#lucarelli
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A quanto pare, grazie a feisbuk non abbiamo più bisogno della Cassazione.
Siiiiii , perché oggi basta chiedere alla Lucarelli se una cosa è vera o falsa.
Per amore della verità una donna, per altro brillante, ormonale ma brillante si può mettere alla guida un Esercito di decelebrati da tastiera al linciaggio acciocché facciano giustizia.
Il post della pizzaiola (riposi in pace povera anima), è falso?
Ma sticazzi.
Il post è vero ?
Ma sticazzi.
Da altra parte questa (cito zero calcare), è l epoca del grazie al cazzo
Ami la verità? Grazie al cazzo.
E quindi chiunque si può elevate a giudice di quelli che scriviamo e pensiamo, controllare l ortografia , e la punteggiatura e se qualcosa non torna , giù una valanga di merda, sparata da gente triste e arrabbiata, perché la loro vita è una merda e in qualche modo si devono sfogare.
Pareva distopico il giudice dreed, ma invece ci siamo arrivati, solo che invece della motorella, viaggia su internet.
Meditate gente meditate.
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Dragon pyjamas, palazzo pyjamas, made by Galitzine, in pink silk with a wildly whimsical print and gold sculptures of brown winged dragons; the pants, ample, the top a simple camisole. Turkish slingback pumps in the same dragon print by Lucarelli.
Pyjama dragon, pyjama palazzo, réalisé par Galitzine, en soie rose avec un imprimé fantaisiste sauvagement et sculptures en or de dragons ailés bruns ; le pantalon, amplement ample, le haut un simple caraco. Escarpins turcs à bouts retroussés, dans le même imprimé dragon, de Lucarelli.
Photo Karen Radkai
vogue archive
#us vogue#june 1963#fashion 60s#1963#spring/summer#printemps/été#galitzine#irène galitzine#italian style#lucarelli#pyjamas#evening set#tenue de soirée#karen radkai
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Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared
The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!
#ACLA24#ACLA24Leaders#youtube#youtube video#climate leaders#climate solutions#climate action#climate and environment#climate#climate change#climate and health#climate blog#climate justice#climate news#weather and climate#environmental news#environment#environmental awareness#environment and health#environmental#environmental issues#environmental justice#environment protection#environmental health#Youtube
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La mamma di Genova e quei dubbi di Selvaggia Lucarelli sulla sua iniziativa solidale: “Ci vuole attenzione, certe parole possono ferire” - Il Secolo XIX
"Bisogna usare con cura le parole, ricordando che hanno un peso e talvolta possono ferire più di quanto sembri". Valentina Torriti.
⚠️
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ricardo lucarelli eu te amo TANTO
#ele fazendo uns 500 aces no jogo#ele é uma figura paterna pra mim#ricardo lucarelli#lucarelli#smv#seleção masculina de vôlei#volleyball
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Whispers of Tranquility - Michael Lucarelli (solo piano)
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Watch the 2024 American Climate Leadership Awards for High School Students now: https://youtu.be/5C-bb9PoRLc
The recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by student climate leaders! Join Aishah-Nyeta Brown & Jerome Foster II and be inspired by student climate leaders as we recognize the High School Student finalists. Watch now to find out which student received the $25,000 grand prize and top recognition!
#ACLA24#ACLA24HighSchoolStudents#youtube#youtube video#climate leaders#climate solutions#climate action#climate and environment#climate#climate change#climate and health#climate blog#climate justice#climate news#weather and climate#environmental news#environment#environmental awareness#environment and health#environmental#environmental issues#environmental education#environmental justice#environmental protection#environmental health#high school students#high school#youth#youth of america#school
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L’intenzione è quella di completare il recupero di una delle piazza più importanti di Narni: piazza Garibaldi. “L’amministrazione comunale aveva chiesto un finanziamento alla Fondazoine Carit – fa sapere il Comune – per restituire la giusta dignità a questo spazio pubblico, riconsegnandolo pienamente a cittadini e turisti, sottraendolo al congestionamento delle auto in circolazione e sosta,…
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CRIME FICTION TRANSLATOR INTERVIEW: JOSEPH FARRELL
Joseph Farrell is Professor Emeritus in Italian at the University of Strathclyde, Glasgow. He has translated several Italian novels by the likes of Valerio Varesi and Leonardo Sciascia. His theatre works include English editions of plays by Dario Fo, Eduardo De Filippo, Carlo Goldoni and Luigi Pirandello plus three film scripts by Giuseppe Tornatore. He is co-author with Franca Rame of Non è tempo di nostalgia and La mia vita, le mie battaglie with the novelist Dacia Maraini. His latest Varesi translation is The Unseen, which has been published in the UK through Patrician Press.
Matthew Ogborn: How much fun is it to translate Valerio's novels, which are packed with so much atmosphere unique to a particular region and so many characters that sing on the page in manifold ways?
Joseph Farrell: "Every exercise of translation is a mixture of enjoyment and frustration, a combination of challenges which can lead to a pleasurable sense of achievement or to downright despair. The reference to the 'atmosphere' which is 'unique to a particular region' goes to the heart of the matter. Atmosphere is intangible but vital, and recognising it as central to translation work is the key to the success of any translation. Not all linguistic dilemmas can be wholly resolved, although most can with care and imagination, but there are elements which are specific to the individual writer, some of which escape their notice and as such defy the translator's efforts.
"George Steiner identifies four moments in the process of translation: trust, aggression, incorporation, and retribution. 'Trust' and 'retribution', he writes, honour the source text and the author's intentions, while 'aggression' and 'incorporation' are associated with the efforts of the translator. I like that distribution of responsibility between writer and translator.
"Translation is thus a co-operative work, even if the original writer is dead or unco-operative. Valerio Varesi was highly co-operative, always prepared to answer queries and enter into discussion. A watershed book on translation was Lawrence Venuti's The Invisible Translator (1995) but never before has the translator been so visible and translation so much discussed, rarely by practitioners. Tim Parks is an exception, and unsurprisingly his essays are the ones I find most helpful and acute. Venuti made a much discussed distinction between two tendencies in translation, the tendency to 'foreignise' and the competing wish to 'domesticate'. Parks said that he mistrusts any translator who does not feel both of these urges.
"I agree, but the tension between two remains. Translation is a process of remaking, but what is the writer's role and what is the translator's? This is not to lend any credence to unjustifiable notions of the translator as 'second author', since the author's part is to develop plot, character, individual scenes and encounters, debate questions of values, advance certain views and reject others, and together these elements constitute the author's vision and dictate his style.
"The translator's task is to convey this creation in another language to readers of another culture. The translator has to devise voice and context, to collaborate with, and never contest, a recasting of the original. Transposing the vision is feasible, if challenging, but re-creating the style is the equivalent of the labours of Hercules. D. H. Lawrence, the greatest of the writer-translators – whatever the deficiencies of his knowledge of Italian – insisted on respecting the specificity of Verga's Sicilian work, and particularly of his dialect.
"One of Valerio Varesi' remarkable talents as a writer is his ability to create lively, engaging dialogue, notable especially in the interrogation scenes where his detective is intent on drawing out information, often without alerting the other person he is under suspicion. Equally, the more personal conversations between Commissario Soneri and Angela are reported with skill and sensitivity.
"His works are set in very particular geographical area, the city of Parma and the banks of the Po. He creates the terrain for his fiction, and his readers return to it with the joy of recognition of characters and landscapes. This carefully defined landscape presents no greater barrier to the task of the translator or the enjoyment of the reader than does a novel set in Dostoyevsky's Saint Petersburg or Balzac's Paris. As I noticed while translating successive novels by Varesi, the passages of descriptive prose, particularly of the scenery along the Po or in the countryside outside Parma, were reduced in number in successive books. Perhaps he was unaware of this shift, or felt that he had made his scene sufficiently concrete in the early novels, for there is a sense that all his crime fiction constitute one ongoing, developing novel.
"However, they are also set in an equally definable social, moral or even spiritual zone. The classical detective story, Anglo-American in origin, was essentially a moral tale, and so too are Varesi's. Further, his characters are vividly drawn, bursting with life, with a richness of experience which expressed not just lived experience but elements of local and national history. That added to the delight, and difficulty, of rendering his work in English."
How does Valerio differ from the other Italian authors that you translate from the native language?
"It is the merest cliché to say that every writer worthy of the name expresses his own world and his fiction expresses his reaction to it. Varesi is interesting for, among other things, being author of two genres of fiction normally held to be quite distinct – the crime story and the political novel. On the one hand, he has written a trilogy of novels on post-war Italy, while on the other he has written a series of detective stories featuring Commissario Soneri, but in important aspects the two series merge. His gialli are not merely works written as pastimes or vacuous entertainment to while away empty hours, perhaps while travelling by train; they constitute examinations of Italian society.
"Soneri and Angela recall their own youth in the years of the contestazione, evoking not just the passion of those years but the belief, commitment and hope of that time, and contrast them with the cynicism and shallowness of the power-worship of political practice now. He surveys aspects of Italian society by means of the detective novel. For instance, in River of Shadows, he examines the complex legacy of the Resistance, in Gold, Frankincense and Dust the ecclesiastical influence and in The Lizard Strategy he probes political corruption.
"In some novels, he introduces an oracular figure, an outsider, perhaps a displaced tramp or a priest, whom Soneri meets to converse on matters which transcend the crime investigation and which probe the values, or lack of values of society. This ability to pose awkward political and social questions differentiates his work from that of his contemporary crime writers in Italy or abroad."
Both as a translator and writer yourself, what is it that makes Italy so fascinating to you and how important is crime fiction in commenting on society particularly with the current political landscape shifting towards the right again?
"There are two very different questions here: a) I have written extensively for newspapers and journals on Italian politics, and the main point I want to make is that the love I feel for Italy, its culture and society – and for Sicily in particular – is of a quite different order from the political dimension of Italian life. My affinity with things Italian is entirely impervious to any distaste for the conduct of politicians. I should add that I also detest the condescending way in which British commentators tend to observe political behaviour in Rome, or Palermo, as though the conduct of politics in Westminster were of an intrinsically superior level. This judgment has suffered a jolt with events at British Cabinet level in the 21st century.
"I went to Rome in the 1960s and attended university for three years. I was studying philosophy so a knowledge of the literature came later, but I was immediately fascinated by the city, the exuberance of life lived at a different tempo from any I was accustomed to, even by the climate which made possible the banal fact of living outdoors. I was also drawn by Rome's overlapping historical periods as visible in stone, and particularly by its architecture. Nothing made as strong and impact as the diverging styles, and rivalry, of the 18th century contemporaries, Bernini and Borromini. I had no interest then in Italian politics. This multi-dimensional fascination with Italy cannot be shaken.
"b) In crime fiction, there is no Italian equivalent of the village or drawing murder story of the Agatha Christie type, even if Christie herself is translated and widely read. There is a map of Italian crime writers which covers all Italy, Varesi in Parma, Sciascia and Camilleri in Sicily, Lucarelli in Bologna, and Machiavelli in Turin. They are all linked to their own native places, but the probes in their crime fiction reveal the deep ambiguity of their relationship to these places. They are not afraid to expose beneath the surface decencies a hidden, concealed foundations. This probing has become more relentless since the emergence of Berlusconi as a political force, and the emergence of the League as a national, not regional power. It is reasonable to assume that this wish to view crime not as the act of a deviant individual but as a symptom of a social ill will continue under the government of the extreme right coalition led by Giorgia Meloni."
Read the English version of my Valerio Varesi interview HERE.
Leggi la versione italiana della mia intervista a Valerio Varesi QUI.
#joseph farrell#crime fiction#valerio varesi#agatha christie#sciascia#camilleri#lucarelli#machiavelli#parma#sicily#bologna#turin#bernini#borromini#commissario soneri#the unseen#river of shadows#the lizard strategy#University of Strathclyde#Dario Fo#Eduardo De Filippo#Carlo Goldoni#Luigi Pirandello#Giuseppe Tornatore#Franca Rame#Non è tempo di nostalgia#La mia vita le mie battaglie#Dacia Maraini#Patrician Press#George Steiner
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RICARDO LUCARELLI SO FINEEE 😍😍
#was watching the world cup 2019 brazil vs japan and i did NOT know who to root for#THEYRE ALL SO GOOD WTF O SCREAMED#also#lucarelli#and ishikawa#AND NISHIDAAAA
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UNA VOLTA HO SCRITTO DUE COSE
Non importa quali e dove.
La prima la scrissi tanti anni fa - tredici - e a mia discolpa posso dire che ero un individuo profondamente diverso, più rabbioso e ipergiudicante, ma di fatto questa cosa scatenò tutta una serie di reazioni nei confronti di una persona che fu costretta a sparire per il pubblico lubidrio.
Io ero già 'famoso' - le virgolette vi dicono quanta compassione mi faccio solo a usarlo, questo aggettivo - e questa persona una perfetta sconosciuta che, non si era forse comportata in modo simpatico ma lo squilibrio tra la mia capacità di insultarla - e soprattutto farla insultare - e la sua capacità di difendersi era ENORME.
Tre anni fa, quasi quattro, invece, in pieno Covid decisi di affrontare l'argomento pandemia e vaccino su una pagina FB creata all'uopo e lì potei toccare con mano lo squilibrio tra me e loro... nel senso che di sicuro io ero più competente ma loro erano di più e quindi mi ritrovai, fisicamente, a non riuscire più nemmeno a rispondere o interagire perché gli insulti, le accuse e gli auguri di morte erano così variegati e numerosi che cominciai a provare sconforto e, a tratti, amarezza.
Sia 13 anni fa come 3 anni fa l'errore fu tutto mio, nel senso che mi illusi di avere una verità più vera di quella di altri e che alla fine questa verità avrebbe prevalso.
Verità...
La stessa parola che hanno usato Selvaggia Lucarelli e Lorenzo Biagiarelli, per amor di ricerca della quale hanno massacrato mediaticamente una poveraccia che voleva fare pubblicità al suo locale con una recensione gay friendly farlocca e che poi s'è ammazzata per la disperazione.
Una cosa la voglio dire, a voi tutti, me 'famoso' compreso...
Non siamo così importanti.
Io sono un cinquantenne sovrappeso che guadagna 1300 euro al mese e si sveglia urlando nel mezzo della notte. Nei prossimi vent'anni probabilmente mi verrà un tumore o un accidente cerebrovascolare e prego già da ora Crom di farmi schiattare alla svelta per non diventare un doloroso peso per le persone che amo. Magari un giorno vi chiederete perché non posto più e qualcuno vi dirà che sono morto dilaniato tra le lamiere della mia macchina dopo esser volato giù da un monte.
Dove sarà tutta la mia 'importanza' e a che cosa sarà servita?
Quindi, per cortesia, non parlatemi di 'ricerca della verità' quando non siete altro che dei miserevoli strisciaschermo con due o tremila follower che usano il pollice opponibile giusto per afferrarsi le caccole in fondo al naso.
Giornalismo di inchiesta e ricerca della verità... Mauro de Mauro e Heidegger si stanno rigirando così tanto nella tomba da aver perforato la crosta terrestre e io a quegli ignobili individui vorrei dire una cosa, consapevole che lo squilibrio di potere tra me e loro è così grande da non temere che abbiano a soffrirne.
Il giornalismo di inchiesta e la ricerca della verità si fanno per denunciare grandi ingiustizie e schierarsi dalla parte delle vittime, mentre voi siete solo frignanti individui meschini che neghereste di aver rubato la marmellata pure se vi colasse dalle orecchie.
Se per le masse siete quel tipo di eroi, allora ricordate di tenere sempre il passo e di non cedere mai perché la vostra gente ha coltelli, forchette e tanta fame... ed è un attimo che il prossimo pasto diventiate voi.
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US Vogue October 1, 1963 🖤🖤🖤🖤🖤
Model/Modèle Veruschka von Lehndorff
Bistro checks on tweed, in black and white, making the skirt of a shift and softly tailored jacket with a wideVd open neckline. Emerging from this, the shift-top: black velvet with high cuffed collar. Suit of Gandini wool. Black Velvet beret by Canessa. Shoes by Lucarelli. Hair Pablo, Elizabeth Arden, Rome, Filippo
Carreaux bistrot sur tweed, en noir et blanc, formant la jupe d'une veste droite et légèrement cintrée à large encolure dégagée. En émerge le shift-top : velours noir à col haut à revers. Costume en laine Gandini. Béret en velours noir par Canessa. Chaussures par Lucarelli. Coiffure Pablo, Elizabeth Arden, Rome, Filippo
Photo Karen Radkai
vogue archive
#us vogue#october 1963#fall/winter#automne/hiver#fashion 60s#sixties#italian designer#italian style#federico forquet#canessa#lucarelli#veruschka#veruschka von lehndorff#karen radkai#elizabeth arden#gandini wool
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Funziona un po' come le difese dell'Io. La negazione la fa da padrona mentre si porta avanti l'irrazionale. Tutto è spiegabile eppure niente ha senso.
La mente arriva dove può. I paraculi dove riescono. I venduti dove conviene. Gli ipocriti dove pagano.
#paraculi#ipocrisia#zombie#società#società malata#svegliatevi#aprite gli occhi#sistema#manipolazioni#verità#selvaggia lucarelli#mondo marcio#covid#virus#correlazioni#salute#schiavi#sanità#discernimento
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Terrific talk covering protective spirits in the underworld, the messengers of the gods who caused plagues, and the magic spells used alongside medicine to drive the evil spirits off.
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Mystic Reflections - Michael Lucarelli (solo piano)
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