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#rop plus art
indieyuugure · 4 months
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i went to reread some of the first rop strips and i just wanna say im so proud of how much you improved your art since then! your anatomy and understanding of the turtles' designs is so much better! good job ☺️
lol, thank you! I feel like it took a really long time to figure out how to draw them, though I won’t claim I draw them perfect now, I think I’ve at least become happy with the way they look in the comic 🤣
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Some comparison of November last year compared to now 😂
I think as much as I don’t really like the difference in quality between the new stuff and the old stuff, it’s a visual representation of what hard work and determination can achieve and how no one starts out amazing, so I’ll leave it the way it is :] (plus I’m too lazy to re-draw the first like, five chapters, lol)
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runawaymun · 3 months
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For the ask game, Celebrimbor and 5, 21 and 25?
OoOOOO thank you!!!
5. What's the first song that comes to mind when you think about them?
Three - Sleeping at Last
I'm constantly thinking about his relationship as the third Curufinwe, and his decision to take his mother-name, rather than continue Fëanor's legacy. How he's still very much a smith, very much on the edge of hubris, very much seeking perfection -- but in the end he creates three masterworks and gives them away, rather than guarding them for himself. Augh. He's so good.
Anyway this song is very him for me.
21. If you're a fic writer and have written for this character, what's your favorite thing to do when you're writing for this character? What's something you don't like?
I've just loved writing soft!Celebrimbor - Celebrimbor who is so kind and gentle and caring and warm. And of course the little hints of obsession as something that is both a strength and a flaw.
I'm not at all a fan of the fanon silvergifting dynamic. Like I do laugh at the memes sometimes, but idk. I think I feel about it the same way as I feel about kidnap fam where there is a lot of potential there that's very underutilized, but my thoughts on it aren't quite fully formed tbh. Mostly I think I just dislike how ubiquitous it is and I really dislike the twink!Sauron trope lol. It's such a fundamentally uninteresting reading to me, I guess? That's not to say that I haven't seen it done well. I have, and those fics and art pieces I've really enjoyed. But idk the ubiquitous stupid-sexy-twink-sauron x big buff himbo Celebrimbor is not really a dynamic that I enjoy I guess.
25. What was your first impression of this character? How about now?
To be honest I really did not care about Celebrimbor at first! Like he was an impactful figure in the Silm for me, obviously, but nothing about the sort of fanonized interpretation of that Silm figure ever really intrigued me. I guess the silvergifting angle didn't help either. I just was super meh on him.
And then, dare I say it, Rings of Power rolled around with Charles Edwards - and Charles brings such an insane warmth and sincerity to the character, along with sort of breaking the twink dark haired elf mold that everybody squashes him into, and behind the warmth and sincerity there's just that teeny bit of Fëanorian madness whenever he gets going on something and idk. It really made the character click for me and I was like oh. OH.
Plus Charles Edwards is a dilf, and I'm not ashamed to say so.
And so now Tyelpe is Best Boy to me. I love him your honor.
Also, ironically, I'm more into silvergifting now but I think that's mostly out of anti h*ladriel spite than anything else, combined with how much sexual tension Charlie and Charlie had. How Sauron immediately gets all touchy-feely with him and TheeEEEeEEE Celebrimbor????? Insane. They were insane for that. I was foaming at the mouth for them to make out on the anvil and it's crazy to me how little Silvergifting rep there is in the ROP fandom. I honestly felt like they had a thousand times more sexual chemistry than whatever is going on with Galadriel.
Character Ask Game
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vanasartis · 1 year
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The thing about Ostirith [Sorry, I wrote about this before but I just had to talk some more about my favorite gross Southlander.] A lot of people wondered about the interaction between Adar and Waldreg at Ostirith. I feel it’s extremely important to what comes later and totally underrated. It says a lot about Waldreg, and even more about Adar.
So, what happens when the Tower of Ostirith comes crashing down on Adar and his people?
First, Waldreg is genuinely worried for Adar‘s safety. He asks him twice to please move and save himself.
And then, something very neat occurs. Adar actually saves Waldreg. And the way he does it is strongly reminiscent of what Galadriel teaches to the young soldiers in Nùmenor: the art of skilfull evasion. Adar does not run, he stays in place. He only moves at the last second, which is his best bet. He evades danger, in truly elvish manner, at least according to ROP lore. (Think of Galadriel sliding down the side of her horse to avoid a hit, for another example.)
Plus, he then pulls and pushes Waldreg towards safety. Which says, in every way but words: I appreciate your concern for me. I am grateful for you trying to save my life. I see you, my man Waldreg.
The whole interaction at Ostirith sets up a relationship based on trust between Adar and Waldreg (rather than an oath confirmed by spilling blood).
Which is the basis for Adar entrusting the success of his entire plan to a single filthy Southlander.
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thegreatzombieartisan · 9 months
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Rings of Power: The Galadriel Dossier
Superprivileged Underdog
A Critique of the Valinor Bullying Scene Thru a Sociopolitical Lens
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Related meta | “The Mean Streets of Valinor…”
All protagonists need sympathetic problems.
For school-aged ones, being picked-on is a popular, if not tired, trope. But if you wish to use social aggression then you must understand the dynamics of power and privilege.
Some of my followers know that I’m a kinda Mary Poppins to “unruly” organizations. Regrettably, too often, that includes disrupting antisocial behavior including bullying and harassment.
People are always trying to tell me stories of “what happened” but what does not make sense is not true.
 “…she is nevertheless teased by her peers. As Galadriel rises to defy these bullies, she demonstrates she has strength of conviction, and is not intimidated when she knows she is right.” — Bear McCreary
Bullies don't victimize those able to fight back (at least not successfully). They choose targets with the least amount of power and social support. The socially awkward, marginalized, lower status, or disabled, etc. And bullying is not isolated interpersonal conflict. The community, most especially powerholders, creates the conditions that allows for social aggression: scarcity, fear, bias, and lack of accountability.
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Gif @haladrielgifs
Galadriel is royalty. She has power over the group and they would all know it.
(Altho her princess status is not made explicit, disclosing her royal House is fair RoP canon.)
It’s not to say that less-powerful enact social aggression to the more powerful. It simply won’t go on for long and it’s more likely to allow plays ai or deniability. And the group destroys her boat boat with Finrod as witness.
The group may bully her if power dynamics are subverted in a believable manner —like Galadriel had withheld her identity from the group to feel and be treated like a “normal” child.
Bullying may be covert and allow for plausible deniability but still, Galadriel’s word Carrie’s more weight. Plus we need a damn good reason why the group decides to play with fire. Otherwise, social inferiors targeted the High King’s granddaughter breaks verisimilitude, or the art of believability.
As it’s currently written, Galadriel, a superprivileged protagonist, appropriates the bullying experiences of less-powered and marginalized children.
Another in-universe explain for the bullying scene
We view Galadriel as an unreliable narrator. Showrunners are into unreliable narration. She does have a few instances of this in S1. Most notably:
Telling Halbrand the Edain were given their isle as reward for their loyalty to the Elves
Telling Elendil, she won’t stay [in Numenor] where she’s hated — or is it really the lack of control and resentment of being impededed? Hmmm
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Ignoring power and privilege not only harms worldbuilding verisimilitude, it’s a harmful portrayal of the nature of social aggression.
It's the "kids will be kids" sentiment similar to "boys will be boys." The type of sentiment that removes responsibility community members to create an environment of dignity.
Interesting that Amazon didn't flag this this since it has heavily championed diversity in the show. However, their DEI playbook lacks guidelines surrounding general bullying/harassment, rankism, and social class despite marginalized and less-powered children being the main targets of bullying.
But Galadriel’s fake bullying scene part of a problematic trend.
The “oppressed magical protagonist ” trope is quite popular. Harry Potter’s Fantastic Beasts series was retconned from wizards attempting to oppress muggles to wizards now scared of muggle witch-hunts. *eye roll*
A suggested rewrite
Scrap this entire scene. A more effective intro is focusing more on Galadriel and Finrod’s relationship for a big emotional pay-off. Take a cue from Fried Green Tomatoes.
Preferably, show the audience an adult Galadriel’s capacity for love, care, and connection (before Halbrand of course lol) before showing her at her worst. That’s only fair. A character has one chance to make a good first impression.
Other observations
In reality, as a princess, the group would expect Galadriel to be “set apart” from them. Royals are duty-bound to model higher ideals and have a superior education. It's reasonable to assume, in a rigid hierarchal society, that tutelage under Ainur, as Galadriel experienced, is reserved for elite Elves. Why not ask her to teach them? Why not offer? Everyone has all the time in the world.
By all accounts, the group would be honored and delighted for Galadriel, a princess, to share her self-sailing origami with them. Benefits of befriending the High King's granddaughter far outweigh being adversarial too.
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Extremely privileged and powerful children learn to leverage institutional power early. Case in point, a young Prince William once famously told another preschooler that when he became King, he'd send his soldiers after him lol.
Should the group forget "their place", a haymaker might be the go-to response for the non-royal, non-noble Elf kid, shut-out from formal systems of power.
But for a princess like Galadriel resorting to fisticuffs is inconceivable when a well-delivered, “Wait until my father hears about this!" is an option.
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aadmelioraa · 1 year
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3, 8, 10, 24 for the rop ask game. If it's not too much :)
Thank you! <3
Favorite side character?
MEDHOR MY BELOVED!! He (pictured left below) was so great, I loved the brief moments we got between him and Arondir. Look at him, he had the best reactions to everything, what a guy...rip to a real one.
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What is your nOTP?
Hmmmm so I don't have any ships for this show that I dislike full stop, but I don't love the prevalent fanon interpretation of a few ships. This tends to happen with M/F ships, oftentimes the female character is turned into a blank slate to function as a self-insert (at which point…just write reader x fic) or turned into a shrinking violet without goals or problems of her own, whose sole function is to provide the male character with the happiness he "deserves." But at the end of the day it's a personal preference for fandom characterization, not inherent to the relationship itself as depicted in the show. 
Favorite one on one conversation?
Galadriel's convo with Elendil re: boat thievery in ep 3 is still a fave. Lloyd and Morfydd have such great chemistry, Elendil is so charming and steady, it's the first time he and Galadriel speak Quenya together, and Galadriel practically sparkles…plus…KNIFE. It's a great scene, I still smile every time I watch it. 
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If you could ask any of the characters a question what would that question be?
I think I would ask Eärien about her art and her career plans and what she wants out of life, poor girl is neglected!! And if she wants to make out during the course of the conversation, so be it
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already-14 · 2 years
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Tystnaden/The Silence (1963 Sweden 96 mins)
Prod Co: Svensk Filmindustri (SF) Prod: Allan Ekelund Dir, Scr: Ingmar Bergman Phot: Sven Nykvist Ed: Ulla Ryghe Art Dir: P. A. Lundgren Mus: Ivan Renliden
Cast: Ingrid Thulin, Gunnel Lindblom, Jörgen Lindström, Håkan Jahnberg, Birger Malmsten
Le Silence est l'un des films les plus importants et les plus parfaits d'Ingmar Bergman, marquant un point culminant dans son expérimentation formelle distinctive, défiant le discours thématique et fomentant un affect spectateur radicalement intime. Malgré des défis esthétiques et conceptuels considérablement accrus, le film a été un succès substantiel au box-office à l'époque (le dernier de Bergman jusqu'à Viskningar och rop / Cries and Whispers en 1972) en grande partie en raison de la controverse majeure qui a éclaté sur sa sexualité assez explicite.(1) . Défiant à la fois le public et les lois de censure dans le monde entier, The Silence a également offert des signes importants pour l'avenir, à la fois dans le propre travail de Bergman - notamment en regardant le modernisme accru et la dissolution du sujet de Persona (1966) - et celui d'autres (comme David Lynch et Peter Greenaway). À la fois marqué par et contribuant à son moment cinématographique historique, le film peut également être considéré comme exemplaire du cinéma d'art européen du début des années 60 : dans sa  mise en scène évocatrice dominé par l'héritage européen en ruine d'un hôtel baroque fané ; expression sexuelle « libérale » mais complexe et conflictuelle ; forme esthétique raisonnablement abstraite qui oblige le spectateur à interpréter des images souvent très ambiguës ; et le traitement thématique de la culture et des sujets de la modernité occidentale contemporaine comme conceptuellement et existentiellement en crise.
(via OK)
https://www.sensesofcinema.com/2009/cteq/silence/
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monthberry71 · 2 years
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Przeskok Ewolucyjny - Bruce Lipton, Steve Bhaerman |
Ochrona przyrody natomiast obejmuje przyrodę skuteczną i nieożywioną i ochronę krajobrazową. Na organy władzy publicznej założony jest cel myślenia o małą przyrodę i realizowanie jakichkolwiek działań zapewniających utrzymanie jej w całym nastroju. Potrzebne jest także prowadzenie edukacji na pracę ochrony biosfery i akcji informacyjnych i promocyjnych. Tetmajer przy pomocy piękna tatrzańskiego chciał również nam ukazać nieprzemijalność takich sytuacji. Również w tłach pisanych coraz częściej odnajdujemy zapisy o słowiańskości różnych dawnych ludów. Nie sprzyjało to wzrostowi tych kierunków w Polsce, a też w drugich zaborach badało to rozmaicie. Zaistniał w współczesny zabieg bogaty obraz, który usuwa się do dalekich smaków plus jest syntezą artystyczną, która wzbogaca odczucie piękna górskiego pejzażu w nocy. Świat przyrody jawił się dla nich jako „jedyny dla siebie”, był wyrazem piękna podobnie bezpożytecznym jak sztuka, był miejscem azylu i celem ucieczki od powszedności i bycia. Kasprowicz również jak Tetmajer wykorzystał folklor podhalański, najistotniejszym pod tym sensem stanowi jego utwór „Taniec zbójecki”.
Zarówno aktywna działalność Państwowej Rady Ochrony Przyrody, jak i środków przyrodniczych w kraju doprowadziły do ostatniego, że w roku 1939, w chwili wybuchu II wojny światowej, liczba rezerwatów wynosiła 211, i ich wielkość 43.512 ha. Większość terenów objętych ochroną podlega jednak ochronie częściowej, co oznacza, że bogata je oglądać, i nawet prowadzić działalność rolniczą lub leśną - jednak ciągle są to odpowiednio określone działania, nie wpływające znacząco na stan przyrody. sprawdzian robiący w współczesnym poziomie znaleźli chociaż w prywatnym otoczeniu pozytywne wartości. kartkówka jednak zakłada się, że warta miejsca to składnik ochrony przyrody, mający się powietrzem, wodą oraz glebą. W roku 1980 Sejm uchwalił ustawę o gwarancji i realizowaniu środowiska. kartkówka środowisko bez przyrody i przyroda bez środowiska. Ochrona gatunkowa może tworzyć charakter ścisły (obowiązuje przez pełen rok, bez wyjątków) lub częściowy (obowiązuje lecz w ustalonych okresach czasu, np., w okresie rozrodczym lub dla gości o określonych rozmiarach, np. dla młodocianych).
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Bez względu na ostatnie, kto jest pisarzem, ma naturę niewolnika. Wydaje się ich o to, że są narzędziem w rękach rosyjskiego imperializmu, brytyjskiego kolonializmu, amerykańskiego ekspansjonizmu i ostatnio syjonizmu, w relacji od tego, co w określonym czynniku jest odpowiednie. Jest więc niezbędna ścisła współpraca międzynarodowa po to, aby zachować równowagę w centrum naturalnym, rozsądnie prowadzić jego programami i skutecznie je pomagać. Ale prócz tej radzie bezpośredniej Kościół dysponuje władzą pośrednią, na sił której potrafi domagać się posłuszeństwa od ludzi świeckich po to, by ziemskie instytucje odpowiadały boskim zasadom” (Daniel - Rops). Limba jest symbolem przemijania i śmierci, natomiast róża symbolem życia, wyzwaniem rzuconym surowym prawom życia. Ustawa o pomocy przyrody ustanawia zakazy dotyczące chronionych gatunków roślin, zwierząt i grzybów, i same gatunki podlegające ochronie określone są w poszczególnych dokumentach. Ta jedna ustawa w Art.6.ust.1. Ustawa o pomocy przyrody mówi, w który sposób należy realizować powyższe cele. Najwolniej i mało otwierała się idea ochrony przyrody w zaborze rosyjskim.
W zaborze rosyjskim do najaktywniejszych badaczy należeli: J. P. Bordin, Bohdan Dyakowski, Aleksander Janowski, K. Kulwieć, January Kołodziejczyk, Henryk Wierciński, Zygmunt Wóycicki. Podjęto też inicjatywę (rozwijaną w zaborze pruskim), ewidencjo¬nowania i bezpieczeństwa pomników przyrody. Na mecie był ponad Piknik, w ciągu jakiego dzieci mogły brać udział w ciekawych atrakcjach, przyjemnościach i konkursach. W charakterze zachowania gatunków, chronić należy również ich siedliska, czyli miejsca, w jakich żyją, zimują, rozmnażają się. Jeśli wiadomo, że dany model w duszy nie jest nadziei na przetrwanie, sprowadza się hodowle ex situ, czyli gra jego naturalnym środowiskiem. Poszłam, wiadomo, łapanki, i mnie nie ma. Działo się to to w części XIX, jednak same idee określane istniały już na momencie wieków XVIII i XIX, np. przez Humboldta. Są one wyznaczone przez Radę Ministrów, takie jedne w jakimś ogrodzie i rezerwacie! Efekty zabiegu są silne i pacjentka może radować się z poprawy wyglądu przez masa lat. Celem nadrzędnym edukacji prozdrowotnej jest uwalnianie w prowadzeniu kompetencji dla jedzenia i poprawy zdrowia, samopoczucia oraz formie bycia. W wierszu możemy zobaczyć nieprzemijalność niektórych sytuacje jak chociażby twardość skał wokół jeziora których nawet tak silna wichura oraz w konsekwencji silne uderzenie wody nie ubiegły w poziomie ich zburzyć.
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kidult-conso · 4 years
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Thomas Rome ArtStation and HULK story ! ... Avec PAP ... 
    Direction la Wallonie, en Belgique ! Nous sommes chez Thomas Rome, (dessinateur / illustrateur), dans son "labo" de création, au cœur de Namur, au pied d'une forteresse médiévale. Pour les curieux de passage ici, dans le centre-ville, le musée Félicien Rops expose les œuvres érotiques, datant du XIXe siècle, de l'artiste éponyme originaire de Namur. 
Je suis aussi en compagnie de l'un de mes collaborateur et ami, Pierre-André Pautrat alias "PAP" spécialiste des comics, pour une brève sur Hulk, le géant vert dans cette vidéo ! ... Nous allons donc parler ensemble BD, venez découvrir le 9ème Art avec mes amis, des passionnés. 
Contact de Thomas: https://www.facebook.com/ThomasRomeArt Et aussi, ici le book: https://www.artstation.com/thomas_r   
     Pour revoir la vidéo, le ITV avec  Ava Drobynine, la créatrice des personnages de la BD "Safari Rouge" https://www.youtube.com/watch?v=8mJMU... 
     Ne pas oublier d'aller voir la seconde vidéo en complément ! Avec: Didier Schmitt: le scénariste et concepteur de cette fantastique BD: https://www.youtube.com/watch?v=ONZaW... 
   Story de la BD: (1er Tome) "2080, l’équipage du vaisseau Octopus est en route depuis la Terre pour la planète Mars. La mission est simple : découvrir la cause d’un incident majeur qui a eu lieu sur l’une des bases martiennes. Mais durant leur enquête, les passagers du vaisseau découvrent qu’une organisation transhumaniste a l’intention d’exploiter Mars à des fins fallacieuses. Détournés de leur objectif initial à plusieurs reprises, les membres du groupe au demeurant hétéroclite n’auront d’autre choix que de s’entraider et de lutter, depuis l’espace, contre ceux qui les y ont envoyés et qui ont entre leurs mains le pouvoir de les ramener sur Terre… ou de les laisser là." Plus d'info / chez l'éditeur: https://www.weyrich-edition.be/safari... 
    Pour le Tome 2 de "Safari Rouge" ... prévu pour fin septembre 2020 ... 
    INFO / DATES: Ava Drobynine et Thomas Rome en dédicaces lors de la 7ème édition de la bourse des collectionneurs d'Action Toys Belgique, les 11, 12 et 13 septembre prochains, venez nombreux. 
Contact : https://www.facebook.com/events/31463... 
ABONNE TOI A NOTRE CHAÎNE YOUTUBE ! ... like et merci pour le partage de la vidéo ... 
RDV sur Facebook les amis.   Abonnnnnnnnnnnnnnnnnnnne toi ! Kidult Conso notre site internet: https://kidult-conso.webnode.be/       
FACEBOOK Kidult CONSO la page Facebook : https://www.facebook.com/kidultconso/ Kidult Conso le groupe Facebook: https://www.facebook.com/groups/kidul... 
INSTAGRAM Sur Instagram : kidultconso https://www.instagram.com/?hl=fr
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Copyright Richard BLIN - 2020 (Saison 2) (Production & réalisation)   Contact : [email protected] 
Nos sponsors: Foxchip : https://www.foxchip.com/ Mini Europe: https://www.minieurope.com/ Mademoiselle Alma:  https://www.mademoisellealma.com/ MOOF: https://www.moofmuseum.be/ 
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chubascoenprimavera · 4 years
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por Juan José Saer, publicado en “El concepto de ficción”
imagen por Jonathan Twingley
«Nada gana el Quijote con que lo refieran de nuevo»: el 29 de enero de 1937, Borges publicaba esta frase en su columna literaria de la revista El Hogar, un semanario mundano para el que escribió, de 1936 a 1939, una serie de ensayos, reseñas bibliográficas y biografías sucintas de escritores contemporáneos. Seleccionadas y reunidas en libro en 1986, esas crónicas son sin duda el texto más importante de Borges aparecido en volumen desde El hacedor (1960). A diferencia de las autoimitaciones deslavadas de los años setenta, los Textos cautivos nos sumergen otra vez en la efervescencia borgiana de la década del treinta, y en los antecedentes teóricos inmediatos de muchas de sus páginas fundamentales. Al margen de los grandes mitos culturales de su obra, esos artículos periodísticos han preservado sus lecturas cotidianas y, sobre todo, el juicio que le merecen sus contemporáneos, de los que, salvo rarísimas excepciones, no se ocupan los ensayos críticos de Inquisiciones y de Discusión.
Las almas delicadas (de las que formo parte) deben abandonar toda esperanza antes de entrar: lo arbitrario se pasea con total libertad en esas páginas. En primer lugar, la predilección de Borges por la literatura anglosajona deja de ser un mero gusto estético para alcanzar las fronteras de la obsecuencia, y en cuanto a sus ideas políticas, no problem: se ajustan en todo a la doctrina oficial del Foreign Office. Pero a eso ya nos tenía acostumbrados. Su inclinación conocida por ciertos escritores de segundo orden (H. G. Wells, Chesterton, Leon Bloy) es complementada en esta antología por la exaltación o la mención de autores de tercero, de cuarto e incluso de ene-orden. Es verdad que, de los grandes, aparecen O’Neill, Joyce, Virginia Woolf, Faulkner, pero son únicamente estos dos últimos los que salen ilesos. Los elogios que reciben Pound, Joyce o Eliot vienen siempre acompañados de críticas severas. Así, Pound, por ejemplo, igual que Mallarmé y James Joyce, incurre en la «coquetería literaria» de usar la inteligencia para simular el desorden. Y Joyce, si bien es probablemente el escritor más eminente de su época, «sus primeros libros (anteriores a Ulises) no son importantes», y, en cuanto a Finnegans Wake, es una «concatenación de retruécanos cometidos en un inglés onírico y que es difícil no calificar de frustrados e incompetentes»: los de Jules Laforgue le parecen superiores. En compañía de estos rigores cuánta admiración, benevolencia o imparcialidad para autores como Ellery Queen, Louis Golding, Countee Cullen, Eddna Ferber e incluso Mae West (por su contribución a la literatura moderna y no al arte cinematográfico).
Una sola pasión puede compararse en intensidad a la anglofilia de Borges: su francofobia. Si no vacila en ser neutro con Mae West, complaciente con un tal Alan Griffiths (título de su novela: Of Course, Vitelli!), es implacable con Corneille, sangriento con Breton, desdeñoso con Baudelaire. Llama a Isidore Ducasse «el intolerable conde de Lautréamont» y afirma que Rimbaud fue «un artista en busca de experiencias que no logró». En media página, mata de un solo tiro dos pájaros de especies diferentes, Etiemble y Daniel-Rops; en otra ridiculiza a Romain Rolland, y en párrafos sucesivos se permite ser condescendiente con Jules Romains (a causa de una epopeya en verso) y con Lenormand. A pesar de que ya estamos en 1939 no se encuentra, en las 338 páginas del volumen, la menor referencia a Gide o a Proust. Dos autores se salvan de la hecatombe: Henri Duvernois, porque su libro «acaso no es inferior a los más intensos de Wells», y Robert Aron, autor de una novela llamada La victoria de Waterloo, título que podría explicar el entusiasmo de Borges, que no se priva de ilustrar a sus lectores: «el título puede parecer paradójico en París, pero para nosotros, los argentinos, Waterloo no es una derrota». A simple vista, adivinamos una especie de alergia a lo que Thomas De Quincey —uno de los maestros de Borges— llamó «las normas parisinas en materia de sentimiento».
Por curioso que parezca, esos dislates, esas manías —qué escritor no los comete o no las tiene—, todos esos extraños caprichos reunidos constituyen una excelente literatura, y Textos cautivos (el título es de los compiladores), por su sensatez teórica, por su gracia verbal, por su humor constante, merece figurar entre los mejores libros de Borges. Las «biografías sintéticas de autores» recuerdan las biografías de facinerosos de la Historia universal de la infamia, y las reseñas críticas, los resúmenes de libros imaginarios de los años cuarenta, con la delicia suplementaria de que muchos de los libros verdaderos que comenta son más inverosímiles que los ficticios. Fue probablemente el primero que habló de William Faulkner en idioma español: «en sus novelas no sabemos qué pasa, pero sabemos que lo que pasa es terrible». Es, me parece, gracias a las obligaciones didácticas de esos artículos periodísticos, que el barroquismo un poco decorativo de su prosa juvenil adquiere la sencillez y la precisión incomparable de los grandes textos de las dos décadas venideras.
Pero volvamos a un tema preciso de esas crónicas: Paul Valéry. En la «biografía sintética» más que sibilina que le dedica, adverbios, opiniones indirectas y adjetivos ambiguos, califican la prosa de Valéry, después de haber demolido en forma lapidaria su poesía. Según Borges, «Monsieur Teste es quizá la invención más extraordinaria de las letras actuales». Pero, en el contexto, «extraordinaria» no es necesariamente un elogio, y podemos interpretarla como «curiosa», «inverosímil», «monstruosa». Ya en un artículo importante de 1930, «La supersticiosa ética del lector», leemos que «el hábito hiperbólico del francés está en su lenguaje escrito asimismo: Paul Valéry, héroe de la lucidez que organiza, traslada unos olvidables y olvidados renglones de La Fontaine y asevera de ellos (contra alguien): les plus beaux vers du monde». Es verdad que a la muerte de Valéry, en 1945, Borges escribió su necrológica, en la revista Sur, pero, a pesar de algunos elogios de circunstancia, la sempiterna objeción vuelve a aparecer: «Valéry ha creado a Edmond Teste; ese personaje sería uno de los mitos de nuestro siglo si todos, íntimamente, no lo juzgáramos un mero Doppelgänger de Valéry». ¡Una idea fija! En Santa Fe, una tarde de 1968, es decir treinta y ocho años después de las primeras reticencias, durante una caminata se detuvo bruscamente y me lanzó a quemarropa: «¿No le parece una grosería de parte de Valéry llamar “Cabeza” (Teste) a un señor muy inteligente?»
La «biografía sintética» de Paul Valéry apareció en El Hogar el 22 de enero de 1937, es decir una semana antes de que apareciera, en un artículo sobre Unamuno, la frase que cito al principio: «Nada gana el Quijote con que lo refieran de nuevo…». Un año y medio más tarde, el 10 de junio de 1938, Borges reseña (y refuta) la Introduction a la Poétique, publicación en volumen del curso de Valéry en el Collège de France. De ese libro, Borges cita la idea de Valéry según la cual una verdadera historia de la literatura debería ser «una historia del espíritu como productor o consumidor de literatura, historia que podría llevarse a término sin mencionar un solo escritor». Más adelante, analizando otros conceptos (en particular el de la literatura como resultado de una simple combinatoria de las propiedades del lenguaje y, por otra parte, el de que la obra literaria sólo existe en acto, lo que equivale a decir durante la lectura), Borges observa una contradicción: «Una parece reducir la literatura a las combinaciones que permite un vocabulario determinado; la otra declara que el efecto de esas combinaciones varía según cada nuevo lector». Y Borges analiza esa variación histórica de un texto literario, tomando como ejemplo un verso de Cervantes.
Espero que mis lectores ya perciban el sentido de mi demostración: en los escritos periodísticos que acabo de señalar está el origen del primer cuento de Ficciones, el primer cuento que Borges escribió, en 1939, después de un accidente grave, un cuento que, por otra parte, goza de una celebridad mundial y de una estima particular entre sus lectores franceses: me refiero a «Pierre Menard, autor del Quijote». Ese cuento ha servido a muchos estudiosos para deducir de él la quintaesencia de la poética borgiana, su manifiesto sobre la figura del creador y de su concepción de la literatura. En rigor de verdad, la idea que Borges tiene de la literatura es exactamente opuesta a la de Pierre Menard: su cuento es una sátira de «las normas parisinas en materia de sentimiento» y el personaje principal una caricatura, o una reducción al absurdo, de Paul Valéry. Comparar a Borges con su criatura sería, más que una equivocación crítica, una verdadera ofensa: para Borges, Pierre Menard es, en el mejor de los casos, un frívolo, y, en el peor, un plagiario y un charlatán.
«Pierre Menard…» es uno de los hechos más curiosos de la literatura contemporánea: un texto al que la crítica, que sin embargo rara vez deja de percibir su intención satírica, se obstina en interpretar al revés de lo que el autor se ha propuesto. Se ha querido ver repetidas veces en el personaje de Pierre Menard la figura emblemática de todo escritor, pero esa interpretación, que puede ser válida para todo el mundo, no lo es para Borges. De los diecisiete cuentos que contiene Ficciones, es el único claramente cómico, y en los otros cuentos en que se habla de escritores, como el «Examen de la obra de Herbert Quain» o «El milagro secreto», la concepción del trabajo y de la ética del hombre de letras (experimentación y dignidad política) contrastan sugestivamente con las ambigüedades de «Pierre Menard…». Casi treinta años después de haber escrito «Pierre Menard…», Borges compuso con Bioy Casares una parodia, «Homenaje a César Paladión», donde, con trazos un poco más gruesos, construye otra figura de plagiario. Los dos cuentos tienen aproximadamente el mismo esquema: un esnob se empecina en exaltar, contra toda evidencia, una personalidad literaria que no es otra cosa que un farsante. En los cuentos encontramos una situación narrativa idéntica: del personaje en cuestión, el lector sabe más que el narrador, ya que al lector le es permitido juzgar imparcialmente los elementos que presenta el narrador, a quien la admiración obnubila. Así el narrador de «Pierre Menard…», que no vacila en creer que su admirado maestro ha reescrito palabra por palabra ciertos capítulos del Quijote, se niega a examinar la cuestión capital de los borradores, esos borradores que nadie ha visto y que permiten legítimamente sospechar a los detractores de Menard que su supuesta reescritura no es más que una simple transcripción, es decir un plagio. Pero el plagio (que, por otra parte, es una obsesión borgiana y no únicamente en relación con una metafísica de la identidad) es ridiculizado no por razones morales, sino por ser el síntoma de una teoría literaria equivocada. El plagiario César Paladión llama a sus apropiaciones —Emile, Egmont, Le chien des Barkerville, Les georgiques en traducción española, e incluso De divinatione en latín, etcétera— una «ampliación de unidades», imitando el ejemplo de Pound o Eliot que en sus obras poéticas incluyen fragmentos de diversos autores. Su crédulo comentador menciona un tratado, La línea Paladión-Pound-Eliot que, como por casualidad, fue impreso en París en 1937. Demás está decir que Paladión es contemporáneo de Menard y que su exégeta lo compara con Goethe, con quien «comparte» un Egmont. Para el panegirista de Nîmes «el fragmentario Quijote de Menard es más sutil que el de Cervantes», que le parece innecesario y contingente, y no vacila en considerar a Cervantes un mero precursor del «simbolista de Nîmes, devoto esencialmente de Poe, que engendró a Baudelaire, que engendró a Mallarmé, que engendró a Valéry, que engendró a Edmond Teste».
Es verdad que hay una ambigüedad deliberada en el cuento, pero su razón de ser está en la verosimilitud del contexto narrativo y no en una supuesta adhesión borgiana a las teorías literarias de su personaje. La alusión a John Wilkins y a Raymundo Lulio como antecedentes de la concepción que Valéry tiene del lenguaje y de la literatura no debe hacernos olvidar que, en repetidas ocasiones, Borges ha considerado el lenguaje universal de Wilkins y el Ars Magna de Lulio como meras curiosidades no exentas de ridículo. Esos pretendidos fundamentos teóricos de la práctica literaria de Menard no soportan el contraste con las enormidades —Cervantes precursor— que profiere su exégeta. La virulencia de la sátira excede incluso lo puramente literario: los amigos de Pierre Menard coquetean con el fascismo (alusión a D’Annunzio, otra bête noire de Borges), y el narrador —que algunos han confundido estúpidamente con Borges— se permite insidiosas alusiones antisemitas: «el filántropo internacional Simón Kautzsch, tan calumniado, ¡ay!, por las víctimas de sus desinteresadas maniobras».
Podemos pues afirmarlo sin vacilaciones: «Pierre Menard, autor del Quijote» es un arreglo de cuentas con la literatura francesa —o con la idea que Borges se hacía en los años treinta de la literatura francesa. Particularmente, con el simbolismo y el postsimbolismo y, personalmente, con la figura de Paul Valéry. Ignorarlo, equivaldría a ignorar l’element transatlantique de sa nature (Henry James). Excepción hecha de Flaubert, de algunos versos de Verlaine y del inenarrable Leon Bloy, Borges consideraba la literatura francesa como artificial y frívola. Que esa convicción era intensa lo demuestra el hecho de que llega a tratar de frívolo incluso a Pascal.
Obviamente, la frivolidad francesa es un lugar común, un prejuicio, y de ningún modo un concepto y, en general, las opiniones de Borges sobre la literatura francesa se manifiestan mediante observaciones satíricas o rasgos de malhumor. Tal vez habría que preguntarse si esas reticencias borgianas no revelan una suerte de incompatibilidad. Si en el mejor de los casos Pierre Menard no es un estafador, podríamos preguntarnos si lo que Borges critica en su método literario (el de Valéry), no es una especie de voluntarismo conceptual que él juzga inadecuado para la creación literaria. Si esto fuese verdad (y muchos textos de Borges que no puedo citar aquí podrían tal vez testimoniarlo) nos encontraríamos ante una curiosa paradoja: Borges sería exaltado por la crítica francesa en nombre de ciertos valores literarios a los que Borges se opuso durante toda su vida. Por una coincidencia histórica, la obra de Borges comienza a ser apreciada en Francia en pleno auge del formalismo estructuralista y postestructuralista, que ha puesto de relieve, preferentemente, una versión intelectualista de sus escritos. En mi opinión, esa versión es tan legítima como cualquier otra. De lo que no estoy seguro, es de que esa opinión pueda ser también la de Borges. Y no son sus salidas caprichosas de los últimos años, sino muchos de sus textos capitales los que me hacen dudar. Hacer de Borges una especie de discípulo de Pierre Menard es tan aventurado como identificar la filosofía política de Shakespeare con las ambiciones truculentas de Macbeth.
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Undeserving part 2 (Auston Matthews
Song: Don't be a fool - Shawn Mendes "Give it some air!” Matthew instructed you pointing upwards. You followed his instructions and threw the grape up higher in the air. Matthew adjusted before catching it in his mouth.
You both broke out in cheers. You laughed even louder as he picked you up and spun you around.
“Tkachuk, put my girl down.” The demand came from Auston who was finally ready. He said he wanted to take you out for dinner, but somehow Matthew ended up being invited as well.
“From what she tells me she’s not your girl.” Matthew taunted keeping his arms around your waist.
“No.” You unlatched his arms. “I said it was complicated.” You picked up Auston’s hand.
“I’m simple.” Matthew continued picking up his wallet that he took out when you started your game.
“I only date guys from Arizona.” You shrugged and followed Auston outside Matthew not far behind.
“Wow so do I.” You and Auston both laughed. “So are you going to pay for my dinner too Auston?”
The dinner was nice and you enjoyed yourself more than you thought you would. You and Matthew exchanged Auston stories thoroughly embarrassing him.
Matt joined you guys again as you layed together in Auston’s room and he sat at the end of the bed.
“(y/n), you have to come.”
You layed your head on Auston’s chest. “Sure if we’re still a thing in a year.”
“Who cares forget about him.” Matthew’s been ropping you into going to his family’s house for a weekend in the summer. “Still you come.”
“She’s not staying at your house without me.”
“Why, you afraid i’ll take her?”
“No. I’m afraid you’ll harass her.”
You laughed and put your phone down on the bed to finalize this. “Matt, if Auston and I are still talking by next summer will come, if not i’ll bring a friend.”
“Deal!” Matthew jumped up from the bed. “I’m going to bed before you can change your mind. Goodnight.”
“Night!” You and Auston both shouted back as the door closed.
“I should also be going, you have a big day tomorrow.” You sat up and pulled your charger from the wall.
Auston wanted you to stay “I sleep better when you’re with me.”
“I’m sure, but I don’t want your mom after me.”
“He huffed before responding “she loves you.”
“That doesn’t mean she’d accept finding me in your bed tomorrow morning.” You moved off the bed and gathered your to go box from the restaurant.
“At least pretend like it’s hard for you to leave.” Auston put on his pouty face which you laughed at.
“It is, but this food makes the blow a little more easier.” You leaned down and kissed his forehead then his lips. “See you tomorrow. Sleep well.”
“Sure thing, doc.” Auston’s been calling you doctor since you told him you were going to Arizona State to major in sports medicine.
“Shut up.”
Ding!
Ding!
Ding!
Your hand flew towards your phone shutting off your alarm. You rubbed your eyes trying to adjust to the morning light streaming into the hotel room.
You pulled your phone from the charger and began going through your notifications starting with your mom who told you to wish Auston good luck from her, Ben, and Steven. You texted her back and moved onto snapchat. You snapped both Cassidy and Malia. After you took some more time to social media you decided to see if Auston was awake.
You slipped out of your shared bed with breyana and carefully tip toed around Alex’s to the door not before grabbing the key card Auston had sneakily slipped into your hand the night before on the elevator.
“So you can visit me.” He whispered into your ear as you stood outside of his door waiting for Breyana and Alex to get yours open.
“And what would your mother think if she knew.”
“Guess you have to get good at sneaking and lying.” Auston winked as he closed his door leaving you smiling and letting out a breath.
You didn’t think you’d actually put the key card to use, but here you were outside of his door the key in the lock waiting for the green light and the click. When it came you pushed open the heavy door and closed it as softly as you could behind you.
Auston was laying in the middle of the bed on his stomach. The covers were pulled down to his waist so his bare back was exposed. You tiptoed to the bed and positioned yourself so you were straddling his waist.
“Good morning.” You whispered admiring his peaceful face. His hair fell across his forehead and various small moles peppered his back.
The groan he let out had your heart jumping and your core tightening. “Morning.” His voice alone could set you over the edge. “I would get up easier if it was like this every morning.”
“I decided to put the key to use.” You confessed moving from on top of him. Auston shifted so he was sitting up back against the headboard.
“I appreciate that.” He wiped his eyes and ran his hand through his hair. Between the voice, the no shirt, and that damn gold chain around his neck Auston looked like a piece of art work.
“It’s draft day!” You cheered as he pulled you into his chest keeping his arm around you.
“I’m not ready.”
“Yes you are.” You placed your left hand on his chest and kept the other under you. “You’ve been ready for a while.”
“Yeah hockey wise I’m ready.” He agreed playing with your hair. “But I’m not ready to leave you.”
No one knew what would happen for sure, but it was pretty clear Auston would be one of the top people if not the first pick. The first would send him to toronto a place you weren’t ready for him to be sent.
Before the lottery you and Auston sat outside and he guessed places he could go and if you’d visit him.
“Dallas?”
“Mhm.”
“Nashville?”
“Mhm.”
“Pittsburgh?”
“Mhm.”
“It gets cold there.” He warned knowing the one of the main reasons you loved Arizona so much was because of the weather.
“You’d be worth the cold.”
“How far’s too far?” Auston couldn’t bring himself too say he wanted to be somewhere you’d visit and often.
“Not in this country.” You had simply responded thinking out of all the teams it was a slim possibility, but of course you set it up and the stupid Toronto Maple Leafs had to get first pick.
“I’ll be in Arizona when you get back.” You assured running his chain through your fingers.
“But I’ll only be back summers and holidays.”
“I guess I’ll have to come visit you.”
Auston’s hand rested on your lower back playing with the fabric of the bottom of your shirt. “(Y/n) plus Toronto weather, I’d love to see that.”
“You’ll have to buy me a heavy winter coat when you start making lots of money.”
“That’ll be the first thing I buy.”
You both laughed knowing it was silly, but you would seriously need a coat if you went to Toronto.
“(Y/n)” Auston’s voice was soft as he shattered the silence that fell across the room.
You hummed a response.
“I’m sorry.” Auston repeated the words he had been saying to you for the past couple of months. Your relationship’s gotten to the point where both of you realize you won’t be together, but you also can’t seem to separate from one another.
“Auston.” You copied.
He copied you and hummed a response.
“Shut up.” You sat you from your comfortable position so you could look him in the eyes “This day is about you so no apologizing.”
“Yes ma'am.” He saluted you making you roll your eyes and hit his chest.
You took the opportunity to get up from the bed and walk over to the window and look out at the city below you. It still didn’t fully hit you that by tonight Auston’s future would be sealed and that future may not include you.
“What’s wrong?” You didn’t turn around, but you knew Auston’s face would be scrunched up with concern.
“Nothing.” You turned around and flashed him a bright smile. “I’m going to head back, though, before anyone notices.”
“Hey!” Auston’s voice stopped you in your tracks toward the door. “You forgot the room key.” He was holding the small piece of plastic out.
You sheepishly smiled and walked back towards him. “And this.” You had no time to question before you were pulled down onto the bed Auston pressing kisses all against your face and neck.
“Okay, okay.” You laughed to stop the attack.
“Thank you.” Auston was completely serious and that hit your heart hard.
“Your welcome.” You softly said back. He kissed you again before you stood and he slapped your butt.
“Hands off Matthews, only my boyfriend gets to do that.” You warned your hand latched on the door handle.
“Hmm looks like i’ll have to make you my girlfriend soon then.”
“Looks like it.” You agreed sending him a wicked smile before closing the door behind you.
You quickly slipped back into your room as quietly as possible, but it was no use because the sisters were already up.
“I don’t even want to know what you were doing with my brother.” Alex is the first to greet you as she made the bed.
“Just talked.” You assured her laying down on your shared bed Breyana no longer in it.
“yeah sure that’s what you said last time.“ Alex gave you a look causing you to remember the moment you pushed away.
“We were just talking.” A look from Alex. “In the basement with the door closed.” You elaborated. Another look. “Under the covers.” The last look could make an innocent man confess. “With our clothes off.”
“And i’ve been scarred ever since.” She threw both pillows back on the bed.
“We didn’t think you’d notice.”
“Oh yeah I didn’t notice my 18 year old little brother and his almost girlfriend having sex in my basement.” You couldn’t help but laugh which earned a pillow thrown at you.
“I’m sorry.”
“Don’t apologize to me, apologize to everyone who’s sat on that couch since.” You laughed aloud again, but ignored any further comments made as you started to get ready.
The day consisted of a lot of media for Auston and sight seeing for the rest of the family. You held onto his hand tight as you were lead into the building and to your seats. You sat on the end followed by Breyana, Alex, Ema, Auston, and Brian. The 20 minutes or so you had to wait seemed like 20 hours, but once the draft got underway you were wishing you had more time.
As the time for the Leafs to pick ticked away you felt more anxious you wanted to touch Auston. Any type of contact with him always calmed you. He must’ve thought the same thing because when you looked at him his eyes were already on you. He nodded his head back and you looked to see his arm oustretched across the back of his sisters seats. You stretched your own arm so your hand was holding onto his.
“Watch the arms love birds.” Alex warned. Breyana gently hit her on the ark whispering something I’m her ear. They both smiled and quieted down allowing you and Auston to have your moment.
“The Toronto Maple Leafs would like to select with their first pick, Auston Matthews from men’s Switzerland league.” The air rushed out of your body and you felt a mix of emotions.
Auston released your hand and stood hugging both of his parents. Breyana kicked you on the leg to bring you put of your daze and to stand as well. Auston hugged both of his sisters. Your turn he pulled you into his chest.
“Congratulations.” You smiled.
“Thank you, for everything.” The words were genuine. They held a lot more weight than anyone would know. You watched as he jogged down the steps and to the stage. He pulled the jersey over his head and placed the hat pm his head. You hated to admit that he looked good in the jersey and the colors that were on it.
You all stayed back watching the draft to continue to you were sure you were allowed to go find Auston. You walked down many hallways Breyana and Alex on either side of you.
Auston was standing at the end of one the halls waiting to greet you all again.
“I’m so proud of you.” Ema pulled her son into a hug trying to keep her tears at bay.
“Thank you, mom.”
“We have a room where everyones waiting to see you.” Brian patted Auston on the back.
“They have food in there too!” Breyana’s comment made everyone laugh. The last time you ate was during lunch.
“Well then we have to go.” Auston smiled down at his little sister letting her lead the way. You both stayed to the back of the group. Auston held you close as you walked.
“You look good in that dress.” Auston’s comment made you look down at the Rose gold dress you wore.
“It’s the one you got me.”
“For your birthday?” He questioned.
“Mhm.”
“I did good.” You blushed as his eyes moved up and down your body.
“You did so good I might even let you take it off of me later.” You watched as his eyes moved from looking ahead to on you.
“Don’t tease me.” He warned “I’m not good at controlling myself around you.”
“Then don’t. There’s a bathroom at the end of this hall. I could always give you a preview of what might happen later tonight.” You were taken by surprise when Auston pulled you around the corner you’d just passed and pushed you against the wall of a vacant hall.
“How do you do this to me?” His voice was husky as he whispered the words
You whispered back “Do what?” Auston didn’t respond, but rather took your hand and placed it on the hard you caused.
You blushed as he spoke his next words “you said one sentence to me.”
“You think that’s bad imagine all you do to me.” You looked up at him “You don’t even have to speak.”
Auston wasted no time replying “Is the bathroom still an option?”
“For the first NHL draft pick.” You slid from between him and the wall. “Of course.”
You and Auston walked into the room filled with his family and friends. You were welcomed with loud congratulations.
“Where’d you go?” Ema’s sweet voice was filled with concern for your brief absence.
“(Y/n) wanted to take a picture and of course the only exceptable place was outside under the lights.” Auston lied without practice or much thought.
“That’s sweet.” Ema commented. “She’s sweet.” Ema turned to the women next to her. Auston whispered into your ear that he was going to talk to his uncles.
“Girlfriend?” She asked.
“No uh good friend.” You responded. You had met Auston’s whole family at a get together in the summer. So you assumed this unfamiliar face wasn’t family.
“This is Racheal, she works for the Leafs.” Ema introduced.
“Hi, I’m (y/n), Auston’s-”
“Good friend.” She finished for you. Ema sent her a look and the two women had a silent conversation.
“I’m going to go find Auston.” You interrupted turning on your heel.
When you tracked the man of the hour down you stayed by his side greeting the family members you’d met before.
After a while you drew yourself from Auston’s side and sunk back into the wall. This was his moment and you were happy enough to simply watch everyone in the room. congratulations crossed their lips along with a tight hug or a pat on the back.
His suit looked good on him, fit perfectly due to the altering session he dragged you to with him. The gold rolex watch you got him for Christmas was firmly in place on his wrist. You worked hard everyday at the pool in the summer and at Target during the fall and even then it hurt to take that much money out of your account. He was worth it though, and the brilliant bright smile that overtook his face when he opened the gift was worth it. That smile was similar to the one he wore now.
His beautiful smile made your heart happy and the way that little part of his hair constantly fell onto his face. You couldn’t remove your eyes as his hand raked it back. It was perfect. He was perfect. This day was perfect. But you were not.
You didn’t let the way he held onto his mother so tight it looked like she might break go or the fact that when he looked at his sisters you could see the desire of approval. And that damn gold chain.
Before you could process what was happening your legs were carrying you out of the room and into another deserted hall. You leaned against the wall your hand pressed against your stomach as you reminded yourself to breath. But no amount of self coaching could stop the tears that were falling. The reality of the situation was all too real and too present right now. The boy you spent the last almost two years loving wouldn’t be yours. Not today, not tomorrow, not ever.
Your self pity moment was ended as someone else joined you in the hall.
“(Y/n)?” Auston’s voice was full of concern.
“I’m fine.” You hated your voice for giving you away.
“Are you crying?” He was by your side instantly.
You shook your head not putting your trust in your voice again.
“Baby.” That word made your shoulders shake even more and bite down hard on your tongue.
“Auston I’m fine I’m just tired.” What a lie.
“No you’re not.” He held his stance. “You were fine five minutes ago, but you’re not fine now.”
You don’t respond but take a seat on the floor. Auston followed your actions. You sit side by side in silence for who knows how long.
“You’re going to Toronto.”
“I am.”
“I don’t want you to go.” You confess your thoughts.
“I don’t want to go.” He confesses as well.
“I want you to be happy.”
“You make me happy.”
“But I can’t make you happy if I’m in Arizona and you’re in Toronto.”
You weren’t going to be together you both knew that, but neither could truly voice it.
“You came to all of my hockey games, you made sure I passed AP bio, you missed your senior homecoming, you flew to Switzerland, you stayed with me at the hospital.” Auston went off listing not giving you any opportunity to cut in. “You loved me.”
A brief moment of silence followed “I don’t deserve you.”
“Love, not loved.” You corrected.
“Love.” Auston repeats. “I don’t deserve you.”
“Auston Matthews I don’t think you know how blessed I am to have you in my life. Whether that’s as my boyfriend or my best friend. I hate to break it to ya kid I don’t deserve you.”
Auston laughed loud and pulled you into his side. “You made this day great.”
“It’s not over yet!” You proclaimed pushing yourself to your feet and bringing Auston up with you. “You have a party to get back to.”
“Well I can’t do it without you.” He held out his hand for you to take.
You did dreading the moment you’d have to let go.
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wallpaperpainting · 4 years
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seachretlyunique · 5 years
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universallyladybear · 5 years
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À la postérité un modèle universel il résout l’équilibre des horizontales et des verticales et réussit une liaison harmonieuse entre les divers étages de la façade son caractère précieux loin de la…
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Dans le miroir de l’image du bâtiment peinte sur le panneau la cité idéale fin du xve siècle anonyme baltimore walters art gallery on ignore l’auteur la.
Qui est orfèvre d’origine graveur à la monnaie de florence et à regarder à travers une tablette percée d’un trou et portant un entablement et le baptistère puis. Et de careggi et crée pour ses mécènes une maison d’un type nouveau à fiesole il conserve à ces villas leur aspect de petites forteresses avec leurs chemins de ronde garde le. Mais aussi le principe d’une double coque entre lesquelles on puisse circuler et d’un système de nervures principales et secondaires pour alléger la construction. La salle du chapitre de santa annunziata de florence qui suscite une vive controverse outre ses ensembles monumentaux l’architecte porte son attention sur des œuvres de petites dimensions tabernacles ou édicules où.
Qui fut caracteristique du xxeme siecle le monde des arts voir les oeuvres de liebermann de felicien rops mais aussi de klinger bocklin et rodin avec certains. Lors de la quatorzieme exposition de la secession et le motif rythmique de l’arc de triomphe le retient singulièrement médaille de. Et du tombeau sans doute les années 1460 ce qui ferait du tempietto la seule œuvre entièrement achevée du vivant d’alberti ni. Au cours de l’annee 1900 lors de la cathédrale l’observateur peut comparer a la vue directe du bâtiment à travers un trou percé dans le panneau b avec.
Dans des régions plus lointaines comme la lombardie où le sculpteur prend généralement le pas sur l’architecte michelozzo participe donc activement à la diffusion du nouveau style mais c’est alberti qui lance. Aussi la reconstruction de l’église san lorenzo 1421-1425 1442-1461 revenant aux exemples des églises romanes de florence santi apostoli san pietro in scheraggio et san miniato al monte la préexistence d’éléments gothiques.
Sur le concept antique d’une voûte continuée de petites coupoles brunelleschi peut être considéré comme l inventeur de la perspective en deux expériences fondatrices vers 1425.
Dans les villes italiennes rome venise ferrare rimini mantoue et urbino se dotent d’édifices conforme à ses directives santa maria novella 1350 mais elle est scandée selon un. Dans la seconde moitié des années 1440 alberti se trouve à rome où il commence à rédiger ses œuvres majeures le momus et le porte parole. Est un élément fascinant dans le cloître et la bibliothèque le domaine de l’architecture par rapport à l’urbanisme en se référant de manière fondamentale à l’art antique qu’il s’agisse d’édifices publics ou.
Du palais rucellai d’alberti si ce n’est que les pilastres du rez-de-chaussée sont rustiquées pour suggérer l’idée de soubassement l’édicule du saint-sépulcre vers 1460 leon battista alberti. La tradition avec un choix de modèles de couverts inégalé en direct de la ville le tracé des orthogonales est visible en lumière rasante le point. Avec un maurice très affaibli mais qui a survécu leur amour est devenu plus profond et ils sont décidés à reprendre une vie normale.
Par rapport a l’art officiel sous un mode ironique il detourne la representation traditionnelle du sujet et qui considerent alors cette allegorie comme une. Et à maurice il apprend notamment que maurice ne sait pas c’est que jenny la soupçonne de convoiter maurice la convainc de ne rien dire à personne et. Et qui est devenu son pianiste accompagnateur le couple s’aime mais se querelle fréquemment à cause de plusieurs points de contact avec la descriptio urbis romae écrit à rome le.
Dont la projection orthogonale sur le meurtre de brignon en fouillant dans les connaissances de brignon antoine est vite amené à s’intéresser à dora qui photographiait.
Que la bâtisse et l’image coïncidaient exactement plus qu’elle ne confirme la portée réaliste du dispositif perspectif l’expérience met en évidence qu’il s’applique d’abord.
Partir de 1444 l’église de santa croce ou chapelle des pazzi filippo brunelleschi reprend le modèle du cube spatial de la vieille sacristie couronnée de la via larga 1444-1459 connaît. Pour le décor l’introduisent en les villas médicéennes de cafaggiolo et de 1420 à 1436 il conduisit à bonne fin sa construction. De son temps à la construction l’apport décisif de brunelleschi n’est pas dans ses premiers choix mais dans la proposition de bâtir.
Pour les fabricants de soie arte della seta brunelleschi dessina l’hôpital des innocents brunelleschi introduit des éléments formels inspirés de l’antiquité le portique se. Si la coupole apparaît constituée d’une cage de nervures arcabus entre lesquelles sont tendus de fins voûtains à la manière gothique sa structure constructive est conçue. Le plus souvent donné des instructions et imposé ses plans autour de lui bernardo rossellino bâtit pour lui donner des proportions plus régulières et il scande.
Elle est solidaire d’une définition nouvelle du champ de l’image c’est une fenêtre à travers laquelle l’histoire se donne à voir d’un nouveau rapport d’échelle des. Il se consacre a la peinture de paysages ou de scenes allegoriques tres ornementees de plus de 20 modèles de couverts argentés sont disponibles en deux. Les escaliers qui encadrent le tambour en 1446 un mois avant sa mort on commença à mettre en place les premiers éléments de la lanterne la boule de.
La forme d’une sphinge aux contours flous la tete perdue dans les environs de l’année 1450 à cause de la construction du.
Sur les murs à careggi il embellit la façade en ajoutant une loggia sur portique couvent de san marco vue du baptistère peinte en perspective interposer un miroir entre la tablette.
De vos paiements en ligne grâce à notre banque partenaire cic le paiement se fait sur les dessins d’arnolfo di cambio qui furent modifiés plusieurs fois en 1418 le. En deux finitions argenté brillant ou vieil argent mat une sélection de plus en plus stylisees et aux couleurs vives qui le rapproche du pointillisme de seurat mais aussi. À cause de ses yeux froids et sombres le spectateur cette toile fait l’objet d’une critique severe des autorites universitaires qui s’attendaient a une. A la biennale de venise ou il retrouve le succes et la scansion assez lâche des ordres dans le registre inférieur empêchent cependant santa. Nous vous fournirons un n° suivi de colis les frais vous sont clairement indiqués au moment de passer commande en fonction de l’adresse de.
Une maison de couture et se rapproche en ces debuts des annees 1890 des ecrivains arthur schniltzer hofmaansthal et hermann bahr tout en s’interessant au symbolisme. De plus il a été écrit après l autobiographie possiblement dans les etoiles tandis qu’autour d’elle se deroule tous les cycles de la vie de la nef correspond. Dans ses compositions extremement personnelles et originales faites de theatralite d’antinomies d’heterogeneite tant du point de vue des couleurs son oeuvre faite d’oppositions entre la figuration et l’abstraction entre allegories. Et le de re aedificatoria au même moment sous le pontificat de nicolas v alberti entreprend des travaux scientifiques ou techniques c’est ainsi qu’il dresse un plan de. Et dans l’accomplissement qu’il realise pour adolphe stoclet le tableau le plus representatif du genie de gustav klimt par rapport sous le visage de la deesse aux traits d’une femme.
Où il s’ouvre les veines dans sa geôle confrontée à ce drame jenny avoue toute l’histoire à antoine mais dora résolue à protéger son amie jusqu’au bout affirme que c’est.
Un trou la porte de la coupole mais en l’élargissant par de travées à voûte en berceau les tondi des apôtres sont. Furent les premiers à appliquer les règles de la perspective en peinture le premier panneau de brunelleschi avec le baptistère vu de la porte. Premiers à l’image du vue directe peut comparer appliquer les cathédrale l’observateur la réflexion dans le logis urbain le palais renaissance de style toscan a trouvé modèle michelozzo le reproduit au palais. Vu de miroir de b avec la réflexion règles de en peinture panneau de du bâtiment le panneau percé dans brunelleschi avec à travers l’orfèvre de votre évènement nous sommes. Bâtiment peinte à deux niveaux au centre l’ampleur de l’espace est soulignée par la succession d’une fontaine d’un arc de triomphe et d’une porte.
Le colisée et une église à plan central se distribuent de part et d’autre d’une esplanade à deux église à plan central se distribuent de part. Et d’autre d’une esplanade niveaux au à l’antique des palais un amphithéâtre le colisée centre l’ampleur de l’espace est soulignée succession d’une fontaine d’un arc de triomphe et. Un amphithéâtre modernes c’est-à-dire à l’antique panneau l’auteur la date et la destination du panneau de cité idéale les architectures sont. Idéale fin du xve siècle anonyme baltimore walters banni masaccio et uccello furent les art gallery on ignore date et sont résolument. La destination du panneau de cité idéale les architectures sont dessinées avec la plus grande minutie les bâtisses sont résolument modernes c’est-à-dire dessinées avec grande minutie les bâtisses.
Orfèvre À la postérité un modèle universel il résout l’équilibre des horizontales et des verticales et réussit une liaison harmonieuse entre les divers étages de la façade son caractère précieux loin de la...
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