View allAll Photos Tagged pathos
"His father watched him across the gulf of years and pathos which always must divide a father from his son."
- J.P. Marquand, The Late George Apley
Sentirse inadaptado, inapropiado, incompetente... en una sociedad enferma como la nuestra probablemente se trate de un síntoma de buena salud.
Use this image without my permission is illegal. All Rights Reserved ste.t.©
La meteoropatia, dal greco μετέωρον (meteoron, cosa che è, che avviene in alto) e πάθος (pathos, passione, malattia), è un termine che sta ad indicare un insieme di disturbi psichici e fisici di tipo neurovegetativo che si verificano in determinate condizioni e variazioni del tempo meteorologico.
During my search for the grave of Eleanor Rigby, I wandered into a corner, which since my last visit has become overgrown. It adds to the atmosphere of pathos, which I find quite beautiful. This memorial caught my eye, and here it is as I saw it when I pressed the shutter.
St. Peters Parish Church of Woolton.
L'Oratore di questo meeting non conosceva le sette regole di Donovan e la Signora presente in platea come dire … si è lievemente appisolata...
Il maestro dell’oratoria, Cicerone, sarebbe oggi, nell'era digitale, un buon relatore?
Jeremy Donovan suggerisce sette regole per tenere una conferenza convincente e coinvolgente:
1) Sii breve e vai dritto al punto.
2) Utilizza il format del viaggio o dell’anticipazione.
3) Due strutture narrative di base sono vincenti:
quella del viaggio, articolata in tre parti (chiamata all’azione, superamento degli ostacoli, soluzione) ed il format dell’anticipazione, nel quale l’oratore introduce una teoria e poi presenta una serie di casi a supporto.
4) Non usare le slide: “le slide rompono la connessione tra presentatore ed audience”, andrebbero quindi utilizzate solo se documentano i dati meglio di quanto non si farebbe a voce.
5) Fai vivere al pubblico un’ampia gamma di emozioni.
6) Utilizza strategicamente l’umorismo: lo humor spezza la tensione.
7) Sfrutta il potere delle pause: la padronanza nel gestire i silenzi può aggiungere pathos.
Le regole di Donovan, con tutte le differenze del caso, non si discostano poi tanto da quelle che Marco Tullio Cicerone descriveva nel De Oratore: esporre i fatti in modo vivace ed ironico in modo da coinvolgere emotivamente gli ascoltatori suscitando in loro una varietà di emozioni.
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
Quick shot of my Pathos Tale Pan, Braonán! She got a stand now, but my workshop is a mess so I don't want to share a full view of her, sorry XD
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exposure: 1/20s at f/8. Ter Apel, in the province of Groningen, the Netherlands.
One shot of an early sunset at the border of Holland and Germany.
THE WITCHER 3: WILD HUNT
- Reshade 3.0.6 with PATHOS preset, tweaked.
- Console enabler + Console extension
- Ultimate Graphics Option Mod
- Nvidia DSR
- Faststone (Lanczos 3)
".we live our inner drama in solitude.
Rilke said that silence is the one proof of love, but it can also indicate the absence of feeling. Observe a couple in whom a rupture has occurred; the lack of life is indicated by the absence of dialogue. It is the silence of a ghost town [...] but the silence that follows abandonment is opaque, empty, without resonance. And here, once again, we must have the courage to admit there is nothing we can do [...] We can invent our story, but that is only its beginning; we can never know how it will end [..] We fall in love and we start something that will soon get beyond our control and takes its own course. Love contains the premises and the promises of eternity, but also the germ of annihilation.
[...]
The abandoned person is a real and a true survivor, a witness to the ruin that has been worked within one's own soul.
We are what we are thanks to what we have been."
. . . . . . . . . . . . . . . . . . . . . . . .
Eros and Pathos, by Aldo Carotenuto.
I finally find it easy to speak about the past, because I have embraced a great deal of who I was, I let my feelings guide me and vocalised my soul. I am finally able to say, thank you.
Foto d'impatto scenico.
Scrutando nella penombra...
Ho notato quest'interessante contrasto cromatico ...
Un passo indietro, due a sx,
ed il gioco è fatto.
Immagine minimalista, a parer mio,
ricca di grande pathos...
Del resto... il luogo... ne era letteralmente intriso.
Sadly not Jem, the winner of the award for best actress in a leading role that night was Geraldine Pathos (Geraldine Page).
Jem by Integrity Toys
livinginsecondlife.blogspot.it/2017/02/life.html
Jeans: *Pathos* Jeans Galaxy1
T-shirt: +FCC+ Truthfully for Truth or Dare
Tattoo: [PinUp] Lillo tattoo for Truth or Dare
Shoes: -KC- IRIS HEELS / MAITREYA, BELLEZA, SLINK, EVE, MESHPROJECT
Pose: Lil'Bug Life for The Gacha Garden
nostalgic pathos
.. (sc)analog archival project
..focus of/the male gaze.
©All rights reserved. Do not use without written permission from photographer.
Georges de La Tour, né et baptisé le 14 mars 1593 à Vic-sur-Seille et mort le 30 janvier 1652 à Lunéville, est un peintre lorrain. Artiste au confluent des cultures nordique, italienne et française, contemporain de Jacques Callot et des frères Le Nain, La Tour est un observateur pénétrant de la réalité quotidienne.
Saint Joseph charpentier (vers 1642)
Huile sur Toile
Dimensions : environ 137 × 102 cm
________________________________________________________________________________________________________
Website : GALERIE JUGUET
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Website : MÉMOIRE DES PIERRES
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Contexte et sujet
L’œuvre s’inspire des évangiles apocryphes, qui relatent des épisodes de l’enfance de Jésus non mentionnés dans les textes canoniques.
On y voit Saint Joseph, charpentier, travaillant à la lumière d’une chandelle tenue par l’enfant Jésus. Cette lumière éclaire la scène d’une clarté à la fois réaliste et spirituelle, symbole de la lumière divine émanant du Christ.
Introduction
Georges de La Tour (1593–1652) est un peintre lorrain du XVIIᵉ siècle, contemporain du classicisme français. Il est célèbre pour ses scènes nocturnes éclairées à la chandelle, où la lumière devient le vecteur d’une profonde spiritualité.
Réalisé vers 1642, Saint Joseph charpentier illustre parfaitement cette dimension intérieure et mystique de son art. Le tableau représente une scène intime entre Joseph, charpentier, et l’enfant Jésus, dans un clair-obscur empreint de silence et de recueillement.
Inspirée des évangiles apocryphes, cette œuvre s’inscrit dans une tradition religieuse tout en la renouvelant par une approche humaine, sobre et lumineuse.
Description
La scène se déroule dans un intérieur sombre, dépouillé de tout décor superflu.
Au centre, Saint Joseph, vieil homme au visage concentré, travaille le bois à l’aide d’une vrille. Son visage et ses mains sont baignés d’une lumière chaude émanant d’une bougie tenue par l’enfant Jésus, debout à ses côtés.
La composition est rigoureusement structurée :
Le faisceau lumineux éclaire les deux figures et laisse le reste dans l’obscurité.
Les tons brun-orangé dominent, renforçant la chaleur du moment.
L’espace est restreint, presque clos, favorisant la proximité émotionnelle entre les personnages.
La lumière joue ici un rôle fondamental : elle ne se contente pas d’éclairer, elle révèle le sens spirituel de la scène.
Interprétation
L’enfant Jésus éclaire son père adoptif : cette inversion symbolique (l’enfant éclaire l’adulte) traduit la divinité du Christ, « lumière du monde ».
La Tour utilise le réalisme quotidien un simple atelier de charpentier pour exprimer un mystère théologique.
Les outils de Joseph rappellent le futur supplice du Christ : le bois évoque déjà la croix. La lumière fragile de la chandelle devient le signe de la présence divine dans la nuit humaine.
Le style de La Tour, épuré et silencieux, exprime une foi intérieure, loin du pathos ou du spectaculaire du baroque italien. On sent une piété domestique, simple et méditative.
Conclusion
Saint Joseph charpentier est une œuvre emblématique du génie de Georges de La Tour :
une peinture d’intimité et de lumière, où le quotidien devient sacré.
À travers un réalisme dépouillé, l’artiste fait émerger une spiritualité lumineuse, profondément humaine.
Cette scène d’apparente simplicité invite le spectateur à la contemplation silencieuse et à la méditation sur la foi, unissant l’art, la lumière et la croyance en un seul élan.
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UNIQUEMENT POUR LE PLAISIR DES YEUX.
At Engine Room now!
◊ Autocarriage
◊ Credits
•Mesh & Textures: Paradoxical Mode
•Animations: Mizu
•Photography: Paradoxical Mode
•Model: Vandom Voxel
◊ Style Card
•Head: CATWA Catya
•Body: Maitreya Lara
•Hair: Raven Bell Azren Hair in Gradients
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•Blouse & Skirt: Toksik Pathos Blouse & Skirt @ ENGINE ROOM APR 2020
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Release Date: 4/20/2020
Version Date: 4/20/2020
A woman left lonely will soon grow tired of waiting,
She'll do crazy things, yeah, on lonely occasions.
A simple conversation for the new men now and again
Makes a touchy situation when a good face come into your head.
JANIS JOPLIN
[Enlarge by double click for detail.]
This collage presents eight gravestones found in the Old Ross Burial Ground on a hill above the historic town. Some of these were most definitely carved by Daniel Herbert, the former convict who earned his freedom by building the Ross Bridge. I have numbered them for reference.
The top row contains stones very likely to be carved by Daniel Herbert.
Number 3: This one is positively identified as a gravestone by Daniel Herbert (Greener and Laird, 1971), so it can act as a stylistic template. It is very touchingly “To the memory of our dear MAMMA”. But no name is inscribed.
Number 4: Simply inscribed JD. It has a Tree of Life motif and seems almost certainly Herbert’s work.
Number 1: Too worn to read. It would seem to date from the 1830s or 40s, but the urn carved into the top of the stone is identical to the actual urn carved by Herbert for his family memorial (see the previous photograph). There are also some stylistic elements to link it with numbers 3 and 8.
Number 2: Very worn near the bottom and dates impossible to read. The lovely floral carving is consistent with the sort of work Herbert loved to do.
Number 5: Has stylistic elements and shape similar to number 3, but the dates are not clear and this is also less likely to be by Herbert.
Number 6: This is interesting and has great pathos and simplicity as a memorial for a three year old child, but unlikely to be Herbert’s work.
Number 7: John Dickinson was the original owner of the Ross Bakery Inn. A free settler from Nottinghamshire, he was granted a publican’s license in 1833, but sadly died in 1836 aged just 39. Obviously Herbert was in Ross at the time, but may have been too busy completing the bridge to carve this. However, the quality of work would suggest an artist of comparable ability. A likely Herbert, but not certain.
Number 8: Philip Maher. Barracks Sergeant and a veteran of the Battle of Waterloo. He died in 1847. Although the dates fit, stylistically it doesn’t seem quite like Herbert’s work (especially the script), even though elements of number 3 can be seen here.
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
In this delicate work the artist found the ideal solution to a problem that had preoccupied the sculptors of the First Renaissance: the placing of the Body of Jesus Christ dead in Mary's lap. For this he deliberately altered the proportions: the Christ is smaller than the Virgin, who is to give the impression of not crushing the Mother and showing that she is her Son, not to "come out" of the triangular scheme. The Virgin Mary was represented very young and with a noble resignation: the painful expression of the face is idealized, contrasting with the anguish that artists have traditionally impressed on her. Thus the influence of the pathos of the Greek classics becomes evident. And the author imagined Mary's youth, objections that raise her critics against him, as her expression of her incorruptible purity.
On the path to love, Albert Nostran borrowed a short cut that was to cost him more dearly after than just before. The Big Jiggety humorously yet rigorously plumbs the struggle of a young man full of stars in his eyes also eager to sink his teeth into America and himself.
all-ways--------------and in a way a way to say that The Road is the book that lead me back to the road i never abandoned, on the road where i met the Iliad, a road towards wuthering heights, towards an étranger, away from smelly Paris and Grenouille, a road to ugly ducklings that don't need to be swans, a road to mice and men, to Orlando and the woolf, the wolves and eagles i seek around my camping spot, a shadow line under my heart of darkness, and a light in the trees following a rampant baron that looks like me. Please stop me, not anygod, not anybody, not a drink with Charles, two of them. I love Huckleberry Finn, the fin whale that left his hunter in a bible of all seas, not in Las Vegas, fearing and loathing, infuriating the sound of impossible love, Caddy! Benji! of impossible life in maison Karamazov, uncontainable love in the windmill of pathos, dancing on the feet of Zorba. Back to my little feet, my web in Charlotte’s strings, in a lawn counting numbers and dead dogs at midnight. Or alone onehundred years like a spy in the cold of Berlin, in a desert mirage, the Tartars! the Mermaid! the Steppenwolf! The rime, an ancient mariner told me, an old man mirrored in the sea, of my words in leaves of grass, papermoons, bitten tongues.
Mil Mi-35P Hind-F/ Panther Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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
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