
commune de Châtelus-le-Marcheix, dans la Creuse
Langue d'écriture: français
Distinctions: Grand Prix du roman de l'Académie française 2009


Œuvres principales
------------------
Vies minuscules (1984)
Vie de Joseph Roulin (1988)
Rimbaud le fils (1991)
Corps du roi (2002)
Les Onze (2009)

""""""""""""""""""""""""


Pierre Michon naît à Châtelus-le-Marcheix dans la maison de ses grands-parents. Il est élevé par sa mère institutrice après que son père eut quitté le foyer.
Il passe son enfance à Mourioux puis au Lycée de Guéret, où il est pensionnaire.
Il étudie ensuite les Lettres à Clermont-Ferrand et consacre à Antonin Artaud un mémoire de maîtrise.

Il voyage par la suite dans toute la France, ayant rejoint une petite troupe de théâtre.
Michon n'exerce pas de profession stable.

À trente-sept ans, il entre dans la vie littéraire avec la publication des "Vies minuscules" qui obtient le prix France Culture 1984.
Il déclarera plus tard que ce livre l'a "sauvé": soit il devenait écrivain, soit il devenait clochard (sa situation financière devenait de plus en plus inquiétante).

À ce livre succèdent "Rimbaud le fils", ensemble de textes courts sur la destinée d'Arthur Rimbaud, analysant le poète qui a déjà fait couler beaucoup d'encre sous un angle nouveau, celui des personnes qui l'ont côtoyé dans son enfance et ceux qui l'ont guidé sur le chemin de la poésie.

Puis, dans une veine romanesque, "La Grande Beune" et "Abbés".

Dans "La Vie de Joseph Roulin", il relate l'histoire du facteur six fois pris en modèle par Van Gogh et mesure ainsi l'écart entre la misère, l'agonie du peintre d'Auvers sur Oise, et l'avenir inimaginable de ses tableaux après sa mort.

En 2009, Pierre Michon publie "Les Onze", un livre dans lequel il évoque l'histoire du peintre Corentin et celle de la Révolution française à partir de la description d'un grand tableau représentant les onze membres du Comité de salut public (Robespierre, Saint-Just, Barrère, etc.) pendant la Terreur, qui serait exposé au Louvre (en réalité le peintre et le tableau sont fictifs).

Pour ce roman "lES oNZE", Michon reçoit le 29 octobre 2009 le Grand Prix du roman de l'Académie française.

Le 11 octobre 1998, il devient père d'une petite fille nommée Louise dont la mère est Yaël Pachet, la fille de Pierre Pachet.


"Vies minuscules" (1984)
------------------------
Ce livre se présente comme une suite de nouvelles ou «vies» de personnages côtoyés par le narrateur durant son enfance, rencontrés ou retrouvés plus tard dans sa vie d'errance.
Le récit, pris dans son ensemble, s'apparente au genre autobiographique, non pas comme une confession, mais comme une exploration du destin d'écrivain du narrateur, dont tout l'enjeu du livre est qu'il soit mené à bien.

Style littéraire
et influences
----------------
Pierre Michon, c'est avant tout un travail acharné sur la langue, et c'est dans ce sens que l'on peut se permettre de rapprocher les écrits de Michon à de la poésie en prose : chaque mot est choisi précisément et a une signification propre dans la phrase ; de plus, l'écriture de Michon est profondément orale, dans le sens où chaque phrase a une musicalité qui la rapproche d'un discours ou d'un texte poétique chanté.
Le premier point a amené certains auteurs à trouver dans les écrits de Pierre Michon une influence des grands orateurs du XVIIe siècle.
Le dernier point pourrait peut se voir comme une influence de la poésie chantée des troubadours du Moyen Âge, et comme une tentative de retour au langage parlé, dont on a semble t-il perdu le lien.

Dans son ouvrage, "Roi vient quand il veut", Michon expose sa vision de la littérature et ses buts littéraires. Il explique notamment son rapport à la peinture, dont nous aurons un exposé dans "Les Onze"; ou encore son rapport à Rimbaud, à qui il avait consacré "Rimbaud le Fils", ou encore son admiration pour le célèbre roman de Flaubert Madame Bovary, dans lequel on trouve, selon lui, une richesse inégalée dans la Littérature, à part peut-être dans la Bible.
Comme l'auteur l'a déclaré lui-même dans ce même ouvrage, on peut le rapprocher d'autres auteurs modernes, notamment Pierre Bergounioux.


ŒUVRES
------
· "Vies minuscules", Gallimard (1984) (ISBN 978-2-07-070038-7) ; Gallimard "Folio" (1996)
· "Vie de Joseph Roulin", Verdier (1988), (ISBN 978-2-86432-066-1)
·"L'Empereur d'Occident", avec des illustrations de Pierre Alechinsky, Fata Morgana (1989) (ISBN 978-2-85194-073-5); réédition Verdier Poche (2007) sans les illustrations, (ISBN 978-2-86432-493-5)
· "Maîtres et serviteurs", Verdier (1990), (ISBN 978-2-86432-110-1)
· Rimbaud le fils", Gallimard "L'un et l'autre" (1991) ; Gallimard "Folio" (1993)
· "La Grande Beune", Verdier (1995) ; Gallimard "Folio" (2006)
· "Le Roi du bois", Verdier (1996), (ISBN 978-2-86432-229-0)
· "Mythologies d'hiver", Verdier (1997) (ISBN 978-2-86432-264-1)
· "Trois auteurs", Verdier (1997) (ISBN 978-2-86432-263-4)
· "Abbés", Verdier (2002) , (ISBN 978-2-86432-363-1)
· "Corps du roi", Verdier (2002), prix Décembre, (ISBN 978-2-86432-366-2)
· "Le Roi vient quand il veut" : propos sur la littérature, Albin Michel (2007), (ISBN 978-2-226-17968-5), Le Livre de Poche (2010).

· "Les Onze", Verdier, 2009, (ISBN 978-2-86432-552-9) ; Gallimard "Folio" (2011).
Grand Prix du roman DE L'Académie française 2009








========================




....

Saturday, August 04, 2012




Photo: Daniel AUBER
____________________



"LA MUETTE DE PORTICI"
**********************
Opera by Daniel Auber



"La muette de Portici (1828)" (The Dumb Girl of Portici, or The Mute Girl of Portici) originally called "Masaniello, ou La muette de Portici", is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe.

The work has an important place in musical history, as it is generally regarded as the earliest French 'Grand Opera'.


BACKGROUND :
------------
The opera was first given at the Salle Le Peletier of the Paris Opéra on 29 February 1828.
The role of Masaniello was taken by the famous tenor Adolphe Nourrit and Princess Elvire was sung by Laure Cinti-Damoreau.
The dancer Lise Noblet played the mute title role, a part later taken by other dancers such as Marie Taglioni and Fanny Elssler, also the actress Harriet Smithson (the future wife of Hector Berlioz).
Alphonse was created by Alexis Dupont, who was Lise Noblet's brother-in-law.
The conductor at the premiere was François Habeneck.

La muette was innovative in a number of ways.
First, it marked the introduction into opera of mime and gesture as an integral part of an opera plot (although these formats were familiar to Parisian audiences from ballet and mélodrame).

Its historic setting, liberal political implications, use of popular melodies, handling of large orchestra and chorus and spectacular stage effects immediately marked it as different from preceding types of opera, in retrospect earning it the title of the first of the genre of 'Grand Opera'.

The journal Pandore commented after the premiere:

"For a long time, enlightened critics have thought that alongside the old tragédie lyrique it was possible to have a more realistic and natural drama which might suit the dignity of this theatre."

The new genre was consolidated by Rossini's Guillaume Tell (1829),and Meyerbeer's Robert le diable (1831).

La muette was revived in Paris immediately after the French July Revolution of 1830.

Later, at a performance of this opera at the Théâtre de la Monnaie, Brussels on 25 August 1830, a riot broke out during the patriotic and revolutionary duet "Amour sacré de la patrie" that became the signal for the Belgian Revolution, which led to Belgian independence.

Richard Wagner remarked, in his 1871 Reminiscences of Auber, that the opera
"whose very representation had brought [revolutions] about, was recognised as an obvious precursor of the July Revolution, and seldom has an artistic product stood in closer connection with a world-event."

ROLES
-----
Role Voice type Premiere Cast, 29 February 1828
(Conductor: François Habeneck)
Alphonse, son of the Viceroy of Naples: Tenor Alexis Dupont
Elvire, his fiancée: Soprano Laure Cinti-Damoreau
Masaniello, a fisherman: Tenor Adolphe Nourrit
Fenella, his sister: dancer Lise Noblet
Pietro, friend of Masaniello:bass Henri-Bernard Dabadie
Borella, friend of Masaniello: bass Ferdinand Prévôt
Moreno, friend of Masaniello: bass Charles-Louis Pouilley[7]
Lorenzo, confidant of Alphonse: Tenor Jean-Étienne-Auguste Massol
Selva, officer: bass Ferdinand Prévôt
Lady in waiting to Elvire:Soprano Larotte


SYNOPSIS
--------
The opera is loosely based on the historical uprising of Masaniello against Spanish rule in Naples in 1647.

ACT 1
-----
We witness the wedding of Alfonso, son of the Viceroy of Naples, with the Spanish Princess Elvira. Alfonso, who has seduced Fenella, the Neapolitan Masaniello's dumb sister and abandoned her, is tormented by doubts and remorse, fearing that she has committed suicide. During the festival Fenella rushes in to seek protection from the Viceroy, who has kept her a prisoner for the past month. She has escaped from her prison and narrates the story of her seduction by gestures, showing a scarf which her lover gave her.
Elvira promises to protect her and proceeds to the altar, Fenella vainly trying to follow.
In the chapel Fenella recognizes her seducer in the bridegroom of the Princess.
When the newly married couple come out of the church, Elvira presents Fenella to her husband and discovers from the dumb girl's gestures, that he was her faithless lover. Fenella flies, leaving Alfonso and Elvira in sorrow and despair.

ACT 2
-----
The fishermen, who have been brooding in silence over the tyranny of their foes, begin to assemble. Pietro, Masaniello's friend, has sought for Fenella in vain, but at length she appears of her own accord and confesses her wrongs. Masaniello is infuriated and swears to have revenge, but Fenella, who still loves Alfonso, does not mention his name. Then Masaniello calls the fishermen to arms and they swear perdition to the enemy of their country.

ACT 3
----- Naples marketplace
People go to and fro, selling and buying, all the while concealing their purpose under a show of merriment and carelessness. Selva, the officer of the Viceroy's body-guard, from whom Fenella has escaped, discovers her and the attempt to rearrest her is the sign for a general revolt, in which the people are victorious.

ACT 4
-----
Fenella comes to her brother's dwelling and describes the horrors, which are taking place in the town. The relation fills his noble soul with sorrow and disgust. When Fenella has retired to rest, Pietro enters with comrades and tries to excite Masaniello to further deeds, but he only wants liberty and shrinks from murder and cruelties.

They tell him that Alfonso has escaped and that they are resolved to overtake and kill him. Fenella, who hears all, decides to save her lover. At this moment Alfonso begs at her door for a hiding-place. He enters with Elvira, and Fenella, though at first disposed to avenge herself on her rival, pardons her for Alfonso's sake. Masaniello, reentering, assures the strangers of his protection and even when Pietro denounces Alfonso as the Viceroy's son, he holds his promise sacred. Pietro with his fellow-conspirators leaves him full of rage and hatred.

Meanwhile the magistrate of the city presents Masaniello with the Royal crown and he is proclaimed King of Naples.

ACT 5
----- Before the Viceroy's palace
In a gathering of fishermen, Pietro confides to Moreno that he has administered poison to Masaniello, in order to punish him for his treason, and that the King of one day will soon die. While he speaks, Borella rushes in to tell of a fresh troop of soldiers, marching against the people with Alfonso at their head. Knowing that Masaniello alone can save them, the fishermen entreat him to take the command of them once more and Masaniello, though deadly ill and half bereft of his reason, complies with their request. The combat takes place, while an eruption of Vesuvius is going on. Masaniello falls in the act of saving Elvira's life. On hearing these terrible tidings Fenella rushes to the terrace, from which she leaps into the abyss beneath, while the fugitive noblemen take again possession of the city.

INFLUENCE
---------
"La Muette de Portici", played a major role in establishing the genre of grand opera. Many of its elements - the five-act structure, the obligatory ballet sequence, the use of spectacular stage effects, the focus on romantic passions against a background of historical troubles - would become the standard features of the form for the rest of the 19th century.
Grand opera would play a far more important role in the subsequent career of the librettist than that of the composer. Auber went on to write three more works in the genre: "e Dieu et la bayadère"(1830), "Gustave III"(1833) and "Le lac des fées (1839).
But their fame would be eclipsed by the 'Grand operas'for which Scribe provided the libretti:
Meyerbeer's Robert le diable (1831) and Les Huguenots (1836) and Halévy's La Juive (1835).
Nevertheless, Auber's pioneering work caught the attention of the young Richard Wagner, who was eager to create a new form of music drama. He notedthatin "LaMuette, arias and duets in the wonted sense were scarcely to be detected any more, and certainly, with the exception of a single prima-donna aria in the first act, did not strike one at all as such; in each instance it was the ensemble of the whole act that riveted attention and carried one away...".

It also played a large role in the founding of the Kingdom of Belgium. The riots that led to the independence started after hearing the opera, with its nationalistic view.



RECORDINGS
----------
La Muette de Portici: June Anderson, Alfredo Kraus, John Aler, Ensemble Choral Jean Laforge, Orchestre Philharmonique de Monte-Carlo, conducted by Thomas Fulton (EMI, 1987)






======================



OTHER 'GRAND OPERAS'
(Come later)
--------------------

Fra Diavolo (1830)
Gustave III, ou Le bal masqué (1833)
Le cheval de bronze (1835)
L'ambassadrice (1836)
Le domino noir (1837)
Le lac des fées (1839)
Les diamants de la couronne (1841)
La part du diable (1843)
Haydée, ou Le Secret (1847)
L'enfant prodigue (1850)
Manon Lescaut (1856)
Le premier jour de bonheur (1868)

___________________________________







.....

Thursday, August 02, 2012

Commodore JOHN B.MONTGOMERY




PHOTOS
______

Commodore John B.Montgomery
USS PORTSMOUTH
___________________________




JOHN B. MONTGOMERY

******************

John Berrien Montgomery (1794 – 25 March 1872) was an officer in the United States Navy who served during the Mexican-American War and the American Civil War.

BIOGRAPHY:

Born in Allentown, New Jersey, Montgomery entered the Navy in 1812.
His commands included the sloop-of-war Portsmouth in 1844, and the steam frigate Roanoke in 1857.
He served as Commandant of the Boston Navy Yard from June 1862 to December 1863, and then of the Washington Navy Yard in 1865.

In early June 1846, Montgomery and the ship he commanded, the USS Portsmouth, arrived in San Francisco Bay, then part of the Mexican province of Alta California.

As a result Montgomery was involved, albeit as a witness only, in the events of the Bear Flag Revolt in which foreign residents, mostly American revolted against the Mexican authorities.
As a naval representative of the U.S. Government, he was approached by representatives of the Revolt, by representatives of the Mexican provincial government and by other representatives of the U.S.

On June 16, 1846, Montgomery sent a mission to Sonoma to investigate the conditions there, following the Revolt.

On July 9, 1846, Montgomery and his detachment from the Portsmouth raised the American flag over the plaza in the town of Yerba Buena, whose name was changed to San Francisco, California in 1847.

At his direction, Lt. Joseph W. Revere also lowered California's famous Bear Flag flying at Sonoma, California, north of San Francisco Bay and raised the U.S. Flag.

The lowered Bear Flag ended up in Montgomery's possession and in 1848, he delivered it to Naval authorities in Boston.
Ultimately, in 1855, the flag was returned to California.

In 1859, he commanded the Pacific Squadron until relieved on January 2, 1862.

He died at Carlisle, Pennsylvania in March 1872.
His remains were interred at Oak Hill Cemetery, Washington, D.C.

Namesakes "Montgomery Street"
A Notable street in downtown San Francisco, is named for him.







====================








.....

RENÉ GUÉNON, 1886-1951 Philosoph




PHOTO : René Guénon
____________________



BIOGRAPHY of René Guénon (1886-1951)

*************************************

René Guénon was a French metaphysician, writer, and editor who was largely responsible for laying the metaphysical groundwork for the Traditionalist or Perennialist school of thought in the early twentieth century.

Guénon remains influential today for his writings on the intellectual and spiritual bankruptcy of the modern world, on symbolism, on spiritual esoterism and initiation, and on the universal truths that manifest themselves in various forms in the world’s religious traditions.
His writings on Hinduism and Taoism are particularly illuminating in this latter regard.


René Guénon was born in Blois, France, in 1886.
He grew up in a strict Catholic environment and was schooled by Jesuits.
As a young man he moved to Paris to take up studies in mathematics at the College Rollin.
However, his energies were soon diverted from academic studies and in 1905 he abandoned his formal higher education studies.
Guénon submerged himself in certain currents of French occultism and became a leading member in several secret organizations such as theosophical, spiritualistic, masonic, and “gnostic” societies.

In June, 1909 Guénon founded the occultist journal La Gnose.
It lasted a little over two years and carried most of Guénon’s writings from this period.


Although Guénon was later to disown the philosophical and historical assumptions on which such occultist movements were built, and to contrast their “counterfeit spirituality” with what he came to see as genuine expressions of traditional esoterism, he always steadfastly opposed contemporary European civilization.

There have been suggestions that during this period Guénon received either a Taoist or an Islamic initiation—or both.
Whitall Perry has suggested that the “catalyzing element” was Guénon’s contact with representatives of the Advaita school of Vedanta.
It was during this period that he embarked on a serious study of the doctrines of Taoism, Hinduism, and perhaps Islam.


Guénon emerged now from the rather secretive and obscure world of the occultists and moved freely in an intensely Catholic milieu, leading a busy social and intellectual life.
He was influenced by several prominent Catholic intellectuals of the day, among them Jacques Maritain, Fathers Peillaube and Sertillanges, and one M. Milhaud, who conducted classes at the Sorbonne on the philosophy of science.

The years 1912 to 1930 are the most public of Guénon’s life.
He attended lectures at the Sorbonne, wrote and published widely, gave at least one public lecture, and maintained many social and intellectual contacts.
He published his first books in the 1920s and soon became well-known for his work on philosophical and metaphysical subjects.


Whatever Guénon’s personal commitments may have been during this period, his thought had clearly undergone a major shift away from occultism and toward an interest in esoteric sapiential traditions within the framework of the great religions.

One central point of interest for Guénon was the possibility of a Christian esoterism within the Catholic tradition.
(He always remained somewhat uninformed on the esoteric dimensions within Eastern Orthodoxy).
Guénon envisaged, in some of his work from this period, a regenerated Catholicism, enriched and invigorated by a recovery of its esoteric traditions, and “repaired” through a 'prise de conscience'.
He contributed regularly to the Catholic journal Regnabit, the Sacré-Coeur review founded and edited by P. Anizan.
These articles reveal the re-orientation of Guénon’s thinking in which “tradition” now becomes the controlling theme.
Some of these periodical writings found their way into his later books.


The years 1927 to 1930 mark another transition in Guénon’s life, culminating in his move to Cairo in 1930 and his open commitment to Islam.
A conflict between Anizan (whom Guénon supported) and the Archbishop of Reims, and adverse Catholic criticism of his book "The King of the World" (1927), compounded a growing disillusionment with the Church and hardened Guénon’s suspicion that it had surrendered to the “temporal and material”.

In January 1928 Guénon’s wife died rather abruptly, and, following a series of fortuitous circumstances, Guénon left on a three-month visit to Cairo. He was to remain there until his death in 1951.


In Cairo Guénon was initiated into the Sufic order of Shadhilites and invested with the name Abdel Wahed Yahya.
He married again and lived a modest and retiring existence.
“Such was his anonymity that an admirer of his writings was dumbfounded to discover that the venerable next-door neighbor whom she had known for years as Sheikh Abdel Wahed Yahya was in reality René Guénon.”

A good deal of Guénon’s energy in the 1930s was directed to a massive correspondence that he carried on with his readers in Europe, people often in search of some kind of initiation, or simply pressing inquiries about subjects dealt with in his books and articles.

Most of Guénon’s published work after his move to Cairo appeared in "Études Traditionnelles" (until 1937 titled "Le Voile d’Isis"), a formerly theosophical journal that was transformed under Guénon’s influence into the principal European forum for traditionalist thought.

It was only the war that provided Guénon enough respite from his correspondence to devote himself to the writing of some of his major works including, "The Reign of Quantity" (1945).


In his later years Guénon was much more preoccupied with questions concerning initiation into authentic esoteric traditions.
He published at least twenty-five articles in "Études Traditionnelles" dealing with this subject, from many points of view.

Although he had found his own resting-place within the fold of Islam, Guénon remained interested in the possibility of genuine initiatic channels surviving within Christianity.
He also never entirely relinquished his interest in Freemasonry, and returned to this subject in some of his last writings.
Only shortly before his death did he conclude that there was no effective hope of an esoteric regeneration within either masonry or Catholicism.


Guénon was a prolific writer. He published seventeen books during his lifetime, and at least eight posthumous collections and compilations have since appeared.
The œuvre exhibits certain recurrent motifs and preoccupations and is, in a sense, all of a piece.
Guénon’s understanding of tradition is the key to his work.

As early as 1909 we find Guénon writing of “… the Primordial Tradition which, in reality, is the same everywhere, regardless of the different shapes it takes in order to be fit for every race and every historical period.”

As Gai Eaton has observed, Guénon “believes that there exists a Universal Tradition, revealed to humanity at the beginning of the present cycle of time, but partially lost… His primary concern is less with the detailed forms of Tradition and the history of its decline than with its kernel, the pure and changeless knowledge which is still accessible to man through the channels provided by traditional doctrine.”


Guénon’s work, from his earliest writings in 1909 onward, can be seen as an attempt to give a new expression and application to the timeless principles which inform all traditional doctrines.

In his writings he ranges over a vast terrain: Vedanta, the Chinese tradition, Christianity, Sufism, folklore and mythology from all over the world, the secret traditions of gnosticism, alchemy, the Kabbalah, and so on.
Always intent on excavating their underlying principles and showing them to be formal manifestations of the one Primordial Tradition.

Certain key themes run through all of his writings, and one meets again and again such notions as these:
· The concept of metaphysics as transcending all other doctrinal orders;
· The identification of metaphysics and the “formalization”, so to speak, of gnosis (or jñana if one prefers);
· The distinction between exoteric and esoteric domains;
· The hierarchic superiority and infallibility of intellective knowledge;
· The contrast of the modern Occident with the traditional Orient;
· The spiritual bankruptcy of modern European civilization; a cyclical view of time, based largely on the Hindu doctrine of cosmic cycles;
· and A contra-evolutionary view of history.


Guénon repeatedly turned to oriental teachings, believing that it was only in the East that various sapiential traditions remained more or less intact.

It is important not to confuse this Eastward-looking stance with the kind of sentimental exotericism nowadays so much in vogue.
As Coomaraswamy noted, “If Guénon wants the West to turn to Eastern metaphysics, it is not because they are Eastern but because this is metaphysics. If ‘Eastern’ metaphysics differed from a ‘Western’ metaphysics—one or the other would not be metaphysics.”



By way of expediency we may divide Guénon’s writings into five categories, each corresponding roughly with a particular period in his life:
· pre-1912 articles in occultist periodicals;
· exposés of occultism, especially spiritualism and theosophy;
· expositions of Oriental metaphysics;
· treatments both of the European tradition and of initiation in general;
· and lastly, critiques of modern civilization.
This classification may be somewhat arbitrary, but it does help situate some of the focal points in Guénon’s work.


Although his misgivings about many of the occultist groups were mounting during the 1909-1912 period, it was not until the publication of two of his earliest books that he launched a full-scale critique:
"Theosophy: History of a Pseudo-Religion" (1921) and "The Spiritist Fallacy" (1923).

As Mircea Eliade has noted: “The most erudite and devastating critique of all these so-called occult groups was presented not by a rationalist outside observer, but by an author from the inner circle, duly initiated into some of their secret orders and well acquainted with their occult doctrines; furthermore, that critique was directed, not from a skeptical or positivistic perspective, but from what he called ‘traditional esoterism’. This learned and intransigent critic was René Guénon.”

Guénon’s interest in Eastern metaphysical traditions had been awakened around 1909, and some of his early articles in 'La Gnose' were devoted to Vedantic metaphysics.

His first book, "Introduction to the Study of the Hindu Doctrines" (1921), marked Guénon as a commentator of rare authority.
It also served notice of Guénon’s formidable power as a critic of contemporary civilization. Of this book Seyyed Hossein Nasr has written, “It was like a sudden burst of lightning, an abrupt intrusion into the modern world of a body of knowledge and a perspective utterly alien to the prevalent climate and world view and completely opposed to all that characterizes the modern mentality.”

However, Guénon’s axial work on Vedanta, Man and His Becoming According to the Vedanta, was published in 1925.
Other significant works in the field of oriental traditions include Oriental Metaphysics, delivered as a lecture at the Sorbonne in 1925 but not published until 1939, The Great Triad, based on Taoist doctrine, and many articles on such subjects as Hindu mythology, Taoism and Confucianism, and doctrines concerning reincarnation.

Interestingly, Guénon remained more or less incognizant of the Buddhist tradition for many years, regarding it as no more than a “heterodox development” within Hinduism, without integrity as a formal religious tradition.
It was only through the influence of Marco Pallis, one of his translators, and Ananda Coomaraswamy, that Guénon decisively revised his attitude.


During the 1920s, when Guénon was moving in the coteries of French Catholicism, he turned his attention to some aspects of Europe’s spiritual heritage.
As well as numerous articles on such subjects as the Druids, the Grail, Christian symbolism, and folkloric motifs, Guénon produced several major works in this field, including "The Esoterism of Dante" (1925), "St. Bernard" (1929), and "The Symbolism of the Cross" (1931).
Another work, "Spiritual Authority and Temporal Power" (1929), was occasioned by certain contemporary controversies.


The quintessential Guénon is to be found in two works that tied together some of his central themes:
"The Crisis of the Modern World" (1927),
and his masterpiece, "The Reign of Quantity and the Signs of the Times" (1945).
The themes of these two books had been rehearsed in an earlier one, "East and West" (1924).
The books mounted an increasingly elaborate and merciless attack on the foundations of the contemporary European world-view.


While Guénon’s influence remains minimal in the Western academic community at large, he is the seminal influence in the development of traditionalism.
Along with Coomaraswamy and Schuon, he forms what one commentator has called “the great triumvirate” of the traditionalist school.

Like other traditionalists, Guénon did not perceive his work as an exercise in creativity or personal “originality”, repeatedly emphasizing that in the metaphysical domain there is no room for “individualist considerations” of any kind.

In a letter to a friend he wrote, “I have no other merit than to have expressed to the best of my ability some traditional ideas.”
When reminded of the people who had been profoundly influenced by his writings, he calmly replied “…such disposition becomes a homage rendered to the doctrine expressed by us in a way that is totally independent of any individualistic consideration.”


Most traditionalists regard Guénon as the “providential interpreter of this age.”
It was his role to remind a forgetful world, “in a way that can be ignored but not refuted, of first principles, and to restore a lost sense of the Absolute.”





========================


(Adapted from Harry Oldmeadow, Journeys East: 20th Century Western Encounters with
Eastern Religious Traditions (Bloomington, IN: World Wisdom, 2005), pp. 184-194.)





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


NOTES

- Whitall Perry, “The Revival of Interest in Tradition”, in R. Fernando (ed) The Unanimous Tradition (Colombo: Sri Lanka Institute of Traditional Studies, 1991, pp. 8-9.

- Guénon’s slightly lopsided view of Christianity has been discussed in P.L. Reynolds







......

Wednesday, August 01, 2012

THE 7th PRINCE OF LIGNE 1735-1814




PHOTO : Charles-Joseph Lamoral,
7ème Prince de Ligne, in French
7te Fürst von Ligne, in German
7th Prince of Ligne, in English
_______________________________






THE PRINCE OF LIGNE
-------------------
Field marshal and writer,
and member of the princely
family of Ligne.
**************************


He was born in Brussels (23 May 1735), the son of Field Marshal Claude Lamoral, 6th Prince of Ligne and Elisabeth Alexandrine de Salm.
As an Austrian subject he entered the imperial army at an early age.

He distinguished himself by his valour in the 'Seven Years' War, notably at Breslau, Leuthen, Hochkirch and Maxen, and after the war rose rapidly to the rank of lieutenant field marshal.

He became the intimate friend and counsellor of the Emperor Joseph II, and, inheriting his father's vast estates, lived in the greatest splendour and luxury, till the War of the Bavarian Succession brought him again into active service.

This war was short and uneventful, and the Prince then travelled in England, Germany, Italy, Switzerland and France, devoting himself impartially to the courts, the camps, the salons and the learned assemblies of philosophers and scientists in each country.

He developed a great admiration for Frederick the Great, even to the point of justifying his seizure of Silesia.


In 1784 he was again employed in military work, and was promoted to Feldzeugmeister.

In 1787 he was with Catherine II in Russia and accompanied her in her journey to the Crimea.

In 1788 he was present at the siege of Belgrade.

Shortly after the siege of Belgrade he was invited to place himself at the head of the Belgian revolutionary movement, in which one of his sons and many of his relatives were prominent, but declined with great courtesy, saying that "he never revolted in the winter."

Though suspected by Joseph of collusion with the rebels, the two friends were not long estranged, and after the death of the Emperor the Prince remained in Vienna.

His Brabant estates were overrun by the French in 1792-1793, and his eldest son killed in action at La Croix-du-Bois in the Argonne (September 14, 1792).
He was given the rank of Field Marshal (1809) and an honorary command at court.

Despite the loss of his estates, Charles-Joseph lived in comparative luxury in his later life, and devoted himself to his literary work.
He lived long enough to characterize the proceedings of the Congress of Vienna
with the famous mot: "Le Congrès danse mais ne marche pas."

He has been described as one of the most charming men who ever lived.
He died december 13, 1814, aged 79, in Vienna.


COLLECTED WORKS
---------------

His collected works appeared in thirty-four volumes at Vienna during the last years of his life (Mélanges militaires, littéraires, sentimentaires), and he bequeathed his manuscripts to the Emperor's Trabant Guard, of which he was captain.


(Œuvres posthumes, Dresden and Vienna, 1817).
--------------------------------------------

Selections were published in French and in German:

· Œuvres choisies de M. le Prince de Ligne (Paris, 1809)

· Lettres et pensées du Maréchal Prince de Ligne, ed. by Madame de Staël (1809)

· Œuvres historiques, littéraires ... correspondance et poésies diverses (Brussels, 1859)

· Des Prinzen Karl von Ligne militärische Werke, ed. Count Pappenheim (Sulzbach, 1814)


The most important of his numerous works on all military subjects is the "Fantaisies et préjuge's militaires", which originally appeared in 1780.
A modern edition is that published by J Dumaine (Paris, 1879).
A German version (Miltarische Vorurtheile und Phantasien, etc.) appeared as early as 1783.

This work, though it deals lightly and cavalierly with the most important subjects ...(the prince even proposes to found an international academy of the art of war, wherein the reputation of generals could be impartially weighed), ... is a military classic, and indispensable to the students of the post.

Frederician period: On the whole, it may be said that the prince adhered to the school of Guibert, and a full discussion will be found in Max Jahns' Gesch. d. Kriegswissenschaften.

Another very celebrated work by the prince is the mock autobiography of Prince Eugène of Savoy (1809).


Other works of his include:

· Lettres à Eugénie sur les spectacles (1774)
· Céphalide, ou les Autres mariages samnites, comédie en musique (1777)
· Préjugés et Fantaisies militaires (1780)
· Colette et Lucas, comédie en musique (1781)
· Coup d'œil sur Belœil (1781)
· Fantaisies militaires (1783)
· L'Amant ridicule, proverbe en prose (1787)
· Mélanges militaires, littéraires et sentimentaires (1795–1811)
· Mémoires sur les Juifs (1795–1811)
· Les Embarras, pièce en un acte (manuscrit)
· Contes immoraux


MARRIAGE AND ISSUE
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On 6 August 1755, in Valtice or Feldsberg, Charles-Joseph married Princess Franziska Xaveria Maria of Liechtenstein (Vienna, 27 November 1739-Vienna, 17 May 1821), sister of Franz Joseph I, Prince of Liechtenstein.

The couple had 7 children:

Prince Charles Antoine Joseph Emanuel (25 September 1759 Brussels-14 September 1792)
Prince François Leopold (3 November 1764-6 January 1771)
Prince Louis Eugene Marie Lamoral (7 May 1766 Brussels-10 May 1813 Brussels)
Prince Adalbert Xavier (26 August 1767 - 23 May 1771)
Princess Marie Christine Leopoldine (25 May 1757 Brussels - 13 September 1830 Teplice)
Princess Euphemie Christine Philippine (18 July 1773 Brussels - 30 March 1834 Vienna)
Princess Flore Adeleide Caroline (8 November 1775 Brussels - 9 December 1851 Vienna)

He also had an illegitimate daughter by Adelaide Fleury:
Christine (4 January 1788-19 May 1867);
married to Maurice O'Donnell von Tyrconnell (1780–1843)


His grandson, Eugene Lamoral de Ligne (1804–1880), was a distinguished Belgian statesman.

And another grandson, Count Maximilian Karl Lamoral O'Donnell von Tyrconnell (1812–1895), helped save the life of Emperor Franz Josef I of Austria in 1853.









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