User:Lebanese blond/Sandbox
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Contents |
[edit] My Sandbox
[edit] random notes
http://en.wikipedia.org/wiki/List_of_unrecognized_countries
http://en.wikipedia.org/wiki/Sovereign_Military_Order_of_Malta
http://en.wikipedia.org/wiki/Category:Economic_ideologies
http://en.wikipedia.org/wiki/Roman_Servile_Wars
psychotropedia
polymorphic sexuality
Teachings of Don Juan
The fact that this is a fictionale account is for many a moot point, as Octavio Paz has pointed out:
"bla"
This does not change the fact that the book is presented as an anthropological study where it is actually a classic case of cultural imposition. Those that defend Castaneda do not take into account the real Yaquis whose beliefs and culture are grossly misrepresented. Its popularity in the new-age movement shows the standard clash, namely between what this movement sees as resistance against its freedom to believe in what it wishes and the anthropological communties view that such selective cultural appropriation being represented as the culture itself is disrespectful to the traditional society in question.
List of controversial non-fiction books
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- The literature unmasking Castaneda can be easily acqired & is referred to in the site of his detractors, http://www.sustainedaction.org . It's listed at http://www.sustainedaction.org/Explorations/explorations_i.htm Mir Harven 09:35, 31 August 2006 (UTC)
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- I am an atheist, agnostic at best but I strongly disagree with your disrespectful statement about Islam. Furthermore the comparison just doesn't hold up in anyway. If you would for a moment imagine for instance that Islam is a religion only practiced by a small tribe in the mountains of Oman, and that a western man acquires his anthropolgy PhD by a text he wrote concerning their religion. A few years later another westerner, an anthropologist undertakes detailed research of this tribe and their religion and compares it with the text published earlier and finds out that this text cannot possibly be based on Islam itself. The university at which the man was given his PhD retracts it as a result. However, this text has become world famous and has inspired millions, it has become a cultural phenomenon, albeit a purely western one.
http://en.wikipedia.org/wiki/The_Education_of_Little_Tree
http://en.wikipedia.org/wiki/Grey_Owl
http://en.wikipedia.org/wiki/Wanda_Koolmatrie
http://en.wikipedia.org/wiki/Yaqui
http://en.wikipedia.org/wiki/Psychedelic_plants
http://en.wikipedia.org/wiki/Entheogen
http://fr.wikipedia.org/wiki/Maltais
"Cabo Fisterra" "Cabo Finisterre" "Cape Finisterre" peninsula "Finis Terræ" Finisterrae Fisterra "Camino de Santiago" "Camiño de Santiago"
Lighthouse faro
"Atlantic Ocean" sea ocean "Océano Atlántico" océano Atlantic Mar
"Hill fort" Castro "Iron Age" "Celtic village" ruins "Castro de Baroña" "Edad del Hierro" "Idade do Ferro" Celta Celtas ruina
"Costa da Morte" "Death Coast" "Costa de la Muerte"
"Nature reserve" "Reserva natural" "National park" "Parque nacional"
el Cementerio de los Ingleses
Rias Altas
En 1890, el navío inglés Serpent, que navegaba hacia Sierra Leona , se hundió cerca de aquí por culpa de un temporal pereciendo 173 hombres que están enterrados en el Cementerio de los Ingleses, a escasa distancia del faro Vilán.
In 1890, the English ship Serpent, that sailed towards Mountain range Lioness, sank here near because of a weather perishing 173 men which they are buried in the Cemetery of the English, to little distance of the Vilán light.
Iglesia church igrexa Catedral Cathedral
The 'Death Coast' is called thus because of the numerous ships which have been wrecked over the centuries, whether this is due to the treacherous coastline or locals luring ships onto the rocks to be able to plunder their cargo is unclear.
o santuario da virxe da barca, Muxia
Church of Nuestra Señora de la Barca
A Pedra de Abalar, Muxia August 2007
"Cabo Vilán" cliffs "Cape Vilán"
"Adriatic Sea" "Mare Adriatico" sea mare
no sense of national identity, perhaps not in the sense of the tender late 20th century post-modern sensibilities you talk about (good one, btw) because then that could be said for much of the rest of the world. Loose tribes you say? Could anything else be said of SOuth Africa in the past? Did you agree then with the Apartheid regime on that basis? And don't try and tell me that Israel is any different, in terms of racial division and documented human rights abuses it is established that it's worse.
but you really should read up a bit more on the region, because there have been nationalist uprisings all over the region for centuries against both the Ottoman and also Western colonial powers.
Another of the shattered pieces of the Satrapies that you refer to is the Balkans where the west also ignored Wilson's credo by creating Yugoslavia and that too proved to be a timebomb.
I also fail to see how these can be not the responsibility of the west when they became part of the west and the west decided how to divide and rule them. Lebanon and Syria were always one region but the French found it expedient to take the best bit and try and hold on to that. They created a artificially separate entity out of the richest part of the region so that they could continue to exercise some control over it. Same with with Jordan and Palestine controlled by the British. And guess what, when Saddam said that Kuwait is actually an Iraqi province, historically speaking he is fully correct. The British had to allow Iraq independence in the twenties but they held on to the oil richest bit, Kuwait, and quietly continued to run it until 1971.
http://en.wikibooks.org/wiki/Main_Page
http://www.usemod.com/cgi-bin/mb.pl?MeatballWiki
http://www.wikihow.com/Main-Page
http://www-usr.rider.edu/~suler/psycyber/psycyber.html
http://www.bewelcome.org/signup.php
http://tellusblog.wordpress.com/2007/08/30/top-three-of-social-networks-for-activists/
http://www.takingitglobal.org/about/media/index.html
http://www.hospitalityguide.net/hg/site/?
[edit] Vittoriale
[edit] History
Due to D'Annunzio's popularity and his disagreement with the fascist government on several issues, such as the alliance with Nazi Germany, the fascists did what they could to please d'Annunzio in order to keep him away from political life in Rome, part of their strategy was to make huge funds available which were used to expand the property, construct and/or modify the buildings and to create the impressive art and literature collection.
The house, Villa Cargnacco, had belonged to a German art historian from whom it was confiscated by the Italian state, including its collection of books and a piano which had belonged to Liszt. D'Annunzio rented it in february 1921 and within the year it is purchased and reconstruction starts under the guidance of architect Gian Carlo Maroni. In 1924 the airplane that d'Annunzio used for his pamphleteering run over Vienna during WWI is brought to the estate, followed in 1925 by the MAS naval vessel also used by him in 1918 to taunt the Austrians in the Buccari incident. In the same year the light cruiser Puglia was hauled up the hill and placed in the woods behind the house.
The mausoleum was planned in 1939 but not actually built until 1955, D'Annunzio's remains were brought here in 1963.
[edit] Buildings
[edit] The Prioria
The Prioria itself consists of a number of rooms opulently decorated and filled with memorabilia. Notable are the two waiting rooms, one for welcome guests, one for unwelcome ones. It is the second where Mussolini was sent to on his visit in 1925. A phrase was placed specifically for him:
Also the music room, the leper's room (so called because the fascist regime did its best to keep d'Annunzio from Rome where he could possibly use his popularity to influence government policies which he didn't agree with) where D'Annunzio's wake was held upon his death.
[edit] The Amphitheatre
The amphitheatre is the first major structure one comes across after entering the estate and was clearly based upon classic models. Its location, like the other buildings of the Vittoriale undenaible offer a majestic view of the Garda lake, it is still used for performances today.
[edit] The Mausoleum
The circular structure with its stark bombastic design is classic fascist architecture, it is situated on the highest point on the estate. It contains the remains of men who served D'Annunzio and died during the Fiume inc and d'Annunzio himself.
The light cruiser Puglia Jutting out of one of the hilltops the Puglia makes a surreal sight. It was placed there, with its stern facing the Adriatic, “ready to conquer the Dalmatian shores”.
- REDIRECT Gabriele d'Annunzio
Il Vittoriale degli Italiani si trova a Gardone Riviera, sul lago di Garda. Il suo progetto si deve all'architetto Giancarlo Maroni. Fu dimora dello scrittore Gabriele D'Annunzio che, prima di morire, la donò al popolo italiano.
Occupa un terreno molto vasto in cui si trova la casa del poeta, il suo mausoleo, un MAS, una nave donatagli dalla marina italiana ed incastonata tra le rocce del suo parco, un teatro all'aperto e un auditorium in cui è custodito l'aeroplano con cui lo scrittore compì il famoso volo su Vienna. Tutto questo è visitabile quotidianamente, mentre la casa del custode e quella di sua moglie, sempre all'interno del parco, non sono visitabili.
The waitingroom for unwelcome guests the musicroom the library the zambracca/study the bedroom the serre the blue bathroom the leper's room the relic room the grammar room the study the diningroom welcome guests
The estate consists of the Prioria (priory), residence of D'Annunzio, an amphitheatre, the light cruiser Puglia set into the hillside, the boathouse containing the MAS vessel used by D'Annunzio in 1918 and the mausoleum.
[edit] External Links
http://www.snap.com/#%22Gabriele%20d'Annunzio%22
http://www.snap.com/search.php#Il%20Vittoriale%20degli%20Italiani
http://www.vittoriale.de/ http://www.vittoriale.it/
http://en.wikipedia.org/wiki/Alceste_de_Ambris
http://www.google.com/search?q=%22Gabriele+d%27Annunzio%22+rival+mussolini&btnG=Search&hl=en
http://links.jstor.org/sici?sici=0022-2801(197909)51%3A3%3C587%3ADP1%3E2.0.CO%3B2-V
http://www.amconmag.com/06_30_03/feature.html
http://www.geocities.com/countermedia/6.html
http://www.oswaldmosley.com/people/dannunzio.html
http://www.litweb.net/biography/32/Gabriele_Annunzio.html
http://www.geocities.com/integral_tradition/dannunzio.html
http://www.winamop.com/max9.htm
http://goliath.ecnext.com/coms2/summary_0199-486491_ITM
http://www.users.globalnet.co.uk/~semp/facistitaly.htm
http://links.jstor.org/sici?sici=0888-7314(198724)3%3C6%3AGDTOMI%3E2.0.CO%3B2-Z
http://links.jstor.org/sici?sici=0037-9808(198212)41%3A4%3C318%3ATVDI%3E2.0.CO%3B2-Q
http://www.fact-index.com/g/ga/gabriele_d_annunzio.html
[edit] Gabriele d'Annunzio
Gabriele d'Annunzio, born Gaetano Rapagnetta (12 March 1863 – 1 March 1938) was an Italian poet, journalist, novelist, dramatist, womanizer and daredevil who went on to have a controversial role in politics as figurehead to the Italian Fascist movement and mentor to Benito Mussolini.
[edit] Politics
[edit] Rivalry with Mussolini
As John Whittam notes in his essay 'Mussolini and The Cult of the Leader ':
…This famous poet, novelist and war hero was a self-proclaimed Superman. He was the outstanding interventionist in May 1915 and his dramatic exploits during the war won him national and international acclaim. In September 1919 he gathered together his 'legions' and captured the disputed seaport of Fiume. He held it for over a year and it was he who popularised the black shirts, the balcony speeches, the promulgation of ambitious charters and the entire choreography of street parades and ceremonies. He even planned a march on Rome. One historian had rightly described him as the 'First Duce' and Mussolini must have heaved a sigh of relief when he was driven from Fiume in December 1920 and his followers were dispersed. But he remained a threat to Mussolini and in 1921 Fascists like Balbo seriously considered turning to him for leadership.
Contrast this with Mussolini who had no combat experience, was still vaccilitating from left to right and didn't even take part in the March on Rome himself. Although Mussolini's fascism was heavily influenced by the Carta del Carnaro, the constitution for Fiume written by Alceste De Ambris and d'Annunzio, neither wanted to play an active part in the new movement, both refusing when asked by Fascist supporters to run in the elections of May 15, 1921. Before the March on Rome, De Ambris even went so far as to depicted the Fascist movement as
- "a filthy pawn in Mister Giolitti's game of chess, and made out of the least dignified section of the bourgeoisie"
D'Annunzio was seriously injured when he fell out of a window on August 13th 1922, subsequently the planned 'meeting for national pacification' with Francesco Saverio Nitti and Mussolini was cancelled. The incident was never explained and thought of by some historians as an attempt on d'Annunzios life due to his popularity. Despite his retreat from active public life after this the duce still found it necessary to regularly dole out funds to d'Annunzio to bribe him to not re-enter the political arena. When asked about this by a close friend Mussolini purportedly stated: "When you are saddled with a rotten tooth you have two possibilities open to you: either you pull the tooth or you fill it with gold. With d'Annunzio I have chosen for the latter treatment."[1]
Nonetheless d'Annunzio continued to attempt to intervene almost up until his death in 1938, he writes to Mussolini in 1933 to convince him to not take part in the axis pact with Hitler, in 1934 he tries to disrupt the relationship between Hitler and Mussolini after their meeting, even writing a satirical pamphlet about Hitler. And again in September 1937 d'Annunzio catches up with the duce at Verona trainstation to convince him to leave the axis alliance.
[edit] German wiki Gardone Article
Il Vittoriale degli Italiani Der Vittoriale war das Anwesen des italienischen Dichters Gabriele D'Annunzio, das er von 1921 bis 1938 bewohnte. Heute ist der Monumentalkomplex ein weiträumiges Museum auf einer Fläche von neun Hektar.
Das Vittoriale oder - wie es genauer heißt - das „Il Vittoriale degli Italiani“ ist das pompöse Zuhause eines großen italienischen Romanciers, Gabriele d’Annunzio, der als einziger italienischer Dichter in dem Jahrzehnt vor dem Ersten Weltkrieg internationalen Ruhm genoss (D’Annunzio, Gabriele: Monographie von Maria Gazzetti. Hamburg 1989, S. 7). Der malerische Komplex befindet sich in Gardone auf einem mit Olivenbäumen, Oleander und Zypressen bedeckten Hügel.
Wörtlich übersetzt müsste das „Vittoriale“ ungefähr „Siegerdenkmal der Italiener“ heißen und in dieser Bezeichnung klingt schon die ganze Hybris, die kolossale Selbstüberschätzung an, die diesen Dichter dazu trieb, seinem privaten Wohnhaus den Rang eines Nationaldenkmals zuzuschreiben. Und dementsprechend widersprüchlich sind auch die Bewertungen in der Kunstgeschichte diesem Ort und seinem Schöpfer gegenüber, der ein persönlicher Freund Mussolinis gewesen war (Willemsen, Roger: Die Abruzzen. Das Bergland im Herzen Italiens. Kunst, Kultur und Geschichte. Köln 1990, S. 296 ff.) Er war eines der schrillsten Phänomene der europäischen Kulturwelt der Jahrhundertwende und dementsprechend faszinierend ist diese Wohnanlage und unbedingt einen Besuch wert, auch wenn man seine Bücher nicht schätzt.
Gabriele d’Annunzio wurde 1863 geboren und starb hier im Jahr 1938. In seinen Schriften huldigte er einem fast schon heidnischen Sinnen- und Schönheitskult, der sich in dieser Anlage auch intensiv niedergeschlagen hat. D’Annunzio gehörte zu den wortgewaltigsten italienischen Lyrikern und war mit einigen bedeutenden Frauen liiert, u. a. mit Eleonora Duse, der führenden Schauspielerin ihrer Zeit. Aber D’Annunzio machte nicht nur als Dichter von sich reden, sondern auch als Soldat und Politiker. Es handelt sich beim Vittoriale nicht um ein schlichtes Haus, sondern um eine ausgedehnte Anlage in mehreren Teilen.
Im Eingangsbereich der Anlage liegt der Platz des Sieges von Piave. Gemeint ist eine Schlacht während des ersten Weltkrieges an dem Fluss Piave im Nordosten Italiens nördlich von Venedig. Die Säule ist einem Brückenpfeiler nachgebildet und wird überragt von der Bronzestatue der sog. Siegesgöttin von Piave, allerdings mit gebundenen Füßen. Denn die Säule ist das Symbol der Verteidigungslinie, die von den italienischen Soldaten ein Jahr lang, von November 1917 bis Oktober 1918, umkämpft wurde. In diesen zwölf Monaten lag der italienische Sieg sozusagen in Ketten, wie es die Statue sinnbildlich darstellt. Mit solchen etwas exaltierten Symbolismen ist die gesamte Anlage voll gestellt. Die Säule ist übrigens das Geschenk der Stadt Mailand an den Dichter im Jahr 1935. Daran sieht man, für wie bedeutsam man damals D’Annunzio gehalten hat.
Ein eigenes Freilichttheater befindet sich ebenfalls auf dem Gelände. Es wurde zwar 1930 entworfen, aber erst am 8. August 1953 mit einem Konzert der Mailänder Scala eröffnet. Es bietet Platz für 1500 Besucher. Die hinteren Sitzreihen grenzen direkt an die Trakte des Wohnhauses.
Das mehrteilige Wohnhaus ist ganz in einem sehr schönen Farbdreiklang von Weiß, Ockergelb und Dunkelrot gehalten. D’Annunzio hat diese Villa nicht vollständig neu gebaut: Er übernahm sie 1921, nachdem sie vorher dem deutschen Kunsthistoriker Henry Thode gehört hatte, der mit Daniela von Bülow, der Tochter Cosima Wagners, verheiratet war. Der war nach dem Weltkrieg in Italien enteignet worden. Hier hatte sich eine rein zufällige Verbindung ergeben zwischen der Familie Richard Wagners und D’Annunzio, der die Musik Wagners schon als junger Mann verehrte und ihm später einige Hymnen widmete – allerdings in einer Art, dass Thomas Mann ihn den „Affen Wagners“ nannte.
D’Annunzio ließ die Anlage vom Architekten Gian Carlo Maroni nach und nach umbauen und erweitern und hinterließ schließlich 1938 im Jahr seines Todes das nunmehr „Vittoriale“ genannte Anwesen dem italienischen Volk. Er war 1921, als er hier einzog, bereits 58 Jahre alt gewesen und seine dichterisch produktive Zeit lag hinter ihm. Das Vittoriale ist also sein Alterssitz.
Elemente der Renaissance als dem typischen italienischen Nationalstil werden hier am Wohnhaus deutlich, aber auch die herbe Ästhetik des Faschismus, der ja in Italien längst nicht diese künstlerisch miefige Engstirnigkeit hatte wie in Deutschland.
Im Gegenteil wird hier die lange mediterrane Tradition des offenen Bauens fortgesetzt. Aber in einigen Details wird die soldatisch-strenge Grundhaltung deutlich wie beispielsweise in der betonten Geradlinigkeit der architektonischen Elemente. Hier wird die Tendenz zu den mathematisch-abstrakten Formen deutlich – ohne jede Bewegung und ohne jede Dekoration, die auch die Architektur Albert Speers im Dritten Reich kennzeichnet. Nicht umsonst steht hier keine einzige Blume, was sich ja eigentlich anbieten würde.
Die Innenräume sind auffallend dunkel und ausgesucht pompös überladen. Aber einen sehr individuellen Kunstgeschmack und Sinn für Konsequenz in der Gesamteinrichtung kann man D’Annunzio nicht absprechen. Solche Räume findet man nicht in den Katalogen von Einrichtungshäusern.
Eine solche Einrichtung steht in einem diametralen Gegensatz beispielsweise zur Einrichtung von Friedrich Nietzsches Zimmer in Sils Maria. Dieser Vergleich bietet sich deswegen an, weil D’Annunzio in seinen späteren Jahren zu einem Verehrer dieses großen deutschen Psychologen wurde und ihn zunehmend gegen Richard Wagner setzte. Nietzsche repräsentierte für ihn die wachsende Lebenskraft, Wagner dagegen wurde zum Inbegriff des dekadenten Künstlers. In Nietzsche sah er den Prediger einer neuen Rasse der Edlen und Freien, die gegen die Moral der Bürger und der Massen kämpfen sollte (D’Annunzio, Gabriele: Monographie von Maria Gazzetti. Hamburg 1989, S. 51).
Und entsprechend elitär ist die gesamte Anlage von der Umgebung abgetrennt und die Inneneinrichtung deutlich vom Durchschnittsgeschmack abgehoben. In seinen Werken hat D’Annunzio einen solchen Wohnstil hymnisch gefeiert und Teile der italienischen Bourgeoisie haben zeitweise versucht, ihre Wohnungen ähnlich einzurichten. Eines von D’Annunzios besten Werken, „Die Unschuld“ („L’Innocente“), wurde 1975 von Luchino Visconti verfilmt, wobei dieser aufwändige, prunkhafte Lebens- und Wohnstil sorgfältig rekonstruiert wurde.
Bertolt Brecht meinte dazu: „Auch seine Provokationen könnte man mit Opuszahlen versehen herausgeben. Seine Eitelkeit ist der Selbstgefälligkeit Hollywoods turmhoch überlegen [...] und sein ganzer Lebensstil, der immerhin nicht nur der Arbeit, sondern auch der Ausschweifung etwas Produktives verleiht.“
Dass ein solcher Mann wie Gabriele d’Annunzio nicht in einem schlichten Grab bestattet wird, versteht sich nach allem bisher Gesehenen von selbst. In ein sog. Mausoleum wurde der Leichnam d’Annunzios im Juni 1963, 25 Jahre nach seinem Tod und 100 Jahre nach seiner Geburt verlegt. Hier liegt er erhöht mitten im Kreis von zehn Kriegskameraden, die mit ihm 1918 um die Adriastadt Fiume – südlich von Triest in Istrien – gekämpft hatten, wo er 16 Monate lang unumschränkter Kommandant gewesen war, ohne verhindern zu können, dass Fiume schließlich doch Jugoslawien zugeschlagen wurde.
Der Krieg und seine Heroisierung hatten in Leben und Werk d’Annunzios eine zentrale Rolle gespielt. Er selbst war begeisterter Soldat im 1. Weltkrieg. Allerdings bewegten sich auch hier seine Hoffnungen häufig weit jenseits der erreichbaren Realität. Geradezu legendär geworden ist d’Annunzios Propagandaflug – allein mit einem Co-Piloten – über Wien, also der Hauptstadt des Kriegsgegners Österreich am 9. August 1918, also kurz vor dem Ende des 1. Weltkrieges. Vom Flugzeug aus ließ er keine Bomben, sondern Tausende von Flugblätter auf Wien herabflattern, die mit den Farben der italienischen Fahne bedruckt waren. Der Text fasste in reißerischen Propagandaparolen die sozialen und politischen Ansprüche Italiens zusammen, und am Schluss stand auf italienisch: Das Drohen der Schwinge des jungen italienischen Adlers gleicht nicht der finsteren Bronze im morgendlichen Licht. Die unbekümmerte Kühnheit wirft über den Heiligen Sankt Stephan und den Graben das unwiderstehliche Wort, Wiener! Viva l’Italia. (D’Annunzio, Gabriele: Monographie von Maria Gazzetti. Hamburg 1989, S. 105)
Damals spielte die Luftwaffe im Krieg noch keine nennenswerte Rolle. Man kannte das nicht: feindliche Flugzeuge am Himmel. Jetzt konnten sich die Wiener urplötzlich in ihrem Hinterland nicht mehr sicher fühlen. Ein Kriegsflugzeug, mit der italienischen Trikolore bemalt, flog am helllichten Tag über ihre Straßen. Trotz der Verschanzungen rings um die Stadt kam die Bedrohung nun vom Himmel. Dabei hätte das Flugzeug auch Bomben abwerfen können. Der Eindruck dieser fliegerischen Leistung war in der ganzen Welt beträchtlich. Das zugehörige Flugzeug befindet sich heute ebenfalls im Vittoriale in einem gesonderten Museum - künstlich an der Decke hängend (Bei einer harten Landung verlor er durch einen Steinsplitter das rechte Auge).
Aber die wirklich surrealste Idee dieser ungewöhnlichen Wohn- und Denkmalanlage ist die „Puglia“ – ein großes Schiff mitten im Park zwischen den Zypressen. Dieses Schiff ist 1921 auf einem Felsen an der jugoslawischen Adriaküsten gestrandet. Die genaue Geschichte ist folgende und für Gabriele d’Annunzio überaus typisch:
Mit einer Privatstreitmacht von 2500 Söldnern besetzte er am 12. September 1919 – also knapp nach dem Ersten Weltkrieg – die dalmatinische Stadt Fiume (Rijeka) und errichteten ein 470 Tage währendes Regime, das an Theatralik kaum zu überbieten war, eine Art politische Schnulzen-Operette. D’Annunzio ließ Altäre für Götter und Göttinnen bauen, ließ imaginäre Begräbnisse seiner Gegner veranstalten und Toscanini mitsamt Orchester eine gespielte Schlacht musikalisch untermalen.
Während dieser Zeit sind am 10. Juli 1920 der Kapitän dieses Schiffes „Puglia“ und der Maschinist mit Harpunen an Land gestürzt, als einige Matrosen während eines Waffenstillstandes in Spalato, dem späteren Split, an Land gegangen waren und dort in Schwierigkeiten kamen. Beide fanden den Tod. Zumindest der Tod des Kapitäns wäre wahrscheinlich nicht unbedingt notwendig gewesen, wenn nicht folgende Episode passiert wäre, die D’Annunzio besonders beeindruckend fand. Dieser Kapitän hatte sich nämlich entgegen dem dringenden Rat des Arztes seine Verbände abgerissen, um seine Wunden sehen zu können. Das sollte auch Italien tun – sagte der Dichter – die eigenen Verwundungen anschauen und nicht verstecken: eine reichlich gezwungene symbolische Gleichsetzung.
Diese politische Eskapade wurde zu Weihnachten 1920 durch gezielte Schüsse des Schlachtschiffes „Andrea Doria“ auf den Regierungssitz d’Annunzios beendet.
Im folgenden Jahr 1921 bat D’Annunzio – hier von Gardone aus – die Marine um das abgerüstete Schiff: es wurde ihm – als einem bedeutenden ehemaligen Kommandanten – geschenkt. Der vordere Teil wurde abmontiert und mit 20 Eisenbahnwaggons zum Vittoriale transportiert, wo es von den hart arbeitenden Ingenieuren wieder aufgebaut wurde. Der Bug des Schiffes ist mit einer bronzenen Galionsfigur geschmückt, die den geflügelten Sieg darstellt.
Mit ungefähr 200.000 Besuchern im Jahr zählt der Vittoriale zu den bestbesuchten Museen Italiens.
[edit] Babelfish translation
The Vittoriale or - as it is called more exact - the "IL Vittoriale degli Italiani" is the pompoese at home a large Italian Romanciers, Gabriele d'Annunzio, who as an only Italian poet enjoyed international fame in the decade before the First World War (D'Annunzio, Gabriele: Monographie of Maria Gazzetti. Hamburg 1989, S. 7). The pictorial complex is in Gardone on one with olivenbaeumen, oleander and zypressen covered hills. Literally translated the "Vittoriale" would have "winner monument of the Italians" to be called approximate and in this designation already sounds the whole Hybris, which drove kolossale self over-estimation on, which this poet to it, to attribute to its private house the rank of a national monument. And accordingly contradictory also the evaluations are in the history of art this place and its creator opposite, which had been a personal friend Mussolinis (Willemsen, Roger: The Abruzzen. The mountain country in the heart of Italy. Art, culture and history. Cologne 1990, S. 296 FF.) It was one of the schrillsten phenomena of the European culture world of the turn of the century and accordingly fascinatingly is and absolutely an attendance worth this housing estate, even if one does not estimate its books. Gabriele d'Annunzio was born 1863 and died here in the year 1938. In its writings it huldigte a nearly already heidnischen reflecting and beauty cult, which settled also intensively in this plant. D'Annunzio belonged to the prominent actress of its time to the most eloquent Italian poets and was associated, among other things with some important women with Eleonora Duse. But D'Annunzio made not only when poets talked about itself, but also as soldier and politicians. It concerns with the Vittoriale not around a simple house, but an expanded plant in several parts. In the input area the place of the victory of Piave is appropriate for the plant. Meant a battle is northern during the First World War at the river Piave in the northeast of Italy of Venice. The column is copied from a brueckenpfeiler and towered above of the bronze statue sucked. Victory goddess of Piave, however with bound feet. Because the column is the symbol of the line of defense, which contests one year from the Italian soldiers long, from November 1917 until October 1918, became. In these twelve months the Italian victory lay as it were in chains, as it represents the statue sense-figurativy. With such something exaltierten symbolisms is fully posed the entire plant. The column is by the way the gift of the city Milan to the poet in the year 1935. To it one sees, for like important one D'Annunzio at that time held. Its own free light theatre is likewise on the area. It was sketched to 1930, but opened only on 8 August 1953 with a concert of the May countries Scala. It offers place for 1500 visitors. The rear seat rows border directly on the trakte of the house. The multipart house is completely in a very beautiful color triad of white, ocher yellow and dark red held. D'Annunzio completely again did not build this mansion: He took over it 1921, after she had heard before the German art historian Henry Thode, which with Daniela of Buelow, which was married daughter Cosima of wagners. That had been expropriated after the world war in Italy. Here a purely coincidental connection had itself devoted between the family Richard of wagners and D'Annunzio, who already as a young man admired the music of wagners and it dedicated some hymns later to him - however in a kind that Thomas's man called him the "apes of wagners". D'Annunzio let extend the plant of the architect Gian Carlo Maroni gradually changes and and left finally to 1938 in the year of its death that now "Vittoriale" messuages mentioned the Italian people. It had been 1921, when it drew in here, already 58 years old and its dichterisch productive time lay behind it. The Vittoriale is thus its age seat. Elements of the Renaissance as the typical Italian national style become here clear at the house, in addition, those harsh aesthetics of the fascism, which did not have this artistically miefige narrowmindedness in Italy long as in Germany. In the opposite the long mediterrane tradition of open building is continued here. But in some details the military-strict basic attitude becomes clearly as for example in the stressed straight-lineness of the architectural elements. Here the tendency becomes the mathematical-abstract forms clearly - without each movement and without each decoration, which marks also architecture Albert Speers in the third realm. Stands not in vain here not one flower, which would actually offer itself. The interiors are remarkably dark and select pompoes overloaded. But a very individual art taste and sense for consequence in the total mechanism one cannot agree upon D'Annunzio. One does not find such areas in the catalogs of furniture stores. Such a mechanism stands in a diametric contrast for example for the mechanism of Friedrich Nietz room in Sils Maria. This comparison offers itself because D'Annunzio became in its later years a Verehrer of this large German psychologist and set it increasingly against Richard a wagner. Nietz represented for it the increasing vitality, wagner against it became the epitome of the dekadenten artist. Into Nietz he saw the prediger of a new race of the noble ones and free ones, which should fight against the moral of the citizens and the masses (D'Annunzio, Gabriele: Monographie of Maria Gazzetti. Hamburg 1989, S. 51). And according to elitaer the entire plant is separated from the environment and the interior arrangement taken off from the average taste clearly. In its works D'Annunzio celebrated such a living style hymnisch and parts of the Italian Bourgeoisie to have occasionally tried to furnish their dwellings similarly. Of D'Annunzios best works, "the innocence" ("L'Innocente"), 1975 were filmed by Luchino Visconti, whereby this aufwaendige, splendorful life and living style were reconstructed careful. Bertolt break meant in addition: "also one could publish its provocations provided with Opuszahlen. Its vanity is superior to the selbstgefaelligkeit Hollywoods tower high [... ] and its whole life-style, that nevertheless not only the work, but also the dissipation something productive lends." The fact that such a man is not bestattet such as the Gabriele d'Annunzio in a simple grave understands itself after all so far seeing automatically. In sucked. Mausoleum was shifted the body d'Annunzios in June 1963, 25 years after its death and 100 years after its birth. Here it lies increased in the middle in the circle of ten war comrades, who had fought with it 1918 for the city on the Adriatic Fiume - southern of Triest in Istrien -, where he had been a 16 months long absolute commander, without being able to prevent that Fiume was finally slammed shut nevertheless Yugoslavia. The war and its Heroisierung had played a central role in lives and work d'Annunzios. He was an inspired soldier in the 1. World war. However also here its hopes moved frequently far beyond the attainable reality. D'Annunzios propaganda flight - alone with a copilot - over Vienna, thus the capital of the war opponent Austria on 9 August 1918, became almost legendary thus briefly before the end of the 1. World war. From the airplane it did not have down-fluttered bombs, but thousands of handbills on Vienna, which were printed on with the colors of the Italian flag. The text summarized the social and political requirements of Italy in reisserischen propaganda slogans, and at the conclusion stood on Italian: Threatening the rocker of the young Italian eagle does not resemble the dark bronze in the morning light. The unbekuemmerte boldness throws Stephan and the ditch the irresistible word, Viennese over the holy one sank! Viva l'Italia. (D'Annunzio, Gabriele: Monographie of Maria Gazzetti. Hamburg 1989, S. 105) At that time the Air Force in the war played still no considerable role. One could not do that: hostile airplanes in the sky. Now the Viennese could not feel abruptly in their hinterland any longer safe. A war airplane, with which paints Italian trikolore, flew on the lightlight day over its roads. Despite the entrenchments of ring around the city the threat came now from the sky. The airplane could have thrown also bombs off. The impression of this aeronautical achievement was considerable in the whole world. The associated airplane is today likewise in the Vittoriale in a separate museum - artificial on the cover hanging (with a hard landing it lost the right eye by a steinsplitter). But the really surrealste idea of this unusual living and monument plant is the "Puglia" in the middle - a large ship in the park between the zypressen. This ship stranded 1921 on rock to the Yugoslav Adriakuesten. Exact history is extremely typical the following and for the Gabriele d'Annunzio: With a private armed force of 2500 mercenaries he occupied the dalmatinische city Fiume (Rijeka) on 12 September 1919 - thus scarcely after the First World War - and established a 470 days lasting regime, which was hardly to be over-bid at Theatralik, a kind political sentimental song Operette. D'Annunzio let altars for Gods and Goettinnen build, let imaginary funerals of its opponents organize and Toscanini musical with orchestra a played battle to under-paint. While this time are on 10 July 1920 the captain of this ship "Puglia" and the machinist with harpoons ashore fallen, as if some sailors had gone to the later Split during an armistice into Spalato, ashore and into difficulties came there. Both did not find death at least the death of the captain would be probably necessarily been, if the not following episode had happened, found impressing the D'Annunzio particularly necessarily. This captain had torn against the urgent advice of the physician its federations off, in order to be able to see its wounds. That should do also Italy - said the poet - who looks at and does not hide own verwundungen: a plentifully forced symbolic equating. This political Eskapade was terminated to Christmas 1920 by purposeful shots of the battle ship "Andrea Doria" on the seat of the government d'Annunzios. In the following year 1921 D'Annunzio - here from Gardone - asked the navy for the disarmed ship: it was given to him - as an important former commander -. The front part was dismounted and transported with 20 railway trucks to the Vittoriale, where it was again developed by hard working engineers. The nose of the ship is decorated with a bronze Galionsfigur, which represents the winged victory. With approximately 200,000 visitors in the year the Vittoriale ranks among the bestbesuchten museums of Italy.
[edit] Critical Path
| Critical Path | |
| Author | R. Buckminster Fuller |
|---|---|
| Country | United States |
| Language | English |
| Subject(s) | Economic Ideology, Globalization |
| Publisher | W.W. Norton & Company |
| Publication date | 1981 |
| Media type | Print (Paperback) |
| Pages | 471 |
| ISBN | ISBN 0-312-17491-8 |
Critical Path is a book written by US author and inventor R. Buckminster Fuller.
[edit] Overview
[edit] Concepts
[edit] Criticism
[edit] References
- ^ The Vittoriale degli Italiani, Fred Licht, The Journal of the Society of Architectural Historians, Vol. 41, No. 4 (Dec., 1982), pp. 318-324
[edit] See also
[edit] External links
Category:2000 books Category:Anti-globalization Category:Business books Category:Culture jamming Category:Globalization Category:Marketing Category:Canadian political books
http://en.wikipedia.org/wiki/Category:Theories_of_history
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http://www.rawilsonfans.com/articles/CriticalPath.htm
[edit] Economic ideology
An economic ideology discerns itself from a pure economic theory because it is normative rather than just explanatory in its approach.
* Category:Economic ideologies
[edit] Some links
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