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"The Vast" history of the brand Aleramica

Wind off has already dealt with the legend of Aleramo and Adelasia. Today we publish a study by Guido Herald reconstructing the history of the brand and Aleramica Bonifacio del Vasto.

Guido Herald

The Vast

in place names in the province of Cuneo slender recollection of the name is found in Monastero Vasco. Nothing is known of the old political structure - Directors of Terra Alta Langasco. It is reasonable to assume that in Roman times was divided between the towns of Alba Pompeia (now Alba), Aquae Statiellae (Acqui Terme), Pollentia (Pollenzo) and Augusta Bagiennorum (Benevagienna).
Finds of gravestones at St. John Sale, more precisely in carts, with citations of Pobilia gens, leading to suppose that the ancient and powerful town hall Ingaunorum Alba (Albingaunia, then Albenga) would include the Val Tanaro up Ceva and spaced at the Langa Ceban famous for its dairy cows, low stature, and for its cheese market in Rome, as documented by writers Columella and Pliny the Elder.
Val Bormida of the West, to Millesimo, was probably part of the municipality of Alba, the plaques found in Gorzegno and Vintage, which is cited in the gens Camilla who gave Rome the Emperor Pertinax.
Val Bormida of the East, to Spigno, belonged to the town hall instead of Aquae Statiellae.
Certainly the "Terra Alta Langasco" was affected by a major road network, very old, which connects the Monferrato and sub-alpine valley with ports riparian of Vada Sabatia and Albenga
The later times, overwhelmed by the barbarian invasions, are immersed in the deepest darkness. There are vague and fragmentary reports of the Byzantine forts: fortifications, since the invasion of the Lombards was stopped for more than fifty years from prepared defenses along the river Stura Tanaro. The dark slightly thin out until the last, worst invasion of the Saracens!
E 'at this point that emerges from the darkness of the little light imperial diploma dated 23 March 967, written by Otto I in Ravenna. In this document, which some historians do not feel authentic, but the tampered copy of an original has been lost, are mentioned sixteen curtes located in locis desertis as "Terra Alta Langasco! There is described a land emptied of men listed as "desertis locis" means the Waste! The 16
curtes are native to the core brand Aleramo for granted: the leader who had finally defeated the invading Saracens, according to tradition. Tradition is not confirmed by historical documents.

The only historical record on the Saracen invasion in Piedmont in Chronicon Novaliciensis is given, which relates how in 906 the abbot of the prestigious William Novalesa Abbey was forced to a stampede, with its monks, carrying the relic more preziosa, quella di San Secondo, martire della legione Tebea; ma non esiste un riferimento preciso ai Saraceni, agli Arabi, ai berberi islamizzati. Tant’è che alcuni storici si spingono a considerare l’invasione araba una favola, proliferata in epoca romantica, nonotante nella toponomastica abbondino località come “Casa saracene”, “case del Moro”...
La marca aleramica presentava confini precisi, specificati nel diploma ottoniano: era delimitata dal fiume Tanaro a occidente e a settentrione, dal torrente Orba a oriente e dal Mare Ligure a meridione; il Vasto originario! E del Vasto la “Terra Alta Langasca” ne era il cuore, l’essenza!
Da allora i discendenti di Aleramo became known as the "Marquis of Waste".
Later, between the eleventh and twelfth centuries, the Vast or Guasco year old and very much swelled to identify with the domain of the Marquis Bonaficio, covering roughly the current provinces of Asti, Alessandria, Cuneo, Imperia and Savona, the Roya Valley. One was remarkable for its time!


Abbey Novalesa

Early in the twelfth century, the Marquis Boniface was one of the most illustrious princes of the Holy Roman Empire and boasted personal friendships with popes and emperors. He was the son of Berta and Tete and on the brand Aleramica reigned for forty years: 1090 to 1130. His story is exemplary for the age in which he lived and, in addition marked by four marriages with several children.
The scant information about him suggest that Boniface did not hesitate to fight Manfredo brothers Anselmo and to ensure their dominance on the brand of his father. Legend has it that in the quarrel with Anselm had crept a matter of heart: Bonifacio madly in love with the bride's brother. ("Woman desponsata" already committed, it is written in old parchments). A woman of extraordinary beauty.
Boniface Anselm and eliminated in some way managed to marry her, provoking the ire of Pope Gregory VII, famous for Canossa. That warlike Pope non esitò a scomunicarlo nell’anno 1079 e impose ai vescovi di Torino, Acqui e Asti di opporsi in ogni modo a quel matrimonio “che gridava vendetta al cospetto di Dio”. Per contro, l’antipapa Clemente III, fedele alleato dell’imperatore, lo assolse; ma i figli che nacquero da quel matrimonio tormentato furono considerati illegittimi dal diritto canonico.
Qualche anno dopo la giovane marchesa morì, forse per un parto, e Bonifacio convolò in seconde nozze con Alice di Savoia, figlia di Pietro, conte di Susa, e da quell’unione nacquero cinque figli: Tete, Pietro, Manfredo, Ugo, Guglielmo, e una figlia, Adelaide.
Alice di Savoia, marchesa notoriamente virtuosa, che si denudava sotto the blankets to her husband for undisclosed "foul as Eva, died in 1111. Now the prolific Bonifacio, who was resigned to the role of inconsolable widower, moved to third wedding. This wife is not known by name and even the family, but we know that it had four children: Anselmo, Bonifacio, "the young man," Henry and Otto. Following this wife also died, and then the Marquis of Waste brought to the altar Agnes, handsome lady, some sources pointed out as the grandson of Philip I, King of France.
The second marriage, the one with Alice of Savoy, had been particularly fruitful, since it had allowed the Marquis of Waste to claim rights to the southern domain Arduinica brand, which corresponded to the lands from Ivrea to subalpine Ventimiglia. As son of Count Peter of Savoy and the grandson of the Duchess Adelaide, sister of his mother, Berta, face assert these rights. Thus Boniface succeeded in unifying the lands that stretched from Monte Viso to the Riviera Ligure di Ponente and the Langhe, despite the opposition of the bishop of Asti, the Municipality of Genoa and the counts of Savoy, who resented the birth of such a marquis power on their borders.
Bonifacio of the Waste was also the last Marquis to play an important role nell'inquieta city of Savona, next to standing up for a free commune, and also had a major role player in the events of the Great Lombardia. He succeeded, in fact, to impose its own favored Grosoli Ferrania already canonical, as archbishop of Milan in the frantic days when it was organized the crusade of Lombardi. A company that claims to be
Bonifacio was influential, especially when you consider that it was a dark GROSOLI canonical Ferrania
happened at the time that the bishopric of Savona was vacant and two emissaries were sent by the archbishop of Milan with a view identify who should sit on that chair important in a city notoriously riven by internal feuds. The divisions, in fact, seemed incurable in the great seaside village, where the marquis authorities struggled to impose themselves. For this reason the archbishop of Milan, first time also included the Lombardy, Liguria, had decided to intervene personally. And who met the emissaries in Milan? The Marquis Boniface, of course! And where do they meet? A Ferrania, at the abbey he founded, away from prying eyes and ears.

Abbey Ferrania

In those times close to the Marquis pointed yoke mount his own candidate for the office of the bishop of Savona: Canon GROSOLI with which lingered in long games of chess every time he came to Ferrania, which abounded in the vast woods to hunt deer surrounding where the summer is never hot to the constant wind that blows from the sea.
In fact, faced with the unusual proposal, the envoys of the archbishop were amazed: the Abbey of Ferrania of recent foundation, belonged to the diocese of Alba and, consequently, the same canon was alien to the clergy of Savona.
Bonifacio sporting a disarming smile and explained that this characteristic was not an issue, and indeed in some ways could be beneficial. The GROSOLI good, in fact, was no stranger to the convulsive events of those troubled streets, where the same authority as the Marquis struggled to assert itself. It would have been a kind of "ecclesiastical mayor"!
Thus the canonical Ferrania became bishop of Savona and with this appointment the Marquis Boniface succeeded in humiliating the arrogant people of that proud city, the enemy of Genoa, but willing to do the same in the municipal statutes. In fact, the election of GROSOLI provides a unique opportunity to assert the authority of a marquis within those walls, where stands the tallest towers, showing the power of the merchant families. The Canon
GROSOLI all amazed at the way he dresses, too spartan: he liked to wear a humble hood and was so thin that it seems skeleton, because of prolonged fasting to which submitted. But even if Less attractive, canon that shy and reserved, dedicated to the ascetic life, was endowed with great culture was certainly the Latin and is clearly a good command of the Greek language of poetic technique, unusual for a cleric. From that day
GROSOLI star began to shine like a comet, more and more vivid.
Bonifacio, Marquis realized, was right! The canon of
Ferrania was warmly embraced by Savona, both by supporters and families marquis merchant, as a stranger, a stranger to their intrigues, and therefore considered a "super partes". But it was his short stay in that city! The fate unpredictable GROSOLI claimed elsewhere. After the acclamation
in the cathedral, the new bishop to the archbishop's emissaries in the distant city of Milan, in order to be consecrated by Archbishop Anselm himself, who in those days was about to leave for the great crusade in Terrasantascortato hundred thousand Lombardi.
A pilgrimage in arms as had never seen: the crusade of the Lombardi!
In the great city of Milan the art of diplomatic Bonifacio winds with undoubted skills and achieves an extraordinary imposed at the top of the archdiocese's trusted GROSOLI! Radi
documents show that in this he found a valuable ally in Azzone: potente vescovo di Acqui, che molto si adoperò in favore di Grosolano.
L’austero canonico di Ferrania, solito a indossare “un’horida capa”, fu acclamato vicario dell’arcivescovo nella chiesa di sant’Ambrogio e non tornò più a Savona. Dopo la partenza dell’arcivescovo si trovò a reggere la vasta arcidiocesi e, ben presto, ne divenne il naturale successore, nonostante l’ostilità dell’aristocrazia milanese che lo considerava un forestiero: un intruso, per giunta dai modi assai poco urbani. Bonifacio lo sostenne strenuamente e riuscì persino a trovare un incondizionato appoggio nello stesso papa.
Bonifacio del Wasto, pur figurando tra i più importanti feudatari the "Great Lombardia", did not attend the "Crusade of Lombardi." Then, to atone for this failure, bestowed gifts to churches and monasteries. Another important
his political action dipanò year 1111, during the investiture controversy, with other dignitaries in northern Italy when he accompanied Henry V in Rome, the pope refused to crown. After intensive discussions, such as Boniface himself was not a stranger, the dispute was resolved in favor of the emperor that he obtained the imperial crown.
single fault, historical, very serious: do not let its brand to a wide sole heir, but allowed it to be divided among his many children and so the waste, corresponding roughly to the provinces of Cuneo, Savona and Imperia, including the southern part of the province of Asti, disappeared from history.
The next and final grinding of the largest among the many descendants of Bonifacio (Marquis of Busca, Monferrato, Clavesana, Savona, Saluzzo and county of Loreto) resulted in the disappearance of the same name, which remained the prerogative of the Marquis of Savona, which, however, Savona and Noli lost, took the name of the Del Carretto.

Castello di Noli

We followed the brief decline, the gradual degradation del Vasto;
1) big brand with Bonifacio, including the Southern Piedmont and western Liguria,
2) small brand with Henry nicknamed "Guercio, reduced the current province of Savona with vast holdings of the Langhe.
3) After the death of Henry "Guercio, occurred approximately in the year 1188, the two children who are not bishops, Henry and Otto, were divided in peace, his father's wealth. And since the city of Savona was able to break away to set himself free city by the Marquis, Otto and Henry divided the brand's main concern control of roads leading to Lombardy and Monferrato, taxes on the successful. Obtained si prese la fetta orientale della marca: da Varazze e Albissola a Cortemilia, dove batté moneta; mentre Enrico si aggiudicò la fetta occidentale: da Noli e Finale fino alle colline del Barolo, passando per la Val Bormida di Millesimo. Subito dopo anche Noli riuscì a sganciarsi dall’autorità marchionale e diventare una repubblica marinara.
4) I beni di Ottone non tardarono a dissolversi come neve al sole; mentre i nipoti di Enrico II si divisero i possedimenti del nonno il 12 ottobre 1268. Nacquero così i terzieri di Finale, Millesimo e Novello.
5) Un secolo dopo, nel 1345, il terziere di Millesimo subì una nuova scissione, dopo che i fratelli Bonifacio e Corrado riuscirono a togliere di mezzo, eliminandolo fisicamente, il primogenito Tommaso. Sorsero allora i marchesati distinti di Millesimo e Saliceto.
6) Quest’ultimo marchesato finirà nel 1450 quando verrà aggregato al Marchesato di Finale, dopo la lunga e drammatica “guerra del Finalese”. In quell’occasione, sbagliando i calcoli, il marchese Giorgino di Saliceto, alleato del cognato Marco di Calizzano, si schierò con i Genovesi, tradendo la “lega carrettesca”, per l’ambizione di costituire un marchesato che dalla Val Bormida raggiungesse il mare. All’epoca la “lega carrettesca” comprendeva almeno nove marchesati, conseguenze di continue divisioni, e lo stato più importante era indubbiamente il marchesato di Finale, articolato in 12 "companions" (the Village, the Marina, Pia, Varigotti, Pert, Calvisio, Rialto Bridge, Gorra, Chalice, Orc, Feglino).
7) When in the first half of the eighteenth century, peace treaties of Utrecht and Vienna put an end to the last marquis (imperial fiefs), the ancient capital of Boniface del Vasto was reduced to sparse patchy countries around the Langhe, is intended to inevitably end up in the clutches of the King of Sardinia. Among these Millesimo Monesiglio, Santa Giulia, Prunetto, Gorzegno, the cart, Cairo, Cravanzana, Spigno, Bossolasco ... firaiye would say Bonifacio del Vasto!

Guido was born in Saliceto Herald, based in Cuneo. Author of 44 works including novels and essays, some of which appeared in France by Editions Harmattan, Paris. In 2000 he won first prize in the literary "Ladie's cart" with the book Prèscricia, the stone inscription. His books are found in the online catalog Feltrinelli. For more detailed information please consult the website Editoriale L'Espresso "ilmiolibro.it.

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to see: The Black Swan Darren Aronofsky

A film that did not like the Italian critics that snubbed him in Venice and defined trivial and obvious. For us a good film on the relationship between body and psyche, between reason and unconscious, between feelings and rationality.

Gianfranco Manzo

The body as "place of the soul"

Remember the girl "Leon" by Luc Besson? Or Queen Amidala in Star Wars? Natalie Portman has grown and gives us his best performance ever, thanks to director Darren Aronofsky. After the acclaimed "The Wrestler" won the Golden Lion at the Venice Film Festival in Venice in 2008, the American once again explores the body as 'place of the soul'. But what if the body of a wrestler - Mickey Rourke - became a means of rebirth and moral redemption, in this body of the dancer becomes the search for artistic perfection.

Nina (Natalie Portman) he attended a famous school of dance in New York led by choreographer and director Thomas Leroy, Vincent Cassel, the always good. When Leroy will choose to interpret "Swan Lake" by Caikovsky, dismissing the prima ballerina Macyntire Beth - a new-found Winona Ryder -, Nina will have to go all out for the best interpretation of both the part of Odette (the white swan, the incarnation pure love) and the romantic rival Odile (the black swan). Nina excellent in the first role, will begin a process of metamorphosis filled with nightmares and obsessions in order to enter also nell'antitetica figure of the black swan that somehow materializes nell'antagonista Lily - the actress Mila Kunis (small curiosity: it is the voice actress of Meg from "Family Guy") - with which establishes a relationship of competition mixed with a morbid fascination ambiguous.

You might call the dark side of red shoes - the masterpiece of M. Powell (1948) - The representation of evil that lies hidden more in us, a trip to the distortion of the human psyche that forces the protagonist to acts of self harm and to see his ghost pictures in what will prove to be his worst enemy, or herself.

Nominated for five Oscars including Best Picture, Best Cinematography (superb work by Matthew Libatique) and Best Actress (Portman, remember, has deservedly won the Golden Globe for the role), although the exhibition Venice has divided both the public and the critics, "The Black Swan" emotionally involves the viewer in a vortex where anxious not fully comprehend that if what we're seeing is reality or the result of the mind. A sort of horror more cerebral and visionary. A film definitely worth seeing.

phrase: "The only real obstacle to your success is you: freed from yourself. Get lost, Nina."

http://a.marsala.it/rubriche/34-cinevisioni/28767-qil-cigno-neroq-di-darren-aronofsky.html

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The Horseman on the Roof: Jean Giono and the Italian Risorgimento and Biamonti

E 'paradoxical, but the best pages on Italy Risorgimento wrote them a Frenchman, though of Italian descent. We refer to the quartet dell'Ussaro Jean Giono. In this article a few years ago of Peter Cited Wind off moves on to the 150th anniversary of the Unification of Italy. We will do so in nostro, parlando soprattutto di libri e film.

Pietro Citati

Jean Giono. Gli ultimi eroi

Quali sono le sorprese della lettura. Avevo letto quarant' anni fa i quattro "romanzi dell' Ussaro" di Jean Giono; e ne conservavo un bel ricordo. Li ho ripresi in mano nei mesi passati, con un entusiasmo che non avrei immaginato. Mentre io invecchiavo, i libri crescevano, si arricchivano, si complicavano, acquistavano bellezza e profondità. Vorrei che i lettori italiani ripetessero la mia esperienza: Angelo, L' ussaro sul tetto, Una pazza felicità, Morte di un personaggio offer all the pleasures of the novel as possible, happiness, fullness of life, movement, freedom and vastness of breath, and case law, fun, light, color, highlights, game ... The four books are the wreck of a huge project narrative, which should have led Angelo Pardi and his family from 1840 to World War II. Jean Giono wrote over Angelo 1945: The 'Horseman on the Roof (Bloomsbury Publishing, translated by Liliana Magrini, note Daria Galateri, pp. 490, pounds 32,000) between 1947 and 1951: A mad happiness (Bloomsbury Publishing, translated by Maria Dazzi, note Daria Galateri, pp. 460, pounds 30,000) between 1953 and 1957, and died of 'a character (Passigli, translated by Maria Elisa Della Casa, pp. 128, 20,000 lire), which recounts the events of two generations later, between September 1945 and March 1946. Angelo, the first volume of the quartet, has not yet been translated into Italian, I recommend the wonderful year in the fourth volume of the Oeuvres complètes romanesques of Jonah, which incorporates all the cycle of 'Hussar' (Pléiade, Gallimard, edited by Pierre Citron, Robert Henri Godard and blackmail).

Angelo is a novel underestimated, because the players look at him with eyes of 'Horseman on the roof and they consider it a pastiche Stendhal. It 's a book bright, quick, straight, concentrated, while the others belong to the novels' shadow, the lentezza, alla frantumazione e all' espansione. Nella sua mescolanza di grazia settecentesca e di nostalgia romantica, ha un dono unico. E' pieno di scintillii e di sorprese, di mirabili idee romanzesche (come l' amore di Angelo per la donna-profumo), di estri, di piccoli personaggi, di straordinarie evocazioni d' ambiente (la Francia provinciale della Restaurazione, che eguaglia quella di Barbey d' Aurevilly); e possiede una radiosa perfezione classica, che forse Giono non raggiunse più nelle altre creazioni romanzesche. Angelo Pardi, l' ussaro piemontese, il personaggio che Giono immaginò subito con inarrivabile fortuna, è l' ultimo e più grandioso omaggio, che il nostro secolo abbia innalzato all' eroe romantico: l' hero of Stendhal and Balzac, Dostoevsky and Pushkin. It 's hard to say whether Giono had simply fallen in love with this picture: o thought (as I believe) that Fabrizio del Dongo and Eugene Onegin are our real contemporary protagonists of the immortal mortal modern world.

Like his father, Angelo Pardi is a melancholy suffering from boredom, and he knows he can win only in sparking a passion: love with the woman and the drivers, loving every form of 'love, surrendering to' instinct, outpouring, freeing himself generosity explosive, and almost orgiastic "bleeding". There 's nothing that he detesti più della freddezza, del calcolo, dei "meccanismi d' orologeria", e di quella che egli chiama "l' obesità dello spirito". Nella sua ricerca non c' è limite né misura: è una creatura di fuoco, un cacciatore d' infinito. Egli soffre questa condizione: le sue passioni si ingorgano e lo offuscano: si sente goffo, ridicolo, inesperto; e gli sembra di mancare di naturalezza e di grazia, il dono divino che lui (e Giono) adora sopra ogni cosa. Così, per essere naturale, fa quello che non dovrebbe fare: controlla i suoi gesti e i suoi sentimenti. In realtà, nessuna preoccupazione potrebbe essere più vana. Angelo Pardi possiede una grazia soprannaturale, come la possedevano Fabrizio del Dongo, Onegin and Stavrogin. Once you see the scene of the novel, we electrocution, with its aristocratic elegance, the ease of its hereditary saber, the 'art with which he rides, the' hussar's uniform with his helmet 's gold and pheasant feathers. Love the witty conversation, the beauty of the gesture, the gift of 'look, the frivolity of the' existence. He lives on the surface, with the "heart than skin, always outside himself, and enchants and seduces men and women, with the beauty of the body, the eyes of black velvet, and a 'naivety that could not be more unconscious and wise. Like the Romantics, has only one dream: to be happy. Happiness was born from the body: sustained by imagination, desire, from youth, from ' love of 'unreality, the taste of danger, from fast horse racing: happiness woo the world and turns it into a flash of light. However fantastic and leaves your mind in the future, its real time is this: the 'absolute present. No one is happier than him, but he did not know, and never knows if he really is. So I try in every way and in all places the happiness follows her in the duel, which gives him the cruel pleasure of killing, in the 'art of revolution and war. How it exalts the battle: she only gives him bonheur fou, fun as advance, retreat, charge, fight, to stay 'open, going hungry, pursuing a goal that the escape time. He wants to be a hero, not a mediocre modern fighter, but a hero of the 'Ariosto, Rinaldo and Ruggiero, and desires are law for us, that we see him in a halo Ariosto. We have saved for last the most modern character. The new Fabrizio del Dongo is a stranger, far from all the homelands, the places and ideals, and be lost in the emptiness and bankruptcy.

's Horseman on the Roof is, first, a great book of feelings. How hot is imposed on the world, that "barbaric splendor of the terrible summer" choke the Provence, while Angelo Pardi 's runaway horse through a few years after 1840. "The trees did not give any coolness. Indeed, the foliage of oak and hard mute reflected heat and light. The 'shadow of the forest dazed and oppressed." I rattled white thistles: the heat of the sun as if it were buzzed by a boiler continually trial pack of coal: the olive trees were crackling sparks black silence of their twisted trunks, and opened the sun in the sky of chalk, a chasm of an unprecedented phosphorescence . Everything was dead skeletons of snakes, flies banners, patches of wild pigs and porcupines, trees devoured, carcasses bozzagri. A wealth of sensations, which could not be more dense, is superbly orchestrated by a paranoid, apocalyptic, almost baroque. Soon the heat changes: it becomes rotten, rotting, cholera. The patients are attacked by a species of intoxication: staggering run from all over and crying with anger seem to be taken: the child runs after her mother, her mother runs after her son, the young couple will chase, the city is no longer a field of wild and death. The 'eye of cholera, sunk in' orbit, is surrounded by a livid circle, half covered by the eyelid. The cheeks are bare, his mouth half open, her lips glued to the teeth. Respiration, through the dental arches approach, it becomes soundtrack. The language is soft, a little 'red, covered with a yellowish patina. Patients are thrown into the Rhone, or hang themselves, or rip open his throat with a razor, or cut his wrists with his teeth. The whole of Provence is full of corpses, bits and devoured by dogs, rats and birds: bluish bodies, reduced to skin and bones, her mouth filled with a material similar to rice cooked in milk. Giono explores all the possibilities of disease, death and decay: Bring your imagination to 'extreme' s excitement and fury, as if to fix the Raft of the Medusa by Géricault and the horrors multiply, erasing the penalty marble. We wonder if the cholera, which raged for months about Provence, is a symbol, and if behind it, like behind the plague of the Betrothed, who certainly knew and admired Giono, should be seen a mysterious oltre, una ignota mano di Dio, come una pagina ci fa immaginare. Non lo credo. Il colera è nient' altro che natura, furibonda e stravolta. Ma è accaduto qualcosa di straordinario. Giono aveva sempre affermato, grazie alla forza delle sue metafore, la profonda solidarietà tra l' uomo e la natura; e ora questa solidarietà viene distrutta. Nell' Ussaro sopra il tetto, la natura specialmente animale prepara una atroce congiura contro l' uomo. Gli uccelli assalgono i vivi. Le galline e le api mangiano i cadaveri: i corvi si gettano sui moribondi: i piccioni e le farfalle assorbiscono il fetore dolciastro dei corpi. Perfino gli alberi sembrano partecipare all' ostilità contro l' uomo. Nulla potrebbe essere più atroce. Eppure, mentre affondiamo sempre più nel cuore della putrefazione, siamo assaliti da una specie di felicità musicale, come se la morte emanasse gioia e una spaventosa vitalità. Tutte queste sensazioni grondanti vengono trasformate in un romanzo di avventure.

Le sensazioni continuano a accumularsi e a gonfiarsi: il fondo del libro resta monocromo; eppure a poco a poco siamo trascinati dagli eventi, come se leggessimo La Chartreuse de Parme. Tutto diventa avventura: la traversata di un tetto, la discesa di una scala, l' incontro con un gatto, la descrizione di un ripostiglio, l' esplorazione di una casa. Anche qui Angelo è un eroe cavalleresco, che cerca l' amore; e noi lo inseguiamo di pagina in pagina, appassionati come him, dreaming of adventures as he imagined, challenging and fulfilling that 'unlikely that Giono adores. We share every feeling, every object, every touch of the brush of fascinating and eccentric Giono, and meanwhile, in imitation of Angelo, walk on roofs, towers and mountains, looking at everything from 'high, more and more from' high, as Ariosto and Stendhal, for all things - including cholera and death - can be watched and told from an aerial perspective.

When you begin a mad happiness, Giono had in mind to write the 'last historical novel of nineteenth-century tradition, fusing all models of the past in an unprecedented setting. Many small outline lead us to his models. Now show us La Chartreuse de Parme Stendhal hours Tolstoy's War and Peace: Now L 'Flaubert's Sentimental Education, and now Dumas and Stevenson's Scottish novels. The multiplicity of sources and makes it more colorful and evocative resonances in this beautiful book. Like Tolstoy, Giono read many books on the 1848 and the Italian Risorgimento: documents, ancient remains of the Austrian and Italian, recent publications drew precious details, but eventually they merged, manipulated them, defiled them, shifting the locations and the history of brigandage in the South 'northern Italy. Acquired a unique familiarity with the historical figures: eighty Radetsky, in slippers, which he grew a mustache, seems as close as Kutuzov. But, in general, adopted the method of Stendhal: building character, that he had invented, in times and places of great history, people who do not understand what is happening, in order to see events with fresh eyes and strangers.

As it is Giono, the Risorgimento was shocked Francesco De Sanctis and Benedetto Croce. It is a 'comic opera, with very few air of Verdi and Rossini: theater and nothing' more than theater, and Jonah loves so at no cost would swap it with something more serious. Carlo Alberto intrigues, the Carbonari intrigue, the Austrian intrigue: they are all allies of their enemies and kill their friends: c 'is corruption, betrayal, stupidity, cunning, courage, incompetence, some great passion, a lot of blood shed in the plains, but above all a celebration of tricolor ribbons, plumed hats, twirling his mustache, golden shoulders, cordelline scarlet. Giono loves this 'operetta Italy: its squares, taverns, small theaters and buzzing and smelling the real and fake passion, vanity, the melancholy, the' emphasis, the staging, the whim. When we close the book, we seem to have gone through a huge mess: we do not understand anything we do not know what they have plotted the Liberals, Carlo Alberto, the Austrians, but perhaps the story, not just on the plains of 'Italy is always an inextricable tangle.

How 's Horseman on the Roof, A mad happiness is a journey. In the first book, following and fleeing the cholera el 'Love, Angel had crossed on horseback Provence, and now Angelo left France, runs through Turin and Piedmont, fights in Milan in Five Days, dates back to walking and riding north along Lombardy and Trentino, and then returns, recounts the Lombardy, in Turin, he fled to France ... With wonderful invention, the geographical space becomes a narrative space. In his early dreams, Giono had wanted to emulate the 'Ariosto, Mozart and Stendhal. But in Mad happiness, has not been trace of this dream. There are no bright lines as the rapids of the mind, but a construction of large networks and fragmented, which closely resembles the Scottish novels of Stevenson. The scenes are broken: the narrative proceeds through a thousand little touches balenanti and irrational, infinite random data, evocations almost free, subjects left without fusion, sweepings and broken, but does not stifle the breath of adventure. In the end, Angelo Pardi, the bell 'hussar from the helmet' s gold and pheasant feathers, is disappointed. Of all the hopes, that had spurred the horse race through the streets of history, there remains nothing. Neither revolution nor liberty nor the 'bonheur fou Italy nor the war. "You months ago, he says, I would have killed for my ideas now, if I do kill, it will be my pleasure. "But what pleasure? even personal happiness resists - perhaps the only melancholy, and a song which are not catch the words. Nothing is reached. Everything is failure. "I realize - commented Giono - that almost all my heroes were, in different ways, Captains Ahab."

A mad happiness closes abrupt and rapid: as La Chartreuse de Parme, which casts a final, beautiful tribute. Pardi Angelo returned to Turin, sees his mother killed in a duel cruelly foster-brother, and walking down the road that should lead to France. What accade veramente in queste ultime righe? Angelo raggiungerà la Francia lontana? O le misteriose ombre, che scivolano alle sue spalle di arcata in arcata e gli vengono incontro, uccideranno l' ussaro, che finora era scivolato indenne tra le maglie della storia? E, giunto in Francia, Angelo troverà veramente l' amore di Pauline? Non possiamo rispondere. Una sola cosa è certa. Nei romanzi di Giono, l' amore pieno non può venire rappresentato: subisce una paurosa elusione; o non si compie. L' amore è impossibile, anche se ciò che muove tutti i tre romanzi è appunto il sogno dell' amore impossibile. Angelo, il cacciatore d' infinito, non poteva attendere altro. -

(Da: La repubblica, 13 novembre 1996)

Asperger's Partner Affair

Morlotti: the image and the word

Non ci si può accostare alla scrittura di Francesco Biamonti senza conoscere l'opera pittorica di Ennio Morlotti. Un caso pressochè unico di simbiosi fra parole e immagini.

Marco Grassano

L’immagine, la parola, il suono, il silenzio


L’accostamento e il raffronto che proponiamo tra un pittore e uno scrittore dalle comuni esperienze e dalle forti consonanze possono permetterci di comprendere meglio il lavoro di ambedue, ma anche – forse – di dare un’occhiata dietro le quinte che coprono l’eterno relationship between the verbal and the visual arts, including painting the place and the place narrated, as the subtitle of this initiative.
Certainly Morlotti and Biamonti met when their cultural worlds were already defined, and sensitivities were similar to trigger the fuse of a friendship that lasted more than thirty years, until the death of the painter. But it is also undeniable that the gravitational force of one additive effects on the development of the other, and vice versa. Beyond the confirmation of one another's choices, the work of both bears the mark of this meeting: a visible sign, a sign of images, color perception and reproduction landscape.
We will however be taken into consideration as noted Vasily Kandinsky about "an affinity between the arts and in particular between music and painting from this unique affinity is certainly the idea of \u200b\u200bGoethe that the painting must have its basso continuo" ( The Spiritual in Art, chap. VI). We will have the opportunity to hear the performance of the last movement of the Quatuor pour la fin du temps by Olivier Messiaen, "Immortality Louange à de Jésus", in which, as Biamonti beautifully said in an interview in 1995 with George Ribaldo, "There is this weakening of the sound of the violin, and this distant echo of the piano, as if the divine, to immortalize, should touch the shores of silence. "
the same occasion, the writer sambiagino had said: "The music is very, or at least modeled on some of its properties in knowing where you want to end up, how to resume after a slow, what could be going after. The prose is the same: we are going and slowly. I speak a bit 'by incompetent, but I need to write music because I get rid of heavy practical things, making the spirit soar and move the soul. " Even
Morlotti, painting, listening to music from an old record player that he kept in his study: "Look at my record ... I always listen the same. When I like something that is difficult to change your mind. Listen, listen to this piece of Schubert, I like that plan. It is a sigh of the soul, "he confided in 1992 to Catherine Bellati.
Biamonti select words with a particular attention to their sound. A particularly significant example we find in the poems of Valéry noted that Francis had lan-tic for a better understanding, especially in the first stanza of the poem L'été (on the page was visible in a display at San Biagio, prepared for the 'anniversary of his death). The writer had marked in the margin the translation of certain words: "ruffles" with "hive" "Cross" with "jug." But come to "Bourdonné", whose most obvious translation would be "buzzing" here is that among the possibilities provided by the Garzanti dictionary which is usually used, Biamonti has chosen a charming sound, "mormoreggia. It seems like a word Pascoli, brings to mind the verses of the Night Jasmine: "A bee late whispers / cells are already taken." Franco Contorbia has aptly pointed out the importance of pastures for the formation of language Biamonti, and also stressed the relationship between art criticism and that of Francesco Biamonti of Archangels: which he had reference in the introduction to his seminal book on Giorgio Morandi, released in 1964 (volume in the library biamon-tiana), the "deep love for Pastures" of its thirteen. But Maurice Merleau-Ponty and the philosophy of perception have relied heavily in writing biamontiana: think, for example, the note on a framework of bathers described in words the night - "the lady had stains that seemed to bleed "- owe the following account of the French thinker:" The objects of modern painting bleed, spread before our eyes their substance-za "(La prose du monde). Also in the interview with
Ribaudo 1995, Biamonti said: "The word is also a bit 'corroded, but should ultimately capture the silence, then that is the song of the Sirens. (...) The music's largest, that of the Sirens' song, and silence. But how to control and to hear the silence? Also here is a knowledge of the language: the reinvent a word that grabs the silence that is at the bottom of existence, the great loneliness. " Related to these are the reflections of Nicolas Bouvier, a writer-traveler and "iconographer" Geneva, born in 1929 (thus almost Coet neo-Francis) and disappeared in early 1998. Bouvier, in phrases in which we can recognize an interesting consonance col linguaggio biamontiano, lamenta la difficoltà ad esprimere con parole logore, deformate dall’uso, il senso delle cose. Se ci si prova, si raggiunge presto quella che lui chiama “una dogana di silenzio. Chi si avvicina a questa dogana vi rischia la ragione, il suo linguaggio si scarnifica, si sbianca, si ossifica, come un lenzuolo d’ospedale o uno scheletro. Se questa dogana è superata, tutto precipita nell’opaco, nell’innominabile, nel bianco: non c’è più testo, non ci sono più nomi”. Ecco che allora ci soccorre il potere espressivo primordiale della musica: “una vita senza musica non ha molto senso” conclude (L’Échappée belle, testo pubblicato posthumously in 2000).

de Stael, Concerto (1955)

the silence seems to approach the last part, which remained unfinished, another Nicolas De Staël: The concert. On the one hand the large canvas (3.50 x 6 m) there is a piano, a bass on the other hand, in the midst of music stands and sheet music, but there's no music, because it needs to exist , someone to run (I do not take into account the theory here, dear to certain decadence - is found, for example, in reverse, of Huysmans - according to which the best frui-tion of the work is obtained by reading the sheet music in aristocratic solitude), while in the painting can be appreciated only the vibration of colors in a space from which human presence is banned.
Biamonti, until 1959, had composed a few short narrative text, gaining a reputation in the cultural world bordigotta. RECEIVED and loved painting, but he had never written. It is likely (and also the beautiful memory of Nico Orengo in catalog invites me to think) that discuss passionately Morlotti inspired him to address the issue also on the page, with the for-za and finesse that we can appreciate in its texts art criticism and a glossary of clear-transcendence in Liguria (Montale, Sbarbaro, but also Boine).
Morlotti, Moreover, it was guided by his "native" in long trips between the bitter and sweet landscapes of the Far Western Liguria, who had impressed since his arrival, the intensity of light and the brightness of colors - the same "southern charm" that, for example, Provence exerted on the Impressionists. Liguria thus became for him a landscape of other landscapes on which to measure the real, as was the case for Lalla Romano, in the Diary of Greece, Hellenic banks in the end to see "a kind of Liguria," according to Biamonti himself remarked in 1998.
The French poet and critic Yves Bonnefoy, the beginning of his dense essay on the function of art entitled The look and eyes, quotes a famous passage in Proust, the volume ra-imprisonment, fifth station of the Recherche: "The only true voyage, the only bath of youth would (...) have different eyes, to see the universe through the eyes of another, a hundred more, see the hundred universes that each of them sees, that each of them. " Here, then, that provides Biamonti Morlotti "new eyes" with which to see (and paint), Liguria, and provides Morlotti to the memory of places Biamonti paintings (ie selections composition of real places "seen with new eyes") that substantiate the prose. Gli uliveti aggrappati ai pendii “come farfalle dalle ali polverose” di cui scrive Francesco sono quelli, materici, di Morlotti; analogamente, hanno provenienza pittorica le pietre vellutate dei roccioni, la luce ruvida nel cielo, il “fragile amalgama” di un insetto posato su un fiore… L’approccio di scrittura (o di descrizione) viene trasferito dai dipinti su cui la penna critica di Biamonti si sofferma ai paesaggi che ne popolano i romanzi, con effetti di trasparenza emotiva, di tensione e suggestione cromatica veramente sontuosi, come lo è il viola che il tramonto di inizio dicembre spalma, da quelle parti, sui pendii e sui crinali (e che si può osservare in alcune delle opere esposte, compresa quella choice for today's call for an appointment. Curiously, we find a similar tone in the description that Claudio Magris gives us a sunset on the pampas of Argentina: "At night the sky breaks into a flask of wine and spreads everywhere," another sea). Di Francesco
passages in which, to quote Paul Zublena, "breaks down into words and portrays the landscape with the eye of the painter," making a real "verbalization of the look" if they are on every page. Zublena itself or from the list rather than representative in his 2002 essay The melancholic gaze on the space-event. Biamonti, Morlotti and landscape painting.


Morlotti, Landscape (1964)

The painter Lecco, formed in the soft and brightness between the dark and dense vegetation of Lombardy, is facing this "light romance," as he called on several occasions Francis , these silver "cathedrals plants", these "olive groves" (as the title of several paintings morlottiani, starting in 1960) marked with an almost religious austerity. Reads and rereads it, at the instigation of Biamonti, in Montale (poetry cited in my text in the catalog, but also the famous, which begins "To get lost in the gray wave / of my trees was good ...") in Sbarbaro ("help me get the dawn of olive trees, shivering, which levavo the eye at every step, like the thirsty lips to drink. tree that illuminates the darker face! not rustle. It is a tremor of silver. More than a tree, vortex tubes, reel of light ... "Chip 1920-1928), in the Pound of the Pisan Cantos (" white and olive tree blown in the wind "," el'ulivo that is blanched in the wind ") or above, including usage, D'Annunzio (which, for example, the Daughter of Iorio wrote:" Your word changes its color / as when the olive tree is in the wind "). I do not have
sufficient evidence to determine whether and how Biamonti Morlotti and knew the works of two great poets of the Greeks 900, Yorgos Seferis (Nobel 1963) and Odisseas Elitis (Nobel 1979), which have also devoted particular attention to writing to the landscape of their land (I seem to be especially significant Elitis the following verse: "and many olive trees / sieve into their hands that the light / light and it will lie on your sleep / the cicadas and many / most will not feel / like you no longer feel the beat wrist. "It seems almost see the knuckles and fingers gnarled branches like the mobile luminous shadows that animates the olive trees on windy days, and you feel like an echo in the memory of thousands singing compact of cicadas, as well as to become uniform and constant unnoticed. Elitis the Surrealists had translated in greek by Eluard in Lorca - and here Francis cites: "I remember a sad breeze through the olive groves" - but I can think of even the cicadas that Virgil, with their plaintive voice, "break the shrubs "around this verse of the Georgics, Carducci has built one of the most beautiful pages of his prose). Nevertheless show a strong interest in the words of Morlotti again to Catherine Her (1992): "Greece. For those who love is a passion. I went there just after World War II. There is light, one that every artist seeks. You have a nice look for the studio with the right light. That light there, there is only on that sea, under that sky. " This seems partly take Morlotti De Staël, who had written the coast of Provence: "The light is simply dazzling here, much better than I remembered." And again: "Obviously it is a great lesson that gives this light, where only the Greek stone and marble to withstand radiation. On balance, or Cezanne or Van Gogh, Bonnard or have used them otherwise than by spur psychic, I mean plane being: they could have painted that painting really does not matter where, no Greeks, is total, their sculpture takes and makes the sun as it is impossible do elsewhere: in all its simplicity. "

Morlotti, Cactus (1970)

Maybe our two artists have found, walking, waves of color, small metal spears fringed dark shadows of the olive trees vangoghiani ( These patterns of shadows, in Morlotti, it's been a sort of black curves of prickly pears, that he wanted to call, exotically, "cactus").
The olive trees have always been fruitful evidence of poetic imagination. Legend has it that the capital of Greece took its name from the goddess Athena, who had won agli uomini l’ulivo (ed era stata, per questo, preferita a Poseidone, che aveva offerto invece il cavallo). Il barocco spagnolo Alonso de Salas Barbadillo, nel suo Viaggio di saggezza (che qui riportiamo vestito delle poderose parole italiane di Carlo Emilio Gadda), annota: “Degnatevi di volger gli occhi all’uliva, a questo essere così laborioso e paziente! (…) La sua fronda perenne è una continua promessa, una vivente speranza per i cuori degli uomini: è dessa l’insegna della pace, a domandarla e a riceverla. (…) Consideratene le facoltà, l’onnipresente valore. Contro uggia e tristezza, un verde allegro e festante, giocondo ammanto dei colli e della riviera. Allegro, e what is important, perennial. Against hunger and need, a precious food. Against the blind darkness of ignorance, light and splendor. "
But this tree so ancient symbol of the Mediterranean since the time of the gods cto-nii, has found "new eyes" to look at it, a new perceptive sensibility by the Impressionists, through the "line Ligurian poetry and painting (how many of its vibrant blue-green-gray to be found, for example - and I have a suggestion for Dino Molinari - even in a seemingly detached from the figurative painter Gian Franco as bands!), continues to this day. So the landscape architect, and refined prose writer, Paul Pejrone could write books on the All-Saturday, December 4, 2004: "Bright and silvery olive trees, however, continue their peaceful way of expert reviewers loved in a hard place: their silver leaves are a shot of cheerful color of the light rays of a sun is still strong. Under the gusts of wind and local small, vibrant and elegant, they move, what is most precious and beautiful? ". In
Morlotti, olive trees, rocks, cactus, but also facing the sky as if to form a barrier, a wall ("The pictorial space is a wall, but all the birds of the world you fly liberal-ment to all depth, "said De Staël's own painted Gulls, which Biamonti chose for the cover of Wind off). These barriers, such as hedge Leopardi, seem to suggest that there is something beyond the mind, a space beyond which we can reach across the deep blue of the sky.
Let us take suggestions from the large and sharp images Morlotti opened in the rich and dense words Biamonti. On both, the interventions that we hear certainly offer new insights.

(Introduction to the conference on Francesco Biamonti, Alexandria January 31, 2005)

http://www.francescobiamonti.it/biblio/articoli/grassano.html )

Neuter Risk Of Toy Chihuahua

Libya: Time to act

Giornali e televisioni di ogni tendenza denunciano il bagno di sangue in corso in Libia. Nessuno dice però che sono armi italiane quelle utilizzate contro i dimostranti e che l'Italia è il principale partner militare del regime libico. E' una vergogna che deve immediatamente cessare.

Libia: è ora di intervenire

Rete Disarmo e Tavola della Pace chiedono il blocco immediato della vendita di armi e ogni altra forma di collaborazione militare con la Libia


Le armi fornite dall'Italia al Colonnello Gheddafi in questi ultimi anni (in particolare elicotteri e aircraft, bombs, rockets and missiles) have perhaps been at the forefront of these days in the bloody repression of the civilian population in Libya, who are peacefully protesting against the regime. This would be enough to give strength to the request for suspension of any form of supply of arms and military cooperation with the Libyan government that the Italian Network for Disarmament Affairs (coordination that brings together over 30 Italian organizations on the topic of arms control) and the Table of Pace addressed at this time agitated and painful to Parliament and the Italian government.

Italy is the main supplier of arms to Libya: Tripoli to the scheme were sold various types of weapons (air and land vehicles systems and missile protection systems and security) for a market of 93 million € in 2008 and 112 million in 2009. A real boom of the last two years helped by the signing of the Treaty of friendship, partnership and cooperation between Italy and Libya "in 2008.
"The Italian government officials that we met in recent years we have always ensured that the types of weapon systems sold around the world could not be used to violate human rights - says Francesco Vignarca, coordinator of the Network but news of recent days show how the repression of the square you can also conduct air raids against the protesters. News that, if confirmed then the use of arms Made in Italy, would give even more value to what we say for some time: much of the Italian military exports is contrary to our law (185 of 1990) because it does not take into account as required of the possible human rights violations and major social imbalances that such purchases, with their impact millionaire, lead buyers in the countries of our arms. "

"I can not stand the idea that weapons are doing the massacre of Italian civilians in Libya," said Flavio Lotti, national coordinator of the peace table. "As I can not stand the idea that Italy continues to support in these hours, the Gaddafi regime. There is no shame. It takes a leap of dignity. Break the silence and complicity of Italy. This is the time to break with the past. We are asking Parliament to make a clear and immediate action: forcing the lock on the sale of arms and the suspension of all forms of military cooperation with Libya and the countries that do not respect the right to express freely and peacefully. "

The demands of the two Italian organizations join other influential voices have already asked about our government, like that of Secretary General of Amnesty International Salil Shetty, who yesterday wrote to Prime Minister Berlusconi and Ministers Frattini and Maroni called for "the suspension supply of arms, ammunition and armored vehicles to Libya until it is completely ceased the risk of human rights violations ".

interests in particular Italian and Finmeccanica (the second largest shareholder is the very Libyan Investment Authority) have definitely slowed down in recent days the diplomatic efforts of the executive and in particular the Italian Foreign Minister Franco Frattini. "possible violations of legal requirements (if you look at the substance of the issues, certainly not in the form observed) constitute a major moral and ethical problem for the Italian Government - says expert Giorgio Beretta Arms Trade of the Italian Network on Disarmament - which not coincidentally is the only one not to have spoken to a suspension of military supplies as it did in recent days from France, Germany and the United Kingdom in respect of several countries in the Mediterranean area including the turbulent Libya. That the Italian foreign minister is not aware of the statements of his colleagues? Or maybe he does not know that the Italian law the European Union's Common Position on arms exports ask to determine compliance with human rights in the country of final destination and to refuse the export of weapons where there is a clear risk that the technology or military equipment for export might be used for internal repression? ".

In reality not all of the Italian government is down these days: while the Libyan regime's repression hits the population, with the likely use of arms Italian, our Minister of Defense Ignazio La Russa is located in Abu Dhabi to attend the local Arms Fair (IDEX 2011), in which our government representatives to confirm the link to our military industry among the world's leading. How do you push the sale of weapons systems as a symbol of "the vitality of our country that can successfully carry anywhere in the world, the fruits of their own ingenuity and industriousness."

Coffee Italian Network for Peace and Disarmament have already asked In recent days the cessation of all political and military support to Algeria, Egypt and Tunisia and even more so given the current situation in Libya strongly require the Government and the Italian Parliament, in addition to the freezing of all the commercial-military collaboration with the regime Gaddafi's a strong support of a restriction on export control and greater Italian war to avoid the use of such weapons for the suppression of dissent in any theater of World War II.

(Source: Italian Network for Disarmament - Peace Coffee - February 23, 2011)


AW 109 Helicopters

Exports of Italian arms Libya

The value of Italian exports to Libya of a military nature is in constant growth since 2006 and stood for 2009 (most recent overall figure) on a record 112 million euro . In summary, these were the most important business and agreements in recent years:

Agusta Westland, a Finmeccanica Company, has sold 10 helicopters AW109E Power between 2006 and 2009, worth approximately € 80 million . The company also claims to have sold nearly 20 helicopters in recent years, including the single-rotor aircraft for missions AW119K medical emergency and the twin-engine medium AW139 for the activities of general security. Joint-venture: the Libyan Italian Advanced Technology Company (LIATEC), 50% owned by the Libyan Company for Aviation Industry, to 25% by Finmeccanica and 25% by Agusta Westlands. LIATEC offering maintenance and crew training aircraft AW119K, AW109 and AW139, including technical support, review and provision of spare parts.

In January 2008, Alenia Aeronautica, another company of the Finmeccanica Group, has signed an agreement with Libya for the provision of an ATR-42MP Surveyor, a maritime patrol aircraft for the. In addition, the contract, worth 31 million euro, including pilot training, system operators, logistic support and spare parts.

Itas srl, a company of La Spezia (according to the Research Department - Department of Foreign Affairs of the House, doc. 140-21/05/2010) by the technical control and maintenance of Otomat missiles, purchased from the seventies by government in Tripoli. The Otomat is a long-range anti-missile ship.

Following the agreements contained in the Treaty of Benghazi in May 2009, the Guardia di Finanza undertook the delivery of the first three patrol boats to the Libyan navy to patrol the Mediterranean Sea, followed in February 2010 by three other boats (one of these were fired volleys of machine gun against a vessel Italian in 2010).

The group Finmeccanica has signed several agreements with the Libyan company in 2009 signed a Memorandum of Understanding for the promotion of activities of strategic cooperation with the Libyan Investment Authority and the Libya Africa Investment Portfolio. The subsidiary SELEX Sistemi Integrati has instead signed in October 2009 in a deal worth 300 million euro for the construction of a large system of protection and border security.

(Source: Institute for International Research Archive Disarmament - Disarmament Network member)

For more information:

http://www.disarmo.org/rete/a/33427.html

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Isidore Isou: cutting edge and method

It 's impossible to understand the deep meaning without confronting the work of Guy Debord with Isidore Isou Lettrist and movement. Started talking to this article a few years ago by the French artist Sandro Ricaldone that offers a concise but comprehensive reading.

Sandro Ricaldone

Isidore Isou: cutting edge and method


Sixty years after its inception, a retrospective about the adventure of Isidore Isou and movement Lettrist shows together, the early definition of a major project, not limited to its artistic, articulate, and the consistency of developments over time.

E 'is for the teens - lived in Romania during the Second World War sotto il regime filonazista del generale Antonescu, in un contesto reso particolarmente incerto dalle origini ebraiche dell’autore e dalla sua frequentazione di gruppi sionistici legati alla Resistenza - che va ricondotta l’individuazione della “lettera” come elemento base del rinnovamento creativo in campo della produzione lirica (cui presto s’aggiungeranno gli ambiti musicale e plastico) ed il primo manifesto di una poesia ancora a venire. Ciò che distingue, da subito, l’approccio di Isou dagli azzardi delle avanguardie primonovecentesche, futuriste e dadaiste, con cui condivide la radicale contrapposizione alle forme acquisite e ormai prive di un dinamismo interno e la tecnica dello scandalo programmato (2), è the systematic analysis on which it is based, as glimpsed in the nucleus of developing a general method of creation that finds its fulfillment in "The Créatique ou la Novatique" (3), a compendium of the extended process of reflection 1941 to 1976 and beyond.

The account of his first volume, published by Gallimard in 1947, "Introduction à une nouvelle poésie et à une nouvelle musique" Isou it moves from a wide-ranging survey of the performance of universal poetry - the prototype of what will call the carte de l'acquis - which distinguishes a phase amplique "(in width), origins of the epic that lasts until the first 800 through "immense works" of anecdotal or narrative subject, one phase ciselante (chisel), inaugurated by Baudelaire and variously developed by Verlaine and Rimbaud in the sense of a progressive concentration on the poem, on the back and on the word (high to Mallarmé at the highest level of expressive power), which is a prelude to the isolation of the letter (4), with an inseparable element whose "liberation" concludes the work of purification and destruction opens (or should be open) a new dimension by size.

In this sense - as noted in the pages Mario Costa "Il 'Lettrism' Isidore Isou" (5) - the project will not have a precise result, whereas in the years immediately following, there un'inusitata horizontal extent of the procedure "ciselant" applied not only to music - united sound poetry from the element - the visual arts, in which the letter takes the value of the sign and, therefore, theater, cinema, economics, where the deconstruction (the super-Break of vocabulary Isou) results in many innovative achievements.

A parallel is meanwhile outlining a scheme of super-aggregation that leads to unite into more complex or higher-order originally separate elements as the totality of the media, and not usual, Incorporation mecaestetica integral (6) or the different alphabets, pictographs, crosswords, riddles, cartoons included in the novel metagrafico (7) (which merged with the Theatre and everyday life takes on a projection three-dimensional next to "Situations construites" after proposals from Debord) and then hyperspace-graphy, dominated all the records exist or be invented, which in turn extends to the size of 'imagery (8).


I. Isou, La télévision ou l'anti-dechiquetée crétinisme

Surely the works of art make Isou one of the protagonists of the second half of the 900 Just think, for matters relating to poetry, the outcomes of "Lances rompues gothique pour la dame" (1947), one of the incunabula of poetry phonetics, or the landing of zeroing "lettries blanches" (1958) and, as the visual arts, the challenge represented by a page of ordinary records classified as "object Nouvel plastique" (1944) or the sequence of "Nombres" (1952) , Sonnets in transposed elements, not to mention the latest "Commentaires sur Van Gogh" (1985), great work-around comment images reproduced by the Dutch painter. His first film, "Traité de et burrs of eternity" (1951), constitutes a milestone in contemporary experimental film, while in the "Débat sur le cinema" (1952), debate on a film to do, that does not exist, creates a meta extreme-film and play "La marche des Jongleurs," touches - staging the dissection of a dead dog - the limits of "la nouvelle science de l'outrage: the outragéologie.

Nor can we forget the debate on youth, "external" to the system of production and socially marginalized, reflected since 1949 in "Manifestes soulevement de la jeunesse du" (10) or the battles of today would say "liberation of sexuality and repression against the psychiatric taken respectively at the turn of the 50s and 70s (11)

Looking ahead, however, the goal seems to have Isou place and that is clear right from the youthful autobiography, 'The et d'Agrégation a name of a Messiah "(12), accession to the Nom des Nomsa, the artist of artists, one who is called to replace the Creation to the Cartesian primacy of reason, lies mainly in what we consider his (river) "Discourse on Method." An infinitely complex method, which incorporates - in addition to the components mentioned - the change in hyper-, hyper-definition, hyper-multi-cultural death of all branches, the over-classification, experience the super-, hyper-theology ... but that has proven, over time, a multiplier effect of knowledge and new experiences, a discipline that can raise the art to a new and different level, from the domain of the forms that organize the field of ideas.


Notes:

1) "E 'was read in Kaiserling (sic) that I had the idea of \u200b\u200ba poem based on the letters. The author said that the poets use of words (vocables, in the French text). Vocables in Romanian means "voice", and this gave me the idea of \u200b\u200b"poetry à lettres." I soon noted in my diary, under la data del 19 marzo 1942”. (V. Frederique Devaux, “Entretiens avec Isidore Isou”, La Bartavelle Editeur, Carlieu 1992, pag. 47).
2) Fra i più noti la manifestazione svoltasi il 21 gennaio 1946 al Théâtre du Vieux Colombier dove ad una rappresentazione de "La Fuite" di Tristan Tzara, mentre Michel Leiris sta pronunciando un breve intervento sul Dadaismo, viene interrotto da un gruppo di lettristi che reclamano la parola. Al termine della rappresentazione Isou improvvisa un discorso sui fondamenti del Lettrismo e legge alcuni poemi composti di consonanti e di vocali pure. "Combat" titola: "I lettristi mettono in fuga Tzara".
3)Isidore Isou, “La Créatique ou la Novatique (1941-1976)”, éditions Al Dante - Léo Scheer, Romansville 2003.
4) According Isou neither Dada nor Surrealism arrive at this result. Tzara in fact merely attacking "what remains of logic and sense in poetry", making it an "empty concept", similar to what will then Breton through the psychic automatism.
5) Mario Costa, "The 'Lettrism' Isidore Isou," Carucci Editore, Rome 1980 (see especially pp. 24 et seq.)
6) Isidore Isou, "Esthétique du cinema" in "ION" (number one), 1952.
7) The first examples of the species are "Les journaux des Dieux" di Isou (Aux escaliers de Lausanne, 1950); “Saint-Ghetto-des-Prets” (Editions O.L.B., Grimoire, 1950) di Gabriel Pomerand e “Canailles” di Maurice Lemaître (“Ur” n. 1, 1950).
8) Isidore Isou, “Introduction à l’esthétique imaginaire”, in “Front de la Jeunesse” n. 7, 1956.
9) Isidore Isou, “Le manifeste de l'excoordisme et du téïsynisme” (1992) consultabile su “etweb, le site de l' excoordisme et du téïsynisme” (http://perso.wanadoo.fr/e.t.web/ index.html).
10) Isidore Isou, “Traité d’économia nucléaire. Le soulèvement de la jeunesse” tome I, Aux escaliers de Lausanne 1949 ; Id., “Les manifestes du Soulèvement de la jeunesse. 1950-1966”, Centre de Créativité, 1967.
11) Isidore Isou, “Isou ou la mecanique des femmes”, Aux escaliers de Lausanne, 1949 ; Isidore Isou, “Je vous apprendrai l’amour, suivi de Traité d’erotologie mathématique et infinitésimale”, Le terrain vague, 1959. Isidore Isou, “Manifeste pour une nouvelle psychopathologie et une nouvelle psycothérapie”, in “Lettrisme”, n. 18-22, 1971.
12) Isidore Isou, “L’agrégation d’un Nom et d’un Messie ”, Gallimard 1947

(From: http://www.quatorze.org/isoucre.html )

Where To Buy Chopsticks In Phils

Augusto Guido, a physicist from the spirit of classic Moon

At the inauguration of the historic Classroom Physics High School,

Friday, February 25 at 16.30

will be presented on volume

'Augusto Guido, a physicist from the spirit classic'

dedicated to the figure of the passionate teacher of high school,

edited by Beatrice and Magda Roticiani Tassinari and built with the help of Coop Liguria.

spoke Giulio Manutius, Department of Physics, University of Genoa.

The meeting will include a visit to the collection of physics instruments of high school by Charles Ciceri, Liceo Classico Chiabrera.

Would My Blood Work Show Signs Of Hiv

Mele

Friday, February 25

theater Auditorium Finalborgo
21:00

will be the show

Moon Mele
MOON AND OTHER THEATER

by and with Frank and Adriana Jackson Varsori


a show that talks about women and violence of everyday life with humor, song, poetry and feminist pride.

The show is free to enter and eventually we will be glad to offer you a cake and a glass of wine to chat emotions and thoughts that the show has encouraged us and meet us.

Watch Mario Salieri Movies Online

Cuneo The High Middle Ages: a black hole in five centuries


Vagienna Well, Roman ruins

Another episode of the history of the Southern Piedmont Herald that week after week Guido is writing for Wind off since the beginning of our blog. A constant presence and very welcome as evidenced by the large number of visitors to its pages. Thanks, Guido.

Guido Herald

Cuneo The High Middle Ages: a black hole in five centuries

has always influenced the five centuries ranging from the Battle of Pollenzo, "won" with many doubts Stilicho , the diploma of Otto I of 23 March 963. Half a millennium is no small thing: a huge! A period that looks like a huge black hole.
As is known, the ancient Roman town of Bagienni (the people of beech trees), which probably was headed to Augusta Bagiennorum and which corresponded to the vast territory between Stura, Tanaro, Ligurian and Maritime Alps, was a prosperous land, rich and populous.
Certainly the advent of the Sarmatians, whose presence is attested in the name of Salmour, took place before the confused battle against the Goths, clearly reveals a severe demographic crisis so that affected the agricultural area adjacent to the big city.
Then nothing! How many questions! For example: where's the old Auriate? Mystery! A name in the mists of history ... There are vague and uncertain outline to Byzantine garrisons along the course of the Stura, on the right side, which endured for decades before the spread of the Lombards: Morozzo Breolungi were probably "Kastros" the Romans of the East, as well as Dronfield, whose name seems to derive from the Byzantine cavalry catafratti (the forerunners of the medieval knights armor mightily, including the horses). Following
vague hints to the existence of large Benedictine monasteries such as San Dalmazzo this side of the Stura, San Costanzo beyond Stura, San Pietro di Varatella inland Ligurian Borghetto Santo Spirito.
I remember a conference in history to Savona, where the speaker, distinguished university professor of Genoa, cast serious doubt on the very presence of the Saracens and in the Ligurian Riviera, which in Cuneo, despite the widespread tradition for them to be builders of a devastating and persistent terrifying invasion between the ninth and tenth centuries, after having settled in Provence, Frassineto, near Saint-Tropez. In fact, in the face of total lack of historical documentation, professor complained that "the myth of the Saracens" a romantic fantasies of the nineteenth century ... Moreover the same cycle of companies, the valiant Aleramo, Marquis of the brand that was named after him in the Tanaro Orba and the Ligurian Sea, written in the late fourteenth century in order to satisfy the ambitions of August nobility of his descendants, it makes the slightest mention of the Saracens, despite the romantic history of the nineteenth century the objections decisive victories against the invading Moors.

Barchi Ormea, Tower Saracen

Anyway, surprises me most is the total lack of religious and political authority, for centuries, in the vast territory of Bagenni, where, however, requires that you have, for Bagiennorum Augusta, one of the oldest dioceses in Piedmont.
the early days of official historiography, namely the eleventh and twelfth centuries, all from Cuneo Stura, Tanaro Alps and was totally dependent on distant bishopric of Asti, with no identity of its own. It will be the bishop of Asti to encourage the creation of the Municipality of Cuneo, and then regret it a few years later, perhaps due to the presence within its walls of Cathars dall'Occitania deserters.
It returns the name: the Vast! What distinguished the territory which now comprises three provinces: Cuneo, Savona, Imperia. Vast as "failure" destroyed? Just
the deletion of entire dioceses, corresponding to the Roman town halls, would indicate the areas that suffered the most barbarian invasions and, for the latter, the Saracen raids.
The first to disappear was the diocese of Pollenzo, which in Roman times was one of the main cities in the upper valley of the Po, controlled the vast, rich and fertile land between the Stura, the Tanaro, the Roero hills and the Po It was then the turn of the diocese of Augsburg Bagiennorum, which corresponds to Mondovi, until Tanaro. Then touch the mythical Auriate, Travolta probably from the Saracen invasion. On that occasion also the diocese of Alba was suppressed, when the bishop was forced to improvise Guido mason, but later returned to the eleventh century revival.
The "historical vacuum" that permeates our province suggests that a thousand years ago our ancestors really believed the impending Apocalypse!

Guido Saliceto Herald was born in, lives in Cuneo. Author of 44 works including novels and essays, some of which appeared in France by Editions Harmattan, Paris. In 2000 he won first prize in the literary "Ladie's cart" with the book Prèscricia, Stone inscription. His books are found in the online catalog Feltrinelli. For more detailed information please consult the website Editoriale L'Espresso "ilmiolibro.it.

Imageshack Bd Company

Associations and committees announced sit-in at Real Site Carditello: a common good to protect. Sit in at

L’ associazione “CamUrrà” di Gricignano, di comune accordo con il collettivo “Comunità che viene” di Sant’Antimo, a seguito delle notizie apprese dai giornali in merito alla messia all’asta del Real sito voluto da Carlo di Borbone e realizzato dall’architetto Francesco Collecini nella seconda metà del settecento, hanno promosso un sit in per dire “no” alla svendita del noto monumento neoclassico. Al sit in, che si svolgerà presso l’entrata della celebre Reggia di Carditello nella giornata di Sabato 12 Febbraio a partire dalle 15.30 del pomeriggio fino alle 20.00, hanno aderito diverse associazioni, comitati e collettivi the area, including: True Mind Association (Villa di Briano), The Blind Association (Wall), the Legambiente Casapesenna, WWF Agro Aversano Naples North Coast Domitio, Safe Communities (Irpinia), National Confederation of Artisans (Caserta), circle Geofilos Legambiente (juice), Association "For the Left Matese," Our association Italy (Caserta), Friends of Beppe Grillo Meetup Caserta, Committees Two Sicilies, Federconsumatori Campania, Associazione Onlus royal residences, Contramunnezza Committee (Sant'Arpino) Ferazione province of Caserta Left Ecology and Freedom. Together, all the organizations expressing their outrage at yet another act tended to devalue the property art and architecture on the already battered territory of Terra di Lavoro. "The position taken for the protection of an asset not only important for our province - the promoters of the state sit in - it's just the beginning of a path to be taken for the protection and enhancement of landscape and heritage historical and artistic heart of these lands. It is to assert the principles expressed in Article nine of the constitution of the Italian Republic, the principles which should be the same for all Italians, who will have the opportunity to visit the magnificent "Venaria" in Piedmont and those who hope for a re- Commercial Property Site Carditello. It seems absurd that when you are preparing to celebrate the 150th anniversary of the unification of Italy, a bank in Turin (The bank is owned by the Naples group Intesa San Paolo di Torino) is endeavoring to sell off a property that testify to the importance that in the past had our south. "

some pictures of the box and on Carditello interior frescoes (photo Franco Spinelli)