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My Bangladesh became colorful in the form of beauty, colors, shades of diverse natural elements as well as diverse cultural fusion of its people from east, west, north, south & central zones. Bangladesh is not a gigantic geographical landmark. Through the assembly of tiny elements from nature, people, cultural colorfulness of festivals, food habits derived from special zonal culinary art, hospitality made this geographical boundary extremely vibrant. Here we have six seasons and if you want to feel all these season’s fragrances; trust me you will be diluted into the sea of dreamy waves. Let’s surf through the seasons according to Bangla Year:
Juicy Summer: The Bangla New Year celebration is an integrated part of our culture. There is a difference in celebrating between cities & villages however celebration is a must. Mela(Carnival) is common all over the country. Foods, handicrafts, local made toys, acrobatic shows are key attractions. The second month of summer is called ‘Modhumas’. How is that, this month is the summer fruit festival of juicy fruits. Mango, Jackfruit, Lychee, Watermelon, Blackberry make us juicy to absorb the heat of summer. Northern zone of Bangladesh is the prime zone for producing Mango, Lychee which also plays a major role in their annual economy.
Wild Rainy Season: The most vibrant season to me. The wild beauty of rain across the country will seduce you if you are really a nature freak. I am obsessed with the different tempo of rain across Bangladesh. In village areas the sound of rain at the top of corrugated sheets makes a different ambience. Harvested crops wait for the rain to grow up with a more greener life. When you will visualize rain in the midst of big rivers like Jamuna, Meghna & Padma; the spellbinding wildness of rain will melt you with dread and ecstasy. Another magic is waiting at Sylhet zone, the most rainy area from Bangladesh. I had experienced 6 days of continuous rain during my honeymoon. Most of us will not like this kind of situation however it was an amazing experience for me. Watery lands, swamp forest, tea gardens spread different fragrances of natural beauty through rain. The most fantastic wild rain I have experienced at Bandarban, hill tracts. It was misty to me when I saw foggy weather in the end of June, it was raining. But above 1500-3000 feet above sea level it appears like fog, when you will touch this; the melting effect will indulge you like never before. While I was passing through a bridge; roaring sound from the tiny fountain was like thousands of pythons are hissing. It will smash away any human being within the twinkling of an eye no matter how good swimmer you are. The vibrant green ambience created after rain will feel like a silky lash.
Silky Autumn: With a hot & humid ambiance Autumn flourishes its beauty. Key attraction of this season is kash(Saccharum spontaneum). All over the country when the silky touches of Kash ful are in full bloom; magnificent scenic views take place.
Golden Harvesting-Late Autumn: Well, this is the time to encash paddy, the principal crop of our economy. This is a major occasion all over the country when harvesting season starts. Fragrance of paddy and new rice are really charming. Villages are enchanted with busyness in various forms. Land owners occupied with managing the workforce, storing & distribution of paddy. Daily basis workers go away from their native area in search of work. Women & kids get busy with making traditional foods. The mild weather indicates that winter is coming.
The Winter: Some parts of the country feel extremely cold compared to the others parts. Especially northern region people bitterly affected by the cold wave from the Himalayas. Fogs create misty weather. Date juice extracted from the date trees make the mornings delicious. This is a core sweet food element of Molasses. The people engaged with producing molasses generation by generation; passes the most busy time in this 2 months period.
The Enchanted Spring: Life of green starts climbing again with new leaves, buds & shining. Fragrance of mango buds makes us glazed. New hopes of starting again makes us charming through nature & life.
Bangladesh; the land of festivals across the year, land of spicy foods, land of street foods, land of rivers & watery lands, vast range of fishes produced from non-salty water sources. Holi festival in March shows the sprinkle of colors with madness. Spring festival in April makes us joyous. Celebration of Pohela Boishakh(Bengali New Year) across the nation became a prime culture. We have been indulged with this occasion. Fashion, foods, carnivals take places with apex of ecstasy.
Ramadan & Iftar throughout the month is our signature touch. Eid is the most desirable religious festival which is celebrated across the nation with at least 3 days of Public holidays. People from all classes & categories eagerly wait for Eid.
Rashmela takes place in November at an isolated island called Dublar chor. This is something amazing to me. Dublar chor is not for residence cause it's totally isolated from the source of daily life needs. Fishermen from different areas gather here for catching fishes & making those into dried fishes. And Rashmela is their annual religious festival which lasts 3 days. Puja, carnival takes place and many people attend to pray for a better year. The final day is called ‘Holy Shower’ which takes place early in the morning. Before ending up; they take shower in the river, prays in their own way. Also they embrace each other to feel the bonding of being human with similar fate. It's not important that they are relatives or family members, I have seen many people embracing themselves & crying from the core of their heart, this is unique. Cause they don’t know if next year they will meet or not.
Hospitality is a genetic feature of Bangladesh. We don’t need so many formalities to welcome someone whether s/he is from Bangladesh, from other countries or from another part of Bangladesh. We just wait to greet someone. It’s our very own pride to be a host. I am pretty much sure that no other nation prefers hospitality like Bangladesh in this utmost manner.
Lastly I will mention a special person with a special attribute. He is Amir Hossain Rongon. This guy devoted himself for Jute. Once Jute was the golden fiber of Bangladesh. Now its history. However Rongon made his goal to establish Jute, jute fiber, jute fabric, jute products as the antidote of Global Warming. Since last 20 years he has been running after his goal. I have spent a lot of time with him to understand his motto. It took me several days to uncover him. When he felt that I am really interested about his goal; he opened up himself. He is not running after fame or wealth. He is running after making Bangladesh crowned with a globally viable solution; Jute. I am waiting to see his success which will actually be our success. Let’s roar for Bangladesh. We are not so wealthy economically; but we are unique for our people, culture, landmarks, lifestyles & simplicity which defines us best.
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Would you like to see Earth from the outer Solar System? How would aliens, entering our solar system, see us from there?
This amazing and unique picture of our planet, was captures from far far away, by Voyager spacecraft as it reached the outer Solar System.
(Credit: NASA)
The Male Pacific Parrotlet was hand sculpted from colorful polymer clay, without the use of molds or paint. Each color was a separately blended piece of clay.
Please see my Flickr profile for further information about my clay art.
Copyright © 2010 Alicia's Creations
The epitome of formality and style, these designs are the quintessential invitations
for a High Society Wedding where both the Bride and Grooms circle of friends can
each receive an invitation from their nearest acquaintance. Both invitations are presented
in an exquisite tissue lined box that will be kept safe and treasured for many years.
High Society can also be purchased as individual designs named 'Debonair & Elegance'.
As my wife and I returned home from work, I noticed the unique sky this evening and took a few pictures with my phone.
fine art
Photographer | Mohamed Rasmy
Color grading & Retouch | Mohamed Hassan
Location : Indoor Studio
Camera : Canon EOS 200D
Leans :
Sigma's 17-50mm F2.8 EX DC OS HSM
2 Light Source
Octabox 90cm + Godox TT685C
Godox SB-BW Octa 120cm + Godox SK400II
Godox X1 TTL Wireless Flash Trigger
DISCLAIMER
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
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Some background:
The mighty Suchoj SuCh-1 started its life in early March 1943, when the Sukhoi OKB finished work on the design of a high-speed fighter with a unique powerplant arrangement. The aircraft was an all-metal low-wing monoplane with conventional tail surfaces. The three-section wings had constant dihedral and basically trapezoidal planform; the stabilizers had zero dihedral.
Two Klimov M-107 water-cooled Vee-12 engines, each with a. take-off power of 1 ,600 hp (1,193 kW) and a maximum design power of 1,500 hp (1,119 kW) at 5,500 m (18,045 ft), were mounted in the center fuselage in a staggered-tandem arrangement: the front engine was offset to starboard and of the rear one to port. Thus, the total power was increased but the drag was the same as for a single-engined aircraft, which was expected to increase fight speed considerably. Consequently, the project was internally designated 'I-2M107', literally "Article powered by two M107 engines".
Furthermore, the left cylinder bank of the front engine and the right cylinder bank of the rear engine were disposed vertically, so that each engine had one set of exhaust stubs on top of the fuselage and one on the fuselage side. Both engines drove a single three blade tractor propeller of 4.0 m (13 tt 2 in) diameter via parallel extension shafts and a common reduction gearbox. Both water radiators were located side by side in a chin housing, while the oil coolers were buried in the wings. The total fuel capacity of the four tanks arranged in the center fuselage was 1,113 litres (244.86 Imp. gal).
Because of the power plant arrangement and the large ground angle (necessary to give adequate ground clearance for the large propeller) the cockpit was offset to port and placed ahead of the wing leading edge to provide better forward visibility on take-off and landing. The cockpit was protected by a bulletproof windscreen, a front armor plate and an armored backrest; the armor weight totaled 70kg (154Ib).
The main landing gear units with 800 x 280 mm (31.5x11 in) wheels retracted inwards into the wing roots and the 400 x 150 mm (15.7 x 5.9 in) tail wheel retracted aft. The fighter's armament consisted of two wing-mounted 12.7-mm Berezin UBS machine-guns firing outside the propeller disc and a single 20-mm ShVAK cannon firing through the propeller hub*.
A full-scale mock-up was inspected in December 1943, and with German long range bombers threatening the Western front line as well as the lack of a fast and powerful fighters to intercept them (the earlier MiG-5 had turned out to be a disappointment, and Mikoyan's I-211/221 family if high altitude fighters also suffered from serious technical problems at that time), OKB Suchoj received an immediate go-ahead for further development of the SuCh-1, how the I-2M107 was now officially called, since Vladimir A. Chizhevskiy took lead of the project.
In the course of 1944 three prototypes went through a fast development program. While the aircraft itself was easy to handle, overheating problems and trouble with the gearbox for the two engines could only partly be rectified - esp. the power transmission should remain the SuCh-1s Achilles Heel.
Anyway, the Su-5 was ready for service introduction towards late 1944, and the powerful type was exclusively to be used as an interceptor. Several improvements had been made, compared to the prototypes: now two slightly more powerful Klimov VK-107A engines were used, which were better suited for high altitude operations, and the chin-mounted water cooler was considerably enlarged. The oil coolers had been re-designed and they were now placed under the wing roots.
The wing span had been extended by 6' and a bigger (now 4.3m diameter!), four-bladed propeller was added in order to improve performance at high altitude. No pressurized cabin was installed, but the cockpit received an extended glazing for better all-round field of vision.
Armament had also been augmented: now a Nudelman N-23 23mm cannon was firing through the propeller hub, and the number of UBS machine-guns in the wings was increased to four.
As initial duty experience was gathered, it became quickly clear that the firepower had to be augmented, so that the propeller-hub-mounted 23mm cannon was quickly replaced by a Nudelman-Richter NR-37 37mm cannon, and the four wing-mounted UBS machine guns were replaced by two 20-mm ShVAK cannons or even two Nudelman N-23 23mm cannons - the latter became the production standard from March 1945 on, even though the type's designation did not change.
Experience also showed that the overheating problem had been cured, but the complicated gear box tended to malfunction, esp. when full power was called for in aerial combat: high G forces took their toll and damaged the bearings, even warping the extension shafts and structural parts, so that some SuCh-1 were literally torn apart in mid-air.
The high torque powers of the large propeller also took their toll on handling: starting and landing was described as "hazardous", esp. when the fuel tanks were empty or in cross winds.
Consequently, SuCh-1 pilots were warned to engage into any dogfight or enter close combat with single-engined enemy fighters, and just focus on large enemy aircraft.
On the other side, the SuCh-1's powerful cannon armament made it a deadly foe: a single hit with the NR-37 cannon could down an aircraft, and its top speed of roundabout 700 km/h (435 mph) was more than enough for the Luftwaffe's heavy bomber types like the He 177.
Several engine and armament experiments were undertaken. For instance, at least one SuCh-1 was outfitted with a Nudelman-Sooranov NS-45 45mm cannon firing through the propeller hub, even a 57mm cannon was envisaged. Furthermore, one airframe was prepared to carry two Charomskiy M-30V 12 cylinder diesel engines, in order to produce a heavy long-range escort fighter (internally called I-2M30V).
In order to minimize the torque problems a contraprop arrangement with two three-bladed propellers and a diameter of only 3.6m was under development.
All in all only 120 of these powerful machines were built until the end of hostilities, as the feared mass attacks of German long range bombers did not materialize. as the Su-7 was complicated to operate and jet engines promised a far more efficient way of propulsion for high speeds, the type was already retired in 1947 and replaced by 1st generation jet fighters like the Yak-15 and MiG-9, which carried a similar armament, attained a better performance (except for the range) but weighed only half of the large and heavy SuCh-1.
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General characteristics
Crew: One
Length: 11.75 m (38 ft 5 3/4 in)
Wingspan: 13.85 m (45 ft 3 1/4 in)
Height: 5.30 m (17 ft 4 in)
Empty weight: 5.250 kg (11.565 lb)
Max. take-off weight: 8.100 kg (17.840 lb)
Powerplant:
2× Klimov VK-107A liquid-cooled V12 engines with an output of 1.650 hp (1.210 kW) each at sea level and 900 hp (650 kW) at 8.300m (27.220 ft)
Performance:
Maximum speed: 720 km/h (447 mph) at height, clean configuration
Range: 750 km (465 mi)
Service ceiling: 11.700 m (38.400 ft)
Rate of climb: 876 m/mim (2.850 ft/min)
Armament:
1× Nudelman-Richter NR-37 37mm cannon with 60 RPG, firing through the propeller hub
2× Nudelman N-23 23mm cannons with 120 RPG in the wings
Many different cannon and machine gun arrangements coulod be found, though.
*Information about the conceptual Suchoj I-2M107 was primarily gathered from the book 'OKB Suchoj', written by Yefim Gordon & Dmitriy Komissarov; Hersham (UK), 2010.
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The kit and its assembly (a long story!):
This abomination of an aircraft is/was real, even though the I-2M107 was never built – the fictional name Suchoj-Chizhevskiy SuCh-1 was actually chosen because I could not find any plausible Su-X code for a WWII fighter. Vladimir A. Chizhevskiy actually joined the Suchoj OKB in mid WWII, so I deemed this alternative to be plausible.
I had this on the agenda for a long time, but the horrors of kitbashing kept me from building it - until now. The current Anthony P memorial Group Build (for the deceased fellow member at whatifmodelers.com, RIP) was a good motivation to tackle this brute thing. Fortunately, I already had some major ingredients in store, so work could start asap.
From that, anything else was improvised from the scrap box, and with only a three side view of the I-2M107 as guidance. It became a true Frankenstein creation with...
● Fuselage and inner wings from the (horrible) NOVO Attacker
● Wings from an Italeri Fw 190 D-9 attached to them
● Nose is a resin Griffon from an Avro Lincoln conversion set from OzMods
● Tail cone is a radar nose from an F-4J Phantom II
● Tail fin is a horizontal stabilizer from a Matchbox SB2C Helldiver
● Vertical stabilizers come from a Matchbox Me 410
● Oil coolers are modified front landing gear wells from two Revell G.91 kits
● Cockpit hood comes from a Revell P-39 Airacobra
● Landing gear comes from an Italeri Fw 190 D-9, covers were modified/improvised
● Main wheels belong to a MPM Ryan Dark Shark
● Tail wheel belongs to a Matchbox Harrier
● The propeller was scratched, IIRC from a Grumman Hellcat drop tank front and blades from an Airfix A-1 Skyraider. Inside, a metal axis was mounted.
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Work started with the fuselage and the wings as separate segments.
The Attacker fuselage lost its fin and the cockpit and air intakes were simply cut away, just as the tail pipe. The resin Griffon was slightly shortened at the front, but more or less directly attached to the fuselage, after I had cut out openings for the four rows of exhaust nozzles.
Then, the new tail cone was glued onto the end and the original fairings for the Attacker's stabilizer cut away and sanded even - anything had to be made new.
The wings were a bit tricky. I had hoped to use the Attacker's OOB wings, but these were not only much too small and did not have the proper shape, they also lacked landing gear wells!
Finding a solution was not easy, and I had to improvise. After some trials I decided to cut the Attacker wing span at about the width where the guns are located, and then add Fw 190 wings.
The depth would be fine, even though the Fw 190 wings were a bit thicker, and they offered a leading edge kink which was good for the original and characteristic I-2M107's wing root extensions. The latter were sculpted from a 6mm thick core or styrene sheet, added to the Attacker parts' leading edge, and the rest, as well as the lacking Attacker wing's thickness, sculpted with 2C and later NC putty.
Furthermore I cut out and sculpted landing gear wells, another challenging, since these had to cover the Attacker/Fw 190 parts' intersection! LOTS of putty work, sanding and shaving, but as a benefit I was able to use the Attacker kit's original wing/fuselage joints. Effectively, my placement turned out to be a bit far outside, so the track appears too wide - the price to pay when you work on single parts. Anyway, I left it was it turned out, as a major correction at a late working stage would mean to tear anything apart again...
Back to the nose: adding the propeller and the cockpit into the massive nose was the next working station. The propeller had to be huge, and also needed a rather big spinner. A contraprop was ruled out, even though it would have looked great here. But eventually I settled for a scratch-built thing, made from a teardrop-shaped drop tank front onto which the four blades from a A-1 Skyraider were glued. Probably the biggest prop I have ever put onto a 1:72 scale model! Since the resin nose was massive, drilling a hole and adding a metal axis to the propeller was enough.
With that in place I started carving out a cockpit opening - it worked better and easier than expected with a mini drill and a coarse shaving head! The opening is still rather small, a seat and a pilot hardly fit, but it works - I found a rather smallish pilot figure, and added a seat and some other small details from the scrap box, just to have something inside.
For a canopy I found a very old (30 years, I guess...) clear part from a Revell P-39 Airacobra in the scrap box, which was almost perfect in shape and width. It was a bit blind and stained with ancient enamel paint, but some wet sanding and serious polishing almost got it back to translucent status. Since I would not open the cockpit, this was a sufficient solution.
The asymmetrical cockpit opening was, in an initial step, faired with styrene strips, for a rough outline, and then sculpted with 2C and later NC putty, blending it into the rest of the fuselage.
For the tail surfaces, the SB2C stabilizer was cut away at its base - it is not a bad donation piece, its shape and rudder come pretty close to the I-2M107's original design!
The stabilizers I used on my kitbash come from a Me 410, and their leading edge was a cut away so that the sweep angle would be a bit larger. They lack depth, compared to the I-2M107's original design, but since the wings have become more slender, too, I think it's a good compromise, and the best what I had at hand in the spares stash.
Finally, and before detail work could start, the wings were attached to the fuselage. I eventually set them back by ~6mm, so that the new, extended leading edge would match the respective fairing on the fuselage. The resulting gap at the trailing edge was, again, filled with 2C and NC putty.
A personal change was a different oil cooler arrangement. The original location was to be in the wings' leading edge, just in front of the landing gear wells - but that appeared a bit doubtful, as I could not find a plausible solution where the exit for the air would be? Consequently, and in order to avoid even more messy putty sculpting on the wings, I decided to re-locate the oil coolers completely, into shallow, tunnel-like fairings under the wing roots, not unlike the radiator arrangement on a Spitfire or Bf 109.
In order to check the surface quality I decided to add a coat of grey primer, once the fuselage/wing segments had been connected. This showed only minor flaws, but made another turn with NC putty and wet sanding necessary.
Now it was time for finishing touches, e .g. mounting the landing gear, completing the cockpit and adding exhaust stubs - cut individually from HO scale model railroad roof tiles and inserted into the four fuselage fairings.
The canopy was fixed into place with white glue, which also helped closing some small gaps.
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Painting and markings:
While the I-2M107 looks odd, to say the least, I wanted to keep the paint scheme rather simple and quasi-authentic. I went for a pale grey/green camouflage, used e. g. on late war Yakovlev Yak-3 fighters.
Basic colors are Humbrol 31 (Slate Grey, it has a very greenish, even teal, hue), ModelMaster 1740 (Dark Gull Grey, FS 36231) and Humbrol 167 (Barley Grey) for the lower sides with a wavy waterline. Since only marginal surface details were left over, I decided to fake panels and panel lines with paint.
Panels were simulated with lighter shades of the basic tones (RLM 62 from ModelMaster, Humbrol 140 and 127 below), panel lines were painted with highly thinned grey acrylic paint and a special brush - in German it's called a 'Schlepppinsel', it's got very long hairs and is also used to paint scallops on car models, and similar things are used for real car tuning/custom paintwork, too.
Sure, the painted panel lines are a bit rough, but I did not want to risk any damage through manual engraving on the rather delicate mixed-media surface of the kitbashed model. For an overall look or first impression it's very good, though.
As 'highlights' I added a white spinner and half of the fin was painted white, too.
The decals were puzzled together. The flashes and the tactical code number come from a Hobby Boss La-7, the Red Stars, IIRC, belong to a vintage MiG-21F from Hasegawa. The "Rodinu" slogan actually belongs to a 1:35 Soviet Tank decals set.
Finally, after some additional dry painting with light grey, some oil stains around the engines and coolers and soot stains at the exhaust stubs and guns (painted, plus some grinded graphite, as it yields a nice, metallic shimmer that looks like oil or burnt metal), everything was sealed under a coat of matt acrylic varnish.
If it had been built, the Suchoj I-2M107 must have been an impressive aircraft - it was bigger than a P-47 Thunderbolt or an A-1 Skyraider, and one can only wonder how its field performance would have been?
Similar concepts had been underway in UK, too, e. g. for a heavy naval attack aircraft, but the I-2M107 with its asymmetrical cockpit and engine arrangement were unique. A worthy whif, even if some details like the landing gear or the borrowed nose section are not 100% 'correct'.
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.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the General Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Mont Saint-Michel
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Le mont Saint-Michel est un îlot rocheux granitique d’environ 960 mètres de circonférence situé à l’est de l’embouchure du fleuve du Couesnon, dans le département de la Manche en Normandie, et dont le nom vient de l'archange saint Michel. Avant l'année 709, il était connu comme le « mont Tombe ». Pendant tout le Moyen Âge, il est couramment appelé « mont Saint-Michel au péril de la mer » (Mons Sancti Michaeli in periculo mari). L'abbaye du Mont-Saint-Michel est située sur le mont, et le mont constitue une petite partie du territoire de la commune du Mont-Saint-Michel.
Le mont Saint-Michel baigne dans la baie du Mont-Saint-Michel, ouverte sur la Manche. L’îlot atteint 92 mètres d’altitude et offre une superficie émergée d’environ 7 ha, la partie essentielle du rocher étant couverte par l’emprise au sol de l’abbaye du Mont-Saint-Michel et de son domaine. Cet îlot s’élève dans une grande plaine sablonneuse.
L’architecture du Mont-Saint-Michel et sa baie en font le site touristique le plus fréquenté de Normandie1. Le mont Saint-Michel est le troisième site touristique culturela le plus fréquenté de France après la tour Eiffel et le château de Versailles, avec près de 2,3 millions de visiteurs par an2 (3,25 millions en 20063, 2,3 millions en 20144).
Une statue de saint Michel placée au sommet de l’église abbatiale culmine à 150 mètres au-dessus du rivage. Éléments majeurs, l'abbaye et ses dépendances sont classées au titre des monuments historiques par la liste de 18625. (soixante autres constructions étant protégées par la suite6) ; le mont (îlot rocheux) et le cordon littoral de la baie figurant depuis 19797 sur la liste du patrimoine mondial de l’UNESCO ainsi que le moulin de Moidrey depuis 20077. Depuis 1998, le mont Saint-Michel bénéficie en outre d'une seconde inscription sur la liste du patrimoine mondial en tant que composante du bien en série Chemins de Saint-Jacques-de-Compostelle en France8.
En 1846, Édouard Le Héricher le décrivait ainsi : « Le mont Saint-Michel apparaît comme une montagne circulaire qui semble s’affaisser sous la pyramide monumentale qui la couronne. On voudrait prolonger sa cime en une flèche aiguë qui monterait vers le ciel (la flèche actuelle ne date que de 1899), dominant son dais de brouillards ou se perdant dans une pure et chaude lumière. De vastes solitudes l’environnent, celle de la grève ou celle de la mer, encadrées dans de lointaines rives verdoyantes ou noires9. »
La baie
Le mont Saint-Michel (l’îlot ou l’abbaye) est situé dans la baie du Mont-Saint-Michel, dont le cordon littoral figure au patrimoine mondial de l’Unesco (inscription de 1979).
La baie qui fait partie du Massif armoricain repose sur un socle précambrien de grès et de schistes argileux qui se métamorphisent autour des éperons granitiques cadomiens de Cancale, Avranches, Chausey et Carolles. Toujours pendant le cycle cadomien, les granites intrusifs cambriens ont donné le mont-Dol, l'îlot Tombelaine et le mont Saint-Michel qui est constitué d'un pluton de leucogranite à biotite et muscovite datant de 525 millions d'années : l'îlot Saint-Michel fait une circonférence d'environ 960 mètres et une hauteur de 92 mètres10.
Les marées dans la baie du mont Saint-Michel ont une amplitude de près de treize mètres les jours de fort coefficient, la mer se retire à grande vitesse sur une dizaine de kilomètres, mais revient aussi vite. L’expression consacrée est « qu’elle revient à la vitesse d’un cheval au galop ». Le mont Saint-Michel n’est entouré d'eau et ne redevient une île qu’aux grandes marées d'équinoxe, cinquante-trois jours par an, pendant quelques heures. Mais c’est un spectacle impressionnant qui attire de nombreux touristes ces jours là.
L'ancienne digue
La digue-route qui reliait le mont au continent avait été construite en 1879. En retenant le sable, elle avait aggravé l’ensablement naturel de la baie, au point que le mont risquait un jour de ne plus être une île. D'où la mise en œuvre du projet de rétablissement du caractère maritime du Mont-Saint-Michel.
Le projet de rétablissement du caractère maritime de l’île
Le 24 juin 1983, François Mitterrand inaugure les travaux de démolition de la digue (submersible) de la roche Torin et du rétablissement du caractère maritime. Le projet, appelé jusque dans les années 1990 « désensablement du Mont », est rebaptisé « rétablissement du caractère maritime du mont Saint-Michel » car il s'agit d'un processus naturel, la marée montante (vitesse du courant de flot : 1 m/s par coefficient de marée moyen, soit 3,6 km/h) ayant un flux plus élevé que celui de la marée descendante (vitesse du courant de jusant : 0,75 m/s, soit 2,7 km/h)11.
En 1995, les études sont déclarées honnêtes ; la puissance des ordinateurs a augmenté ainsi que les codes de calcul : on peut monter la commission[précision nécessaire] du Mont-Saint-Michel, qui doit préserver son insularité et faire arriver des touristes payants régulés.
Il s'en déduit les éléments suivants du projet12 :
•suppression du parking : un autre parking est construit au sud du barrage de la Caserne sur le Couesnon (barrage qui est reconstruit) à 2,5 km du mont (planté de 45 000 arbres et arbustes, ce parking situé dans la zone commerciale La Caserne propose plus de 4 000 places de stationnement). Des navettes spéciales (à moteur et à cheval type maringotte) amènent les visiteurs par une nouvelle digue sur les herbus (levée de terre empierrée longue de 1 085 m et haute de 9,50 m). Cette digue est prolongée par un pont-passerelle (longue de 760 m). Cette « jetée » sur pilotis en acier enfoncés dans des pieux de béton de (30 m) de profondeur jusqu'à la roche, est scindée en 3 branches : deux cheminements piétonniers recouverts d’un platelage de chêne et une chaussée centrale en béton armé réservée à la circulation de navettes) et un terre-plein d'ancrage (permettant l'accès aux secours) au pied des remparts surmonté d’un gué en béton submersible lors des grandes marées (120 m), permettant au mont de conserver son insularité 20 jours par an lors des grandes marées ; dans le futur, une gare SNCF sera construite sur le continent, avec des trains directs depuis Paris-Vaugirard (Montparnasse-3)[réf. à confirmer] ;
•côté île : le Couesnon doit être chenalisé de part et d’autre du mont Saint-Michel, 2⁄3 à l’Ouest en Bretagne et 1⁄3 à l’Est en Normandie, le barrage servant de barrage de chasse de 700 000 m3. Des échelles à poissons sont prévues, pour les anguilles (catadromes) comme les saumons (anadromes). La construction du barrage sur le Couesnon est officiellement lancée le 16 juin 2006.
Le projet de liaison ferroviaire est actualisé, mais de nombreuses incertitudes demeurent. Dans un rapport13, le Conseil général des ponts et chaussées détaille les options possibles, en omettant la liaison ferroviaire établie entre 1901 et 1938.
À partir de 2006, l'État, seul concepteur du projet, se désengage de sa réalisation opérationnelle. Les travaux sont alors confiés exclusivement aux collectivités territoriales locales, déjà regroupées depuis 1997 dans un syndicat mixte, le syndicat mixte « Baie du Mont-Saint-Michel »14.
En août 2008, les quatre premières vannes sont opérationnelles dans la partie ouest du nouveau barrage du Couesnon, fonctionnant en portes à flots en attendant la livraison des quatre autres en cours de montage. L'ancien barrage est détruit en novembre 200815.
Le nouveau barrage-passerelle est mis en service en mai 200916 et ouvert au public en juin 201017. La retenue d'eau constituée à marée montante est lâchée à marée descendante, générant un effet « chasse d'eau » qui doit permettre le désensablement de la baie du Mont-Saint-Michel18.
Le projet de rétablissement du caractère maritime de 200 millions d'euros, notamment le stationnement et le transport des visiteurs attribué à l’automne 2009 à la délégation de service public Veolia Transdev, suscite de vives polémiques, tant au niveau de son suivi financier que de ses choix techniques et économiques (prix du parking, suppression de la navette gratuite « Montoise » qui transporte les habitants du Mont et les 600 employés saisonniers), comme le révèle un rapport de la chambre régionale des comptes de Normandie19,14.
Depuis le 22 juillet 2014, les visiteurs peuvent se rendre au mont par les nouveaux ouvrages d'accès créés par l'architecte Dietmar Feichtinger. Une nouvelle digue et une passerelle sur pilotis laissant passer l'eau en dessous desservent désormais l'île. L'ancienne digue a maintenant été totalement démolie20.
Toponymie
À l'origine, il était connu sous l'appellation de in monte qui dicitur Tumba vers 850 (mont Tombe) : le mot tumba, « tombe », rare en toponymie, est à interpréter dans le sens de « tertre », « élévation »)21. Le nom de la localité est attesté sous les formes Montem Sancti Michaelis dictum en 966, loco Sancti Archangelis Michaelis sito in monte qui dicitur Tumba en 1025 et, en 1026, Saint Michiel del Mont au XIIe siècle22, au Moyen Âge, il est couramment appelé « mont Saint-Michel au péril de la mer » (Mons Sancti Michaeli in periculo mari)23.
Son nom viendrait d'un petit oratoire en forme de grotte construit en 708 (ou 710) par saint Aubert, évêque d'Avranches24, dédié à l'archange saint Michel. Les restes de cet oratoire ont été retrouvés et sont encore visibles dans la chapelle Notre-Dame-sous-Terre, c’est-à-dire sous la terrasse qui prolonge la nef de l’abbatialeb.
Histoire
Un village, implanté sur le mont dès 709, voit vers le milieu du siècle suivant sa population s'accroître à la suite semble-t-il des raids vikings qui incitent les populations habitant des établissements ruraux et des villages voisins au mont, à s'y réfugier. Il se développe tout au long du Moyen Âge à l’ombre de son abbaye25. Au nord de l’église paroissiale Saint-Pierre, le bâtiment double appelé La Merveille est un chef-d’œuvre de l’architecture gothique. Il est construit sur trois niveaux à flanc de rocher.
L’économie du mont a donc été tributaire, pendant douze siècles, des nombreux pèlerinages à Saint Michel, notamment jusqu’à la Révolution française, la population locale s'installant pour proposer gîte et couvert aux miquelots. Le pèlerin, appelé michelet26, venait de toute l’Europe : depuis l’Angleterre, la France du nord et de l’ouest, etc. Un réseau de routes montoises a été récemment étudié et remis en valeur, notamment à cause de l’attrait touristique important que représente le site et sa baie. À la suite de la tempête de fin décembre 1999, les vestiges d'un ancien atelier de plombs de pèlerinage sont mis au jour27.
Les habitants du mont vivent aussi du XVe au XIXe siècle grâce à la prison en hébergeant ses gardiens et en accueillant ses visiteurs. La dernière prison ferme en 1863. La construction d'une digue-route en 1879 puis d'une voie ferrée reliant Pontorson permet l'essor du tourisme de masse qui vit notamment grâce à la vente d'articles de souvenir de pèlerinage25.
Le temps du tourisme
Déjà depuis le XIXe siècle, les auteurs et peintres romantiques venaient au mont, pour son charme unique et ses qualités pittoresques, tels Guy de Maupassant. À la fin du siècle, plusieurs hôtels sont établis au Mont. Dans la deuxième moitié du XXe siècle, la mutation du site en un lieu de visite de rang mondial a fait de la petite commune normande l’une des premières destinations touristiques de France.
La fréquentation du site et de l'abbaye est concentrée dans le temps. Elle est la plus forte au cours de la période estivale et de certains week-ends printaniers qui concentrent le tiers des visiteurs du Mont-Saint-Michel, avec une moyenne journalière approchant les 12 000 visiteurs et des pics dépassant les 16 000 visiteurs par jour, avec un flux de visiteurs de moins en moins dense au fur et à mesure de l'ascension vers l'abbaye (un tiers seulement montant jusqu’à l’abbaye). Le temps moyen de visite est de deux à trois heures. « Au cours d’une journée, c’est entre 11h et 16h que la densité de visiteurs sur le site est la plus forte »28.
Le Mont connaît un déclin de fréquentation depuis le début du XXIe siècle, passant de 3,5 millions de visiteurs à 2,3 millions en 2014. Le site pâtirait en effet des nouvelles conditions de desserte de l'îlot et de la mauvaise réputation du Mont-Saint-Michel qui fait payer cher des prestations médiocres29.
Les prisons
Des prisons furent établies sur le mont Saint-Michel durant une très longue période de son histoire30,31,32. Après que les moines furent chassés lors de la Révolution française, le mont Saint-Michel fut transformé en prison pour prêtres réfractaires en 1793 et son nom changé en Mont Libre33 ; puis en 1811 en maison de force pour prisonniers de droit commun et prisonniers politiques jusqu'en 1863.
Monuments et lieux touristiques
Soixante-et-un immeubles situés sur l'îlot sont protégés au titre des monuments historiques6, par plusieurs campagnes de protection, réalisées notamment en 1928 et 1934.
D’une dimension hors norme, les travaux de rénovation de l’immense bâtiment du XIIIe siècle, lancés fin 2020, devraient durer jusqu’en 202334.
Présence humaine sur le mont
Les Fraternités monastiques de Jérusalem
Depuis 2001, des frères et des sœurs des Fraternités monastiques de Jérusalem, venues de l’église Saint-Gervais de Paris, assurent une présence religieuse toute l'année. Ils remplacent les moines bénédictins, qui peu à peu désertèrent le Mont après 1979.
Le Festival 13 siècles entre ciel et mer
Lors de l'élaboration des festivités du 13e centenaire de la fondation du mont, le diocèse de Coutances et d'Avranches et l'association Robert de Torigni décident, entre autres, de créer un festival d'art chrétien pour « sensibiliser le visiteur au côté spirituel du Mont-Saint-Michel ».
Après ce festival, il est décidé de perpétuer le festival, chaque été, pendant une semaine[Passage à actualiser].
Économie
Trois grandes familles se partagent les commerces de la commune, et se succèdent à l’administration de la ville (Éric Vannier35, Jean Yves Vetelé36 et Patrick Gaulois37). On compte trois cents commerces pour trois millions de touristes, alors qu'en 2013 la commune compte 44 résidents (20 dans les polders, 24 intra-muros) et 99 électeurs. Intra-muros travaillent 54 commerçants et résident 24 Montois (une famille de deux parents et deux enfants, une commerçante, l'administrateur du monument, deux pompiers, un agent de sécurité, cinq moines, sept moniales et trois prêtres)38.
L’abbaye est propriété de l’État, gérée par le Centre des monuments nationaux.
Le Mont-Saint-Michel est dénommé « commune touristique » depuis août 200939.
À la suite des travaux de rétablissement du caractère maritime du Mont Saint-Michel mis en œuvre localement par un Syndicat mixte et débutés en 2006, les groupes hôteliers du Mont se livrent à une guerre commerciale, notamment à propos du chemin pédestre qui relie depuis 2012 les parkings au départ des navettes touristiques pour le Mont, Jean Yves Vetelé et Patrick Gaulois accusant Éric Vannier d'avoir usé de son statut de maire pour peser sur un vote en 2009 du syndicat mixte au sujet du point de départ des navettes qui a été fixé au milieu de deux établissements gérés par Vannier40,41. Le maire du Mont-Saint-Michel Éric Vannier est finalement condamné en correctionnelle à 30 000 euros d’amende, dont 20 000 avec sursis, pour prise illégale d'intérêts42.
Personnages célèbres liés au mont Saint-Michel
•Robert de Torigni, célèbre abbé du mont.
•Guillaume de Saint Pair, moine de l’abbaye auteur du Roman du Mont-Saint-Michel.
•Le duc de Chartres (futur Louis-Philippe Ier), venu démolir la « cage de fer ».
•Mathurin Bruneau, sabotier, escroc et faux Louis XVII, prisonnier au mont en 1821-1822.
•Auguste Blanqui, prisonnier politique au mont.
•Armand Barbès, prisonnier politique au mont.
•Monseigneur Bravard, restaurateur de l'abbaye après la Révolution.
•La mère Poulard, restauratrice (voir ci-dessous).
•Émile Couillard, écrivain, historien du mont et abbé du Mont-Saint-Michel.
Gastronomie locale
Le mont Saint-Michel se situe à l’embouchure du Couesnon. Côté terre, des aménagements de digues déjà anciens ont permis jusqu’à aujourd’hui de gagner sur la mer des terrains consacrés à l’agriculture et à l’élevage (dont celui des ovins, qualifiés de moutons « de pré-salé »). Le mouton ou l’agneau de pré-salé, appelé grévin43 est ainsi une spécialité normande, à déguster de préférence grillé au feu de bois.
Une grande activité médiatique, à laquelle a participé de facto le dessinateur Christophe avec sa famille Fenouillard entoure la préparation de l’omelette de la mère Poulard (du nom du restaurant situé dans le village et réputé pour cette spécialité). Celle-ci est faite d’œufs et de crème fraîche, abondamment battus en neige dans une bassine de cuivre avec un long fouet sur un rythme spécial que peuvent entendre les passants avant d’être cuite dans une poêle de cuivre sur un feu de bois.
Références culturelles au mont Saint-Michel
Dans la peinture
•Le mont Saint-Michel fait fréquemment l'objet de représentations dans les manuscrits enluminés du Moyen Âge. La plus célèbre est sans doute celle des Très Riches Heures du duc de Berry, illustrant la fête de l'archange dans le livre d'heures. La miniature est attribuée à l'un des frères de Limbourg, qui l'a peinte entre 1411 et 1416. Le mont est également représenté dans au moins sept autres livres d'heures du XVe siècle comme celui de Bruxelles à l'occasion de l'illustration d'une fuite en Égypte (vers 1400), dans les Heures du Maréchal Boucicaut (musée Jacquemart-André) au folio 11v (vers 1405), dans le Livre d'heures Sobieski conservé au château de Windsor, (f.204v) et attribué au Maître de Bedford, le Livre d'heures à l'usage de Nantes conservé à la Bodleian Library (1450-1455)44.
•L'affiche Le Mont-Saint-Michel réalisée en 1934 par le peintre Pierre Matossy pour les Chemins de fer de l'Ouest est recherchée des collectionneurs.
Dans la littérature
•En 1832, dans le roman fantastique La Fée aux miettes, Charles Nodier évoque les sables mouvants de la baie du Mont-Saint-Michel45.
•En 1850, le roman historique de Paul Féval, La Fée des grèves, dont l’action se situe en 1450, évoque les légendes du Mont-Saint-Michel et du mont Tombelaine46.
•En 1887, dans Le Horla, récit fantastique de Guy de Maupassant, le personnage principal termine son voyage thérapeutique au mont Saint-Michel47.
•En 1967, dans le cycle des Princes d'Ambre, Roger Zelazny s'inspire des aménagements et particularités du Mont-Saint-Michel pour créer sa cité d'Ambre.
•En 1984, le ministère de la Culture publie le livre découpage du créateur François Rouillay, permettant de revivre mille ans d'histoire et d'architecture du mont Saint-Michel, préfacé par Françoise Chandernagor.
•En 2003, Da Vinci Code (The Da Vinci Code) de Dan Brown fait référence au mont Saint-Michel.
•En 2004, La Promesse de l'ange, roman policier archéologique de Frédéric Lenoir et Violette Cabesos situe l’action principalement au mont Saint-Michel.
•En 2005, le thriller Le Sang du temps de Maxime Chattam se déroule au mont Saint-Michel en 2005 et dans l’Égypte des années 1920.
•En 2011, le roman de science-fiction L'Ère du Vent de Pierre Bameul, donne le mont Saint-Michel comme siège d'un Nouveau Vatican post-apocalyptique.
Dans la bande dessinée
•En 1999 et 2000, le mont Saint-Michel est le cadre des Aventures de Vick et Vicky ; Bruno Bertin publie aux Éditions P'tit Louis deux bandes dessinées jeunesse, Les Archanges du Mont-Saint-Michel : Le Testament (tome 1) et La Malédiction (tome 2).
•En 2008, la bande dessinée Le Diable & l’Archange, texte et dessin de Guillaume Néel, couleur de Julien Gondouin, reprend une légende médiévale sur la création du Mont-Saint-Michel ; en accompagnement, un livret pédagogique permet de mieux comprendre le Diable et l’Archange, l’historique du Mont, la ville.
Dans la musique
•En 1996, le compositeur anglais Mike Oldfield publie l’album Voyager, dont un des titres est consacré au mont Saint-Michel.
•En 1998, le compositeur français Patrick Broguière [archive] publie sous le titre Mont Saint-Michel un concept album de rock progressif entièrement consacré aux légendes du mont Saint-Michel.
•En 1999, le harpiste breton Kirjuhel publie l’album Echo of Mont-Saint-Michel.
•En 2001, le musicien anglais Aphex Twin, originaire de Cornouailles, publie l’album de musique électronique Drukqs, dont le titre Mt Saint Michel + St Michael's Mount est inspiré à la fois par le mont Saint-Michel et le St Michael's Mount, situé en Cornouailles.
Au cinéma
Voir la catégorie : Film tourné au Mont-Saint-Michel.
•1975 : L'Incorrigible de Philippe de Broca, où le rêve d'un des personnages est d'empêcher l'ensablement du mont Saint-Michel
•1976 : Passion violente (Dedicato a una stella) de Luigi Cozzi
•1983 : Pauline à la plage d'Éric Rohmer
•1998 : Armageddon de Michael Bay
•2009 : Une semaine sur deux (et la moitié des vacances scolaires) d'Ivan Calbérac
•2013 : À la merveille (To the Wonder) de Terrence Malick
•2016 : Tout pour être heureux de Cyril Gelblat
À la télévision
•2010 : L'Ombre du Mont-Saint-Michel, téléfilm français de Klaus Biedermann
•2017 : The Package (더 패키지, Deo Paekiji), série télévisée sud-coréenne, où le groupe de touristes y fait une étape lors de leur voyage en France.
En philatélie
•Dès 1930 la poste a émis un timbre de 5 Francs brun.
•En 1966, un nouveau timbre de 25 centimes, noir, vert et rouge sur paille est émis à l'occasion du millénaire de l'abbaye du Mont-Saint-Michel.
•En 1998, nouveau timbre de 3 francs, multicolore. Ce timbre sera élu plus beau timbre de l'année.
•En 2006, la poste dans une émission commune avec les Nations unies de Genève émet deux timbres dont l'un est le mont Saint-Michel et son abbaye (Manche) dont la valeur est de 90 centimes d'euro. Le thème était : Monuments. Patrimoine mondial48.
En numismatique
•Le mont Saint-Michel est représenté sur la pièce de 20 francs Mont-Saint-Michel (1992-2001).
Dans les jeux vidéo
•Le mont Saint-Michel est représenté dans Onimusha 3.
•Le mont Saint-Michel est une des merveilles mondiales qu'il est possible de construire dans le jeu Civilization VI.
•Le mont Saint-Michel est représenté à l'époque de la Renaissance dans Assassin's Creed Brotherhood, jeu vidéo édité par Ubisoft Montréal. La ville est en effet proposée comme terrain de jeu (« carte ») pour des parties multijoueurs dans le premier contenu téléchargeable sorti en décembre 201049,50.
•Dans Kingdom Hearts 3D, le mont Saint-Michel est une partie du monde Pays des Mousquetaires. On en entend aussi parler dans certains dialogues.
•Le mont Saint-Michel est présent sur une des jaquettes du jeu Castlevania: Symphony of the Night.
Vintage optical pendant with a collage of a Geisha drinking tea collaged with some pretty and shiny origami paper. For more zee blog www.tartx.com/blog
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