View allAll Photos Tagged pathos
Perché si fa presto a parlare di commozione, partecipazione al dolore altrui, pathos e tutto il resto.
Poi c'è però la vita, quella vera, brutale e bastarda.
In questo periodo sono andata tre volte in un reparto di chirurgia del Cardarelli e sin dalla prima volta, io e mia sorella che quel giorno era con me, ci imbattemmo in un tipo intorno alla sessantina che doveva togliere un neo. Ci intrattenemmo a chiacchierare perché era strano il fatto che era assolutamente solo prima di un intervento; portava con sé una busta di plastica con dei documenti all'interno e alla domanda scusi ma lei è solo? Come torna a casa dopo? E che fa, io un neo mi devo togliere. E lo vedemmo entrare ed uscire dal reparto per andare in dermatologia, tutto da solo con i calzari della sala operatoria al piede camminare per i vialetti dell'ospedale, perché non avevano capito che neo doveva togliere. Insomma una persona che si faceva notare e che faceva grande simpatia.
Poi nelle volte seguenti c'era sempre, fino a stamattina quando me lo ritrovo davanti con la solita busta di plastica ed un foglio in mano.
Ho ritirato la biopsia volete leggere? Io non tengo assai cultura leggete voi.
Nono fate leggere dentro, noi non capiamo i termini, però sott'occhio leggevo e leggevo parole che mi impressionavano. Che cos'è? Avete letto qualcosa che non vi piace eh? Pur'io. Quel termine displasia nun me piace.
Ma andate dentro e non leggete più niente. Lo guardavo parlare ad un vecchio cellulare e mi rincuorava che non teneva internet ma probabilmente manco lo sapeva che esisteva internet.
Uno scorbutico di mediconzolo lo attendeva ahimè dentro, ho avuto modo di appurare entrando prima di lui.
Io esco dalla stanza, lui entra con la sua busta di plastica da un lato ed il foglio spiegazzato in mano da un altro.
Io scappo via con il cuore in gola verso l'uscita alla ricerca di aria mentre lui entra davanti a me salutandomi con quegli occhi da uomo semplice e speranzoso.
All'aria aperta ho inspirato forte forte come mi ha insegnato la mia maestra di yoga per far uscire tutta l'angoscia e la tristezza.
Non era un cinema, né un reportage sulla salute, né Sanremo ma un reparto di un qualsiasi ospedale.
Olga 5 febbraio 2020
FashionNatic - Pathos Jeans Pants (Avaiable - Fatpack)
Store:
maps.secondlife.com/secondlife/FashionNatic/128/42/23
www.flickr.com/groups/2157126@N21/
www.facebook.com/FashionNatic/
Instagram: www.instagram.com/fashionnatic_ellenmoon/ Discord server: discord.gg/dWyW2Kc
the head (detail in black and white)
Thomas Schüttes "Großer Geist" vor dem Neuen Museum Weimar kann als Antwort auf die Tradition "figürlicher Hoheitszeichen" gesehen werden. Mit dieser Figur lässt Schütte jedes Pathos zerfallen, um ein neues Zeichen zu setzen. "Im Widerstreben von Materie und Form führt er eine Ambivalenz des Menschen vor Augen, die Schwerkraft des Körpers, die Erhebung als kleiner oder sogar großer Geist." Die Plastik antwortet u.a. auf Ernst Rietschels Goethe-Schiller-Denkmal, nimmt aber auch Bezug auf die Helden des Buchenwalddenkmals von Fritz Cremer. Im Neuen Museum wurde zur Zeit des Nationalsozialismus auch die Ausstellung "Entartete Kunst" gezeigt, die in München ihren Ausgangspunkt nahm. In dieser Ausstellung wurde jede Art von moderner Kunst als "entartet" diffamiert. Heute zeigt das Neue Museum Weimar ausschließlich zeitgenössische Kunst.
Thomas Schütte's "Great Spirit" in front of the Neues Museum Weimar can be seen as a response to the tradition of "figurative emblems of majesty". With this figure, Schütte allows any pathos to disintegrate in order to set a new sign. "In the reluctance of matter and form, he presents an ambivalence of the human being, the gravity of the body, the elevation as a small or even great spirit." The sculpture responds to Ernst Rietschel's Goethe-Schiller Monument, among others, but also refers to the heroes of Fritz Cremer's Buchenwald Monument. At the time of National Socialism, the Neues Museum also hosted the exhibition "Degenerate Art", which started in Munich. In this exhibition, any kind of modern art was defamed as "degenerate". Today, the Neues Museum Weimar exclusively shows contemporary art.
Quelle: Neues Museum Weimar
STRAID CHURCH IN STRAID, NEAR CLONMANY EXUDES AN EERIE CHARM. BUILT IN 1772, IT WAS IN USE UNTIL 1925 BUT NOW ABANDONED. THE GRAVEYARD IS AN UNUSUAL PLACE WITH ANCIENT GRAVESLABS TIERED IN ROWS ALMOST MAKING A CRUDE PAVEMENT, MOST OF THESE ARE UNMARKED, AND EXUDE A MYTHICAL PATHOS.
This imposing monument sits above Rudesheim with a commanding view of the Rhine River and the Middle Rhine valley.
The monument (Niederwalddenkmal) was erected between 1877-1883, based on a design by Johann Schilling of Dresden.
The monument was constructed to commemorate the foundation of the German Empire after the end of the Franco-Prussian War. The first stone was laid on September 16, 1871, by Kaiser Wilhelm I.
The 38 m high statue with the pathos so typical of its time no longer appeals to current taste. It symbolizes re-establishment of the German empire, a direct result of the outcome of the French-Prussian War of 1870-1871. The war lead to the unification of Germany under Prussian hegemony as an imperial monarchy.
The main figure is that of Germania, the classical mythic female figure representing Germany. In her raised right hand is the imperial crown. The imperial sword is in her left hand. For years the monument reflected national pride and the much belated creation of a single German nation.
Today, within the context of “Europe,” such feelings are passé. But it is an important relic of an epoch and an era, and, like the dinosaur, part of the past.
“SECOND PHOTO CHALLENGE“
MISS SL ♛ Japan mixed match red which is symbolically used for the Japanese flag and cyber blue to express the pathos and science of “NEO Japan”. In a futuristic way, she expressed both sides of Japan, which is said that “technological superpower” and also passion with human fever soaked in history in various ways. In addition, the cherry blossoms in her chest are a national flower of Japan, symbol of the Japanese spirit. They symbolize how the samurai lives - the way to live for righteousness without obsessing the present world, like the cherry blossoms that are scattered soon after blooming. She believes that the spirit still flows in the Japanese even if the times change.
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- Styling Card
NEO-Japan event items
+ Dress | .Shi - Enduo Wrap (PVC Red) by Joy Laperriere
+ Earcuff | NOIR - Drogon Earcuff by Guilhermedandretti
+ Choker | NOIR - Selina Choker by Guilhermedandretti
+ Hat | Zibska - Shizuko by Zib Scaggs
+ Nail | Eclipse Art Studio - Tunderstrike Claw Woman by Shina Shan
+ Sakura | NAMINOKE - SAKURA FUBUKI by taiko McCaw
+ Eyeshadow | Zibska - Shizuko Eyemakeup by Zib Scaggs
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+ Top | CLBlue - Leathre Top by clblue
+ Pants | AdN - Agata by Adabetha Nayl
+ Bracelet | MANDALA - OKAKI Bracelets set (Black) by kikunosuke Eel
+ Shoes | NewWish - Crystal Soul Shoes by Pixie Ruby
+ Hair | booN - Cor.009 hair pieces (Black Pack) by boo Nakamura
+ Lipstick | Izzie's - Applier Red Lipstick Set by Izzie Button
+ Tattoo | Divine Tattoo - Sakura Beauty by NicholasLuvs
+ Petals | Persefona - Floating Rose Petals by Persefona
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
Dress: Mikunch Dolls banquet - Romantic dress RARE
Head dress: Mikunch Dolls banquet - Head dress (pink) 11
Umbrella: Mikunch Dolls banquet - Maiden's umbrella(pink) 17
Stuffed animal: extra)Romantic dress / USAKUMA BABY
Shoes: Mikunch Dolls banquet - Forehead platform shoes pink 6
Collar: [^.^Ayashi^.^] Yuimi Collar(Light set)
Hair:*barberyumyum*66 (pink)
*barberyumyum*bangs (D)
*barberyumyum*bangs (C)
Head: =ASR= Sophia aeon Head
Body: =ASR= Sophia Pathos Body+Tattoo(1.5 for bento)
Location: . {mystical fae forest}.
Vincenzo Campi (Cremona, 1536 - Cremona, October 3, 1591) - Incredulity of St. Thomas - oil on canvas - Ala Ponzone Museum, Cremona
La sua carriera pittorica si svolse in particolare a Cremona, ma lasciò opere anche a Milano, Pavia e Busseto. Le prime opere documentate sono committenze per la decorazione del Duomo di Cremona: una Pietà nella sala del capitolo ed una serie di Profeti sulla navata. Successivamente, nel Cristo inchiodato alla croce della Certosa di Pavia, Vincenzo diede prova di sapersi calare perfettamente nell'atmosfera di solenne drammaticità richiesta agli artisti negli anni della controriforma, quando si sentiva l'esigenza di dare all'arte sacra sentimenti di forte pathos che ispirassero ai fedeli la meditazione e la preghiera.
His painting career took place particularly in Cremona, but he also left works in Milan, Pavia and Busseto. The first documented works are commissions for the decoration of the Cathedral of Cremona: a Pietà in the chapter house and a series of Prophets on the nave. Later, in the Christ nailed to the cross of the Certosa of Pavia, Vincenzo proved to know how to fit perfectly in the atmosphere of solemn drama required of artists in the years of the Counter-Reformation, when there was a need to give the sacred art feelings of strong pathos that would inspire the faithful meditation and prayer.
(wikipedia)
HALF MOON OVER LANSVALE by Aloisia Fenyes
One cold, lop sided, half moon night
Smithy’s lens eye scans amorphous territory
well it's his territory
for an hour or two
and there in the darkest of shadows
soft edges and shapes appear
while silver night spiders
weave another shroud
brief illumination, and then pale winter moon
draws her cape and slips away again
but Smithy is quick
aim, focus, shutter speed, click click goes the Pentax
click again .... yeahhhhh gotch ya!
THANKS ALOISIA. SO NICE OF YOU... Lynn
The Lamentation of Christ is a painting of about 1480 by the Italian Renaissance artist Andrea Mantegna. While the dating of the piece is debated, it was completed between 1475 and 1501, probably in the early 1480s. It portrays the body of Christ supine on a marble slab. He is watched over by the Virgin Mary, Saint John and St. Mary Magdalene weeping for his death.
Mantegna may have made this painting for his personal funerary chapel. It was found by his sons in his studio after his death and sold off to pay debts. The painting is now in the Pinacoteca di Brera of Milan, Italy.
The theme of the Lamentation of Christ is common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ, is unusual for the period. Most Lamentations show much more contact between the mourners and the body. Rich contrasts of light and shadow abound, infused by a profound sense of pathos. The realism and tragedy of the scene are enhanced by the perspective, which foreshortens and dramatizes the recumbent figure, stressing the anatomical details: in particular, Christ's thorax. The holes in Christ's hands and feet, as well as the faces of the two mourners, are portrayed without any concession to idealism or rhetoric. The sharply drawn drapery which covers the corpse contributes to the dramatic effect. The composition places the central focus of the image on Christ's genitals – an emphasis often found in figures of Jesus, especially as an infant, in this period, which has been related to a theological emphasis on the Humanity of Jesus by Leo Steinberg and others. The space the figures are present in appears to be confined, small, and somber, indicating to be a morgue.
By the way Christ is painted, viewers have difficulty in pinpointing the real dimensions of Christ’s body. His rather large torso, hands and feet are depicted to be closer to the spectators, it is hard to tell the size of his proportions. Art historian Hubert Schrade points out, “the agitation of dimension of the work, which allows immediate proximity but denies any intimacy.” Mantegna also reduced the size of the figure's feet, which would cover much of the body if represented true to size. German scholar Hans Jantzen suggests the painting has a orthogonal perspective, a perspective he believed to be of the highest meaningful value.
Being placed at eye level at Christ’s feet, directly in front of his open wounds, invites the viewers to remember the reason for his death. Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely poignant depiction of a biblical tragedy. The portrayal of Jesus Christ's suffering prior to this event is meant to inspire not only pain, but hope. The idea of scherzo, a musical term referring to the lighthearted, playful segment of a symphony, is present in this scene, invoking slight lightness, hope, and promise in anticipation of Christ's future resurrection. The painting is another mirror to the Middle Ages inscriptions on images related to a Christ on the cross or the Passion of the Lord that would say, “Aspice qui transis, quia tu mihi causa doloris (look here, you who are passing by, for you are the cause of my pain).” In addition to being in front of his open injuries, the fabric Christ lies on indicates that this is the time to mourn before he is to be buried. The stone Christ lies on is also known as the Stone of Unction, or the Stone of Anointing, and is the slab onto which Christ's body was laid after being crucified. Viewers are meant to feel that they cannot reach out and touch his body, Shrade noted: "None of the mourners dare touch the corpse, He is untouchable."
One symbolic meaning of a subject being presented feet first in perspective is to indicate that the individual has lost a battle or war. However, it is usually meant to imply that the individual is a degenerate or a loser affected by unfortunate events, such as a flood, or misfortune. This is especially used as imagery for those who were denied of holy or divine protection. Here, however, Mantegna paints one of the most holy figures in such a position. The feet are also considered the lowest parts of the human body, and present among the individuals in the painting is Mary Magdalene, who washed Christ's feet with her tears and hair as an act of deep respect and a plea for forgiveness.
In the painting, Christ’s head is somewhat turned away from Mary, John, and Mary Magdalene to face the direction of the illumination. This is depicted to symbolize the teachings and promise of God when one is nearing the end of her or his lifespan.
Jour 51, 4/4
Nous terminons nos focus exposants avec l'un de nos généreux partenaires : Pathos Tale ! <3
Un grand merci à eux pour leur générosité ! ^^
Malheureusement ils ne seront pas présents au festival mais vous pourrez retrouver leurs magnifiques dolls sur leur site web ! ^_^
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Day 51, 4/4
We conclude our focus on exhibitors with one of our generous partners : Pathos Tale ! <3
A big thank you Pathos Tale for your generosity ! ^^
Unfortunately they will not be present at the festival but you will be able to see their gorgeous dolls on their website ! ^_^
"Wealth converts a strange land into homeland and poverty turns a native place into a strange land."
- Ali ibn Abi Talib
At a busy New Delhi intersection (on the first red light moving out of CP on the KG Marg) asking for alms with folded hands. I eventually gave him some for being quite a character and not pestering my vociferously like many other do but instead standing with dignity and showing his genuine need for empathy.
I made this shot with serendipity, as we were heading for dinner, me and my friend Gabbar, he was holding my camera in his lap and so the camera was ready for the 10 second stop at the red light of this busy crossing. I have noticed that some of my better pictures have been shot when I was not looking or preparing for them.
54th position in Explore.
"Martina talked about aesthetics more generally.She talked about perception, representation and truth. She talked about the vulnerability of a figure unknowingly watched - the difference between a portrait and an unposed study. The analogous distinction in fiction would be that between the conscious and the reluctant narrator - the sad, the unwitting narrator. Why do we feel protective when we watch the loved one asleep? Perhaps the dead body of the loved one expresses all the pathos of this absence, the helplessness of being watched, and not knowing...."
Martin Amis, Money (a suicide note)
Thirty minute scribbles #kishibashi :
Kishi Bashi 151a Full Album - Deluxe Edition
ibnpatuta Published on May 24, 2015
Tracklist:
1. Intro / Pathos, Pathos (Instrumental) - 0:00
2. Manchester - 4:02
3. Bright Whites - 8:04
4. It All Began With A Burst - 12:22
5. Wonder Woman, Wonder Me - 15:24
6. Chester's Burst Over The Hamptons - 18:45
7. Atticus, In The Desert - 20:35
8. I Am The Antichrist To You - 24:54
9. Beat The Bright Out Of Me - 28:51
10. Conversations at the End of the World (Bonus Track) - 34:26
11. Evalyn, Summer has Arrived (Bonus Track) - 39:26
12. Unicorns Die When You Leave (Bonus Track) - 43:29
The Australia / New Zealand Deluxe Edition of this album contains three extra tracks ("Conversations at the End of the World", "Evalyn, Summer has Arrived"," and "Unicorns Die When You Leave") from the Room For Dream EP that preceded this album's release. Also, "Intro / Pathos, Pathos" has been replaced with the instrumental version of the track on the deluxe edition.
L'odio
Guardate com’è sempre efficiente
come si mantiene in forma
nel nostro secolo l’odio,
con quanta facilità supera gli ostacoli
come gli è facile avventarsi, agguantare.
Non è come gli altri sentimenti,
insieme più vecchio e più giovane di loro,
da solo genera le cause
che lo fanno nascere.
Se si addormenta il suo non è mai un sonno eterno,
l’insonnia non lo indebolisce ma lo rafforza.
Religione o non religione
purché ci si inginocchi per il via
Patria o non patria
purché si scatti alla partenza
Anche la giustizia va bene all’inizio,
poi corre tutto solo,
l’odio. L’odio.
Una smorfia di estasi amorosa
gli deforma il viso.
Oh, quegli altri sentimenti
malaticci e fiacchi!
Da quando la fratellanza
può contare sulle folle?
La compassione è mai
arrivata per prima al traguardo?
Il dubbio quanti volenterosi trascina?
Lui solo trascina, che sa il fatto suo.
Capace, sveglio, molto laborioso…
Occorre dire quante canzoni ha composto?
Quante pagine ha scritto nei libri di storia?
Quanti tappeti umani ha disteso
su quante piazze, stadi?
Diciamoci la verità:
sa creare bellezza
splendidi i suoi bagliori nella notte nera
magnifiche le nubi degli scoppi nell’alba rosata
innegabile è il pathos delle rovine
e l’umorismo grasso
della colonna che vigorosa le sovrasta.
È un maestro del contrasto
tra fracasso e silenzio
tra sangue rosso e neve bianca
e soprattutto non lo annoia mai
il motivo del lindo carnefice
sopra la vittima insozzata.
In ogni istante è pronto a nuovi compiti.
Se deve aspettare aspetterà.
Lo dicono cieco. Cieco?
Ha la vista acuta del cecchino
e guarda risoluto al futuro.
Lui solo.
WISLAWA SZYMBORZKA
The sculptor chose scenes full of grief and pathos from the story of Achilles at Troy for this Roman sarcophagus.
Here, Achilles has finally agreed to return Hector’s dead body to his family. It is weighed to determine how much gold they must pay as a ransom.
Hector’s grieving widow Andromache sits on the left with their son Astyanax. The short side on the left probably showed Achilles’ mother Thetis (now missing) presenting him with new armour.