Memorie giovanili di un pazzo pretenzioso (Italian Edition)

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Tes, I think that is better than avidity. Shall my life one-thousandth of an inch fall short of its ultimate possibility? It is a different thing to value oneself, and to prize oneself crazily. And then there are our plants, idealizations. These are dangerous, too.

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They can consume us like parasites, eat us, drink us, and leave us lifelessly prostrate. And yet we are always inviting the parasite, as if we were eager to be drained and eaten. It is because we have been taught there is no limit to what a man can be. Six hundred years ago, a man was what he was born to be. Satan and Church, representing God, did battle over him. He, by reason of his choice, partially decided the outcome.

But whether, after life, he went to hell or to heaven, his place among other men was given. It could be contested. But, since, the stage has been reset and human being only walk on it, and, under this revision, we have, instead, history to answer to. We were important enough then for our souls to be fought over. Now, each of us is responsible for his own salvation, which is in his greatness. And that, that greatness, is the rock our hearts are abraded on. Great minds, great beauties, great lovers and criminals surround us. The fear of lagging pursues and maddens us.

The fear lies in us like a cloud. It makes an inner climate of darkness. And occasionally there is a storm and hate and wounding rain out of us. Meglio questo saggio delinea una teoria [.. In the absence of any traditional, ritualistic value, art in the age of mechanical reproduction would inherently be based on the practice of politics. Noi definiamo questi ultimi apparizioni uniche di una lontananza, per quanto questa possa essere vicina. The establishment of the fine arts and their division into various categories go back to a time that differed radically from ours and to people whose power over things and circumstances was minute in comparison with our own.

However, the astounding growth that our resources have undergone in terms of their precision and adaptability will in the near future confront us with very radical changes indeed in the ancient industry of the beautiful. In all arts there is a physical component that cannot continue to be considered and treated in the same way as before; no longer can it escape the effects of modern knowledge and modern practice. Neither matter nor space nor time is what, up until twenty years ago, it always was.

We must be prepared for such profound changes to alter the entire technological aspect of the arts, influencing invention itself as a result, and eventually, it may be, contriving to alter the very concept of art in the most magical fashion. Marx so ordered his endeavours that they acquired prognosticative value. Looking back at the basic circumstances of capitalist production, he presented them in such a way as to show what capitalism might be thought capable of years to come. What emerged was that it might not only be thought capable of increasingly severe exploitation of proletarians; ultimately, it may even bring about conditions in which it can itself be done away with.

The transformation of the superstructure, which proceeds far more slowly than that of the substructure, has taken more than half a century to bring out the change in the conditions of the production in all spheres of civilization. Only now can the form that this has assumed be revealed. Of those revelations, certain prognosticative demands need to be made.

However, such demands will be met not so much by prepositions concerning the art of the proletariat after it has seized power, let alone that of the classless society, as by propositions concerning how art will tend to develop under current conditions of productions. The dialects of those propositions makes itself no less apparent in the superstructure than in the economy. It would be wrong, therefore, to underestimate the combative value of such propositions. They oust a number of traditional concepts — such as creativity and genius, everlasting value and secrecy- concepts whose uncontrolled and at the moment scarcely controllable application leads to a processing of the facts along the lines of Fascism.

The following concepts, here introduced into art theory for the first time, differ from more familiar ones in that they are quite useless for the purpose of Fascism. They can, on the other hand, be used to formulate revolutionary demands in the politics of art. In principle, the work of art has always been reproducible.

What mas has made, mas has always been able to make again. Such copying was also done by pupils as an artistic exercise, by masters in order to give works wider circulation, ultimately by anyone seeking to make money. Technological reproduction of the work of art is something else, something that has been practiced intermittently throughout history, at widely separated intervals though with growing intensity.

The Greeks had only two processes for reproducing works of art technologically: Bronzes, terracottas and coins were the only artworks that they were able to manufacture in large numbers. All the rest were unique and not capable of being reproduced by technological means. It was wood engraving that made graphic art technologically reproducible for the first time; drawings could be reproduced long before printing did the same for the written word.

The huge changes that printing the technological reproducibility of writing brought about in literature are well known. However, of the phenomenon that we are considering on the scale of history here they are merely a particular instance- though of course a particularly important one.

Wood engraving is joined in the course of the Middle Age by copperplate engraving and etching, then in the early nineteenth century by lithography. With lithography, reproductive technology reaches a radically new stage. The very much speeder process represented by applying a drawing to a stone as opposed to carving it into a block of wood or etching it onto a market its products not only in great numbers as previously but also in different designs daily.

Lithography made it possible for graphics art to accompany everyday life with pictures. It started to keep pace with printing. However, in these early days it was outstripped, mere decades after the invention of lithography, by photography. With photography, in the process of pictorial reproduction the hand was for the fist time relieved of the principal artistic responsibilities, which henceforth lay with the eye alone as it peered into the lens.

Since the eye perceives faster than the hand can draw, the process of pictorial reproduction was so enormously speeded up that it was able to keep pace with speech. The film operator, turning the handle in the studio, captures the images as rapidly as the actor speaks. Whilst in lithography the illustrated magazine was present in essence, in photography it was the sound film. The technological reproduction of sound was tackled at the end of the last [nineteenth] century.

These convergent endeavours rendered foreseeable a situation that Paul Valery described in the sentence: As regards studying that standard, nothing is more revealing than how its twin manifestations — reproduction of the work of art and the new art of cinematography — redound upon art in its traditional form. Ieri sera mi hanno citofonato ma non aspetto nessuno da mesi.

Un tempo aspettavo mia moglie, quando ho scoperto che Lia mi tradiva ci siamo separati e ho smesso di attendere. In genere se tengo la televisione accesa sono spento. Da quando mi sono dimesso dalle Assicurazioni la lascio accesa giorno e notte. Per questo, forse, si rompono i ponti con gli altri e si rimane da soli: Allo squillo del citofono devo aver fatto un balzo. Lacrime nere come formiche si rincorrevano sui piedi nudi, ho creduto di perdere sangue. Del vino rosso che mi colava dal pigiama.

Mi seccava far freddare la cena, ho posato lo stesso il vassoio in cucina e sono corso ad aprire. Per tutto il giorno avevo sospettato che Lia e la bambina si fossero dimenticate del mio compleanno, invece era un trucco per farmi una sorpresa assoluta e portarmi la torta. Ho premuto il pulsante del citofono senza controllare. Li ho sentiti parlottare per strada. Ormai avevo aperto, ho trattenuto il respiro sperando che se ne andassero.

Caruso ha modulato al citofono: Caruso sembrava a disagio. Apprezzavo il gesto, si capisce, ma volendo dimostrarsi gentili per forza non bastava una telefonata? Ho sempre disapprovato il falso cameratismo fra assicuratori, quando siamo i primi a sapere che i rapporti umani si aprono e si chiudono nella parentesi di una provvigione. Trovandosi costretto a svolgere una mansione sgradevole preferirebbe liberarsi subito dal peso: Zoologicamente ricorda un koala. Se scoprisse che i disoccupati non nascondono i miliardi in garage dovrebbe farsi ricoverare.

Aragno rientra nella categoria di persone convinte che chiunque stia meglio di loro. Ho trattenuto uno sbadiglio di fame. Da quando sono tornato a vivere da solo, ceno alla stessa ora della mia bambina per illudermi di averla accanto. Gli ho fatto notare che, se il motivo era questo, mi sembrava bizzarro piombarmi in casa a un anno di distanza, considerato che da allora non era cambiato un bel nulla. Quello che sospettavo un anno fa ve lo ripeto a ragion veduta oggi: Ma che razza di assicuratori siamo?

Un mestiere da baraccone. Mi sono alzato dal divano per fumare senza arrecare fastidio e ho gettato uno sguardo tra le fessure delle persiane. La signora Elide, la custode del condominio rimasta vedova di recente, ha richiamato la gatta in portineria con un verso simile a quello lanciato dalla convivente.

La gatta ha seguito a balzi le ciabatte della padrona come fossero giovani maschi. Ho chiesto se gli avesse dato di volta il cervello, detesto tutte le ricorrenze, in primo luogo le mie, e poi non esco molto spesso la sera. Il giorno prima ne avevo comprati un paio grigi, estivi.

Il commesso accucciato con gli spilli in bocca mi aveva domandato se li preferivo con il risvolto o senza: Nelle giacche quasi tutte blu, solo di taglie diverse. La copertina, nera, titolata di bianco e verde, presenta uno strappo al margine superiore, lungo appena un centimetro, e una chiazza scura, nel retro, ampia tre millimetri almeno. Altrimenti, non si spiegherebbe il tremore nervoso della calligrafia, schizzata a inchiostro nero nel pacchetto.

In compenso un triangolo edipico, ma la lettiera del gatto sempre pulita. The book is set in the midst of the Cold War. The protagonist is Jonathan Chase , a suave secret agent with a background in martial arts- part James Bond , part Jason Bourne. They head back to her place, where Chase eyes the water bed while Farmer slips into something more comfortable: The he saw her.. Chase caught hold of her, pulled her close. She slid her hands to his shoulders, gently pushing him away. Vladimiro sei un idiota! Estragone sei un imbecille! Io, sono arrivato prima io! Tu, togliti di mezzo tu! Manco per sogno, mi fanno loro.

He throws up his hand. A diversion comes along and what do we do? Ogni tanto mi piace aprirlo e leggerne una pagina a caso. La madre aveva sferruzzato, per lui e per Anwar, parecchie maglie di lana terribilmente ispide e li aveva salutati a Bombay raccomandando loro di non diventare, per nessun motivo, dei consumatori di carne di maiale.

Come Gandhi e Jinnah prima di lui, mio padre era destinato a ritornare in India trasformato in un distinto avvocato inglese e in un capace ballerino. Questo era indiscutibilmente il grande dolore della sua vita, e credo fosse la ragione per cui si sentiva irrimediabilmente attratto da donne che si prendevano cura di lui, donne che poteva amare come avrebbe dovuto amare la madre a cui non aveva mai scritto una sola riga. Londra, la Old Kent Road , fu uno shock culturale per entrambi.

Mio padre rimase stupito e rincuorato alla vista degli inglesi in Inghilterra. Non aveva mai incontrato un inglese povero — uno spazzino, un commesso, un barista. Il dottor Lal era un orrendo dentista indiano che sosteneva di essere amico di Bertrand Russell. Pare che a Combridge, durante la guerra, un solitario Bertrand Russell avesse confidato al dottor Lal che la mesturbazione rappresentava la risposta alla frustrazione sessuale. Bisognava iscrivere questo risultato tra i grandi successi di Russell? - Blog - NEL MONDO CHE VEDO » Blog Archive » Onore ai Savoia

Non acquistandoli e continuando a leggere la carta stampata. Vi servono dei motivi per fare altrettanto? Dare to take a chance? Lo sai come sono fatte le donne, yaar. Tu non li conosci , pensano ancora di avere un impero quando non hanno neanche un soldo in tasca.

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Hai la muffa sulle palle, pensi solo a quelle cineserie e non alla Regina! Anwar, ma non senti mai il bisogno di. Con gli e-book readers non potete farlo. Non solo, i libri possono essere usati come martello, stappa-bottiglia indicati i libri a copertina rigida , tagliere, carta igienica, carta da cucina, poggia-testa, poggia-piedi, poggia-gomiti, gratta-spalle, mensola, paletta, scala, carta da regalo, combustibile, scopa, ventaglio, divisorio, futon, vassoio.

Volete sapere come ci si sente dopo aver strappato una a una tutte le pagine de La Nausea? Il capitale , pagine. Certi giorni di temporale a boccheggiare. Struggling families are on the brink of poverty and could face ruin if hit by further price increases or falls in their income, the study by parenting website Netmums found. Cameron aumenta le tasse e accorcia il braccino. Il messaggio mi pare chiaro, ladies and gentlemen, torniamo alle maniere dure di sempre. Moriamo di depressione, di cancro, di tumori, di anoressia, di bulimia, di overdose.

La propaganda Anti-Crisi si diffonde per radio, televisione, internet, a suon di pop e marionette. Come possono i giornalisti della rai lamentarsi delle censure se per lavorare come giornalisti della rai hanno dovuto investire milioni in studi, in aggiornamenti, in viaggi, in raccomandazioni pur di farsi assumere dal governo italiano. Con un mutuo da pagare e una vacanza alle canarie da disdire?

Alcuni lo hanno fatto. Alcuni si sono ribellati al padre. E io trovo tutto quel lamentarsi, capricci e ripicche da bambini. Chiunque di noi si dice disgustato dalle raccomandazioni, sebbene chiunque di noi sarebbe disposto a vendersi la pelle pur di avere un posto fisso. Ognuno di noi ogni giorno si prostituisce in cambio di denaro, affermazione, prestigio. A lavoro, nelle relazioni sociali. Io non voglio lanciare una provocazione e tirarmi indietro, o fare polemica per noia o cattivo gusto.

Io ho detto di NO. Che non paga la malattia fino a prima del sesto giorno di assenza da lavoro. Che non paga bank holidays e corsi di formazione al personale. Non posso fare nulla per proteggere me, chi mi sta vicino e sta peggio di noi. Ti serve un dentista? Ti serve un terapeuta? Hai un lavoro, lavora! Io non mi faccio spremere come un limone per soddisfare la tua sete di potere e denaro. Il denaro stabilisce quante ore di lavoro un dipendente deve fare e quanto denaro quel dipendente deve pontenzialmente fruttare.

Contro i 6 e 10 di paga netta per ora. Il denaro permette di acquistare il tempo, di scambiare del tempo per del tempo, che viene comprato indirettamente e subordinato a un vincolo, il rapporto compratore-venditore, quindi consumatore-stipendiato. Questo dovrebbe corrispondere ad uno stipendio di pounds al mese 22 giorni di lavoro.

Per la maggior parte dei lavoratori lo stipendio consiste nel minimo di quella cifra. E in fondo mi piace, il confort di un posto caldo dove dormire e almeno un pasto al giorno di cui cibarmi. Sono una donna sofisticata. Dei giorni andare a lavoro mi pare una violenza. Il coraggio starebbe semmai nel mollarlo. Vendiamo beni altrui, costruiamo cianfrusaglie inutili, ci sprechiamo in cambio di carta straccia. Schifosissima e maledetta carta straccia puzzolente e sporca di sangue. Sto leggendo un bel romanzo, in questi giorni.

Russian News disponibile anche in italiano In his recent works, Russian master of postmodern science fiction Victor Pelevin has shifted his satirical focus from the absurdities of the communist regime to the iniquitous consumerism of post-Soviet Russia. In this surreal story, The Hall of Singing Caryatids, by the Russian master of postmodern science fiction, Victor Pelevin, young Lena is employed to stand naked for hours at a time and sing — when they are not indulging the excessive fantasies of oligarchs.

In true postmodern style, Pelevin intersperses these drug-induced episodes with other voices. There are the pseudo-pretentious extracts from Counterculture magazine that Lena reads in the minibus back to Moscow. She also meets concept artists, girls dressed as mermaids, important clients in bathrobes, guards in suits, and the sinister, ironic-slogan-toting Uncle Pete.

Pelevin has been perplexing and delighting readers with his unique brand of polyphonic sci-fi comedy for more than two decades now. His first novel, Omon Ra, published in , portrays a protagonist attempting to escape the Soviet nightmare by becoming a cosmonaut, only to find himself part of a farcical, mock-heroic moon landing during which he drives his lunar bike along a derelict underground tunnel. While the political landscape may seem to have altered seismically around him, Pelevin has had no trouble shifting his satirical focus from the absurdities of the communist regime to the iniquitous consumerism of post-Soviet Russia.

Chi sono le cariatidi canterine? Dal greco, figure portanti. Intanto che aspettano, Lena trova una rivista, e Pevelin il pretesto per parlare di controcultura e fare polemica. Inside it was another slim, badly tattered magazine, titled Counterculture. Counterculture was printed on poor quality newsprint and looked very dubious, even sordid, but Vera explained that that was deliberate. Lena, why are you so quiet? And here they write: She half listened to the girls with one ear as she read the article: In just two minutes, you can be in a pine forest. Washing lines from the Free Space factory!

And when someone has a few billion dollars, you can find an awful lot of something good. You just have to look for it. Translated from the Russian by Andrew Bromfield. And I, at times, am one with them: I understand, I have compassion, I see the joke. Una specie di fungo, a cappella stretta e chiusa.

Fate per portarvi le mani alla bocca, ma non avete braccia. Abbassate lo sguardo ai piedi, ma non avete piedi. Avete due sacche, al posto dei piedi. Due sacche gonfie e piene. Non agitatevi, potreste eiaculare La domanda: Voi, donne, che fareste se mai un giorno vi trasformaste in un pene? E si, sono ammessi blitz nei monasteri e alle poste. How does it feel like? Benvenuto nel club, prof.

I am a breast. They tell me that I am now an organism with the general shape of a football, or a dirigible: I am said to be of a spongy consistency, weighing in at one hundred and fifty-five pounds formerly I was one hundred and sixty-two , and measuring, still, six feet in length. The bulk of my weight is fatty tissue. I am told that these are the apertures of the lactiferous ducts. As I am able to understand it without the benefit of diagrams- I am sightless- the ducts branch back into lobules composed of cells of the sort that secrete the milk that is carried to the surface of the ordinary nipple when it is being suckled, or milked by mechanical means.

My nipple is rosy pink in color. This last is thought to be unusual in that in my former incarnation I was an emphatic brunette. My nipple is rosy pink in color- as was the stain I had discovered at the base of my penis upon stepping into the shower the night this all happened to me.

In that the apertures in the nipple provide me with something remotely like a mouth and ears- at least I am able to make myself understood through my nipple, and, faintly, to hear what is going on around me- I myself had assumed at first that it was my head that become my nipple. The doctors, however, hypothesize otherwise, at least as of this month. With little more evidence, I would think, to support this conjecture over any other, they now maintain that the wrinkled, roughened skin of the nipple- which, admittedly, is exquisitely sensitive to touch like no tissue on the face, including the mucous membrane of the lips- was formed out of the glans penis.

Two fine long reddish hairs extend from one of the small elevations on the rim of the areola. How long are they? A hair on my body had been tugged. It was familiar sensation, and it made me want to be dead. The sensation was, unexpectedly, soothing and pleasant, but of an undifferentiated kind, reminding me of water lapping over the skin more than anything else. One morning I awakened to feel something strange happening to one of my extremities. I was in a fire! Quella notte che dormii per strada, a Berlino , fu la notte seguente al primo giorno che vi arrivai, un mattino di sette anni fa.

Avevo viaggiato in treno tutta la notte, da Hauptbahnhof Station Monaco , attraverso la Bavaria, la Turingia , Brandeburgo, fino a Zoologischer Garten, la stazione a ovest di Berlino in cui mi fermai. Non conoscevo nessuno, non avevo un posto dove dormire, appena euro dentro la tasca dei jeans. Di Zoologischer Garten avevo letto da ragazzina in quel romanzo di Christiane F. Profuma di sporco e graffiato. Qualche settimana fa ho trovato un romanzo che ho pensato sarebbe stato bello leggere a quei tempi, Goodbye to Berlin , dello scrittore inglese Christopher Isherwood.

Dopo la morte del padre, Christopher la madre e il fratello minore si trasferiscono a Londra , dove lo scrittore intraprende un corso di medicina. Isherwood inizia a scrivere da ragazzino, dapprima poesie, poi un primo romanzo, All the Conspirators , del , che non riscuote grande fortuna. In quegli anni conosce W. Quasi la guerra fosse appena un contrattempo e un fastidio, e a farla soltanto i soldati e la gente ammazzata oltre il confine. A collection of six overlapping short stories set against the backdrop of the declining Weimar republic as Hitler rose to power. Isherwood, appearing himself as a fictional narrator, lives as a struggling author in the German capital , describing his meetings with the decadent, often doomed eccentrics, bohemians, and showgirls around him.

The sense of oblivious naivety to the gathering storm around them gives his characters tremendous pathos and tragedy. Isherwood is evoking an age that will never be seen again. I was shown into a big gloomy half-furnished room by a fat untidy landlady with a pouchy sagging jowl like a toad. I was feeling most terribly lonely. Nicht wahr, Frau Karpf? You could tell that she was speaking a foreign language from her expression alone. Sally, meanwhile, had switched on the table-lamp. As I turned from the window, she curled herself up delicately on the sofa like a cat, and opening her bag, felt for a cigarette.

She was wearing the same black dress today, but without the cape. Instead, she had a little white collar and white cuffs. They produced a kind of theatrically chaste effect, like a nun in grand opera. She was really beautiful, with her little dark head, big eyes, and finally arched nose- and so absurdly conscious of all these features.

There she lay, as complacently feminine as a turtle-dove, with her poised self-conscious head, and daintily arranged hands. I asked, looking round the large gloomy room. Oriana Fallaci ammette di essere stata anche lei una ragazzina, e di essersi innamorata, ingenuamente, di un uomo, un ex soldato, che non sta ad aspettare in casa, davanti alla tv e coi ferri della maglia in mano, ma va a cercare, fino in America, e con la scusa di dover girare un film.

Una cifra, nel caso di Oriana un marchio. Il mondo secondo lei. Girare le spalle e andarsene. Oriana ne aveva ventotto, allora. Parla poco ed ha bellissimi occhi.

Strange answers to the psychopath test - Jon Ronson

Diventa feroce quando si arrabbia. Capisci tutto e allo stesso tempo non capisci nulla. Angelo Rizzoli, il produttore, Oriana la giovane scrittrice. Very English, un tanto ansiogeno e molto controllato. Rachel treasures these stones and, while engaged on a groundbreaking new series of paintings possibly inspired by them, dies of a heart attack in her Cornish loft-studio. A death is a well-worn fictional opening device, but here Patrick Gale uses it cleverly to fresh effect.

Fortunately for the reader, Gale guides us fairly confidently towards the full picture. Rachel is bipolar, a creature alternately wonderful and terrible to her gentle Quaker husband Antony Middleton and her four children. As a young English postgraduate, Antony rescued her in Oxford when she was pregnant and suicidal. His devotion, his calm, tolerant religion and his childhood home in Penzance combined to make marriage to him her haven, and her abstract painting came to attract critical acclaim.

Only after her death does Antony discover the hair-raising secrets of her upbringing via Review: The owner is a certain Monsieur Foureau, who is said to live on an estate at Chavignolles, between Caen and Falaise, in a farm of thirty- eight hectares, with a sort of manor house. Some years ago, a television drama was filmed there, under the title The Sixteenth Edge of This Cube; Remi Rorschach took part in the shooting but never met this owner. Nobody ever seems to have seen him.

The blinds are always drawn. Sottoscrive Perec, al terzo piano di Rue Simon-Crubellier, numero 11, non vive nessuno, ma il sospetto di un omicidio. Prendete una scacchiera e sfidate un cavaliere in una crociata, in palio la soluzione a un quesito matematico: Una camera un capitolo, un capitolo una storia, una storia una mossa del cavaliere. Pretende noi si venga informati bene circa i fatti. Preamble To begin with, the art of jigsaw puzzles seems of little substance, easily exhausted, wholly dealt with by a basic introduction to Gestalt: That means that you can look at a piece of a puzzle for three whole days, you can believe that you know all there is to know about its colouring and shape, and be no further on than when you started.

The only thing that counts is the ability to link this piece to other pieces, and in that sense the art of jigsaw puzzle has something in common with the art of go. The pieces are readable, take on a sense, only when assembled; in isolation, a puzzle piece means nothing — just an impossible question, an opaque challenge.

But as soon as you have succeeded, after minutes of trial and error, or after a prodigious half-second flash of inspiration, in fitting it into one of its neighbours, the piece disappears, ceases to exist as a piece. The two pieces so miraculously conjoined are henceforth one, which in its turn will be a source of error, hesitation, dismay, and expectation.

The role of the puzzle-maker is hard to define. In most cases — and in particular in all cardboard jigsaw — the puzzles are machine-made, and the lines of cutting are entirely arbitrary: But such jigsaw are eschewed by the true puzzle-lover, not just because the solutions are printed on the boxes the come in, but because this type of cut destroys the specific nature of jigsaw puzzles. Contrary to a widely and firmly held belief, it does not really matter whether the initial image is easy or something taken to be easy — a genre scene in the style of Vermeer, for example, or a color photograph of an Austrian castle or difficult a Jackson Pollock , a Pissarro, or the poor paradox of a blank puzzle.

The art of jigsaw puzzling begins with wooden puzzles cut by hand, whose maker undertakes to ask himself all the questions the player will have to solve, and , instead of allowing chance to cover his tracks, aims to replace it with cunning, trickery, and subterfuge. All the elements occurring in the image to be reassembled — this armchair covered in gold brocade, that three-pointed black hat with its rather ruined black plume, or that silver-brained bright yellow livery — serve by design as points of departure for trails that lead to false information.

The organized, coherent, structured signifying space of the picture is cut up not only into inert, formless elements containing little information or signifying power, but also into falsified elements, carrying false information; two fragments of cornice made to fit each other perfectly when they belong infact to two quite separate sections of the ceiling, the belt buckle of a uniform which turns out in extremis to be a metal clasp holding the chandelier, several almost identically cut pieces belonging, for one part, to a dwarf orange tree placed on a mantelpiece and, for the other part, to its scarcely attenuated reflection in a mirror, are classic examples of the types of traps puzzle-lovers come across.

From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: E voi che mi dite, piaciuto?

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Chi di voi vorrebbe aggiungere particolari alla descrizione del romanzo? A quali coinquilini vi siete affezionati, quale quadro vi ha suggestionati e impressionati maggiormente. Volendo prendere a esempio il romanzo e improvvisare un esercizio di scrittura, potremmo anche noi catalogare degli oggetti, e sulla base di un finale, costruire un racconto che li comprenda Ho per le mani una raccolta di storie, Last Night , a mio parere assai noiosa, dello scrittore americano James Salter. For him, it was only the beginning.

Vada per Il Seno di Philip Ruth, come lettura di febbraio? Dal profondo un pensiero di pace, e un augurio. Buona Domenica a noi tutti. Invito Milan Kundera a uno shisha hour in una coffeehouse in Nowhere Street. Sorseggia maroccam mint tea, gioca a scacchi contro Il Turco. Un vecchio grammofono polveroso suona un pezzo di Lady Gogo. Mi dico sorpresa di essere arrivata in ritardo, pur essendo in anticipo. Kundera sorride, si compiace della mia apprensione, e invita a sedere di fianco al Turco. In its own way, throught its own logic, the novel discovered the various dimension of existence one by one: With Thomas Mann , it examines the role of the myths from the remote past that control our present actions.

Et cetera, et cetera. By that I mean: In the absence of the Supreme Judge, the world suddenly appeared in its fearsome ambiguity; the single divine Truth decomposed into myriad relative truths parceled out by men. Thus was born the world of the Modern Era, and with it the novel, the image and model of that world. To take, with Descartes, the thinking self as the basis of everything, and thus to face the universe alone, is to adopt an attitude that Hegel was right to call heroic.

Much has been written on the question. Others see it as a celebration of that same idealism. Man desires a world where good and evil can be clearly distinguished, for he has an innate and irrepressible desire to judge before he understands. Religions and ideologies are founded on this desire. They can cope with the novel only by translating its language of relativity and ambiguity into their own apodictic and dogmatic discourse. They require that someone be right: He could go out freely and come home as he pleased. The early European novels are journeys through an apparently unlimited world.

They exist in a time without beginning or end, in a space without frontiers, in the midst of a Europe whose future will never end. Half a century after Diderot, in Balzac, the distant horizon has disappeared like a landscape behind those modern structures, the social institutions: It has set forth on the train called History.

The train is easy to board, hard to leave. Later still, for Emma Bovary, the horizon shrinks to the point of seeming a barrier. Adventure lies beyond it, and the longing becomes intolerable. Within the monotony of the quotidian, dreams and daydreams take on importance. The lost infinity of the outside world is replaced by the infinity of the soul. In the face of the Court or the Castle, what can K. The infinity of the soul- if it ever existed- has become a nearly useless appendage.

A novel that does not discover a hitherto unknown segment of existence is immoral. Il linguaggio di ciascuno di noi si evolve ogni giorno arricchito di parole nuove, un vocabolario criptato a noi fino a prima di adesso del tutto sconosciuto e in alcuni casi ancora incomprensibile. Ci si incontra e innamora su internet, si comunica by email, si viene assunti su Skype, licenziati su Facebook, mollati su Twitter.

Quanto al Turco, sparito. Con la gynoid seduta al tavolo di fianco al nostro. For in addiction to being a great center for chess, London was renowned for its enthusiasm for public displays of automata and other technological marvels. The arcades of Piccadilly, the streets of St. The Turk , dello scrittore inglese Tom Standage tomstandage. The Minds of Machines Philosophy Now. Chess had been a popular pastime in coffeehouses in both cities since the beginning of the century and enjoyed a period of heightened popularity in the s and s, when it became extremely fashionable in high society.

Playlist dei brani da ascoltare, lista dei libri da leggere, degli autori da approfondire, del materiale su cui scrivere, dei posti che mi piacerebbe visitare, dei films e le mostre da vedere, di citazioni e articoli di giornale. Improbabili liste di buoni propositi e scadenze da rispettare, progetti su cui lavorare.

Un tic, in alcuni casi. Ho deciso che il deve portarmi bene, me ne frego della fine del mondo. Fuori il superfluo, dentro il necessario. Pragmatismo, la parola chiave. Che ne dite Avrei pensato a questi titoli, ognuno di voi si senta libero di inserirne di altri che andranno a sostituire quelli da me scelti.

Un poeta maledetto, alla maniera di Baudelaire , nostalgico, alla maniera di Rimbaud. Finito il college, Lowry si rifiuta di lavorare per il padre e a una carriera manageriale preferisce il mare, arruolandosi come marinaio; gira il mondo, subisce gli orrori della guerra, va a caccia di storie in buona parte contenute nel romanzo di debutto Ultramarine , del Insegue la propria stella. Over the broken horizon the Scorpion was crawling. There was the red, dying sun, Antares. To the south-east, the Retreat of the Howling Dog appeared. The stars taking their places were wounds opening in his being, multiple duplications of that agony, of that eye.

The constellations might have been monstrosities in the delirium of God. Disaster seemed smeared over the whole universe. Questi i links a un sito dedicato a Lowry e un articolo, nel quale si racconta della vita dello scrittore Malcolm Lowry The 19th Hole Life and Letters: Day of the Dead: Sotto, il primo capitolo del libro A man leaves a dockside tavern in the early morning, the smell of the sea in his nostrils, and a whisky bottle in his pocket, gliding over the cobbles lightly as a ship leaving harbour.

Soon he is running into a storm and tacking from side to side, frantically trying to get back. Now he will go into any harbour at all. He goes into another saloon. From this he emerges, cunningly repaired; but he is in difficulties once more. This time is serious: Passers- by stare at him curiously, some with anger; others with amusement, or even a strange avidity. This time he seeks refuge up an alley, and leans against the wall in an attitude of dejection, as if trying to remember something. Again the pilgrimage starts but his course is so erratic it seems he must be looking for, rather than trying to remember something.

Or perhaps, like the poor cat who had lost an eye in a battle, he is just looking for his sight? The heat rises up from the pavements, a mighty force, New York groans and roars above, around, below him: Signs nod past him: The Best for Less, Romeo and Juliet , the greatest love story in the world, No Cover at Any Time, When pain threatens, strikes- He enters another tavern, where presently he is talking of people he had never known, of places he had never been.

Through the open door he is aware of the hospital, towering up above the river. Near him arrogant bearded derelicts cringe over spittoons, and of these men he seems afraid. Sweat floods his face. From the depths of the tavern comes a sound of moaning, and a sound of ticking. Outside, again the pilgrimage starts, he wanders from saloon to saloon as though searching for something, but always keeping the hospital in sight, as if the saloons were only points on his circumference.

In a street along the waterfront where a bell is clanging, he halts; a terrible old woman, whose black veil only partly conceals her ravaged face, is trying to post a letter, trying repeatedly and falling, but posting it finally, with shaking hands that are not hands at all. A strange notion strikes him: He takes a drink from the bottle. Thousands collapse in Heat Wave. Civil War in Spain. Once he stops in a church, his lips moving in something like a prayer. Nobody seems to be looking. He likes drinking in churches particularly. But afterwards he comes to a place not like a church at all.

This is the hospital: Tilting the bottle to his mouth he takes a long, final draught: But between taken from Lunar Caustic, cap 1, by Malcolm Lowry, Dallo scorso settembre, le biblioteche inglesi sono state ingaggiate del compito di raccogliere, entro una lista, i libri che nel corso degli anni passati sono stati bannati, non solo in Inghilterra, ma nel resto del mondo. O al mare, sugli scogli, a leggere dei dolori del giovane Werther , delle bravate di Holden, dei tormenti di madame Bovary, del lupo nella steppa, dei padri e dei figli della rivoluzione russa.

E poi avevo la pessima abitudine di litigare coi professori. E di starmene in disparte dalla classe. Meglio ancora se fuori, a fumare nei giardinetti del cortiletto vicino la palestra. Che poi in fondo, ai professori, devo aver fatto pure un favore. Io marinavo scuola, loro non dovevano preoccuparsi di redimermi, o punirmi. Il direttore di sospendermi.

E tutti eravamo felici. Sapete ci sono scrittori che amano scopare con le parole. E, a mio parere, un capolavoro della critica e della prosa letteraria. La ragione per cui amo leggere Sartre consiste appunto nello stile, elegante, netto, attento, acuto, della scrittura. Join the Communist Party. Contempt for belles-lettres is spread out insolently all through your review.

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An author who barely crawled from one war to the other and whose name sometimes awakens languishing memories in old men accuses me of not being concerned with immortality; he knows, thank God, any number of people whose chief hope it is. In the eyes of an American hack-journalist the trouble with me is that I have not read Bergson or Freud; as for Flaubert , who did not engage himself, it seems that he haunts me like remorse. You want to engage them, too? They read quickly,badly, and pass judgment before they have understood.

But we have to hit the nail on the head. And since critics condemn me in the name of literature without ever saying what they mean by that, the best answer to give them is to examine the art of writing without prejudice. Why does one write? The fact is, it seems that nobody has ever asked himself these questions. And why would we want to? When a writer of past centuries expressed an opinion about his craft, was his immediately asked to apply it to the other arts? Doubtless, one could find at the origin of every artistic calling a certain undifferentiated choice which circumstances, education, and contact with the world particularized only later.

Besides, there is no doubt that the arts of a period mutually influence each other and are conditioned by the same social factors. But those who want to expose the absurdity of a literary theory by showing that it is inapplicable to music must first prove that the arts are parallel. Now, there is no such parallelism. Here, as everywhere, it is not only the form which differentiates, but the matter as well. And it is one thing to work with color and sound, and another to express oneself by means of words.

Notes, colors, and forms are not signs. They refer to nothing exterior to themselves. To be sure, it is quite impossible to reduce them strictly to themselves, and the idea of a pure sound, for example, is an abstraction. As Merleau- Ponty has pointed out in The Phenomenology of Perception , there is no quality of sensation so bare that it is not penetrated with signification. But the dim little mean ing which dwells within it, a light joy, a timid sadness, remains immanent or trembles about it like a heat mist; it is color or sound.

Who can distinguish the green apple from its tart gaiety? They are things, they exist by themselves. It is true that one might, by convention, confer the value of signs upon them. Thus, we talk of the language of flowers. My attention cuts through them to aim beyond them at this abstract virtue. I no longer pay attention to their mossy abundance, to their sweet stagnant odor. I have not even perceived them. That means that I have not behaved like an artist.

For the artist, the color, the bouquet, the tinkling of the spoon on the saucer, are things, in the highest degree. He stops at the quality of the sound or the form. He returns to it constantly and is enchanted with it. It is this color-object that he is going to transfer to his canvas, and the only modification he will make it undergo is that he will transform it into an imaginary object. He is therefore as far as he can be from considering colors and signs as a language. What is valid for the elements of artistic creation is also valid for their combinations.

The painter does not want to create a thing. And if he puts together red, yellow, and green, there is no reason for the ensemble to have a definable signification, that is, to refer particularly to another object. Doubtless this ensemble is also inhabited by a soul, and since there must have been motives, even hidden ones, for the painter to have chosen yellow rather than violet, it may be asserted that the objects thus created reflect his deepest tendencies.

However, they never express his anger, his anguish, or his joy as do words or the expression of the face; they are impregnated with these emotions; and in order for them to have crept into these colors, which by themselves already had something like a meaning, his emotions get mixed up and grow obscure. Nobody can quite recognize them there. Tintoretto did not choose that yellow rift in the sky above Golgotha to signify anguish or to provoke it. It is anguish and yellow sky at the same time. Not sky of anguish or anguished sky; it is an anguish become thing, an anguish which has turned into yellow rift of sky, and which thereby is submerged and impasted by the proper qualities of things, by their impermeability, their extension, their blindpermanence, their externality, and that infinity of relations which they maintain with other things.

That is, it is no longer readable. It is like an immense and vain effort, forever arrested half-way between sky and earth, to express what their nature keeps them from expressing. Similarly, the signification of a melody if one can still speak of signification is nothing outside of the melody itself, unlike ideas, which can be adequately rendered in several ways.

Call it joyous or somber. It will always be over and above anything you can say about it. Not because its passions, which are perhaps at the origin of the invented theme, have, by being incorporated into notes, undergone a transubstantiation and a transmutation. A cry of grief is a sign of the grief which provokes it, but a song of grief is both grief itself and something other than grief. Or, if one wishes to adopt the existentialist vocabulary, it is a grief which does not exist any more, which is.

But, you will say, suppose the painter does houses? He makes them, that is, he creates an imaginary house on the canvas and not a sign of a house. And the house which thus appears preserves all the ambiguity of real houses. The writer can guide you and, if he describes a hovel, make it seem the symbol of social injustice and provoke your indignation.

The painter is mute. You are free to see in it what you like. That attic window will never be the symbol of misery; for that, it would have to be a sign, whereas it is a thing. The bad painter looks for the type. He paints the Arab, the Child, the Woman; the good one knows that neither the Arab nor the proletarian exists either in reality or on his canvas.

He offers a workman, a certain workman. And what are we to think about a workman? An infinity of contradictory things. All thoughts and all feelings are there, adhering to the canvas in a state of profound undifferentiation. It is up to you to choose. Sometimes, high-minded artists try to move us.

They paint long lines of workmen waiting in the snow to be hired, the emaciated faces of the unemployed, battle fields. I have no doubt that charity or anger can produce other objects, but they will likewise be swallowed up; they will lose their name; there will remain only things haunted by a mysterious soul.

One does not paint significations; one does not put them to music. Under these conditions, who would dare require that the painter or musician engage himself? On the other hand, the writer deals with significations. Still, a distinction must be made. The empire of signs is prose; poetry is on the side of painting, sculpture, and music. I am accused of detesting it; the proof, so they say, is that Les Temps Modernes publishes very few poems. On the contrary, this is proof that we like it. To be convinced, all one need do is take a look at contemporary production. But why should I want to?

Because it uses words as does prose? But it does not use them in the same way, and it does not even use them at all, I should rather say that it serves them. Poets are men who refuse to utilize language. Now, since the quest for truth takes place in and by language conceived as a certain kind of instrument, it is unnecessary to imagine that they aim to discern or expound the true. Nor do they dream of naming the world, and, this being the case, they name nothing at all, for naming implies a perpetual sacrifice of the name to the object named, or, as Hegel would say, the name is revealed as the inessential in the face of the thing which is essential.

They do not speak, neither do they keep still; it is something different. In fact, the poet has withdrawn from language-instrument in a single movement. Once and for all he has chosen the poetic attitude which considers words as things and not as signs. For the ambiguity of the sign implies that one can penetrate it at will like a pane of glass and pursue the thing signified, or turn his gaze toward its reality and consider it as an object. The man who talks is beyond words and near the object, whereas the poet is on this side of them. For the former, they are domesticated; for the latter they are in the wild state.

For the former, they are useful conventions, tools which gradually wear out and which one throws away when they are no longer serviceable; for the latter, they are natural things which sprout naturally upon the earth like grass and trees. But if he dwells upon words, as does the painter with colors and the musician with sounds, that does not mean that they have lost all signification in his eyes. Indeed, it is signification alone which can give words their verbal unity. Without it they are frittered away into sounds and strokes of the pen. Only, it too becomes natural.

It is no longer the goal which is always out of reach and which human transcendence is always aiming at, but a property of each term, analogous to the expression of a face, to the little sad or gay meaning of sounds and colors. Having flowed into the word, having been absorbed by its sonority or visual aspect, having been thickened and defaced, it too is a thing, increate and eternal. For the poet, language is a structure of the external world. The speaker is in a situation in language; he is invested with words.

They are prolongations of his meanings, his pincers, his antennae, his eyeglasses. He maneuvers them from within; he feels them as if they were his body; he is surrounded by a verbal body which he is hardly aware of and which extends his action upon the world. The poet is outside of language. He sees words inside out as if he did not share the human condition, and as if he were first meeting the word as a barrier as he comes toward men. Instead of first knowing things by their name, it seems that first he has a silent contact with them, since, turning toward that other species of thing which for him is the word, touching them, testing them, palping them, he discovers in them a slight luminosity of their own and particular affinities with the earth, the sky, the water, and all created things.

Non e' concesso a nessuno cancellare la realta' dei fatti! Adelchi non mori' a Brescia, ma a Costantinopoli, ove muto' nome ed ove concorse all'Impero Bizantino , quale stirpe di Costantino e Potior Valens Valentiniani. Anche Macedonio, dinastia imperiale dell'imperatore Macedonio, ha subito le medesime censure.

Addirittura negli armoriali e' estinta. Eppure l'ultimo ciabattino di questo mondo collega di un neo re adottato da un vecchio omosessuale impostore , con domande rimaste senza risposta su presunte manomissione di pergamene e date, su neo predicati aggiunti ,si permettono di offendere i veri discendenti di cotanta prosapia! Togliete le pulci che osano infilarsi tra le piume delle vere aquile! Siamo stanchi dei pataccari ed impostori! Istaoper Friius Recescegene Sveva La Tomba di Federico VI figlio di Staufen o Staufer o Ex Freya ,Aprile13 ott Rinasce la Dinastia Aprile Staufen o Staufer o Ex Freya , Ve l'immaginate voi i giudici o il commisario anticrimine che perseguiti o denunci Saviano?

Cosi' sarebbe se Stramaglia Giuseppe risultasse colui che appare sul sito di Barbaccia, o comunque suo parente? Non sono un partigiano di Manfredi peraltro, e non so neppure se qualcuno si vanti di essere da lui disceso. Ho dato una sbirciatina rapida: Figli di Isabella d'Inghilterra: Acquaviva mi ha nominato come Novello pulcino e posso anche accettarlo datosi che fino a pochi mesi fa non ero addentro alle questioni del medioevo. Capito a caso, e non comprendo l'interesse per la dinastia di Federico II in un sito che parla dei Savoia. Dovreste essere piu' attinenti al tema. Se e' per questo vi sono libri che non parlano nemmeno dell'esistenza di Federico di Sicilia , quindi lei , Signor Steno,scopre l'acqua calda.

La circostanza che un testo porti che abbia vissuto un anno e' riferito a Kind Federico e non a Federico di Sicilia. Alcuni libri lo chiamano Agnese,o Kind Kind e' bambino in senso indifferenziato sbagliando con una sorellina morta ad un anno. Il patto non fu concluso per reciproca diffidenza. Sia i pastorali che gli armoriali riportano in traduzione dal provenzale e dal latino Rinasce la stirpe Aprile della Santa progenie Sveva Sicena anglicana fonte vedi anche crittogrammi di Saint Genis E' disdicevole comunque il confronto storico che degeneri in rissa. Sarebbe auspicabile uno scambio civile di informazioni.

Lo stemma degli Aprile della Santa progenie sveva sicena anglicana e' l'aquila sveva! Finalmente una persona aperta allo scambio civile di informazioni. Sono contento della risposta del prof. Da dove sono tratte, precisamente, le notizie da lui riferite circa Federico di Sicilia? Ho chiesto a un amico che sa maneggiare il computer meglio di me, di controllare il sito delle biblioteche italiane.

Non risulta posseduto da nessuna biblioteca. Non conosco il testo cui fa riferimento. Basta attenersi tuttavia al Dictionnaire des familles nobles de Frances e le noti di correzioni risalenti al , da cui emerge che la dinastia Avril de Saint Genis ou Burey Anjou e' la Istaufer Friius o Staufer Recescegene Sveva sicana vocant fontanas se ricordo bene dal provenzale o Avril o Aprilis Sancta Propago Sveva Sicana spinon ex pinon del pino, albero, in quanto lo stemma e' l'aquila sveva oppure un pino verdeggiante, il cui motto e' Fortis Renascitur proles ou semper virens.

In Russia detta anche Apraxin Verdereskji ovvero Aprile Semper virens , il cui stemma del pino verdeggiante e' indizio urgente di parentela, infatti negli armoriali di Provenza chiamasi Aprilis Semper Virens La dinastia e' anche detta in Normandia Avril de Niphi Nero' ou d' Imavrincour de Masquinad nascosta Avril de Bourcane Avril de Plante che traduce Aprile,niphi nero' , venere , dinastia nascosta del Re mascherato di Buren Khan , il re di Buren de plante sta per plantagenet ovvero Anjou.

Com e si nota il predicato santa progenie sveva sicena e' consustanziale ontologicamente al cognome Aprile. A Lyon dit Avril Griffon de Lanslebourg , vedi la cloche de la princess Annemarie Aprile , il cui stemma e' il leone a fronte del grifone, lo stesso di Saint Genis Saintonge. Vedo che e' interessato , ma vi sono siti amatoriali che citano fonti raggiungibili anche telematicamente. Il cognome hohenstaufen traduce Saint Genis, in quanto Santa Progenie traduce Ari Matea, ovvero altezza divina o divina progenie, hohen significa Altezza, Staufen stirpe,quindi Stirpe Alta, divina.

Ed il cerchio si chiude e chudo anch'io , augurandole una santa notte. Veramente la menzione del libro "L'ultimo vento di aprile di Federico II" l'avevo trovata proprio nel sito http: Mi dispiace di aver scomodato il prof. Markale per questi magri risultati. Ecco la Santa Propago Sveva Sicana: Si chiama Avril de Saint Genis , aquila sveva. Certamente sara' riconoscente lo storico romanziere, Markale, di conoscere l'identita' della favola del suo misterioso conte di Boron in Provenza in realta' il principe Avril de Burey conte d'Anjou titolo dei Plantagenets o Buren Anjou che nei campi di Grano sfamava i poveri, loro mostrando le Bende di Cristo.

Era semplicemente un antenato della principessa Yasmin che quelle Bende ha ereditato e messo in mostra con la ratifica del Vaticano. Abbiamo rintracciato un riferimento simile al Conte di Bouron che e' molto interessante , da parte dello Storico Siniscalchi su un sito che parla di sindone, da parte del Prof. Siniscalchi Anche il libro Profezia della sindone di Baschera ed. Me-pag 91 narra del conte di Bouron o Buren o Biron che in Provenza ostentava la sindone, nei campi di grano.

La Leggenda del Vecchio Conte di Buron , trae origine da canti Medievali che narrano ,in Provenza, del Conte di Buren,nei Pirenei Biron ,fece un voto ,di mettere a disposizione il castello ed i campi di grano per quei pellegrini che di passaggio avean bisogno di rifocillarsi , mostrando la Sindone , a titolo gratuito. Non e' un caso che la Principessa Yasmin abbia trovato i documenti che confermano tale circostanza e che sia l'erede delle Bende e delle reliquie custodite dai Buren o Biron, comunque rami des Avril de Burey Anjou Schwaben.

Del resto il nome avito di Federico era proprio Buren! Si narra che il conte di Bouron possedesse terre coltivate a grano, ma che i visitatori della Sindone fossero talmente tanti che la farina non bastava piu: Il conte di Bouron o Burey o Buren, obbligato da un voto , avvilito chiese al Gesu' di provvedere Giunse il tempo di tagliare il grano, e le spighe erano cosi' grosse che erano genuflesse in terra ,quasi stessero pregando Una volta tagliate le spighe, il giorno seguente nascevano nuove spighe.

Il Conte di Buren vide passare un'aquila nei campi e vide una mano che offriva una spiga di grano. Traccia di questa casata e' nel motto Fortis renascitur Proles e nello stemma di Saint Genis ove appare una mano di Dio che in campo di grano offre un germoglio alla sinistra araldica, l'aquila sveva. E' l'arma avita della Principessa Yasmin. Sui Capitelli dell'abbazia des Avril de Saint Genis Burey Anjou, c'e' proprio il conte di Buren , divenuto abbate che mostra la sindone!

Postato sabato, 15 novembre alle 9: Ringrazio della risposta i forumisti intervenuti in favore del casato Avril etc. Innanzi tutto vorrei chiarire che il prof. Novello, storico e forumista di iagiforum. Altre indicazioni genealogiche sono difficili da controllare, anche se indubbiamente suggestive.

Ma Questo Signore non ne accezza una. Fa delle gaffes spaventose e comincia sempre d'accapo! Abbiamo solo l'impressione che Codesto Signore ed il Suo amico illustre sconosciuto Markale, sia come quelle vecchie mogli racchie e tradite che di fronte alla bellezza lapalissiana ,sfolgorante di una rivale ventenne che ha tutte le virtu' , non si diano pace pur di trovarle un difetto Se ne faccia una ragione Si consoli dedicandosi alla calzetta o al lifting!

Non cerchi i nei della sua rivale Ed adesso liberi il mondo della sua inutile , infruttuosa , livorosa e presuntuosa , infantile ottusita'. La Storia non ha bisogno di Lei, ma di spiriti disinteressati ed acuti. Abbiamo solo l'impressione che Lei odi gratuitamente la principessa Yasmin perche' in qualche modo disturba i suoi interessi! Lei o non vuol capire o vuole perdere tempo!

Trattasi solo di varianti linguistiche , ma il nome e' lo stesso. Se i Pastorali e lo stesso dizionario ammettono che fino al , e' stato nascosto sia lo stemma dell'aquila sveva e l'origine vera di tale nome, ci dev'essere un motivo! Nessuno scopre l'acqua calda se rivela che il nome e' la traduzione e che Federico Avril de Burey Anjou e' indicato come Hohenstaufen o Souabe: E non era forse la madre di Federico una plantageneta?

E Se Federico II dona l'isola di Dino ai cistercensi e un Burey , detto anche Buren, familiare di Taylleran , imparentato gia' alla dinastia curlandese riformista e liberale e' Duca dell'Isola di Dino , nonche' conte di Wirtemberg ,Burey Anjou , ramo cadetto nel casato des Avril de Burey Anjou de Saint Genis, vi sono le medesime pergamene originali della donazione dell'Isola di dino ai monaci, e le reliquie di Cristo, tra cui le bende di Cristo, mentre il mondo nemmeno sapeva che la sindone fosse di Federico II, tutto questo e' solo un caso?

Ed i Crittogrammi e microfilm di Filadelfia Supremo Consiglio del legittimo Scozzesimo che traslarono l'intero chiostro interno con i Crittogrammi e l'archivio , con il pretesto che un virus stava deturpando i marmi ed i crittogrammi , non si sono voluti accaparrare le prove della sopravvivenza della Santa Propago di Saint Genisi? Qui c'e' un vero Re piu' dei Savoia! Qui c'e' persino la prova che Vittorio Emanuele nel ordino' che non fosse messo in campo il cognome degli Hohenstaufen , perche' si sarebbe lui stesso trovato senza, in quanto Savoia e' solo un titolo di Provenienza , ma il vero cognome era Avril de Saint Genis de Savoie, in quanto Biancamano era semplicemente un figlio illegittimo e cadetto della stessa dinastia!

Spesso capita che la fortuna giri e che un vero Re Legittimo debba sopportare gli affronti del bastardo! Cosi' e' successo all'ultimo Hohenstaufen! I Savoia da Conti, familiari degli Hohenstaufen , tolsero persino il titolo di Principe di Curlandia all'ultimo svevo. Ma questo solo in Italia!

Infatti il riferimento all'incompetenza della Consulta Araldica sui titoli del casato del Casato Aprile della Santa Progenie Sveva Sicana , e' ratificata dall'art. Riporta tuttavia principales alleances: Plantagenets , Lancaster ,Comneno. Ho conosciuto il Padre della principessa Yasmin. Amava scrivere , con la sua preziosa grafia gotica, su una carta di pergamena , ai nobili , che recava stampato dei versi di Shakespeare: Oh se la vostra recente nobilta' potesse capire cosa significhi perderla e ritrovarsi infelice Postato domenica, 23 novembre alle 1: Rispondo in ordine di postazione.

E come potrebbe disturbare i miei interessi? Rivendico forse io qualche diritto dinastico? E non sono nemmeno di sinistra: A Serena Pallavicini rispondo che le cose che dice si leggono in decine di altri interventi e nel sito della casata. Quello che manca sono le indicazioni bibliografiche, senza le quali il discorso diventa incontrollabile. Dove si leggono i Pastorali, gli Armoriali russi, le pergamene di donazione? A Ruperti rispondo che le cose che dice si leggono in decine di altri interventi e nel sito della casata.

La discendenza da re Desiderio-Adelchi-Poto, ed anche da Costantino, Galla Placidia, ritenuti antenati di Federico II, da quali autorevoli trattati di genealogia o storia sarebbe documentata? Dove potrei leggere qualche ulteriore notizia? Non conosco tutte le fonti , per fatti ormai ovvi.

Il nonno della principessa Yasmin, si chiamava Aprile della Santa progenie Hohenstaufen principe di Curlandia e Vittorio Emanuele non volle mettere in campo tale cognome , in Italia. Vi sono scritti autografi del Re Vittorio Emanuele. Avere tale cognome e Stemma non significa chiamarsi Pinco Pallina. Ma cercare cio' che e' ormai manifesto e' semplice: Ha controllato le fonti citate dal volume l'Ultimo vento d'Aprile ed Brumar; il -Die Zeit der Staufer;l'archivio di stato Santacroce lettera H Hohenstaufen e le fonti dei tre interventi?

I Pastorali sono semplicemente consultabili rivolgendosi alle fonti delle Abbazie citate. Consideri inoltre che la cloitre Avril de Saint Genis des Fontaines , con il sarcofago di Frederic Avril de Burey Anjou ou Avril de Saint Genis Ou Aprilis Stoffensi Domi, , con plaques , crittogrammi Stoffensi Domi fu traslato completamente a Filadelfia, presso il Supremo Consiglio del Mondo della Massoneria Universale, che non ha piu' restituito alla Francia ne' archivi , ne' pastorali, ne' marmi recanti con l'aigle de sable testimonianza della dinastia. Com e riportava il supremo Ispettore Della Massoneria Italiana Elvio Sciubba , nel 92 ,Il Supremo Consiglio del Mondo di Filadelfia ,chiese all'ultima erede della dinastia sveva sicana anglicana la ratifica del Supremo Consiglio del Mondo Logge Madri Usa,a Washington , avendo appreso che il charter di de Grasse-til su cui si fondava tale Supremo Magistero era un falso apocrifo: La circostanza che la principessa Yasmin abbia reliquie di Federico II, il nome,lo stemma, documenti, archivi, e' solo un fenomeno magico o casuale, secondo lei?

Perche' poi cerca in cielo cio' che ha sotto gli occhi? Non c'e' maggior sordo di chi non vuol sentire! Consiglio gli interlocutori di parlare del clima Non e' un sito ufficiale, ma porta le fonti di Meomartini e Lettieri dei Puoti di Castelpoto, pronipoti di Re Desiderio. This document sets out the families of Merovingian Frankish nobility from the 6th to the mid-8th centuries. The families of the maiores domus of the three Merovingian kingdoms of Austrasia, Burgundy and Neustria are set out in chapters 1, 2 and 3 of this document. During Merovingian times, the "maior domus" was the head of the royal household.

The earliest reference so far identified to a maior domus in the kingdom of Neustria dates from the last decade of the 6th century. Maiores domus are recorded in the kingdom of Burgundy between the s and [], when the kingdom was ruled by the Merovingian Franks. On the death of Warnachar [II] in , the Burgundian nobles decided to have no further maior domus but to be ruled directly by the king[2], although Queen Nantechildis appointed Flaochad as maior domus of Burgundy in He is the last recorded maior domus in Burgundy. This appears to over-simplify the situation.

It is true that after the death of King Childebert III in the throne passed to a series of weak kings, whose accession was manipulated by different factions of nobles in the two kingdoms, until in maior domus Pepin [III] "le Bref" declared himself King of the Franks with Papal approval and ended the Merovingian kingdom. Only one of the seven surviving charters of King Childeric II names his maior domus Wulfoald, and only one of the twelve surviving charters of king Theoderic III names three of his past maiori domus as well as his current maior domus Berchar.

It is accepted that there is no way of knowing what proportion the surviving charters represent of the total amount of documentation produced at court. In addition, charters do not necessarily provide conclusive proof, as they mainly relate to day-to-day administrative activities in religious and judicial areas. However, the numbers are striking and suggest that the traditional view deserves some reassessment. Contemporary documentation includes references to numerous other Merovingian nobles, with the title dux, comes, or an administrative title which refers to their role at court.

These are set out in Chapter 4 of this document. From the late 6th to the late 7th centuries, the primary sources name numerous Merovingian nobles with the title dux. A territorial attribution is applied to some of these individuals, but the majority are not linked to any specific area of the Frankish kingdom. More than twenty duces without specified territories have been identified. In addition, duces are named in Auvergne, Champagne, Gascony and Transjurania part of the kingdom of Burgundy during the 7th century, although the documentation does not reveal whether the individuals who successively held these titles were related or not.

It is suggested that the Merovingian duces were primarily military appointees, in line with the Roman tradition, and that their jurisdiction over local areas, if any, was limited to military purposes. This hypothesis appears corroborated by the relative absence of duces from surviving Merovingian charters, which suggests that the duces fulfilled little formal role at court. Most of the mentions of these nobles are found in chronicles, in the record of military exploits.

Nor does it appear that the early Merovingian duces were regional rulers, like contemporary dukes of neighbouring regions such as Bavaria and Alemannia, whose appointments conferred a large degree of local autonomy in the territories which they administered. If this had been the case, one would have expected to find their names in contemporary charters relating to property in the territories over which they presided.

However, this should not provide a basis for assuming that the 6th and earlier 7th century ducal appointments involved territorial attribution. Few references to Merovingian duces have been found after the mid-7th century. It is suggested that the practice of appointing duces declined with the rise in power of the maiores domus in the Merovingian Frankish kingdoms, and that the maior domus assumed greater personal control over military affairs to avoid the emergence of rival power bases in the army. This can be observed particularly in the charters of Kings Clotaire III, Theoderic III, Clovis III, and Childebert III, who reigned between and , although it is recognised that the number of these subscribed charters are too few nine out of the total 46 in the MGH compilation for this period[4], without including the charters classified as spurious to reach definite conclusions about prevailing relating to noble titles.

This suggests that, by this time, the body of counts had established themselves as part of the inner circle of nobles at court, in contrast to the position of the duces in the 6th and 7th centuries.

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  • However, the documentation includes no geographical epithets applied to these counts. In addition, all charters dated before the Carolingian period identify specific locations which are the subject of the grant or donation only by reference to the relevant pagus not a county. More than a hundred such counts have been identified. The known court titles include comes palatii, grafio, domesticus, and referendarius, presumably in descending order of precedence as shown by the charter dated 28 Feb of King Clovis III, which names individuals in each category in this order[8].

    One interesting point relates to the nature of the appointment of the "comes palatii" at the Merovingian court. Presumably these officials were assigned important administrative duties, although the precise nature of these cannot be identified from the available sources.

    However, in contrast to the maiores domus, large numbers of successive comes palatii are named in the royal charters. The same person rarely appears more than twice, which suggests that their appointments may have been short-term, the post possibly being held in rotation by senior nobility at court. In addition, in charters which list several named nobles, the comes palatii is not generally named first in the list, suggesting that he held no position of precedence. In the 7th century the documentation indicates that the comes palatii held a subordinate position at court compared to the maior domus.

    However, it appears that their position may have evolved over time, possibly replacing that of the maior domus after the accession of the Carolingian dynasty. For example, Wicbert is recorded as the only comes palatii of Pepin I King of the Franks between and [9]. Fredegar records that "Adalgyselus ducis et Aenovales comex Sogiontinsis" led the army of King Sigebert against Radulf Duke of Thuringia, and that "Innowales comex" was killed in battle[11]. It is assumed that Adalgisel ceased to be maior domus before [] when Fredegar records Pepin [I] as maior domus in Austrasia.

    The following charters suggest that Adalgisel survived the end of his period in power, although it is not certain that they relate to the same person. In any case, there is some question about the authenticity of this charter as the presence of "Grimoaldo", in a document dated ten years after the death of the only known Duke Grimoald, suggests that the text may have been subject to some alteration.

    Fredegar names "Otto quidam filius Urones domestici", who was "baiolos Sigyberto" as an adolescent[15]. Fredegar records that "Otto quidam filius Urones domestici", who was "baiolos Sigyberto" as an adolescent, challenged the succession of Grimoald as maior domus in , and was killed by "Leuthario duci Alamannorum" in the 10th year of the reign of King Sigebert[16].

    Adviser of King Dagobert I He was appointed maior domus in Austrasia in ; according to Fredegar he was loved by the Austrasians "for his concern for justice and his goodness"[17]. According to Fredegar, Pepin died about a year after King Dagobert[19]. The Annales Xantenses record the death in of "Pippinus filius Karlomanni, maior domus Lotharii"[20]. The Annales Metenses name "matertera ipsius [Pippini]…virgo Domino consecrate Geretrudis" and record that she founded the monastery "in loco…Nivella cum genitrice sua Itaberga"[21]. The Annales Xantenses name "Begga" as the second daughter of Pepin and record her marriage with "Anchisus dux egregius filius Arnulfi epicopi Mettensium"[24].

    Fredegar records that his succession was challenged by "Otto quidam filius Urones domestici", and only assured after Otto was killed "in the tenth year of Sigebert's reign"[27]. He tried to usurp the throne after the death in of King Sigebert III, installing his son as king. He was captured by the Neustrians, angry over his interference in the royal succession, tortured and executed. The name of Grimoald's wife is not known. Settipani[31] summarises the debate on Childebert's paternity, highlighting that 8th century sources could be interpreted as indicating that Childebert, son of King Sigebert, was adopted by Grimoald.

    He appears to have continued as king despite Grimoald's capture and execution by the Neustrians in Abbess at Nivelles The Vita Geretrudis records the persecution of "sacra puella Vulfetrudis…ex antiquo Francorum genere"[32]. The source which confirms her parentage has not yet been identified. The Annales Xantenses name "Gerthrudem virginem sanctam" as the first daughter of Pepin[33], although the order of seniority may be due to the precedence accorded in the text to persons of religion.

    Co-founder, with her mother, of the abbey of Nivelles, where she was abbess in []. The Annales Metenses name "matertera ipsius [Pippini]…virgo Domino consecrate Geretrudis" and record that she founded the monastery "in loco…Nivella cum genitrice sua Itaberga"[34]. The Cronica Hohenburgensis names "beata Gerdrudis virgo filia Pipini ducis, soror Grimoaldi" as "Nivelensis cenobii mater"[35]. The Annales Xantenses record the death in of "Sancta Gerthrudis"[38]. The Gesta Francorum names "Wolfaldi ducis", specifying that he was succeeded as maior domus in Austrasia by Pepin[41].

    The origins of Arnulf are unknown. The Vita Sancti Arnulfi names "Arnulfus episcopus prosapia genitus Francorum" but gives no further details of his ancestry[42]. The Gesta Episcoporum Mettensis names "Arnulfus…ex nobilissimo fortissimoque Francorum stemmate ortus", with no further information on his parentage, as ninth bishop of Metz and "palatii moderator"[43].

    A 9th century genealogy names "beatum Arnulfum episcopum" as the son of Arnold[44]. Settipani points out that this genealogy forms part of a series compiled at Metz, from the late 8th century onwards, which glorify the ancestry of the Carolingian dynasty by establishing descent from the early Merovingians as well as from a family of Roman senatorial origin[45]. Further confusion is added by the Gesta Episcoporum Mettensis which names "Agiulfus" as sixth bishop of Metz, stating that "patre ex nobili senatorum familia orto, ex Chlodovei regis Francorum filia procreatus", and that "nepos ipsius…Arnoaldus" succeeded him as bishop[46], the alleged senatorial and Merovingian ancestry appearing to provide the basis for the 9th century genealogy although the latter assigns the descent to what appears to be a different Arnold.

    The Gesta Episcoporum Mettensis makes no family connection between Arnulf and his predecessor bishops. Arnulf entered the service of Theodebert King of Austrasia, becoming intendant of the royal domains. Sigeberto's Vita Landiberto episcopi Traiectensis names "Pippinus…principes Francorum…paterni avi eius Arnulfi", specifying that he was "primo maior domus regis post Mettensis episcopus"[49], although no other document has been found which indicates that Arnulf held the position of maior domus in Austrasia.

    A charter dated 20 Feb of "Pippinus filius Ansegisili quondam necnon…matrone mea Plectrudis" donating property to the church of St Arnulf at Metz specifies that "domnus et avus noster Arnulphus" was buried in the church[50]. The Vita Chrodegangi Episcopi Mettensis names "primogenitus…Clodulfus" as one of the two sons of "Arnulfum sanctum"[55]. The Annales Xantenses names "Clodulfus" as son of "Arnulfus" when recording that he became bishop after his father died[56]. He was elected Bishop of Metz in According to the tradition of Los, the body of St Amour was conferred to "Hilda, femme du noble Clodolfus"[61].

    No other reference to the name of Chlodulf's wife has been found. He is named only in a charter of Emperor Otto I dated 30 Apr , confirming the donation to the church of Metz of property at Russon near Tongres which previously belonged to "Clodulfus … filio suo Aunulfo", and which the latter bequeathed to Pepin on dying[62]. A 9th century genealogy names "Martinum" as the son of "Flodulfus", son of "beatus Arnulfum", specifying that he killed Ebroin at "Ercriaco palatio" and was later elected a bishop[63]. He was killed by a nobleman Gundoen[69].

    However, this does not appear to be directly supported by primary source evidence. The epitaph of King Theoderic III and his wife bore the inscription "rex Theodericus…cum coniuge Doda", assumed to be another name by which Rotilde was known[78]. The Gesta Abbatum Fontanellensium names "Wandregisilus" as the first abbot of Fontanelle and in a later passage specifies that he was son of "Walchisus…patruus Pippini ducis Francorum filii Anchisi"[82]. The Vita Ansberti names "princeps Pipinus Ansegisili filius" as "consobrinus…beati patris Wandragisili"[83].

    The Annales Xantenses record the death in of "Sanctus Wandregisilus"[84]. The Annales Xantenses name "Pippinus" as son of "Anchisus dux" when recording that he succeeded on the death of his father in [88], although this is misdated. Duke of Austrasia []. He fled from the palace in after opposing maior domus Ebroin. He became maior domus of Neustria in after the murder of maior domus Berchar[90]. After the death of her husband, she "took everything under her control" according to Fredegar Continuator [99].

    The Monumenta Epternacensia records that "Raginfredum maiorem domus" married "Plectrudem"[], but this is not corroborated by other sources. She was regent for her grandson Theodebald, but opposed by her stepson Charles "Martel" whom she imprisoned. Charles escaped, and defeated the forces of Plectrudis at Vinchy, near Cambrai, 28 May Sigeberto's Vita Landiberto episcopi Traiectensis names "puellam nobilem…Alpaidem" as second wife of Pepin, specifying that she was "soror…Dodonis qui domesticus Pippini principis erat"[].

    The midth century Genealogica ex Stirpe Sancti Arnulfi names "Alpade, sorore Dodonis, qui sanctum Lambertum episcopum Leodinensem martyrisavit" as second wife of Pepin[]. Settipani[] does not support the theory that Alpais was the sister of Bertrada, mother of Charibert, whose daughter married Pepin King of the Franks, the hypothesis being based on King Pepin and his wife inheriting property from their respective fathers.

    Sigeberto's Vita Landiberto episcopi Traiectensis names "Drogo…et Grimoaldus" as sons of Pepin and "legitima sua coniunx Plictrudis", specifying that Drogo was "dux…Campanensium"[]. This is the only example so far identified of a late 7th century creation of a dux apparently assigned to govern a particular territory. The Annales Metenses record the death of Drogo in and his burial "iuxta Mettensem urbem in basilica beati Arnulfi confessoris"[]. Her origin is determined from the charter of "Childebertus rex Francorum" dated 14 Mar which names "Drogus…socer suos…Bercharius…coniuge sui Adaltrute"[].

    On the other hand, the Annales Metenses name "Austrudem filia Warattonis quondam…maioris domus derelictam Bertarii" as wife of "Drogonem primogenitum suum [Pippini]"[]. The Gesta Fontanellensium also names Adaltrudis, wife of Drogo, as "filia Warattonis [et] Ansfledis coniugis eius"[], but the charter is probably a more reliable source as, if it is correctly dated, it was written only a few years after the death of Berchar. His birth date is estimated by Settipani on the assumption that he was no longer a minor at the time of this first recorded attestation[].

    A charter dated 25 Jun , classified as spurious in the collection, purports to record the donation by "Hugo sacerdos et germanus meus…Arnulfus dux nec non Pippinus et Godefridus" to the church of Metz which names "genitorem nostrum…Drogonem…avus noster Pippinus", subscribed by "Milonis, Widonis comitis, Remberti comitis, Lamtberti comitis, Warnarii comitis"[]. In , Arnoul conspired with his brothers against their uncle Charles "Martel".

    If Arnoul had children see below , the name of his wife is not known. It is possible that Arnoul left descendants in Upper Lotharingia: The Annales Metenses name "Drogoni…filium…Hugonem" and record that he was brought up by "matrona Ansfredis avia sua relicta uxor Warattonis"[]. Assuming that the reference to Ansfredis is correct, she was the great-grandmother of Hugo not his grandmother, if the origin of Hugo's mother is correct as identified above. He is named as son of Drogo and Adeltrude in the Gesta Fontanellensium[].

    Pepin revolted with his brothers Arnoul and Godefroi against their uncle Charles "Martel" in A charter dated 20 Feb , classified as spurious in the collection, purports to record the donation of "Godefridus dux filius Drogonis" to Metz St Arnulf[], although it is unlikely that Godefroi was born at that date. Godefroi revolted with his brothers Arnoul and Pepin against their uncle Charles "Martel" in Settipani[] suggests that Godefroi was the father of Humbert Comte de Bourges, who died after Sigeberto's Vita Landiberto episcopi Traiectensis names "Drogo…et Grimoaldus" as sons of Pepin and "legitima sua coniunx Plictrudis"[].

    His father named him maior domus in Neustria[] in [], and in Burgundy in []. His father created him dux in Champagne and dux of the Burgunds in The Annales Metenses record that, after the death of Drogo, "Pippino genitore suo" appointed "germanus eius Grimoaldus" to succeed "in principatum"[]. Her marriage is referred to by the Continuator of Fredegar, which does not give her name[]. The date of the marriage is provided by the Annales Metenses which record the marriage in of "Grimoaldus" and "filiam Radboldi ducis Frisionum"[]. The name of Grimoald's mistress is not known.

    Grimoald had one illegitimate son by Mistress The Annales Metense name "Grimoaldi filium eius parvulum ex concubina nata nomine Theodaldum" when recording his appointment as maior domus for King Dagobert II[]. He was legitimate according to the Monumenta Epternacensia which names "Theodaldum, filium Grimoaldi…ex Theodesina filia regis Rabodi"[]. After the death of his father, his grandfather Pepin chose Theodald as his heir although he was still a child.

    His paternal grandmother appointed him maior domus in Austrasia in The Annales Alammanici record in that "Theodaldus interfectus est"[]. He succeeded his father in as maior domus in Austrasia. Childebrand was either the illegitimate son of Pepin "le Gros" by an unknown mistress or his second son by his second [wife] Chalpais. He is described as "germanus" of Charles "Martel" by the Continuator of Fredegar, in the part which Childebrand himself sponsored[].

    Historian, he was the author of part of the continuations of the chronicle of Fredegar written during the reign of King Pepin The Continuator of Fredegar names Nibelung as son of Childebrand, specifying that he assumed his father's work on the chronicle after the latter died[]. He was imprisoned by his father's first wife after his father died[]. He was victorious at Vinchy, near Cambrai, 28 May after which Chilperic II King of Neustria fled with his maior domus, leaving Charles unchallenged to succeed as maior domus in Austrasia.

    He conquered the Saxons in and the Frisians in when he captured Utrecht. He conquered the Neustrians, together with their ally Eudes Duke of Aquitaine, in He extended his authority to other French provinces: Hunald Duke of the Aquitanians swore allegiance to him in , he subjugated Burgundy and Provence in In , he omitted to nominate a successor on the death of King Theoderic IV, signalling the effective end of the Merovingian monarchy. The Continuator of Fredegar records the same date for his death and his burial place[].

    The Annales Laureshamenses record the death in of "Hortrudis"[]. The Annales Mosellani record the death in of "Chrothrud"[]. Settipani quotes a name list in the Liber confraternitatum augiensis which reads in part "Karolus maior domus, Pippin rex…Karolus imperator…Ruadtrud, Ruadheid, Svanahild regina, Bertha regina, Hiltikart regina, Fastrat regina, Liutkart regina…"[].

    He makes the obvious links between "Karolus maior domus…Svanahild regina", "Pippin rex…Bertha regina" and "Karolus imperator…Hiltikart regina, Fastrat regina, Liutkart regina", deducing that "Ruadtrud, Ruadheid" must also be linked logically to "Karolus maior domus" because of the order in which the names are listed.

    The primary source which specifically names the first wife of Charles "Martel" has not been identified. The precise parentage of Suanachildis is not known. Einhard names "Swannhilde neptem Odilonis ducis Baioariorum" as the mother of Grifo[]. The precise relationship between Suanhilde and Pilitrude, who was the wife in turn of the brothers Grimoald and Theodoald, has not been identified.

    She instigated the marriage of her stepdaughter to Odilo Duke of Bavaria according to the Continuator of Fredegar[]. After the death of her husband, she incited her son to rebel against her stepsons. She was defeated and sent to the monastery of Chelles, Seine-et-Marne. Settipani quotes a name list in the Liber confraternitatum augiensis, quoted above under Chrothrudis first wife of Charles "Martel", concluding that "Ruadtrud, Ruadheid" must be linked logically to "Karolus maior domus" because of the order in which the names are listed[].

    Einhard names "Karlomannum…et Pippinum atque Grifonem" as the three sons of "Karlus maior domus" when recording the latter's death[]. He succeeded his father as maior domus, jointly with his brother Pepin. They deprived their half-brother Grifo of his inheritance, and defeated him after he rebelled against them. In the division of territories agreed with his brother, Carloman governed Austrasia, Alemannia, Thuringia and northern Alsace. The brothers were faced with revolts in Frisia, Bavaria, Alemannia and Aquitaine. As a symbolic assertion of their authority, they nominated Childeric III as [Merovingian] king in Einhard records that "Karlomannus" was in Saxony at "castrum Hohseoburg" and there accepted the surrender of "Theodericum Saxonem illius loci primarium" in [].

    In , Carloman's brother Pepin appropriated the province of Alemannia for himself. Carloman reasserted his authority with an expedition against the Alemans in , massacring the leaders who had betrayed him to his brother. This triggered the defection of his other supporters, and Carloman relinquished power. The Annales Moselleni record the death in of "Karlamannus"[]. The name of Carloman's wife is not known. He succeeded his father in as maior domus. His uncle Pepin set him aside in and sent him to a monastery where he died soon after.

    Settipani refers to texts which refer to "the children of Carloman" without naming them, but he does not cite these sources[]. He succeeded his father as maior domus jointly with his brother Carloman. The Continuator of Fredegar names "Chiltrudis" as daughter of Charles "Martel", stating that her "wicked stepmother" incited her to joined Odilo of Bavaria whom she married without the permission of her brothers[].

    The Annales Moselleni record the death in of "Hildtrud"[]. His brother-in-law Carloman invaded Bavaria, and Odilo was forced to recognise Frankish suzerainty in He suggests that "Hiltrudis" was the wife of Odilo Duke of Bavaria, and therefore that all three sisters were daughters of Charles "Martel". The theory is attractive but not conclusive, as its validity depends on there being no other contemporary Hiltrudis, which is not provable.

    If it is correct, there is no indication about the mother of Landrada and Aldana. Hlawitschka highlights the case against the affiliation[]. Einhard names "Karlomannum…et Pippinum atque Grifonem" as the three sons of "Karlus maior domus" when recording the latter's death, specifying that "Grifo…minor natu…matrem habuit Swannhilde neptem Odilonis ducis Baioariorum"[]. His father bequeathed to Grifo the central part of his territory, but his stepbrothers Carloman and Pepin deprived him of this inheritance and split the land between themselves.

    He was released in by his brother Pepin and fled to Saxony, where he raised an army although armed conflict was avoided[]. According to the Royal Frankish Annals, in Pepin granted Grifo the duchy of Mans and twelve counties in Neustria, although the source does not identify these counties more precisely[].

    La vita in Palermo cento e più anni fa, Volume 2 by Giuseppe Pitrè

    The Continuator of Fredegar records that in "germanus ipsius rege…Gripho" fled once more and allied himself with Waifar Duke of the Aquitanians[]. Grifo rebelled yet again, in alliance with the Bretons. He fled to Lombardy to join Aistulf King of the Lombards but was caught and killed while he was passing the Alps by "Theudoeno comite Viennense…et Frederico Ultraiurano comite"[], two of Pepin's supporters. His escape to Italy, capture and death at the hands of "Theodoino comite in valle Maurienna" is also recorded in the Annales Laurissenses[].

    The name of Grifo's wife is not known. Settipani refers to a commemorative name list from Remiremont in which the names "Griffo, Carolus" follow immediately after another "Griffo", which may indicate that the former were sons of the latter[], although even if this is correct there is no proof that the latter Grifo was the same person as the son of Charles "Martel".

    Bishop of Rouen The Annales Moselleni record the death in of "Remigius et Bernehardus"[]. He was chosen to succeed as maior domus of Neustria after the defeat of Theudebald in []. He was defeated by Charles "Martel" at Vinchy in Sep and fled[]. Fredegar records that "Warnecharius maior domi Teuderici" died in the fourth year of the reign of King Theudebert II[].

    Maior domus in Burgundy Fredegar records that "Bertoaldus genere Francos" was installed as maior domus in the eighth year of the reign of King Theoderic II, commenting that he was "morebus mensuratus, sapiens et cautus, in prilio fortis, fidem cum omnibus servans"[]. Fredegar records that "Protadius patricius" succeeded as maior domus in Burgundy after the death of "Wandalmaro ducis in pago Ultraiorano et Scotingorum", in the ninth year of King Theoderic's reign, at the instigation of Queen Brunechilde[].

    In a later passage, Fredegar records that he was installed as maior domus in Burgundy in the tenth year of King Theoderic's reign, at the instigation of Queen Brunechilde[]. According to Fredegar, he was "monstrously cruel, extorting the last penny for the fisc and with ingenuity filling the fisc and enriching himself"[].

    After supporting Queen Brunechilde in her incitement of King Theoderic to attack his brother King Theodebert, he was attacked at Quierzy by the forces of the former[]. Fredegar records that "Claudius de genere Romanus" was appointed maior domus in the eleventh year of King Theoderic's reign.

    He was "resolute and full of good advice…he took note of what had happened to his predecessors and behaved quietly", his one disadvantage being his "excessive corpulence, the result of overeating"[]. Fredegar records that he helped Queen Brunechilde secure the accession of King Sigebert II after the death of the latter's father in , but defected to King Clotaire II after discovering a plot to kill him[].

    In reward, King Clotaire confirmed his appointment as maior domus of Burgundy and swore that he should never be deposed from this office during his lifetime[]. Fredegar records the death of "Warnacharius maior domi" in the 43rd year of the reign of King Clotaire II[]. After his death, King Clotaire II assumed direct control over Burgundy and appointed no successor maior domus[].

    She married secondly her stepson Godin. Fredegar records that, after the death of "Warnacharius maior domi", "filius eius Godinus" married his stepmother "Bertane", in the same year, after which he was forced to flee to Austrasia where he took refuge in the church of St Epure. King Clotaire II permitted him to return on condition that he repudiated his wife, but afterwards ordered him to be killed[]. Fredegar records that "Arneberti duci", married to "Godini germanam", led the group sent by King Clotaire II to kill his brother-in-law[]. Fredegar records that "Flaogatum genere Franco" was chosen as maior domus of Burgundy in [] on the visit of Queen Nantechildis to Burgundy[].

    He was the enemy of the patrician Willebad which resulted in a bitter struggle in both Burgundy and Neustria[]. Fredegar records his death from fever after the battle with Willebad, and his place of burial[]. Fredegar records that "Flaogatum" married "Nantilde regina…neptemque suam…Ragnoberta", apparently not arranged by the queen who was "plotting a different project which seems not to have been according to the will of God"[]. Presumably this insinuates that Queen Nantechildis was Flaochad's mistress.

    Fredegar records that "Amalbertus…germanus Flaochelo" supported his brother in the latter's dispute with Willebad[]. It is not known whether these two passages refer to the same Amalbert. Maior domus of Neustria in []. The Vita Aldegundis names "Gundelandi et Landerici" as "avunculorum" of "beata virgo Aldegundis"[].

    The text could mean that Gundolandus and Landeric were brothers, although other interpretations are possible. The precise date of death of Gundolandus is difficult to assess. Risultati 1 - 10 su circa 2. Tutti questi elementi agalmonici si ripetono nel sito staufico di Villa di Briano da Wilhelmus Abbas ostenta la sindone dal capitello dell'abbazia Avril de Saint Genis.

    Come mai i documenti inediti di Federico II, sul possesso delle reliquie,per caso poi confermati dai MGH , da un ritrovamento dello storico Gabriele Reina, erano nelle cappelle della famiglia della principessa Yasmin che ha materialmente ritrovato le reliquie e le bende di Cristo, facendo luce su due secoli di buio sulla sindone che era nel suo casato? Tutto il mondo ha sempre ignorato che Federico II fosse in possesso della sindone. Biancheri ha messo molta carne a cuocere. Vengo ad alcune osservazioni, altre le rimando a un prossimo intervento.

    Nel sito della casata e nei siti collegati si sbandierano riproduzioni di quotidiani che annunciano la scoperta delle bende della Sindone da parte della principessa. Si dice che la Chiesa e il prof. Baima Bollone avrebbero dato parere positivo alla teoria del possesso della Sindone da parte di Federico II. Dal all'ostensione di Lirey, dopo Otto de la Roche, qualcuno ha azzardato l'ipotesi che la Sindone sia stata in possesso dei Templari, ma non ci sono prove. Sulla scia della teoria di Santo Graal uguale Sang Real i Saint Clair nel sito della casata e nei siti collegati si legge che il Sang Real si sarebbe perpetuato negli Hohenstaufen.

    Kantorowicz, alle pagine 56 e 71 riferisce sulle origini dei Waiblingen, che autori medievali Ottone di Frisinga "Cronaca", Goffredo di Viterbo "Speculum" facevano discendere dai Carolingi e dai Salii, e alla lontana dai Troiani. Appellarsi a una discendenza dai Carolingi avrebbe automaticamente escluso le prerogative imperiali della principessa Yasmin, dato che per i Franchi vigeva la legge salica, che escludeva ed esclude tuttora le femmine dallo jus imperii e jus gladii.

    Quel che conviene ai sostenitori della principessa. Che cosa c'entra la Massoneria con la dinastia Hohenstaufen. Biancheri fa sfoggio di una genealogia dei Franchi. Ma si tratta di una copiatura parziale dal sito http: Si sa che le genealogie reperibili su internet non sono certo affidabili. Troppa carne a cuocere. Lei non ha alcun credito se non uno pesudonimo per parlare di Massoneria. Se Lei fosse all'altezza di capire la sua vacuita' dovrebbe solo tremare a parlare cosi' della Potentissima Sovrana Assoluta, cui si sono inginocchiati i Grandi Vertici della Massoneria Universale.

    La Massoneria ovvero il Legittimo Scozzesismo si fonda soprattutto sulla mistica del Graal e la dinastia della Santa Progeniedella Hohenstaufenhouse e' la vera dinastia del Graal. La Sovrana Yasmin discende dalla dinastia merolitingalongobardabizantina normanno sveva per linea maschile e femminile.

    Basti pensare che l'Ordine Teutonico e' nei vertici della piramide universale e tale ordine fu creato dalla dinastia Hohenstaufen. Lei non ha notizie attendibili circa il libro l'ultimo Vento d'Aprile ed Bruma che e' una raccolta di scrittori prestigiosi che puntano su fonti attendibili. Se le interessa e' disponibile presso la Biblioteca di Prato e di altre citta.

    Il riferimento a siti internet e ricavato dai MGH che ora sono disponibili via internet. Non ci interessano le sue considerazioni su E. E' una realta'che il documento di de Grasse- til era questo il suo pseudonimo nelle logge era un documento apocrifo. E' una specie di falsa donazione di Costantino. Alla Chiesa conviene ancora crederci e si tiene stretta alcuni privilegi, nonostante sia pubblicamente e storicamente un falso, la donazione.

    Lei non ha alcun titolo per parlare del casato della principessa Yasmin. Si manifesti quale accademico universitario e forse le daremo spazio. Lei al massimo e' un maestro elementare prima maniera, con diploma magistrale dei quattro anni. Non perdiamo tempo con lei , perche' e' un essere assolutamente insignificante e gravato solo da interessi ormai palesi e tendenzioso. Il Signor Steno Novello si sbaglia. Il professor Baima Bollone lo ha dichiarato pubblicamente nel Convegno Internazionale della Sindone a San Marino ,14 febbraio 97" che la tesi della principessa von Hohenstaufen era degna di Fede.

    Lo stesso don Tarzia , presidente delle edizioni Paoloine, per iscritto dichiara che la tesi della principessa Hohenstaufen e' la piu' seria! La chiesa ufficiale non ha chiuso le porte a Cristo! La realta' e' che i sindonologi sono un cerchio chiuso , legato ad interessi di parte e la scoperta della principessa Yasmin metteva in crisi un business colossale sulla sindone dei Savoia. Se e' per questo sono moltiquelli che affermano trattarsi di un falso. Stranamente la sindone sarebbe risultata dell'epoca di Cristo , con l'esame al carbonio, solo dopo che la principessa Yasmin ha donato a vari sindonologi lembi delle bende di Federico II.

    Sorge il sospetto che l'abbiano invecchiata con innesti svevi. Paradossale che Don Tarzia ed il Vaticano avessero invitato la principessa Yasmin nel convengo di San Marino invitandola ad illustrare la novita', in presenza della principessa Maria Grabiella, ma il professor Baima bollone, inviato da Don Tarzia abbia raccolto le informazioni, dimenticandosi dell'invito. In realta' la notizia era il vero scoop che si attribui', ma la diffida tempestiva della Fondazione Federico II lo indusse alla rettifica e alle dichiarazioni di attenzione verso questa tesi.

    Certamente gli resto' il livore. Non abbiamo bisogno di Baima Bollone, anche se ha riconosciuto che la notizia era vera! Del resto anche Baima Bollone e' contestato, quindi e' questione di Fede! E' certamente piu' discussa la Sindone dei Savoia, rispetto a quella della principessa Yasmin! Vero che vi sono in giro false reliquie e centinaia di sindoni.

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    Ma e' difficile pensare che Federico II si fregiasse di una patacca! In merito alle leggi saliche , la circostanza che Costanza d'Altavilla fosse Regina di Sicilia e Costanza D'Aragona abbia ereditato la corona di Sicilia , la dice lunga E' una realta' che l'origine merolitinga longobarda bizantina della principessa Yasmin in quanto, indipendentemente , dagli storici e dalle condizioni in cui si ritovo' la dinastia sveva, essa ascendeva da Aubry o Avril , nipote di Dagoberto II.

    Basta rileggere l'etimologia avita tedesca del termine April per scoprire che deriva da Aufer ovvero ex Aufer ossia Staufer , il cui totem e'una coppa graalica. L'origine carolingia degli svevi deriva dalla mescolanza del sangue merovingio-litingo-longobardo -bizantino con i Pipinidi. Non si dimentichi la genealogia della regina Ansa e che Adelchi sposo' la sorella di Carlo Magno.

    Ecco perche' dietro ai poeti siciliani si nasconde un codice segreto che allude ai misteri della Rosa Questo non accade neppure con quel tale che faceva il muratore e non sa scrivere tre righe in italiano senza inciampare in trenta errori di fonetica, morfologia e sintassi. Figuriamoci con chi capisce. Basta il mio baccellierato a Parigi? Portavano la cazza o la cazzuola con la malta per costruire case o chiese. Poi si sono fatti i soldi, si sono raffinati: Allora si crede veramente che io posso costituire un pericolo per la dinastia.

    Le mie argomentazioni potrebbero essere riprese da qualche concorrente. Ben altri insulti si leggono da altre parti, specie a cura di quello di cui sopra. Venderebbe migliaia di copia e io sarei il primo a correre per comprarlo. Idem per la Massoneria. Per questo, condivido la scelta di un membro della mia famiglia che fu un celebre massone del e poi decise di dissociarsi dalla Massoneria.

    Era un illuminato, fu considerato un mago, ancor oggi se ne parla. LA 7, rubrica Atlantide di qualche giorno fa. Nessun elemento genetico orientale-semitico. Lei pensa troppo, prima di rispondere Nessuno teme effetti del suo pensiero. Non sfidi troppo la pazienza altrui e la sua effimera fortuna. Certamente e' un diritto dilungarsi e puntualizzare su cio' che non corrisponde al vero.

    Se si e' scelto una parte, anche se non le compete, cerchi di recitarla con dignita' fino in fondo. Anche la forma e' contenuto. Un sincero e buon Massone ha poi l'obbligo ,prima di chiudere le porte del Tempio, di essere paziente. Lei non solo non ammette la buona fede dei fratelli, quanto non vuol capire che la principessa Yasmin non e' assolutamente una Massone. Massone e' chi vuole entrare nel tempio. La principessa Yasmin non vuol entrare in nessun tempio, perche' e' Lei il Tempio stesso! Le consiglio di leggere i libri di Domenico Rotundo in merito all'origine ausonica dei celti e merovingi.

    Il successo e la diffusione e' questione di lobby. Pensi solo che il giorno in cui dovevano essere confrontate sindone e bende , la sindone stranamente prese fuoco! Sa qual'e' il grido dei Supremi Ispettori del Consiglio del Mondo? Ghimmel, Ghimmel, ovvero Waibil ovvero Staufer, o ex Aufer ,ovvero Avril o Aprile, ovvero il nome degli Svevi, la cui mistica di Venere ascende a remota scendenza.

    Non ricordo l'editore del Prof Rotundo,ma potrebbe trovarlo navigando