Thursday, 9 December 2010

georgian pussy

Prostitutes, perversions and public scandals – the stuff of the 21st century tabloids was familiar to readers three centuries earlier, according to new research from the University of Leeds.
A secret hoard of lewd pamphlets written to titillate the common man more than 300 years ago have been discovered in a manor house.Townend house


Known as Chapbooks the bodice-ripping yarns were found hidden in the library of Townend House at Troutbeck in the Lake District.

The pamphlets had been shoved behind a collection of straightforward books, presumably to hide them.

Chapbooks - the name derives from 'chapmen' the door-to-door peddlers who sold this type of literature - told racy tales of amorous advances, love and marriage.

The pamphlets were printed on cheap paper so thin that hardly any have survived the ravages of time.

Townend House was owned by a landowning farming family, the Brownes, whose literary collection has been passed to the National Trust.

Emma Wright, who is the Trust custodian at Townend said: 'The Browne book collection goes back through the centuries and proves that rural people had a strong interest in literature.'

'However, as we have gone slowly through the library we have found hidden away these Chapbooks.

'They contain rather saucy even rude tales which were found to be rather amusing by their 18th century readers.'

One tale is called The Crafty Chambermaid's Garland and details the story of a young woman who tricks a man into marrying her.

The Chapbooks were found in the library of Townend House at Troutbeck in the Lake District

Written in 1770 it states: 'The Merchant he softly crept into the room. And on the bedside he sat himself down. Her knees through the counterpane he did embrace. Did Bess in the pillow did hide her sweet face.

'He stript (sic) of his clothes and leaped into bed saying now lovely creature for thy maidenhead. She strug led (sic) and strove and seemed to be shy. He said divine beauty I pray now comply.'

The National Trust has put some of the steamy pages with their illustrations onto digital photo frames with MP3 recordings also available for visitors.

Read more: http://www.dailymail.co.uk/news/article-1262975/Erotica-Georgian-adult-books-Lake-District.html#ixzz179JkXCYt



The reading of erotic literature was already a social activity 300 years ago.



Jenny Skipp’s three-year PhD study examined, catalogued and categorised every known erotic text published in eighteenth-century Britain: "I tried to get a grip on just how many were published, detail the various types of sexual behaviour portrayed and find out who was doing what – and to whom." It proved a surprisingly rich field: "Most people have heard of Fanny Hill, but there was a huge amount of erotic literature published in the 18th century."



And despite earlier work suggesting that these texts were only for solitary consumption – at home, alone, and behind closed doors – Skipp’s work throws up a surprising image of how these works were used. "They would be read in public – everywhere from London's rough-and-ready alehouses to the city’s thriving coffee houses, which weren't quite the focus of polite society in the way we sometimes think," she explained. "Some texts even came as questions and answers and were clearly intended for groups of men to read together, with one asking the questions and the others answering them."



Much of the work is derogatory in its references to women. They are subordinates, courtesans, prostitutes, carriers of venereal disease and bearers of deformed children. "When men write this way, or read these texts, it gives them a context for asserting their authority over women," Skipp added. Yet some texts portray women altogether differently, discussing the nature of female sexuality or describing lascivious aristocratic females.



One group predominant in this literature is the Libertines – whose all-in hedonistic, smoking, drinking, swearing, pleasure-seeking lifestyle was typified by their subjugation of women. Literature aimed at this group, encouraging men to assert their dominance, translated the repressive attitudes of Libertinism further down the class structure.



And Skipp's analysis of the pricing of these works revises earlier studies to show that rather than being solely targeted at the gentry, much of this work was cheap and widely available. Though many from the poorer sections of society are considered illiterate because they were unable to sign their name, they may still have been able to read: "Many more people could read than write," she said. "In London, for example, we believe about 70 per cent of men could read."



The works range from books, down to single-sheet pamphlets. "The price and content of this material suggests it was available to merchants, traders, skilled and semi-skilled men and even labourers," Skipp went on. Its accessibility allowed sexual attitudes to percolate down the social strata.



Dr Simon Burrows of the University’s school of history, one of Skipp’s PhD supervisors, described the study as "pioneering work." He said: "Jenny has shown that erotic texts are about much more than sexual fantasy. They can give us genuine new insights into cultural attitudes, sexual norms and social customs."



And Skipp describes a literary quality to the writing which you might struggle to find in modern erotic fiction or top-shelf pornography. "It is very different to today's erotica," she said. "It is more humorous, more literary and more engaged with the wider issues of the life and politics of the times." Its metaphors mirror the passions of the age: "At a time when military power was equated with virility, armed conquest is often used as a metaphor for sex – in phrases such as 'unsheathing the weapon', 'storming the fort' and 'releasing the cannon'."



By the 1770s, the transcripts of adultery trials became a new source of titillation. To secure a divorce, a man would first have to successfully sue a rival for 'violating his property', before petitioning Parliament to dissolve the marriage. "There is something rather voyeuristic about these trials," said Skipp. "Often servants would give evidence while innkeepers would testify about lovers taking rooms together."



"The appetite for this kind of material shows readers were interested in gossip about their social betters and fascinated by the sordid details of marital breakdown – just like modern-day readers scanning the tabloids for a juicy scandal.



"The production of erotica was frequently stimulated by intrigues in the lives of well-known public figures – the aristocracy, politicians, writers, playwrights and actresses and occasionally the monarchy. The wives and mistresses were both celebrated and derided in erotic texts – they were the WAGS of their day."



As Skipp said: "Eighteenth century readers were just as fascinated with public figures as we are today – especially when they had skeletons in their closet!"

dumont cinema

Era uno dei primi cinematografi di Milano costruiti appositamente per questa destinazione.


Gli autori del progetto sono gli architetti F. Tettamanzi e G.Mainetti, con studio in via Filodrammatici 3.

Il progetto, risalente al 1919, รจ conservato presso il fondo "Ornato Fabbriche" dell'Archivio Storico Civico al Castello Sforzesco di Milano.

Nel progetto vi sono le facciate su via Melzo, Frisi e d'angolo, la pianta, la sezione interna.











Il cinematografo era costituito da una sala d'aspetto in 5 campate, di una sala cinematografica in 14 campate, di una bouffetteria (bar) in 1 campata e di una cabina di proiezione al primo piano.

Il pavimento era di legno, i posti a sedere 516 su 20 file di sedili.

La decorazione della facciata principale corrisponde fedelmente al progetto mentre la facciata su via Melzo non fu decorata. Sul frontespizio vi era la scritta CINEMATOGRAFO, poi cancellata.



Translate to en







Lo spazio, oggi occupato dalla Biblioteca Lo spazio, oggi occupato dalla Biblioteca Venezia corrisponde all'atrio del cinema, mentre la sala, il cortile su via Melzo ed una attigua costruzione su due piani, sono stati demoliti e sostituiti dall'attuale parcheggio multipiano.



Oggi trasformato in biblioteca, fu candidato a divenire un autosilo per tutta la sua estensione, dopo essere stato, per un limitato periodo di tempo, autorimessa con officina e successivamente ambulatorio.

Monday, 6 December 2010

 women's portraits made in those decades, taking up so the rope of speech started ten years ago with the exhibitions centered on the figure of artists from the Marche region that have operated in the same period, in which tradition and modernity have clashed violently.






The presence in Civitanova Marche, in the early 20th century, the young Sibilla Aleramo who set right in the small Center marchigiano his debut novel, "a woman", represented the cultural basis from which to build to analyze how the female figure has been represented in the world of the arts at a time when women were beginning to express a strong aversion towards their subordination condition than men.





Through fifty paintings and sculptures, the exhibition "a look on women: Macchiaioli Modigliani", curated by Stefano Papetti, presents the various roles that women covered in society of the time, in a location that is divided into six areas in which there are images that represent them in their capacity as mothers, women workers, artiste, seductive conquistatrici, recluse convents for choices often imposed by family or muse inspiring works of their fellow artists.





The exhibition, realised thanks to a careful selection of works that are preserved in the public and private collections of the Marche region, will know some important paintings unpublished, like touching portrait of Mrs Symbols executed in 1928 by Giacomo Balla, owned Wissenschaften of Treia, the portrait of his wife Nanny Hellstrom painted by Osvaldo Licini in the 1920s, when the artist marchigiano was in Paris where, shortly before the disappearance of the painter livornese, had met Modigliani this exhibition with a portrait of a woman of great suggestion.





In the first decade of the 20th century the tabloid gave ample space to the vicissitudes of Russian Countess Maria Tarnowska, Sicilian Princess Giulia Trigona of Sant'Elia, Lady-in-waiting of the regina Elena, killed in a small hotel romano during a clandestine meeting with her lover, or one of the sons of distinguished clinician Augusto Murri, finished in prison accused of the murder of count Bommartini: you testified so the image of the femme fatale will leave a deep mark on those who loved, divulged even in the literature of those years.





The exhibition of Civitanova devotes ample space to this prototype feminine, presenting a series of portraits of seductive girls represented in the darkness of their alcove, as in the painting by Giovanni Battista Cream, or while you abandon to dreams amorosi after reading a book of poetry, as in the Opera of Napoleon Grady or in sculptural Giuseppe Makes that struck a consumed as Wladimiro viveur Grand Duke of Russia.





But at the same time also discusses other lifestyles, such as the one marked by the struggle of life in the camps, described in the canvas of the painter Nazzareno Orlandi, sold all that so successfully collected in Argentina, or the renunciation of freedom sets convents, where sometimes the young were recluse for parental choice rather than by vocation, situation that emerges in the painting by Domenico Morelli depicting a fragile-looking clueless novice.





The world of painting, considered for a long time place reserved to men, in the early 1900s counts some female representatives that, regardless of the reviews of self-righteous, devote themselves to artistic activity successfully, as show the canvases by Giulia Panichi, student of master romano Cesare Mariani, and young Patriot Giulia HotelTravel.com member.





Many were also girls who, attending as models of painters, studies have come to establish with them an exclusive relationship that has promoted to the rank of muse inspiring art of their fellow life: Lina Ciucci, wife of eclectic painter Adolfo de Carolis, very estimated also by D'Annunzio, was the prototype of feminine beauty repeatedly exploited by the artist for his compositions of more success, as demonstrated by the unpublished portrait that appears in the manifest of the exhibition, recently purchased by the Fondazione Cassa di Risparmio di Fermo.





The catalogue, as the exhibition curated by Stefano Papetti, edited by the municipality of Civitanova Marche contains essays that describe in a multidisciplinary vision the theme of the show: Stefano Papetti offers us a c

Sunday, 5 December 2010

wikileaks and amazon

The American government and others forget that we the tax payer pay their huge wages and expect them to act in accordance with what is reasonable behaviour so why are they crying now after being found out to be unworthy of their jobs paid for by us?

WikiLeaks put its site on Amazon's servers knowing it would be likely to get booted off, in order to reveal the site's hypocracy, and that of the US, claims Julian Assange in an interview with the Guardian today.



Assange was answering questions from the public, including a person who asked if WikiLeaks had planned to get kicked off Amazon's servers for "good publicity".



"Since 2007 we have been deliberately placing some of our servers in jurisdictions that we suspected suffered a free speech deficit in order to separate rhetoric from reality," replied Assange. "Amazon was one of these cases."



That's not to say WikiLeaks knew for sure that Amazon would cease hosting its website. But it does imply the whistleblower site predicted it was likely to happen and looked forward to the repercussions if it did.



Assange stated that censorship can be a useful indicator of where leaked information can have its most significant impact, especially in the west, where the financial system has become more powerful than the political one.



"The attacks against us by the US point to a great hope; speech powerful enough to break the fiscal blockade," said Assange.



Meanwhile, Amazon has denied it bounced the WikiLeaks website off its servers because of pressure from the US government.



"There have been reports that a government inquiry prompted us not to serve WikiLeaks any longer. That is inaccurate," wrote Amazon in a statement.



The company also denied that distributed denial of service (DDoS) attacks were to blame, stating that "there were indeed large-scale DDoS attacks, but they were successfully defended against".



Instead, Amazon stated that WikiLeaks didn't adhere to its terms of service because it doesn't own the rights to the US embasssy cables. It also expressed concern that the leaked documents may contain information that put "innocent people in jeopardy".



WikiLeaks replied on Twitter, calling Amazon "cowardly" and accusing it of lying.



But WikiLeaks is far from finding a safe harbour now it's off Amazon's servers. Not only was its DNS entry shut down, causing it to only be accessible by its IP address, but now the French government is trying to ban it from that country's servers altogether. Since losing its Amazon hosting, WikiLeaks has been partially hosted on the servers of French company OVH.



"France cannot host an Internet site that violates the secrecy of diplomatic relations and endangers people," wrote the French Minister of Industry in a letter leaked, ironically, to Reuters.







Read more: http://crave.cnet.co.uk/mobiles/wikileaks-got-kicked-off-amazon-on-purpose-says-assange-50001877/#ixzz17F0pzMCW

Saturday, 4 December 2010

UNKNOWN WORK

GREAT PIECE WHO IS IT?

PIN UP

this was one of many photos taken of indigenous women by colonial troops in the early part of the century.

MAGGIE LE CHAT PHOTOGRAPHER OF HERSELF

GREAT PHOTO THIS OF MAGGIE