xviith

anonymous asked:

what are your fav french books? :)

I’d say let me think but I know exactly what to say.

novels :

- Les Misérables, Victor Hugo, 1862 - you know this one, careful very long, amazingly well written and I cried a river at the end (if you don’t know, Jean Valjean is out of jail after 17 years despite Inspector Javert’s hatred for him and tries to become a better man, adopting Fantine (a poor sex worker who was left by her lover and dies)’s daughter Euphrasie/Cosette who was until then looked after and abused by the Thénardier’s family. But Javert is after Valjean who stole a coin from a kid shortly after getting released, Cosette grows up and falls in love with Marius, a rich kid who left his family to fight for the revolution - cause yeah, it’s révolution française time. The movie forgot about half of the book (and Fantine is BLOND FOR FUCK’S SAKE it literally says that “her only treasures are the gold on her head and the pearls in her mouth”) but is still amazing and let’s not talk about the soundtrack) I have an extra copy if you want

- Le Chef d’oeuvre inconnu, Honoré de Balzac, 1831 - short story about a crazy painter in love with the woman he painted

- Les Liaisons dangereuses, Choderlos de Laclos, 1782 - epistolary novel (I’d say watch the movie before (SUCH A GOOD MOVIE), it’s easier then to follow the book) two noble, cruel and manipulative libertines fool everyone - especially prudes and believers - using sex and charisma 

- Manon Lescaut, l’Abbé Prévost, 1731 - SO pretty, the impossible love story between Manon and the knight Des Grieux, their families disagree with their relationship so they keep running away, moneyless but madly in love

plays :

- Ruy Blas, Victor Hugo, 1838 - Spain, XVIIth c, the story of a lackey madly in love with the queen and manipulated by his master who wants the crown

- Bérénice, Jean Racine, 1670 - about the complicated love story between Titus flavian roman emperor and Berenice princess of Judea

- Le Cid, Pierre Corneille, 1636 - Rodrigue and Chimène love each other and want to get married but their fathers have an argument, Chimène’s dad slaps Rodrigue’s who can’t fight back and demands that his son kills him

- Tartuffe ou l’imposteur, Molière, 1669 - Orgon, a court person, and his family are manipulated by the hypocrite Tartuffe who pretends to be very religious and is always being taken seriously because of that (read all of his work anyway)


essais :

- Discours de la servitude volontaire, Etienne de la Boétie, 1576 - about how we become society’s slaves because we don’t fight and almost want it

- De l’Inconvénient d’être né, Emil Cioran, 1973 - about the absurdity of human condition, pretty emo, also wrote Syllogismes de l’amertume, 1952

- Pensées, Blaise Pascal, 1670 - for christians but not only, shows you how to live without fear, without narcissism, hard to read but eye opening

- Le Mythe de Sisyphe, Albert Camus, 1942 - absurd philosophy, why staying alive, should we kill ourselves or fight back


poetry :

- Demain dès l’aube, Victor Hugo, 1856

- Mon rêve familier, Paul Verlaine, 1866

- La Terre est bleue comme une orange, Paul Eluard, 1929

- Crépuscule, Guillaume Apollinaire, 1911(?)


women’s work :

- Lélia, George Sand (aka Aurore Dupin), 1833 - about a strong and spiritual woman who won’t give in to the poet Sténio who loves her 

- Mémoires d’une jeune fille rangée, Simone de Beauvoir, 1958 - autobiography if you know her it’s probably from Le deuxième sexe, a feminist bible

- Gigi, Colette, 1944 - short story about a poor 15 yo girl who wishes to be a society woman, helped by her grandmother 

- No et moi, Delphine de Vigan, 2007 - if you were a very bright and very lonely girl growing up, you are desperately going to fall in love with this + the only book written by someone who’s still alive (and quite young)!

- L’Oeuvre au noir, Marguerite Duras, 1968 - the tragic destiny of Zenon, alchemist and doctor from the XVIth century

-  Claire Vénus qui erres par les cieux, Louise Labé, 1555 - poetry

- Femme réveille-toi, Olympe de Gouge, 1790 - feminism (incomplete link)

- Delphine, Madame de Staël, 1802 - Delphine arranges a marriage between a relative and a man and then falls in love with the man

Between shadow and soul

Characters: Jungkook & OC (Yeeun)

Setting: dystopia, mutants au

Genre: angst

Warnings: dark themes, slight gore (deaths, violence, blood, torture)

Summary: Yeeun has learnt early that befriending a mutant only ends in blood and tears. But still, years later she makes the same mistake again and this time it can cost her her life.

“I love you as are loved certain dark things.
In secret, between shadow and soul.”
- Pablo Neruda XVIIth sonnet

Words: it’s basically 12.1k of Jungkook suffering (me @ my heart: how could you?) feat tons of moon references

By 2100, the world has lost 90% of its population. The rest is fighting every day to survive. There’s not enough food, supply or water and there’s nobody to make more. There’s no such thing as money, only brutality and guerrilla wars. Governments and presidents all failed, nobody could control what was happening and this anarchy killed even more people than desperation or starvation. Country borders were ceased, electricity was put out and the world has become a huge Sahara with nowhere to run or hide. People wandered in hordes and lived like wild animals. It was the era of prehistory all over again.

Though, one thing has certainly changed. The Great Nuclear War may have ended after destroying almost everything but it sealed the fate of people. Its presence is still lingering in the air, in the visible destruction and the changes it made. Generations have passed and people seemed to forget about it but then They were born. The mutants with radioactively modified genes. A new race of monsters.

Keep reading

4

An Extremely Fine Rifle Officer’s Presentation Sword

83cm blade by J. & W. Wood, Cutlers, Manchester, finely etched with foliage, stands of arms, crowned VR cypher, the Arms of Stockport, slung bugle horn, Prince of Wales feathers, recipient’s crest and arms and presentation inscription, the gilt patent solid hilt, the guard cast and pierced with foliage, Prince of Wales feathers, the unit title of The Stockport Rifle Volunteers Fourth Battn Cheshire, around the Arms of Stockport, the Royal cypher, a slung bugle horn and the recipient’s crest, the back-piece cast with laurels, oak leaves and acorns and a classical helmet, wire bound chequered horn grips, in its gilt scabbard with large gilt mounts embossed with foliage and panels of trophies of arms against a stippled matted ground, two suspension rings, complete with its blue and gold bullion sword and knot.

FOOTNOTES

The inscriptions reads: Presented to Major Coppock, By His Late Company The First Stockport or XVIIth Cheshire Rifle Volunteers, May 4th 1861.
HENRY COPPOCK appointed Captain when the 17th (Stockport) Company was formed 10 March 1860. Upon the formation of the 4th Administrative Battalion, Cheshire Rifle Volunteers 20 November 1860, he was appointed Major (though with a Captain’s rank), a position he held until his death in 1870.

He was born in 1806 in Stockport and became a lawyer. Upon the formation of Stockport Borough in 1835 he was appointed Town Clerk, and served the town through the troubled times of the Chartists Riots and other insurrections.

He fathered 12 children and resided at Daw Bank House, Stockport. He died in 1870. His ‘family’ arms/crest appear to be his own invention.
The Arms for Stockport as shown on the sword are still in use, though they were not Granted until 1932.

Exploring The Middle Of Nowhere     - 7 -

When a friend of mine saw this picture she said it reminded her of the mood of Polish 1970′s movies. That innocent, off-the-cuff remark made me think about who am I, or who are we as photographers, and whether such a concept as “I” or “We” in photography or art in general is fully justified.

Growing up in Poland I involuntarily soaked up the aesthetics of its landscapes, cities, art, films, etc. The imprint of it is there, together with the layer of images from my years in Switzerland and Norway. How very different that is from the experience an Italian gained being steeped in the beauty of the built environment of her / his country, or someone growing up in Mexico, or Greenland, not to mention someone growing up in the XVIIth district in Paris vs. someone living in the immigrant ghettos of its outskirts.

The above happens involuntarily while we live our life, but then there are also conscious acts of photographic inspiration. I refer to my “Tone, Light, Composition and Pattern Inspirations” folder on my computer. It contains nearly 2400 photographs and feeds my screensaver. There are portraits, landscapes, cityscapes with and without people, architectural patterns, fashion photographs, and artistic nudes among others. Mostly black and white. Vast majority from my favourite late 30s to late 50s period, taken by classic figures in photography, but also recognised contemporary artists as well as some of you, fellow tumblr photographers - enlightened amateurs, in the best possible, original meaning of the word ‘amateur’ - the one who loves something.

With those images rolling one-by-one in front of my eyes the imprint on my subconscious changes slightly with every new addition to that folder. When I notice something worth recording and bring up the camera to my eye, how much I just recognise something I have seen and liked before? How much I create and how much I transform or simply unconsciously repeat? How big a portion of my photograph is creation and how big is repetition? Can I honestly say that my photograph is mine, or is it just a brief pause on a continuum of human creation. What constitutes the “Me-ness” in my photography and what is a blend of what I have seen before?

That, naturally leads to the question about the degree of individuation of ourselves, the issues of what means “I” or “Me” in general, not only in photography, but that is another subject, for another place.

This exceptional DÔME structure, an assembly of precious woods, gilt bronze and pietra dura with inclusion of Lapis Lazuli, is owed to the talents of Carlo MINOTTI (1560-1626); a fine example of late Roman XVIth to early XVIIth century artistry. It will be one of the very unique items to be auctionned by the famed Parisian Kohn Gallery, September 15, 2016

3

“There is an Armenian cathedral at Julfa across the river [in Esfahan], which resembles a Mohammadan shrine of the XVIIth century. Inside, the walls are covered with oil paintings in the Italian tradition of that date. Attached to it is a museum, but the treasures are of historic rather than artistic interest.”

- Robert Byron in The Road to Oxiana


More of my photos from Iran. (New) Julfa in Esfahan is a curious place that gives you the feeling of being in a village in the city. Now, of course, the city of Esfahan has swallowed the quarter, but when it was established by Shah Abbas I in 1606, it was deliberately put far from the Islamic shrines around the Naqsh-e Jahan Square.

Like Byron I was struck by the interesting mix of Islamic/Persian art and Christian/European motifs. It’s also interesting to experience the religious and ethnic diversity of Iran that you so rarely read about in mainstream media. 

I’ve been sooooo busy these days! I work as the only guide in a castle in Burgundy this summer, which used to be the property of a very famous French lady in XVIIth century, la Marquise de Sévigné.The thing is that yesterday, a pretty famous french TV Show talked about her and showed the castle I work in so…. too much people came today.

Miaou to perspective and no scanner, sorry!

A painted breadcrumb

So as some of you know, I’ve been asking for a subtextual clue (because a textual one would be a) too much and b) impossible to find before S4? TAB?) of Mycroft’s knowledge/frankly nonsensical inaction about “Mary Morstan/AGRA” past activities. Or a symbol, a subtextual breadcrumb left for us to rely on something “tangible (i.e. left for the writers for us to see) besides logic.

So I think I found it. The breadcrumb. The subtextual proof.

Okay… If you say so?

Ehm, what are we looking at?

This painting is called “Peacocks”. Made by Melchior  d'Hondecoeter. This dutch guy lived in the XVIIth century. Quoting the wikipedia page on his work,  “he painted virtually exclusively bird subjects, usually exotic or game, in park-like landscapes. Hondecoeter’s paintings featured geese (brent goose, Egyptian brent and red-breasted brent), fieldfares, partridges, pigeons, ducks, magpies and peacocks, but also African grey crowned cranes, Asian sarus cranes, Indonesian yellow-crested cockatoos, an Indonesian purple-naped lory and grey-headed lovebirds from Madagascar.”

What do we have on that painting? Peacocks, obviously. The African grey crowned crane (the big white bird with the red head). A squirrel. A turkey. Also a spider monkey. And what is that, flying free? A MAGPIE.

Please notice the birds he almost exclusively painted. This guy knew his market. He knew where the money was, so he mastered his themes catering to his clients’ taste. His repertoire was limited. If you see a bird flying on a Melchior painting, chances are that is a magpie you’re seeing.

And pray tell, what on earth has that painting to do with the show? Well, since you’re asking…

That painting is hanging on the walls of Mycroft’s house. 

Mycroft has a painting of a magpie mastering the skies.

Shown on the same episode “Mary Morstan” marries John Watson, breaks Sherlock’s heart metaphorically, while Mycroft, knowing who she is (ok, who she definetely isn’t, for sure) does nothing to stop her/tells anyone the truth.

Mycroft is shown running while going nowhere. Watched by a magpie.

Is that the same painting? It is.

If you read my last meta M for mutant (and let’s face it, even if you didn’t), you know magpies are a symbol for the villain “Mary Morstan”. So there it is. The breadcrumb I was referring to. An arrow to the link (or the lack of). 

Tagging people who were very helpful

Keep reading

anonymous asked:

Hey, I have one question! I'm not very familiar with the era that CP is on so I need a reference to Laurent clothes. Can you please help!

Edit: It was brought to my attention that I messed up some things in this post! You can find the explanations here. Another post should be coming soon, with more research and details.

Hello Anon! I can absolutely help you out with this, as I am quite familiar with French history (*points @ myself* French lol) - the culture from which Vere was ispired! Though I’m sorry for the late reply, it’s just that I wanted to do as much research as I could to give you a good answer for this. I would have even wanted to re-read the books to find more references that could help me and you on this, but I thought it would delay my response for too long… (I think I’ll do that very soon, though, so I can compile every clothing reference from the series for fanfic writers and fanart makers!) BUT ANYWAY, let’s get to this!

First off, it must be said that, since CP isn’t ~really~ set in an actual historical period - rather, it’s a made-up era* -, there are a few things about the series that can’t truly be related to any cultural aspect of history. But, thankfully, it’s not a lot of them, and most things actually can be related! Also, I have to say that I’m not a specialist when it comes to this, so there may be some things that are wrong. However, I did as much research as I could, trying to correlate what I learned in History class in high school and what I found on the net. Now, let us finally begin….

(* : Think about the fact that Vere seems to be inspired by medieval/Renaissance France - Middle Ages: Vth to XVth century; Renaissance: XVth, XVIth and XVIIth century -, while Akielos is inspired by Greece while it was under Roman control - 146 BC to 330 AD -…)

To help with my research, I first looked up the illustrations from the Japanese edition of the first series:

Img © prince-damianos

The style is obviously very altered from any actual historical reference, but from what I could find, the closest match for this kind of clothes is around the late XVth, XVIth and early XVIIth century. So, with that figured out, we can now start with the references! 

It isn’t pictured there, but let’s start with the undergarments. In the books, it’s often said that Laurent wears a thin white shirt underneath his dark clothes. This could very well be a Chainse. (Fun fact, that’s where the word “chemise” - shirt - comes from!)

Usually made of cotton, it was also sometimes made of linen or even silk (which are very thin and elegant fabrics) for the nobility.

As for the lower part, Laurent most probably wears Braies underneath his pants (which… weren’t actually pants at the time… you’ll see).

These were made of the same material as the Chainse was made.

(Note: the Chainse and Braies might look too “peasant” for memebrs of the nobility, but these were actually worn by everyone! Whether they be kings or field workers, they all wore these garments underneath their clothes, because they were an important part of the medieval Costume.)

Then, it’s said that Laurent wears thight-fitting clothes that cover him “from neck to toe.” This is broken down into three different parts.

Number one, upper part: the Pourpoint (or Doublet).

Painting by Giovanni Battista Moroni (around 1525 - 1578)

The material used for this was most probably cotton or wool, or in any case, rich materials. And even though the painting shows that it was fastened with buttons, laced Pourpoints were also very popular amongst the nobility! -wink emoji-

And this is the part where there is a little bit of a historical innacuracy (can’t blame C. S. Pacat at all, since she just used the references to inspire herself), because the Pourpoint only covers down to the waist. And, as you can see on the Japanese illustration, Laurent’s Pourpoint covers him down to his mid-thigh, more or less. 

For this, I’d say that you can really do as you wish: either use the Japanese illustration as reference and do a “long Pourpoint”, or go the ~historically accurate~ way and do an….

Number two, middle part: the Haut-de-Chausses (or Trousses).

This garment is made out of vertical pieces of fabric attached together at the level of the waist, underneath the Pourpoint, with puffy cloth stuffed inside, to give it that particular bouffant look.

As you can see in the picture above, the Haut-de-Chausses evolved a lot during the XVIth century. I think that the most accurate one (referring to the Japanese illustration) would be the one from 1580, where the “puffy” look started to get abandonned, to go for a more “skirt-like” look. Like this:

In any case, there must always be something to cover the crotch because, as I said in the beginning, there weren’t pants in this time! And this is where it gets kind of strange! :’D

I know it’s often said in the books that Damen removes Laurent’s pants, though I don’t know if it was to make it all less complicated to explain, or if C. S. Pacat really wanted to give Laurent actual pants. But, if you’re going the historical way, you’re going to want to give Laurent…

Number three, lower part: the Chausses.

This is a pair or garments worn underneath the Haut-de-Chausses (“haut”= “high” which means that the Haut-de-Chausses will always go over the Chausses!). And, as you can see, the Haut-de-Chausses are most probably meant to hide the crotch part where the two Chausses aren’t joined, which looks really ugly imo. And they may look a bit baggy on the pic, but some of them were very tight. The fitting of the Chausses really depended on the wearer’s preferences.

As for how these are attached to the rest of the clothes: they are laced to the Pourpoint, at the waist. (I love how this literally historically justifies the whole “thos damn laces” thing about Laurent lol).

As with the Pourpoint, wool and cotton (but especially wool, since it’s warm) were the preferred materials for these garments.

And, finally! We’ve reached the shoes! This one was a bit tougher, because it wasn’t common for people to regularly wear boots outside of hunting (as Laurent does). But my guess is that he weras just that: hunting boots. And there are various designs for those:

(The latter ones are very much inspired by our boots from nowadays, but I’m guessing that’s probably the style C. S. Pacat wanted for Laurent?)

The only available material for the boots at that time was leather, which is usually very stiff when it’s “new,” and later becomes malleable (and super comfy!) with regular use of the shoes. Which is something you probably alreayd knew, but I’m saying it anyway because I have the impression that Laurent would always wear stiff boots (which means having boots made for him every feew months)… To give himself a more “severe” look, don’t you think?

And… I think that’s about it! So sorry this is so long, and that it took me so much time to post it aaahhh. But I hope it helps you at least a little bit! And if you have other questions, related to this or about other things from the series, always feel free to drop me a message! I hope you have a wonderful day, anon ❤

Sources (all in French, sorry!): x / x / x / x / x / x / x / x / x 

8

Cherik+Lorna Doone AU / XVIIth century England Cherik AU

XVIIth century Exmoor in Devon, England.

After his father has been brutally murdered by one of the notorious Doone clan (a once noble family, now outlaws), young Charles Xavier has been taken in by Ridd family. Battling his desire for revenge, Charles grows into a respectable sergeant serving in king’s army and takes good care of his foster mother and siblings. As a child he falls hopelessly in love with Erik, a boy he meets by accident, who turns out to be not only the apparent grandson of Sir Ensor Doone (lord of the Doones), but that he’s also tormented by evil Sebastian Doone.

Years later Sir Ensor dies, and Sebastian, man hated by Erik, becomes lord of the Doones. Charles helps Erik escape to his family’s farm, Plover’s Barrows. However, shortly after Erik is kidnapped by Sebastian and forced to take part in Duke of Monmouth’s rebellion.

Now Charles Xavier not only has to save Erik from Doones, but also protect him from being executed for treason.

Lorna Doone (2000)
The Devil’s Whore (2008)

Based on the story from Lorna Doone.

Please, let me know if I’ve made any grammar or spelling mistakes so I can fix them; English isn’t my first language.

i made playlist 

it my first playlist on 8 track.

this one is acoustic/folk themed. do u wanna listen to new music? come have a listen. most of them u may not know.

Tracklist:

Emily Yacina - Guide
Waxahatchee - rose, 1956
Addie Pray - Drunken Politics
Grady Philip Drugg - Great
The Lonely Ponies - Once Dice Trice
Elliott Smith - The Biggest Lie
The Deadwood Divine - XVII
The Lilac Time - Black Velvet
Spencer Radcliffe - Green Things
Rose Melberg - I’ve Just Seen A Face
A Boy Named Thor - The Bear And The Bee
Pario Marty - Look Outside

LISTEN ON YOUTUBE ASWELL

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The Bibliothèque Mazarine. The Bibliothèque Mazarine, which in 1945 was joined to the Institut de France, located since 1805 in the Collège des Quatre-Nations, is dependent on the French Ministry of Education. The Bibliothèque Mazarine’s reading room, restored between 1968 and 1974, recreates the surroundings of an important XVIIth century library and, over three hundred and fifty years after its foundation, remains an institution accessible to all, to the merely curious or the learned, nationals and foreigners. (photos by Remi Mathis)