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vladdocs · 2 years

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About copied pamphlets. One of the most painful topics for those who like things "louder. In fact, pamphlets and manuscripts, whether German or later Russian (tertiary sources in general) represent the same copied text, the source of which is a rather narrow series of documents (and according to some sources only one - a fake Transylvanian denunciation) and a couple of three entertaining stories, which have been around as table jokes since long before Vlad Drguli Tepesh, but his name was later inserted into these medieval anecdotes. Such table jokes existed for a long time; if necessary, the right name was inserted, in order to make fun (and such stories were then considered a kind of fun) of this or that person. The purpose of these versions of the old stories for the feasts was the desire of some of the Transylvanian lords and of the mercenary Corvinus to smear the reputation of the too brave Walachian crusader in the eyes of Pius, especially the voivode who was eager to fight the Turks at such a bad time (and for Corvinus it always seemed to be bad time). Florescu, who writes about "Germanic" pamphlets, provides a list of 14 pamphlets. They are all either in Germany, by most, or in Hungary, and only a couple of them in Romania (as copies given to him) and one in New York, a copy in France, and one in Great Britain. The pamphlets he has cited date from an unknown in a low dialect of German, presumably from 1480. Cazacou, however, writes of four other pamphlets, which are copies of a single pamphlet from 1463. Their content is also the same, but only one of the existing pamphlets, Kazaku notes, has a concluding paragraph. This pamphlet is in London (probably the one described by Florescu under No. 6). I will give here first the list of pamphlets that Florescu mentions, and then this most elusive final paragraph. Florescu's German pamphlets: 1. "An deme quaden thyrane Dracole Wyda." No date, no place of publication, now in Budapest. There is a copy in Bucharest. There is also a copy in the Central Library of Bucharest. Date about 1480 (on this point of controversy, obviously a pamphlet before 1488, but not before 1480). On the title page is the first version of the portrait, from which other, later versions were taken and slightly altered. First published by J. C. Engel, who found this pamphlet in the library in Budapest of Count Szechenyi. It was first published in Fortsetzung der Algemeinen Welthistorie durch eine Gesellschaft von Gelehrten im Teutschland und England ausgefertigt, 49, 4, 1 (Halle, 1804). There has been some debate about this pamphlet as to whether it was written in a Transylvanian dialect of German or in Lower German, that is, a non-literary version. Most linguists are inclined toward the second version, proving it visually. For example, Bogdan held this view in his work. The publisher is supposed to have been Bartholomew Gotan. 2.Second edition in Nuremberg, title not given, Markus Ayrer published it in 1488. It is in Weimar. The portrait on the cover is similar to the pamphlet from Budapest. This pamphlet is already written in literary German. There are those who argue, Stridter, that this pamphlet was the ancestor of the others. Most, however, are inclined to say that it was copied from the work above and rewritten into literary, literate German. 3. "Dracolewaida." The date is not known, nor is the author or place of publication. Now in Munich and Stuttgart. There is a copy of it in Bucharest. The cover is a slightly altered version of the 1488 portrait. Published, presumably by P. Wagner, circa 1488. Literary German. 4. "Historie von Dracole Wayda," Leipzig, 1493. Now in St. Petersburg. The only edition, depicts Vlad in military robes with a short haircut. The headdress from the portrait is very similar to the image from the frescoes in Corvinus Castle, made during the time of Matthias Corvinus. Probably published by Martin Landsberg , Leipzig edition 1493, The Tale of Dracula, p. 185). 5. No date or publication information. Florescu writes that he did not have the opportunity to see its

title. The only pamphlet is from Wolfenbüttel. There is a copy in Bucharest where the following is written about the pamphlet, from Lübeck, Steffen Arnder, 1494-1498. Not literary German, lower German. Probably a copy of the pamphlet from Budapest. 6. "Ein Wunderliche und Erschroechenliche Hystorie von einem Grossen Wuttrich Genant Drcole Wayde ...," Bamberg. Wood-carved portrait, a simplified version of a pamphlet from Budapest. Not literary, again "Lower German".Found in the British Museum.Reprinted by Robert Proctos "An index to the early Printed Books in the British Museum", London, 1960. There is a copy in the Bucharest Central Library. The British Museum received this copy at one time in 1846 and it belonged to a Frenchman, Henry Ternot, who probably wrote on one of the blank pages where this copy came from what year. 7. "Hier facht sich au gar ain grassenlichen erschrocken ystoren ..." [Dracole Waida]. Augsburg. Christoph Schneiter, March 14, 1494. There is a crucifix on the cover. now two copies in Munich, Library of Bavaria, a copy in Zloturn and Zwickau. There is also a copy in the Romanian Academy and the Bucharest Central Library. 8. Nuremberg, Ambrosius Huber, 1499. Florescu had no opportunity to see the title. The text is identical to the one in Budapest. 9. "Hie facht sich au gar ein graussemliche und erschroeckenliche hystorien ...," Strasbourg, Matisz Hupfuff, 1500. On the cover is an image of a voivode eating a meal in the midst of his staked enemies. A colorful version of this engraving is presented in Cazacou's work. Now in the state libraries of Berlin, in a city in Colmar, France, a copy in the library of the bishop's seminary in Mainz, a copy in Copenhagen, the royal library, and a copy in Bucharest. 10. "Von dem Dracole wayda dem grossen Thyrannen. Nuremberg again. No date. Presumably 1515. Probably by Johan Stuchs. Now in Marburg, in the Prussian Cultural Heritage Foundation. 11. No date or publication information. Florescu had no opportunity to see the title of the pamphlet. There is a small portrait on the title page. Probably dates the pamphlet to 1520. M. Rumminger, Ausburg. Now in the library of the Romanian Academy of Sciences, from the Sturdza library , copy in the central library of Bucharest. 12. Nuremberg, Gudknecht Jost, 1521 . The title of Florescu is not known. Quoted by Bogdanov in his work Vlad Tepes. 13. "Von dem Dracole Wayda dem grossen Tyrannen," again by Ausburg, Mathis Franken. Probably date around 1530. Now in the state library in Berlin. 14. No date. The curator of the library gives the date as 1485., no information on publication. On the cover is the only portrait of Vlad the Voivode, executed in watercolor. It is now in Philadelphia in the Philip H. and A. S. W. Rosenbach Foundation. (See Frederick R. Goff, Incunabula in american Libraries (New York 1964, p. 221).This overbought American copy is usually bypassed, probably this pamphlet copy by 1488, Peter Wagner, Nuremberg. This is the kind of informative series Florescu cites in his 1974 edition. In fact, as often happens, Florescu is very careless, even judging from his references to letters, so the information can be read and accepted, but it needs verification. As we can see, Florescu did not write about the pamphlet of 1463. What is known about the pamphlet, however, 15. 1463. "Geschichte Dracole Waide," published at Vienna, by Ulrich Hahn. As they write, none of the copies of this pamphlet, of six sheets with the portrait of the voivode on the cover, has survived in the original (perhaps this was the reason for its not being mentioned by Florescu, although I doubt it) there are four more copies. One in Austria, in the Lambach monastery, from where the pamphlet disappeared at the beginning of the 20th century., in Switzerland (St. Gall Monastery), in France in Colmar (this pamphlet is mentioned by Florescu, but as a copy of a 1500 pamphlet "Hie facht sich au gar ein graussemliche und erschroeckenliche hystorien ...", Strasburg, Matis Hoopfuff, 1500), and in the UK library. One of the copies in the

original is available online, I will post it here later. Many of the pamphlets in the original were published by Karadji in 1931. So, what was in the final paragraph, presented in only one pamphlet, the original of which, as Kazaku writes, is now in London. And it says the following about the events of 1462 : "The ruler of Hungary wrote to Dracula that he wished to give him his daughter in marriage. Dracula arrived in expensive clothes, he took with him a Vlach 900 of cavalry, he was at first warmly received there, and the governor gave him his daughter as a wife, although that was then only in words still, but all in good order, as it is assumed. The wedding was celebrated then and his father-in-law accompanied him and his retinue back. When he reached Vlad's country, he stopped and said: "My lord, now husband, I have escorted you quite well," and Dracula replied, "Yes, my lord." Then Vlad was sure that he could return to himself. But then they suddenly surrounded him and immediately grabbed him. In general, the original pamphlets, the name of its task was not only a political goal, it was also intended to entertain the listener, and therefore added color in them to the full, so that each paragraph is almost naive, and the information itself is contradicted and exaggerated to grotesque proportions. In the appendix. Historia. Dracole Waida, Die geschicht dracole waide. - 14. Oktober [14]88, Weimar, the same six pages. I wondered if this is the Weimar edition, and if this is the original, then it appears Florescu was wrong again, it appears there are two colorful portraits. I understand that it is not difficult to paint a ready-made form and it is not sensational, but nevertheless. Russian, on the assumption, manuscripts we have considered, and the existing versions we will set forth above. ______ RU: О копированных памфлетах. Одна из самых болезненных тем для тех, кому нравится что "погромче". На деле, памфлеты и манускрипты, что немецкие, что более поздние русские (третичные источники вообще) представляют собой один и тот же копированный текст, источником которого является довольно узкий ряд документов (а по некоторым данным лишь один- фальшивый трансильванский донос) и пара тройка увеселительных историй, которые бытовали в качестве застольных прибауток еще задолго до Влада Дргули Цепеша, но имя его было позже вставлено в эти средневековые анекдоты. Подобные анекдоты для застолий существовали давно, при необходимости в них вставляли нужное имя, дабы потешиться (а такие рассказы считались тогда своего рода забавой) над тем или иным человеком. Целью этих же версий старых историй для застолий стало стремление как некоторых Трансильванских господ, так и сребролюбивого Корвина очернить репутацию слишком смелого валашского крестоносца в глазах Пия особливо, воеводы, который рвался в борьбу с турками в такое неподходящее время (а для Корвина оно, казалось, было всегда неподходящим). У Флореску, который пишет о памфлетах "германских", представлен список из 14 брошюр. Все они находятся либо в Германии, по большинству, либо в Венгрии и лишь пара из них в Румынии (как копии, переданные им) и один в Нью-Йорке, копия во Франции, и один в Великобритании. Приведенные у него памфлеты датируются от неизвестного на низком диалекте немецкого языка, предположительно с 1480 года. Казаку же пишет еще о четырех памфлетах, которые являются копиями единственного памфлета 1463 года. Содержание в них также одно и тоже, но лишь в одном из всех существующих памфлетов, отмечает Казаку, есть заключительный абзац. Этот памфлет находится в Лондоне (вероятно тот, который описал Флореску под №6). Приведу здесь сначала список памфлетов , которые отмечает Флореску, а далее этот самый неуловимый заключительный абзац. Немецкие памфлеты у Флореску: 1."An deme quaden thyrane Dracole Wyda". Без даты, нет места публикации, сейчас в Будапеште. Есть копия в Бухаресте. Копия представлена и в центральной библиотеке Бухареста. Дата около 1480 (по этому моменту споры, очевидно, что памфлет до 1488, но не раньше 1480). На титульном листе первый вариант

портрета,с которого взяты и немного изменены другие, более поздние варианты. Впервые опубликован Дж. Ч. Энгелем, который нашел этот памфлет в библиотеке в Будапеште графа Сечени. Первая публикация в издании "Fortsetzung der Algemeinen Welthistorie durch eine Gesellschaft von Gelehrten im Teutschland und England ausgefertigt", 49, 4, 1 (Халле, 1804). По данному памфлету велись споры, написан ли он на трансильванском диалекте немецкого либо же на нижненемецком, то есть не литературном варианте. Большинство лингвистов склоняются ко второму варианту, доказав это наглядно. Например, Богдан в своей работе придерживался такого мнения. Издателем предполагают был Бартоломей Готан. 2.Второе издание в Нюрнберге, название не приведено, Маркус Айрер публиковал его в 1488. Находится в Ваймаре. Портрет на обложке схож с памфлетом из Будапешта. Написан этот памфлет уже на литературном немецком. Есть те, кто утверждают, Штридтер, что этот памфлет стал родоначальником остальных. Большинство же склоняются к тому, что был скопирован с работы выше и переписан на литературны, грамотный немецкий. 3. "Dracolewaida". Дата не известна, как и автора или места публикации. Сейчас в Мюнхене и Штутгарте. Есть его копия в Бухаресте. На обложке несколько измененная версия портрета 1488 года. Опубликовано, предположительно, П. Вагнером, около 1488 года. Литературный немецкий. 4. "Historie von Dracole Wayda", Ляйпциг, 1493. Сейчас в Санкт-Петербурге. Единственное издание, изображает Влада в военных одеждах с короткой стрижкой. Головной убор с портрета очень похож на изображение с фресок в замке Корвина, сделанных во времена Матиаша Корвина. Вероятно, опубликовал издание Мартин Ландсберг , Лейпцигское издание 1493, Повесть о Дракуле, стр. 185). 5. Без даты и информации о публикации. Флореску пишет, что увидеть его название у него не было возможности. Единственный памфлет из Вольфенбюттель. Есть копия в Бухаресте, где о памфлете написано следующее, из Любека, Стеффен Арндер, 1494-1498. Не литературный немецкий, нижненемецкий. Вероятно, копия памфлета из Будапешта. 6. "Ein Wunderliche und Erschroechenliche Hystorie von einem Grossen Wuttrich Genant Drcole Wayde ...", Бамберг. Резной по дереву портрет, упрощенная версия памфлета из Будапешта. Не литературный, снова "нижненемецкий".Находится в музее Великобритании.Переиздавался Робертом Проктос " An index to the early Printed Books in the British Museum", Лондон, 1960. Есть копия в центральной библиотеке Бухареста. Британский музей получил в свое время эту копию в 1846 и принадлежала она французу Генри Терно, который, вероятно и написал на одной из пустых страниц, откуда эта копия какого года. 7. "Hier facht sich au gar ain grassenlichen erschrocken ystoren ..." [Dracole Waida]. Аугсбург. Кристоф Шнейтер, 14 марта, 1494. На обложке распятие. сейчас две копии в Мюнхене, библиотека Баварии, копия в Злотурн и Цвиккау. Также есть копия в Румынской академии и центральной библиотеке Бухареста. 8. Нюрнберг, Амброзий Хубер, 1499. У Флореску не было возможности увидеть название. Текст идентичный тому, что в Будапеште. 9. "Hie facht sich au gar ein graussemliche und erschroeckenliche hystorien ...", Cтрасбург, Матиш Хупфуфф, 1500. На обложке изображение воеводы трапезничающего посреди своих поверженных на кольях врагов. Красочный вариант этой гравюры представлен в работе Казаку. Сейчас в государственных библиотеках Берлина, в городе во Франции Кольмар, копия в библиотеке епископской семинарии в Майнц, копия в Копенгагене, королевской библиотеке, а также копия в Бухаресте. 10."Von dem Dracole wayda dem grossen Thyrannen". Снова Нюрнберг. Даты нет. Предположительно 1515. Вероятно Йохан Штухс. Сейчас в Марбурге, в Фонде прусского культурного наследия. 11. Без даты или информации о публикации. Возможности увидеть названия памфлета у Флореску не было. На титульном листе небольшой портрет. Вероятно датируется памфлет 1520 годом. М. Раммингер, Аусбург. Сейчас в библиотеке румынской академии наук, из библиотеки Sturdza , копия в центральной библиотеке Бухареста. 12. Нюрнберг, Гудкнехт Йост, 1521 . Название Флореску

не известно. Цитируется Богданов его работе "Влад Цепеш". 13. "Von dem Dracole Wayda dem grossen Tyrannen", опять Аусбург, Матиш Франкен. Вероятно дата примерно 1530 год. Сейчас в государственной библиотеке Берлина. 14. Без даты. Куратор библиотеки называет дату 1485., информации о публикации нет. На обложке единственный портрет Влада воеводы, исполненный в акварельных красках. Находится сейчас в Филадельции в Фонде Филипа Х. и А. С. В. Розенбаха. (См. Фредерик Р. Гофф, Incunabula in american Libraries (Нью-Йорк 1964, стр. 221).Эту перекупленную американцами копию обычно обходят стороной, вероятно этот памфлет копи работы 1488 года, Петера Вагнера, Нюрнберг. Вот такой информативный ряд приводит Флореску в своем издании 1974 года. На деле, как часто бывает, Флореску ну очень небрежен, даже судить по его ссылкам о письмах, потому информацию можно прочесть и принять, но проверки она требует. Как видно, о памфлете 1463 года Флореску не писал. Что же известно о памфлете, 15. 1463 год. "Geschichte Dracole Waide", издан в Вене, Ульрихом Ханом. Как пишут, ни один из экземпляров этой брошюры из 6 листов с портретом воеводы на обложке, из шести листов, не сохранился в оригинале (возможно это стало причиной его не упоминания Флореску, хотя я сомневаюсь) существует еще четыре копии. Одна в Австрии, в монастыре Ламбах, откуда брошюра исчезла в начале XX века., в Швейцарии (монастырь Сент-Галл), во Франции в городе Кольмар (эту брошюру упоминает Флореску, но, как копию памфлета 1500 года "Hie facht sich au gar ein graussemliche und erschroeckenliche hystorien ...", Cтрасбург, Матиш Хупфуфф, 1500), и в библиотеке Великобритании. Одна из копий в оригинале представлена в сети, позже я выложу ее здесь. Многие из памфлетов в оригинале публиковал Karadji в 1931. Так, что же было в заключительном абзаце, представленном лишь в одном памфлете, оригинал которого, как пишет Казаку, сейчас в Лондоне. А написано там следующее о событиях 1462 : "Правитель Венгрии написал Дракуле, что желает отдать ему свою дочь в жены. Дракула приехал в дорогих одеждах, с собой он взял влахов 900 кавалерии, он поначалу был тепло принят там, и отдал ему правитель в жены свою дочь, хотя то было тогда только на словах еще, зато все чинно, как и полагается. Свадьбу ту отпраздновав тогда, тесть сопроводил его со свитой обратно. Доехав же до страны Влада, остановился тот и произнес: "Государь, ныне муж , довольно вас я сопроводил я ", - а Дракула ответил: "Да, господин". Тогда уверен Влад был, что он вернуться сможет к себе. Но тут его они вдруг окружили и тотчас же схватили". В целом говоря, исходные памфлеты, имя своей задачей не только политическую цель , также были нацелены и на развлечение слушающего, и потому красок добавлено в них сполна, да так, что каждый абзац почти наивен,а информация сама себе противоречит и преувеличена до гротескных размеров . В приложении. Historia. Dracole Waida, Die geschicht dracole waide. - 14. Oktober [14]88, Ваймар, те самые шесть страниц. Меня заинтересовало, если это ваймарское издание, и если это оригинал, то ,выходит, Флореску снова был не прав, выходит, есть два красочных портрета. Понимаю, раскрасить готовую форму труда не составляет и сенсационного в этом мало, но все же. Русские, по предположению, манускрипты мы рассматривали, а существующие версии изложим выше.

#Vlad's current tyrant image is built on those pamphlets and many others #people need to make the difference between fiction and reality #Google Translated #vlad the impaler #Vlad Dracula #Vlad Tepes #history #wallachia #romania #article #The pamphlets spread world wide

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gorgeousmalebodies · 4 years

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Vlad Engels (Влад Энгельс, Russian model) by Vazgen Arutyunov

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surrealistnyc · 4 years

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A Spark in Search of a Powderkeg

Rebellion is its own justification, completely independent of the chance it has to modify the state of affairs that gives rise to it. It’s a spark in the wind, but a spark in search of a powder keg.

André Breton

If only one thing has brought me joy in the last few weeks, it began when the matriarchs at Unist’ot’en burned the Canadian flag and declared reconciliation is dead. Like wildfire, it swept through the hearts of youth across the territories. Reconciliation was a distraction, a way for them to dangle a carrot in front of us and trick us into behaving. Do we not have a right to the land stolen from our ancestors? It’s time to shut everything the fuck down!

Tawinikay (aka Southern Wind Woman)

The toxic cargo carried in Canadian pipelines, whether it be tar sands oil or fracked liquid natural gas (LNG), is, according to all serious climate scientists, a major, perhaps even decisive contribution to global warming, i.e. ecological catastrophe. Meant to fuel industrial expansion, the pipelines have themselves become fuel for revolt. Designed to move these dirty fossil fuels from one location to another, they are a crucial element in normalizing the dubious paradise of unlimited growth in awe of which all obedient consumer/citizens are supposed to genuflect. In what the colonial mapmakers have called British Columbia (BC), resource extraction has always been the name of the game. However, the emergence in February of this year of a widespread oppositional network ranging from “land back” Indigenous warriors to elder traditionalists and from Extinction Rebellion activists to anarchist insurrectionaries was heartening. Railways, highways and ferries were blockaded, provincial legislatures, government administrative offices, banks and corporate headquarters were occupied. The catalyst for this rebellion was a widespread Indigenous uprising that refused the illusory promises of reconciliation. Together, these rebel forces disrupted business as usual in solidarity with the Unist’ot’en Big Frog clan of the Wet’suwet’en tribal house.

As objective chance would have it, the primary Indigenous land defense camp is situated not far from the same Hazelton, B.C. area to which surrealist Kurt Seligmann and his wife Arlette had journeyed in 1938. During that time, they visited Gitxsan and Wet’suwet’en villages, marveled at the imaginative power of the totem poles and ceremonial objects, made field notes, shot 16mm film, collected stories and recorded mythic histories. Now, in 2020, growing numbers of these same Indigenous peoples have been threatening to bring the Canadian economy to a grinding halt. Unwilling to be bought off by corporate petrodollars or mollified by a legal system that has never done anything but pacify, brutalize, or betray them in the process of stealing their land, Indigenous peoples passionately fought back against the forces of colonial law and order in a radical whirlwind of willful disobedience and social disruption. One action built upon another in creating a rolling momentum that seemed unstoppable. When one railroad blockade would be busted by the Royal Canadian Mounted Police (RCMP), another would spring up in its place elsewhere extending the frontlines of the battle all across the continent. Then the debilitating Covid-19 virus arrived to compound the damage that had previously been done to the capitalist economy by the incendiary virus of revolt. The resistance of these Indigenous communities against the pipelines concerns all of us, worldwide, since they are on the front lines of the struggle to prevent cataclysmic climate change.

In the future, a key question will be whether Canadian authorities can successfully put the genie of Indigenous rebellion back in the colonial bottle of “reconciliation”. As surrealists, we hope they will not, and we stand in solidarity with the unreconciled insurgent spirit of defiant Indigenous resistance. A new reality is to be invented and lived instead of the one that today as yesterday imposes its environmental miserabilism and its colonialist and racist hierarchies. As surrealists, we honor our historical affinity with the Kwakwaka’wakw Peace Dance headdress that for so long had occupied a place of reverence in André Breton’s study during his lifetime before being ceremoniously returned in 2003 to Alert Bay on Cormorant Island by his daughter, Aube Elléouet, in keeping with her father’s wishes. With this former correspondence in mind, we presently assert that our ongoing desire to manifest the emancipation of the human community as distinctively undertaken in the surrealist domain of intervention is in perfect harmony with the fight of the Indigenous communities of the Americas against globalized Western Civilisation and its ecocidal folly.

Surrealists in the United States: Gale Ahrens, Will Alexander, Andy Alper, Byron Baker, J.K. Bogartte, Eric Bragg, Thom Burns, Max Cafard, Casi Cline, Steven Cline, Jennifer Cohen, Laura Corsiglia, David Coulter, Jean-Jacques Dauben, Rikki Ducornet, Terri Engels, Barrett John Erickson, Alice Farley, Natalia Fernandez, Brandon Freels, Beth Garon, Paul Garon, Robert Green, Maurice Greenia, Brigitte Nicole Grice, Janice Hathaway, Dale Houstman, Karl Howeth, Joseph Jablonski, Timothy Robert Johnson, Robin D.G. Kelly, Paul McRandle, Irene Plazewska, Theresa Plese, Michael Stone-Richards, David Roediger, Penelope Rosemont, LaDonna Smith, Tamara Smith, Steve Smith, Abigail Susik, Sasha Vlad, Richard Waara, Joel Williams, Craig S. Wilson

Surrealists in the UK: Jay Blackwood, Paul Cowdell, Jill Fenton, Rachel Fijalkowski, Krzysztof Fijalkowski, Merl Fluin, Kathy Fox, Lorna Kirin, Rob Marsden, Douglas Park, Michel Remy, Wedgwood Steventon, Frank Wright, the Leeds Surrealist Group (Gareth Brown, Stephen J. Clark, Kenneth Cox, Luke Dominey, Amalia Higham, Bill Howe, Sarah Metcalf, Peter Overton, Jonathan Tarry, Martin Trippett), the London Surrealist Group (Stuart Inman, Philip Kane, Timothy B. Layden, Jane Sparkes, Darren Thomas) and the surrealists of Wales (Jean Bonnin, Neil Combs, David Greenslade, Jeremy Over, John Richardson, John Welson)

Surrealists in Paris: Ody Saban and The Surrealist Group of Paris (Elise Aru, Michèle Bachelet, Anny Bonnin, Massimo Borghese, Claude-Lucien Cauët, Taisiia Cherkasova, Sylwia Chrostowska, Hervé Delabarre, Alfredo Fernandes, Joël Gayraud, Régis Gayraud, Guy Girard, Michael Löwy, Pierre-André Sauvageot, Bertrand Schmitt, Sylvain Tanquerel, Virginia Tentindo, Michel Zimbacca)

Surrealists in Canada: Montréal (Jacques Desbiens, Peter Dube, Sabatini Lasiesta, Bernar Sancha), Toronto (Beatriz Hausner, Sherri Higgins), Québec City (David Nadeau), Victoria (Erik Volet), the Ottawa Surrealist Group (Jason Abdelhadi, Lake, Patrick Provonost) and the Inner Island Surrealist Group (as.matta, Jesse Gentes, Sheila Nopper, Ron Sakolsky)

The Surrealist Group of Madrid: Eugenio Castro, Andrés Devesa, Jesús Garcia Rodriguez, Vicente Gutiérrez Escudero, Lurdes Martinez, Noé Ortega, Antonio Ramirez, Jose Manuel Rojo, María Santana, Angel Zapata

Surrealists in Sweden: Johannes Bergmark, Erik Bohman, Kalle Eklund, Mattias Forshage, Riyota Kasamatsu, Michael Lundberg, Emma Lundenmark, Maja Lundgren, Kristoffer Noheden, Sebastian Osorio

Surrealists in Holland: Jan Bervoets, Elizé Bleys, Josse De Haan, Rik Lina, Hans Plomp, Pieter Schermer, Wijnand Steemers, Laurens Vancrevel, Her de Vries, Bastiaan Van der Velden

Surrealists in Brazil: Alex Januario, Mário Aldo Barnabé, Diego Cardoso, Elvio Fernandes, Beau Gomez, Rodrigo Qohen, Sergio Lima, Natan Schäfer, Renato Souza

Surrealists in Chile: Jaime Alfaro, Magdalena Benavente, Jorge Herrera F., Miguel Ángel Huerta, Ximena Olguín, Enrique de Santiago, Andrés Soto, Claudia Vila

The Middle East and North Africa Surrealist Group: Algeria (Onfwan Foud), Egypt (Yasser Abdelkawy, Mohsen El-Belasy, Ghadah Kamal), Iraq (Miechel Al Raie), Syria (Tahani Jalloul), and Palestine (Fakhry Ratrout)

Surrealists in Prague: Frantisek Dryje, Joe Grim Feinberg, Katerina Pinosova, Martin Stejskal, Jan Svankmajer

The Athens Surrealist Group (Elias Melios, Sotiris Liontos, Nikos Stabakis, Theoni Tambaki, Thomas Typaldos, Marianna Xanthopoulou)

Surrealists in Costa Rica: Gaetano Andreoni, Amirah Gazel, Miguel Lohlé, Denis Magarman, Alfonso Peña

Surrealists in Buenos Aires: Silvia Guiard, Luís Conde, Alejandro Michel

Surrealists in Australia: Anthony Redmond, Michael Vandelaar, Tim White

Surrealists in Portugal: Miguel de Carvalho, Luiz Morgadinho

Surrealists in Bucharest (Dan Stanciu), Mexico (Susana Wald), and the Canary Islands (Jose Miguel Perez Corales)

Postscript: During the process of gathering signatures for the above declaration, we were inspired to see its uncompromising stance against white supremacy and police repression reflected in the brightly sparkling flames of the Minneapolis uprising that lit a powder keg of pent-up rage and incited an earth-shaking eruption of spontaneous rebellion in the streets of America. It was only fitting that in solidarity with the uprising about police brutality kicked off by George Floyd’s execution/lynching at the hands of the police, anti-racism protestors in the United States would take direct action by beheading or bringing down statues of Christopher Columbus, genocidal symbol of the colonial expropriation of Native American lands. (Guy Girard, Michael Löwy, Penelope Rosemont, and Ron Sakolsky, June 18, 2020).

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kennan73888 · 2 years

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Legend Fable Myth; The Pairing Couples

Dark Legends

Black Blood (Vlad Dracula & Lucian Talbot) Silent Night (Erik Claudin & Adam Frankenstein) Liquid Clear (William Gillman & Dr. Jeremiah Griffin) Eternity Fragment (Ardath Bey [Imhotep] & Georgios Quasimodo) Broken Glass (Itward [Ziminir] & Jeno Karoly Hadaly) Soma (Oswald 'Oz' Diggs & Edmond Dantès) Vocal Incognito (Dr. Henry Jekyll/Edward Hyde & Francois Francoeur) Stoney (Sam & Ichabod Crane) Sweet Dream (Zayn [Lilu] & Sweeney Todd) Intertwine (Sherlock Holmes & John H. Watson) Night Light (Aleister Crowley [Choronzon] & Cassiel Engel) Lady & The Vamp (Lucy Westenra & Wilhelmina 'Mina' Harker) (Merlin & Arthur Pendragon)

Dark Fables

Faze Feather (Carabosse & Diablo) Golden & Diamond Shoes (Marguerite & Daniella) Clear Glass (Abigail & Albert) Love to be Seven (Blanche & Decebal + Oleander + Valdis + Naim + Rasui + Kafu + Cameron) (Peter & Tinker) Golden Straw (Rumpelstiltskin & Aurelia Dupre) (Hansel & Gretel) (Alice Pleasance Liddell & Peter White) (Goldie Lauren Dupre & Ramsay)

Dark Myth

(Hephaestus & Athena) (Hades & Persephone) (Parthenope & Medusa)

#legend fable & myth #information #story ideas

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definitely-not-altair · 6 years

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Talon and Vlad and Morgana

OOOOOOH my god. The Talon list. This is going to be so fucking embarrassing. Here is a list I worked up of muses/champs I do ship/have played out/wish to ship with:Ace of Spades EzWarwickVarusSolDragonbae???SorakaOphi (OC)XinLucianNone (OC)YasuoMalzaharJayceViktorEzreal (MANY)DariusDravenNamiJayce

ThreshKassadinNasusTwisted Fate/Graves (threesome)Miss FortuneNidaleeKarthusCalix (OC)ZedAhriRivenCaitlinVladKaynRengarSivirTaricVel'KozZacEngel (OC)Xayah/Rakan (threesome)

I… I cant even answer the other ones. I’m disappointed in myself.

#lays down and bursts into flames #ship meme #long post #kill me actually #askdragonbladetalon

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kararsizincom · 4 years

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Cengiz Han vs III Vlad - Hangi Lider Daha Acımasızdı?

Cengiz Han vs III Vlad

Cengiz Han vs III Vlad. İnsanlık tarih boyunca birçok acımasız komutan ve lider ile karşılaşmıştır. Yüzlerce Protestan'ı yakarak öldüren "Kanlı Mary"den, sinirlendiği için kendi oğlunu öldüren "Korkunç Ivan" gibi.. Peki bu liderler arasından ikisi olan Cengiz Han mı yoksa III Vlad mı daha merhametsizdi?

Cengiz Han vs III Vlad: Cengiz Han Kimdir?

Cengiz Han ya da doğum adı ile Temuçin, Moğol İmparatorluğu'nun kurucusu olan hükümdar ve komutandır. 1162 yılında doğan Cengiz Han, 1227 yılında hayatını kaybetmiştir. Börte ve Yesüy isimli 2 eşi olan Cengiz Han'ın yasal varisi olan 4 erkek çocuğu olmuştur ve Alaltun isimli bir de kızı vardır. Ancak bunlar dışında başka kadınlardan birçok kızı ve birkaç da oğlu olsa da, yasal haklardan mahrum edildikleri için isimleri bilinmemektedir. İlk eşi ile evlendikten kısa bir süre sonra Merkit kabilesinin saldırısına uğrayan Temuçin, hayatta kalmayı başarmış olsa da eşinin kaçırılmasına engel olamamıştır. Karısını kurtarmak için bataklıklar içinden geçerek düşmanı ağır bir mağlubiyete uğratır ve onu kurtaramasa bile büyük bir ün kazanır. Verdiği bu hücum kararı, dünyayı fethetme yolundaki en önemli adımlardan biridir. 1189 yılında toplanan bir kurultay kararı sonucu Temuçin, "Kağan" unvanını aldı ve Temuçin Kağan olarak anılmaya başladı.

Temuçin'in Cengiz Han Olması

Temuçin'in Merkitler'i, Naymanlar'ı, Keraitler'i, Tatarlar'ı ve diğer küçük kabileleri liderliği altında birleştirmesi onu Orta Asya bozkırlarındaki tek güç hâline getirdi. 1206 yılının ilkbaharında Onon nehrinin kaynaklarında, kendisine bağlanmış olan bütün kabileleri bir araya getirerek büyük bir kurultay topladı. Tüm göçebe topluluklarını birleştiren Temuçin, tek bir ulus yarattı ve bu ulusa “Moğol Ulusu” adını verdi. Artık o Moğolların mutlak efendisi idi. 1206 kurultayının en önemli kararı Temuçin’in daha evvel aldığı “Kağan” unvanına ilaveten “Cengiz” unvanını almasıdır. Bu tarihten sonra kendisine “Cengiz Kağan” veya “Cengiz Han” diye hitap edilmesini istemiştir. Temuçin bu sırada 44 yaşındaydı.

Acımasız Olarak Bilinmesine Sebep Olan Olaylar

Söylenenlere göre Cengiz Han düşmanlarına teslim olma fırsatı sunar, kabul etmezlerse kendilerini, tüm ailelerini ve dostlarını merhametsizce öldürürdü ve estirdiği terörden gurur duyardı. Elbette bahsedilen olayların uzak tarihte gerçekleşmesi sebebiyle her zaman doğruluğu kanıtlanamıyor olsa da, en korkutucu Cengiz Han eylemleri şu şekilde; Düşman liderlerinin göz ve kulaklarına erimiş gümüş döktürmesi: Inalchuq isimli bir soylunun, Cengiz Han'ın gönderdiği karavanı parçalayıp, askerlerini öldürmesi sonucu, tüm halkı öldürüldü, kendisinin ise sonu erimiş gümüşten oldu. Hükümdarlığı sırasında ordusunun öldürdüğü insan sayısı: Birinci Dünya Savaşı'nda toplam 16 ila 19 milyon insanın öldüğü tahmin edilirken, Cengiz Han'ın bu olaydan yüzlerce yıl önce toplam 40 milyon civarında insanın ölümüne sebep olduğu tahmin ediliyor. Savaş esirlerini kalkan olarak kullandırması: Kimi kaynaklar Cengiz Han'ın ele geçirdiği esirleri askerlerine canlı kalkan olarak kullandırmak için hayatta tuttuğunu söylüyor. Tarihin belki de en kanlı ve vahşi katliamı olan Ürgenç Yağmalaması: Harezmşahlar Devleti'ne karşı savaşının son durağı olan Ürgenç'te 1 milyondan fazla insanın katledildiği söyleniyor. Savunmacıların, esir düşerlerse başına geleceklerden korktukları için kazanma şansları olmadığında bile savaşmaya devam ettikleri de notlar arasında.

Cengiz Han vs III Vlad: III Vlad Kimdir?

Kazıklı Voyvoda, Vlad Tepeş ya da Kont Drakula isimleriyle bilinen III Vlad, 3 kez Eflak Voyvoda'sı olmuş Rumen komutan ve liderdir. Doğumu 1428/1431 ve ölümü 1476/1477 yıllarındadır. Slav dillerinde Voyvoda kumandan ya da prens anlamına gelir. Osmanlılara karşı savaş kaybetmesi yüzünden babası tarafından rehin verilmiştir. 1442 - 1448 yıllarını rehine olarak geçiren Vlad, beylik şehzadeleri ile birlikte yaşamıştır. Osmanlı desteğiyle Eflak'ın başına geçme girişimi başarısız olunca, o zaman Eflak Voyvoda'sı olan II. Vladislav tarafından Boğdan'a sürgün edilmiştir. Osmanlı'nın 1456 yılında Belgrad şehrini kuşatması sonucu Erdel beyi güney kısmı savunması için Vlad'a bir ordu verir ve bu durumdan faydalanan Vlad, Eflak'a sefer düzenleyip yeni Eflak Voyvodası olur. Kabul edilen görüşe göre Aralık 1476 ve Ocak 1477 tarihleri arasında 300 Rumen askeri ile birlikte Osmanlı ordusuna mağlup oldu ve kılıçla başı gövdesinden ayrılarak idam edildi. II. Mehmet'e Vlad'ın öldüğünü ispatlamak için Vlad'ın başı, Osmanlı birlikleri ile birlikte başkente getirildi. III Vlad'ın Kazıklı Voyvoda Oluşu

Voyvoda'lık döneminde rakiplerini çeşitli yöntemlerle cezalandırdı ve idam etti. Bu yöntemler arasında en ünlüsü olan "kazığa geçirme", ölümünden sonra kendisine "Kazıklı Vlad" (Vlad Ţepeş) adının verilmesine neden oldu. Kazığa geçirilenlerin kanlarını fıçılarda toplatıp şarap gibi içtiğine dair söylentiler daha sonra onun bir vampir olduğu efsanesine neden oldu. Bram Stoker III Vlad'dan esinlenerek Dracula adlı romanı yazdı ve bu III Vlad'ın, meşhur vampir Kont Drakula'ya dönüşmesine sebep oldu. Acımasız Olarak Bilinmesine Sebep Veren Olaylar

Binlerce insanın öldürülmesi: Toplamda farklı yöntemlerde 80,000 insanın ölümüne yol açtığı tahmin ediliyor. Günümüzde Romanya'da bulunan Targovişte bölgesinin dışarısında insanlara göstermek adına kazığa geçirip dizdiği 20,000 kişi de buna dahil. Cennete gitmelerini sağlamak adına rahipleri kazığa oturtması: Michael Beheim'in iddialara göre bir papaz ile konuştuktan sonra yazdığı şiire göre, Vlad 2 rahibi cennete kavuşturmak adına kazığa oturtmuş, ardından sahibinin ölümünün ardından inlemeye başladığı için eşeklerinin de kazığa geçirilmesini emretmiş. Türk elçilerini ziyaretleri sırasında öldürmesi: Antonio Bonfini'nin Historia Pannonica kitabında geçen bir bölüme göre Vlad, kendisine saygılarını sunmak üzere gelen Türk elçilerinin gelenekleri dolayısı ile sarıklarını çıkarmayı reddetmelerine sinirlenmiş ve başlarına üçer tane kazık geçirterek sarıklarını "çıkaramamaları için güçlendirmiş"tir. Bugün sizler için tarihin en acımasız 2 liderinden bahsettik. Cengiz Han vs III Vlad , kim daha acımasız? Karar sizin. Yazımızdan memnun kaldıysanız daha fazlası için sizler Kararsizin Tarih kategorisini incelemeye davet ediyoruz. Read the full article

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stiri-noi · 6 years

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Peste 250 de specialişti au participat la Customer Care Conference & Expo 2018

Până în 2025, 95% dintre interacțiunile cu clienții vor fi susținute de tehnologii de tip inteligență artificială. În acest context, evenimentul Customer Care Conference & Expo 2018 a dezbătut nevoia de a fi la curent cu schimbările și rolul oamenilor din acest sector.

Pe 18 și 19 aprilie, la Biavati Events București, a avut loc Customer Care Conference & Expo, cea mai importantă conferință de acest tip din Europa de Est.

Evenimentul a reunit peste 250 de specialiști în domeniul contact centerelor, atât de pe plan local cât și internațional, din domenii precum: Business Process Outsourcing, Shared Services, Telecomunicații, Finanțe & Bănci, Asigurări, IT&C, Retail, FMCG etc.

Principalele teme aduse în discuție în cadrul evenimentului organizat de Conference Arena, parte a Marketing Insiders Group, au fost: trendurile tehnologice și impactul lor asupra business-ului, schimbarea preferințelor de comunicare, cu focus pe rețelele de socializare, gestionarea Big Data, rolul machine learning și al inteligenței artificiale în contact centere și modul în care toate acestea influențează business-ul și oamenii care îl pun în mișcare. Nu în ultimul rând, felul în care toate acestea setează noi standarde de interacțiune cu clienții.

Concluziile celor două zile de eveniment au fost: imperativul înțelegerii rolului noilor tehnologii și necesitatea integrării lor în planul strategic de dezvoltare al business-ului, importanța comunicării în tot acest context, investiția în customer experience și în customer centricity și, nu în ultimul rând, investiția în oameni. Pentru că tehnologiile eficientizează timpii și costurile, însă nu înlocuiesc oamenii, ci le formează noi skill-uri.

Speakerii acestei ediții au fost:

Apostolos Kemos, Sales Director @Genesys

Heidi Butler, Regional Manager, Eastern Europe @Plantronics

Dan Mazilu, Owner Mediatel DATA și Simona Botner, Project Manager

Georgeta Diaconu, Finance Director @Federal-Mogul Motorparts

David Engel, CEO Romania @One Smart Star

Vlad Iliescu, Machine Learning Consultant, @Strongbytes

Razvan Atim, Sales Director @UiPath

Cristiana Ciucă, Innovation Project Manager @Societe Generale European Business Services și Dragoș Gavrilescu, Co-Founder al Design Thinking Society

Tvrtko Stosic, Contact Center Consultant @Avaya EMEA

Martijn Geerling, Associate Principal, Global Practice Leader GBS Advisory Program @The Hackett Group GmbH

Oana Munteanu, Senior Manager @PwC Romania

Delia Iliașa, Commercial Director @Medicover Romania

În cadrul Customer Care Conference & Expo s-a lansat şi cel de-al treilea număr al revistei Contact Center Magazine, singura revistă românească dedicată profesioniștilor care activează în domeniul customer care/contact center/outsourcing, care poate fi citita şi în varianta online aici: https://ift.tt/2I6gMbL

#afaceri

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sexymalenavels · 2 years

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Vlad Engels

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creamronald71-blog · 5 years

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Each team's lineup if season started today

We're less than a month away from Spring Training, so it's a good time to project what each club's Opening Day lineup will look like, or at least what it would look like if the season started today. With the help of all 30 MLB.com beat writers, here's a roundup of how they might shake out.

AMERICAN LEAGUE EAST

Blue Jays Initially, the Jays will be looking for a healthy, bounce-back year from second baseman Devon Travis and continued growth from shortstop Lourdes Gurriel Jr. and left fielder Teoscar Hernandez to support a lineup anchored by first baseman Justin Smoak, right fielder Randal Grichuk and designated hitter Kendrys Morales. But at some point soon, the real fun begins when the next wave of Jays stars reach Toronto -- outfielder Vladimir Guerrero Jr., infielder Bo Bichette and catcher Danny Jansen are all expected to arrive in 2019. Jansen likely will start the season with the Jays, and the other two won't be far behind. -- Gregor Chisholm