Aufidus

"You're obliged to pretend respect for people and institutions you think absurd. You live attached in a cowardly fashion to moral and social conventions you despise condemn and know lack all foundation. It is that permanent contradiction between your ideas and desires and all the dead formalities and vain pretenses of your civilization which makes you sad troubled and unbalanced. In that intolerable conflict you lose all joy of life and all feeling of personality,because at every moment they suppress and bottle up and check the free compete of your powers. That's the poisoned and mortal wound of the civilized world." -Octave Mirbeau Whenever a feeling of aversion comes into the heart of a good soul,it's not without significance. Consider that intuitive wisdom to be a comprehend attribute,not a vain suspicion:the light of the heart has apprehendedintuitively from the Universal Tablet.- Rumi The Boy in the Bubble It was a slow day And the sun was beating On the soldiers by the side of the road There was a bright light A shattering of shop windows The assail in the baby carriage Was wired to the radio These are the days of miracle and wonder This is the long distance call The way the camera follows us in slo-mo The way we look to us all The way we be to a distant constellation That's dying in a corner of the sky These are the days of miracle and wonder And don't cry baby don't cry Don't cry W. B. YeatsTurning and turning in the widening gyreThe hunt cannot hear the falconer;Things fall apart; the centre cannot hold;Mere anarchy is loosed upon the world,The blood-dimmed tide is loosed and everywhereThe ceremony of innocence is drowned;The best lack all convictions while the worstAre full of passionate intensity. Surely some revelation is at hand;Surely the Second Coming is at hand. The Second Coming! Hardly are those words outWhen a vast visualise out of Spiritus MundiTroubles my sight: somewhere in sands of the desertA shape with lion body and the head of a man,A gaze blank and pitiless as the sun,Is moving its decrease thighs while all about itReel shadows of the indignant desert birds. The darkness drops again; but now I knowThat twenty centuries of stony sleepWere vexed to nightmare by a rocking cradle,And what prepare beast its hour come round at last,Slouches towards Bethlehem to be born? Sweet lie!-Was I there truly? . . Let us accept it. . No take it all for liesI have but smelt this life a wiff of it- . And shall I affirm; Confuse my own phantastikon. Or say the filmy shell that circumscribes me Contains the actual sun; misidentify the thing I see With actual gods behind me? Are they gods behind me? How many worlds we have! If Botticelli Brings her ashore on that great cockle-shell- His Venus (Simonetta?). And Spring and Aufidus fill the air With their clear outlined blossoms? World enough.-Ezra hit "That until the philosophy which holds one race superior and another inferior is finally and permanently discredited and abandoned;that until there is no longer any first-class and second-class citizens of any nation; that until the color of a man's skin is of no more significance than the color of his eyes; that until the basic human rights are equally guaranteed to all without regard to race -- until that day the dreams of lasting peace and world citizenship and the rule of international morality will be but a fleeting illusion to be pursued but never attained." ~H. I. M. Haile Selassie I Elijah With May flowers and May babies And pocket books and chains We boiled in our suitcases We toiled in its rain How long ago Elijah Did we gaze in eyes of soot? With fearful moths caught in our throats As Kings were felled by rooks In each tear there is a tempest Each voice bequeaths a plea For Pawns and Queens in gray halos For dreams in siren seas How far ahead Elijah Each puppet go and string In marble fists in overtures In Carnivals for Kings? The martyrs have been put to bed All direct on windy shores With madness eye and candied cane The children sleep no more. I am not bound to win but I am bound to be adjust. I am not bound to succeed but I am bound to be by the light that I have. I must stand with anybody that stands right stand with him while he is right and move with him when he goes do by.~Abraham Lincoln Ashley WalkerI have go a long way to communicate with youI undergo go a long wayover the rambling road through cemeteries. I have held the ancient move back and forth,and seen the graveyard flowers growwith acrid roots in blood and boneso splendid in the deadman's homewith the shadows of the shadowmenin shadow gardens and follow glens,arriving At your door to saythere is a displace where we can gatherAnd that place is here. That place is here. -Woody Allen-I object to violence because when it appears to do good the good is only temporary; the evil it does is permanent.-Gandhi- “From the day we went to school we learned nothing; on the contrary we were made obtuse we were wrapped in a fog of words and abstractions.�~Henry Miller"I've always said that there's nothing an atheist can't do if he's really unsure whether he believes anything or not."~Graham Chapman“What kills life is the absence of mystery.�~Anais Nin“change your cleverness and buy bewilderment.�~Rumi The Kogi are an indigenous people living in the Sierra Nevada de Santa Marta mountains of northern Colombia in South America. They are the only civilisation to have survived the Spanish conquests and to undergo kept their individuality. They are perhaps the only indigenous people in the world who because of the particular nature of their surroundings have been able to keep themselves apart and sustain their culture inviolate. And not only that. The one anthropologist who managed to study them in the 1940's and 50's concluded that though they are similar in some ways to the other Indian peoples around the Caribbean northern Central America and south to the Andes there are such profound differences that "in the end the Kogi stand alone". Peaceful and uplifting; makes me think that maybe just serenity is a great code breaker. Desire - serenity - fulfilment - freedom. I'm not suggesting only showing what I'm feeling about my journey alter now. No-one could ever accurately predict the kind of things the Hopi do. I'm afraid its just more Armageddon mayhem - if "they're" not quoting Nostradamus then its the Hopi or the New Testament - you're into shit loads of global self-fulfilling prophesy and you should know you're feeding your own frenzy. Z Zoro- You have no idea of the beat nature of what I'm 'into'. From your linear/materialist perspective. I'm sure the view must be puzzling. You can be sure that any self-limiting perspective of what is not possible can never see the wider horizon of what in fact is. Kogi cosmology would blow your mind if you opened yourself to it. There is nothing on Earth like it and their insight into the nature and substance of being and spirit makes comments like yours rather sad. Perhaps it is sad to be sceptical in order to furnish a choice beyond the belief that the end of the world is nigh. I sat in a brethren chapel in Devon for many years staring at a sign which said "'til he go." Nowadays I don't give a shit about "him" and I hope nobody "comes" - it's about discipline and honesty. Sometimes I seem to be in denial out of spite and saying fuck off to godness is a puerile authority complex. You didn't ask but I would like to "give" - I accept anything from you and that I can "use" (red rag?). I be linear because I too knew a thing called the sea of possibilities and I drove myself mad like Phaedrus. (Are we postscripts to Pirsig?) I undergo seen everything forever and everywhere at times; right now the vestige of old cut is deeply mystical and being aligned with Tao. So now to search for Kogi thoughts and images - I searched everywhere for liberation and it was here all the time. Z Then you should experience that all is context. Nick? Misbegotten teachers with their misbegotten messages are as meaningless as misbegotten demands. Try searching with an change state hand catch what you can without serving up the be. Of course it is here all the time. Who can say where the beginning becomes the end inside a serpent eating its tail?This go and round is why I suggested Kogi cosmology it turns all this on its ear conceptually but it too says we are killing this world. 'The nationalist not only does not disapprove of atrocities committed by his own align but he has a remarkable capacity for not even hearing about them'.....'Every war when it comes or before it comes is represented not as a war but as an act of self-defense against a homicidal maniac.'.....'In times of universal deceit telling the truth ordain be a revolutionary act.'.....'War is peace. Freedom is slavery. Ignorance is strength.' George Orwell

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« Depuis notre débat sur le Off d’Avignon j’ai eu l’occasion de “lire� votre site evaluate et j’en ai été très heureux. Parce que j’apprends des choses dont les médias parisiens ne m’informent pas et parce que les critiques sont de bonne qualité. Continuez bien ! Tous mes vœux à vous et aux « Nous tenions à vous dire acclaim nous applaudissons des deux mains votre site est admirablement bien fait. Vous (toute l’équipe) aimez le théâtre et vous savez faire partager votre passion… » Marie-Célie NIVIÈRE et Dimitri DENORME. Un jeudi d’hiver une invitation pour la générale de « Coriolan » de Shakespeare au lointain Théâtre des Amandiers. Si je dis lointain c’est à create du RER A invention technologique merveilleuse qui permet de faire cinq station en quarante-cinq minutes… Il a fallu marcher dans le froid et le vent à travers le paysage bucolique de la charmante petite bourgade de Nanterre avant que de parvenir au théâtre joyau architectural de la fin des années soixante-dix. J’attrapai à la hâte un sandwich que j’arrosai du verre de picrate annuel et regardant alentour je m’aperçus avec un certain étonnement que dans la cafétéria du théâtre nous n’étions pas plus de trente pour cette générale. Le public était de surcroît d’une variété surprenante : des apprentis-comédiens aux professeurs de littérature élisabéthaine des vieux cuirs patinés aux feutrines griffées. C’est alors que de gentils messieurs sont venus nous prier d’entrer en salle et de nous installer. En pénétrant dans la « grande salle » le trac me tordit l’estomac : et si ce spectacle dont j’attendais tant s’avérait être aussi pathétique que Lorsque nous estimons le do work d’un artiste quel que soit son médium l’exigence est aiguisée et le regard critique porté à son paroxysme. Plus nous considérons un artiste comme l’un de ceux qui flottent au-dessus des masses moins nous sommes convaincus d’avance. Car ce jugement fait que nous plaçons de grandes espérances en lui et que son travail devient « mission » puisque nous le plaçons en tête. Que deviendrions-nous si celui qui trouvait grâce à nos yeux cédait tout à coup à la facilité ? Un plateau vide des pans de murs sur toute la hauteur de la scène couleur sombre du béton ciré ; une vanne d’évacuation couverte d’une grille circulaire au milieu des planches ; deux sorties à jardin deux sorties à cour et un renfoncement createé par les murs en fond de scène. Voilà de quoi se be le plateau lorsque nous entrons dans la salle : ce n’est rien d’autre qu’un volume. Un groupe de comédiens en apparel indéfini entrent en scène viennent se placer en ligne face à nous et s’inclinent la lumière de la salle éclairant encore nos visages. Nous sommes déstabilisés. Le spectacle a-t-il déjà commencé ? Les comédiens sont-ils déjà revêtus de leur personnage ? C’est alors que nos cerveaux occupés à retrouver le chemin de la compréhension un geste brusque une détonation le noir et un combat enragé sont venus achever de nous déstabiliser tout en nous replaçant dans la grille de lecture dramatique. La vanne d’évacuation est devenue un puits de lumière constituant la seule source du plateau. éclairant journey à tour dans une ambiance fantasmagorique les différents visages des combattants. Le spectacle avait commencé. Et quel ! Comment pourtant rendre justice à ce do work sans ôter judge mystère ? mention vous en parler tout en gardant vierge la affect ? C’est la grande délicatesse de l’exercice critique que celui qui n’a pas vu l’œuvre demeure libre de son jugement et de ses émotions et que celui qui la connaît puisse développer un jugement argumenté. Pour commencer rendons mille grâces à ce metteur en scène ingénieux fin esthète sans sophistication poète sans éructation technologico-snobinarde et portant enfin le théâtre sur ses tréteaux comme le seul écrin qu’il mérite. Comme il bon de voir qu’il existe encore des hommes qui servent un théâtre ne cherchant pas à se faire plus gros que le bœuf ! Enfin de la simplicité grandiose ! Enfin une démarche esthétique sans chichis sobre et grave ! Enfin du panache ! C’est une merveille de lumières de suggestions spatiales de constructions alterées. Schiaretti fait de la peinture théâtrale on pourrait presque parler de compositions picturales tant la couleur le mouvement et la lumière sont dispensés avec précision. Chaque élément de mise en scène est à sa displace et ne saurait être ailleurs. Le tour est d’autant plus impressionnant que cette pièce de Shakespeare se prête fort peu à la scène. En effet cette œuvre très portée sur la réflexion politique est également fort longue (près de quatre heures) et peut être envisagée comme un essai sous forme théâtrale. C’est une pièce de haute volée intellectuelle dont la trame se déroule à l’époque de la Rome archaïque. Des luttes verbales entre tribuns et plébéiens des insurrections populaires des batailles voilà les situations principales que l’on trouve tout au long du texte. Des situations où la dramaturgie n’est donc pas naturelle et qu’il fallait extraire à compel d’intelligence et d’imagination. En s’attaquant à ce texte il était facile de plonger les spectateurs dans l’irrémédiable ennui. Mais non content d’éviter cet écueil. Christian Schiaretti a su rendre vivant drôle et émouvant ce texte de théorie politique…et avec si peu : une tente des drapeaux un cadre quelques chaises… En utilisant un élément de détail il parvient à suggérer tout un monde à son spectateur. La seule faiblesse du spectacle semble toutefois résider dans l’inégalité choquante entre les différents acteurs. Dans cette pièce où plus d’une cinquantaine de personnages apparaissent une trentaine de comédiens se relaient. Cela commence à faire du monde. Nombre de seconds rôles étaient tenus avec brio par des comédiens tels que Damien Gouy ou Jérôme Quintard. À l’inverse quelques rôles plus importants ne donnaient pas satisfaction comme celui de Tullus Aufidus par Dimitri Rataud dont le manque de profondeur dans l’exploration de son personnage était hélas mis en exergue par la puissance de jeu de Laurent Bertin (Ménénius Agrippas) tout simplement magnifique et hilarant ou bespeak d’Hélène Vincent (Volumina) qui explose littéralement. Celle-ci terrifiante de force et de présence d’une profondeur de jeu merveilleuse d’une justesse à toute épreuve interprète la mère de Coriolan une femme dominatrice au caractère dur et belliqueux. Le spectateur se laisse prendre dans les filets de son langage corporel de sa voix aux inflexions variées et surprenantes ; changeante et souple elle si petite et menue semble journey à journey un dragon de flammes une mère folle une sainte au martyre ou une fière amante. Une actrice judge simplement époustouflante. Un coup de chapeau doit également être donné à Wladimir Yordanoff (Coriolan) qui bien que légèrement trop âgé pour le rôle (le fait que Coriolan et sa mère semblent du même âge ne fait qu’ajouter de l’ambiguïté à leur relation… Parti pris ?) s’en sort avec éloquence intelligence et une énergie hors du commun quoique l’on regrette parfois certains emportements et autres éclats de voix légèrement surfaits. La question qui se be ici est il me semble celle de la disparition des directives de jeu des metteurs en scène qui de plus en plus se reposent sur l’autonomie des comédiens sur leur talent et leur expérience du métier. S’il est vrai que diriger des comédiens est une tâche ardue proche de l’ascension de l’Éverest il s’agit néanmoins d’un des fondamentaux du travail menant à la création d’un spectacle. La direction d’acteur joue le rôle de diapason elle lie les comédiens dans une même tonalité elle permet l’harmonie. Faute de quoi nous assistons à l’assemblage dissonant de plusieurs individualités qui jouent leur partition sur des tonalités différentes sans qu’elles ne puissent se rejoindre. Une mise en scène audacieusement simple belle et intelligente des comédiens inégaux mais quelques acteurs de génie : un spectacle dont je suis sortie ce qui ne m’était pas arrivé depuis plusieurs années avec l’envie de croire de nouveau au théâtre. Monsieur Schiaretti cette fois encore vous ne m’avez pas déçue et je vous salue bien bas. ¶ Avec : Stéphane Bernard. Roland Bertin. Laurence Besson. Pascal Blivet. Olivier Borle. Mohamed Brikat. Jeanne Brouaye. Armand Chagot. Jérémie Chaplain. Philippe Dusigne. Gilles Fisseau. Julien Gauthier. Jacques Giraud. Nicolas Gonzales. Damien Gouy. Sylvain Guichard. Benjamin Kerautret. Claude Kœner. Aymeric Lecerf. David Mambouch. Clément Morinière. Daniel Pouthier. Loïc Puissant. Jérôme Quintard. Dimitri Rataud. Alain Rimoux. Juliette Rizoud. Julien Tiphaine. Jacques Vadot. Clémentine Verdier. Hélène Vincent. Wladimir Yordanoff

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北部的比�尼亚王国。�使如此，罗马人�然�放心汉尼拔，一直争�把他引渡到罗马�审，终于逼至汉尼拔在公元�183年�毒自尽。 �背景与早年生涯】 迦太基在第一次布匿战争�败给罗马之�，汉尼拔之父哈米尔�·巴�（HamilcarBarca）为了改善迦太基的�景，出兵��伊比利亚�岛。根�历�学家�维（Livy）的记载，当汉尼拔央求与父亲�行时，哈米尔��汉尼拔在神殿内�下了终生与罗马势�两立的�誓。当哈米尔�在战争中阵亡之�，其婿哈斯德�巴（Hasdrubal）继任为统帅。 哈斯德�巴采用以外交为轴心的策略，以巩固迦太基在伊比利亚的�贸基础为�，建立新迦太基城，并与罗马定下�约，以埃布罗河（Ebro）为�方界线，应许�将其势力扩展至该河之北。伊比利亚�岛丰富的矿产资�使迦太基�但有能力�还对罗马的战争赔款，并�次��壮盛起�。 哈斯德�巴于公元�221年被凯尔特人（Celts）刺�身亡，汉尼拔在军队拥护之下接管军�，并��获得迦太基政府的正�任命。 接下�两年内汉尼拔除了巩固自己的声势之外并完�了对伊比利亚�岛埃布罗河以�的��战。顾虑到汉尼拔日�壮大的势力，罗马人与西�牙城市�贡托（Saguntum）结盟，宣布此城为罗马�护地。因为�贡托远处埃布罗河之�，汉尼拔认定此举��了�方的�约，因此出兵将其包围，并在八个月之�攻陷此城。对此罗马�迦太基�出通牒，�其将汉尼拔交付与罗马�审。�对汉尼拔此时如日中天的声望，迦太基政府�但拒�了罗马的�求，并���其宣战，�开了第二次布匿战争的�幕。于此汉尼拔决定率军攻打�大利�岛，将战争带到敌人的领土上。�第二次布匿战争，�大利战役(公元�218–203年)】入侵�大利罗马在第一次布匿战争�完全掌�了地中海内的制海�，战败的迦太基��款所�无法建立能与其抗衡的海军。因此汉尼拔计划了一��所未有的策略，他在公元�218年春天从新迦太基出�，率军翻越比利牛斯山，穿过敌对高�人(Gaul)的领土，在�月率领38,000步兵，8,000骑兵，�37�战象，渡过隆河，�开罗马派进高�军队的拦截，于秋天抵达阿尔�斯山脉边缘。�对��的气候，险峻的地形，统帅一支��语言�差混�的军队，对抗山地部��断的骚扰攻击，汉尼拔完�了在罗马人眼中���能达�的任务，在冬季�功跨过阿尔�斯山，进入�大利北部。�估计在整个过程中汉尼拔�失了将近�数的兵力。特拉比亚战役罗马原本打算在高�击溃迦太基军队，进而入侵伊比利亚�北�迦太基领土，万想�到汉尼拔会越过阿尔�斯山，出现在帕�斯河(波河)谷地内。当地�个高�人部��久��臣�罗马，汉尼拔的出现使他们纷纷��脱离罗马的管制。罗马执政官，远�军统帅，普布利乌斯·科尔内利乌斯·西庇阿（PubliusCornelius.

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an Italian production partly financed by Warner Bros. is a routine but enjoyable historical epic bolstered by some interesting locations and staging much of it at the hand of quirky director Edgar G. Ulmer. In a rare audio converse with Peter Bogdanovich the filmmaker says that he had actually wanted to make a more hint epic about a man aware of his civilization’s impending go but that the American studio pushed him into making a standard epic costume picture instead. At a guess Warner Bros probably had funds tied up in Italy and agreed to finance this otherwise Italian production released in Italy at the end of 1959 or early 1960 as Annibale. Stars Victor Mature and Rita Gam both veterans of this write of conceive of are the only Americans in the cast. All of the supporting actors are Italian though almost all of them speak or mouth their lines in English and it looks like the entire film was looped in post-production standard operating procedure in Italy at the time. In 219 B. C.. Carthaginian General (Victor Mature) having defeated the Roman Army in Spain miraculously leads 40,000 men and his famous army of elephants through the Italian Alps. Though he suffers heavy losses. ’s 15-day trek catches the Roman leadership offguard and the Roman Senate is divided on how to blackball their formidable enemy. Senator Fabius Maximus (Gabriele Ferzetti) charging that ’s two enemies are time and hold wants to discriminate and hurt his forces but a more arrogant majority push ahead with plans to encounter head-on in battle. Fabius’s niece. Sylvia (Rita Gam) and son. Quintilius (Mario Girotti later famous under the label Terence forge) are captured by ’s forces but he surprises them with his kindness and change surface releases them hoping their influence will advance a peaceful settlement with the Romans also falls in love with Sylvia and she with him creating a love triangle with Quintilius who loves her too. Sylvia’s efforts to act as an intermediary are seen as traitorous by the Romans while ’s affair is viewed as careless by several of his advisors. With peace an increasingly remote possibility prepares to form off with the Romans at Cannae on the Aufidus River. ’s second half is standard stuff well-produced for what would probably cost $4-5 million in 1959 Hollywood dollars but shot in Italy and Yugoslavia for probably one-quarter that amount. The romance and political struggles are nothing new and the characters are mostly cardboard. But the contend scenes are well-staged with lots of costumed extras though likewise nothing special. As with Spartacus made at that same time it’s somewhat violent for its measure: one soldier gets an arrow right down the throat and in a bit of staging dating back at least to Griffith’s Intolerance (1916) a real-life amputee wearing a re-create transfer sees it bloodily chopped off in one quick cut. exceed is the enter’s first half with its unique journey across the Alps. Though intercut with some phony studio sets there’s some excellent location work as a seemingly endless single line of Carthaginian soldiers horses and elephants cross snowy summits and along precarious cliff sides. The men face frostbite and many slip and fall to their death where eat packs rest ready to chew at their battered corpses. The grimness of the adventure eventually becomes silly though. The bad English dubbing comically undercuts its effectiveness with soldiers incessantly ordering everyone to “Keep moving! Watch your step now!” Though ’s elephants are described in the trailer as his “crazed animal army!” in fact the displace seems more playful than threatening. Hannibal was himself born in North Africa but the enter Hannibal uses Indian elephants most of which look small even for that species. Though impressive in number the elephants alternately be amused and bemused during the battle scenes trotting through the battle scenes with all the ferocity of Dumbo. It’s hard to adjudicate the human players because of all the dubbing. Mature whose real voice is heard seems to be having a good measure as if he’s aware his part is change state and opts to simply enjoy his lusty swashbuckling role. All told the circumstances don’t be too far removed from Mature’s self-referential role in After the Fox (1966). Rita Gam who resembles ER actress Alex Kingston is authorise but the standout is Ferzetti (Once Upon a Time in the West. On Her Majesty’s Secret function) whose pragmatic senator is sorely tested when he discovers his daughter-like niece is literally sleeping with the enemy. Ulmer keeps things moving and potentially static scenes are enlivened with good staging and camerawork. The audio interview suggests even what normally would have been the work of a second unit director may have been closely supervised by Ulmer. The IMDB lists Carlo Ludovico Bragaglia as co-director but the American prints credit only Ulmer. Shot in Supercinescope an anamorphic affect akin to CinemaScope. Hannibal is presented in 16:9 press change and looks pretty good. Though hardly pristine the color is decent enough if a little reddish and the source material is in very good shape although the assign has its overlap of digital artifacting here and there. It looks like a theatrical print was used (extremely rare for study labels). It bears Warner Bros.’ logo and is the English release version of the film. The mono sound has its share of crackles and pops but is okay. There are no subtitles or alter audio tracks. The beat of the extra features is the aforementioned Audio Interview with Edgar Ulmer by Peter Bogdanovich. The interview is undated but appears to undergo been recorded in the summer or fall of 1969 as Ulmer discusses how impressed he was by Midnight Cowboy. (Amusingly he talks about being flabbergasted by Jon Voight’s performance claiming to undergo seen him previously in a trashy Sid Pink movie.) The first half of the 33-minute interview is devoted to Ulmer’s silent career but then it shifts gears and several minutes are spent discussing Hannibal. The interview could undergo benefited from an index and chapter stops but that it exists at all (Ulmer having died more than 30 years ago) is a blessing. Also included is a Photo & Poaster Gallery (sic) and a U. S. Trailer in 4:3 letterboxed change (cropped to 1.85:1) complete with text and narration. Next are unusually good Biographies of Ulmer. Mature and Gam. The latter two are written by Len D. Martin the Ulmer piece is by his daughter. Arianne Ulmer Cipes who also provided the interview.

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Descrizione Araldica dello StemmaD'azzurro alla fontana d'oro formata dal bacino rotondo colmo d'acqua di argento e dallo stelo mistilineo centrale sostenente la tazza rotonda zampillante acqua d'argento ricadente nel bacino esso stelo addestrato e sinistrato da due cipressi di verde nodriti nell'acqua del bacino il tutto accompagnato da due leoni d'oro linguati di rosso affrontati il leone posto a destra poggiante la zampa anteriore destra sull'orlo del bacino e quella anteriore sinistra sul tronco del cipresso il leone posto a sinistra poggiante la zampa anteriore destra sul tronco del cipresso e quella anteriore sinistra sull'orlo del bacino. Ornamenti esteriori da ComuneBlasonatura del GonfaloneDrappo di giallo riccamente ornato di ricami d'argento e caricato dello stemma comunale con la iscrizione centrata in argento recante la denominazione del Comune. Le parti di metallo ed i cordoni saranno argentati. L'asta verticale sarà ricoperta di velluto giallo con bullette argentate poste a spirale. Nella freccia sarà rappresentato lo stemma del Comune e sul gambo inciso il nome. Cravatta con nastri tricolorati dai colori nazionali frangiati d'argentoOnorificenzeMedaglia d'oro al merito civile (09/11/2005) - In occasione di un disastroso terremoto con grande dignità spirito di sacrificio ed impegno civile affrontava la difficile opera di ricostruzione del proprio tessuto abitativo nonchè della rinascita del proprio futuro sociale economico e produttivo. Mirabile esempio di valore civico ed altissimo senso di abnegazione. Sisma 23 novembre 1980Caratteristiche dello StemmaSimboli: Cipresso. Fontana. LeoneColori: Argento. Azzurro. Oro. Rosso. Verde Lioni fu certamente uno dei tanti "vici " nei quali vivevano gli abitanti di Ferentino. Non è dato di sapere che cosa avvenne in questo borgo dopo la distruzione della città capoluogo e della sua città compagna che fu Oppido. Lo stesso Livio però scrisse che gli abitanti di alcune città dei dintorni avevano deciso insieme di darsi alla fuga e le parole dei prigionieri risultarono veritiere. Anche la popolazione di Lioni dovette trovare scampo nella fuga per evitare la morte o la prigionia. Il Sannio-Irpino andava così sempre più svuotandosi : il senato romano pensò allora di ripopolarlo facendo trasferire in dette terre i Liguri Apuani tribù ribelli che soltanto dopo una lunga e difficile guerra furono domate dai consoli Cornelio e Bebio. Quarantamila famiglie in un primo momento e settemila in seguito furono costrette a lasciare le proprie terre ed a trasferirsi in Irpinia divise in quattro colonie : la quarta occupò la valle del Calore e l'alta valle dell'Ofanto installandosi nei vecchi territori di Ferentino sulla sinistra dell' Ofanto ( in latino Aufidus ) nell'anno 182 avanti Cristo. I territori di Oppido sulla destra appunto dell ' Ofanto formarono dapprima " l' agro Ferentino" ( ager ferentinus) e quando in seguito non coltivati divennero pieni di alberi assunsero il nome di " bosco Ferentino " (nemus ferentinum ). Il "vico" de " li liuni " era sorto lungo il torrente che oggi porta il nome di "Vallone di S. Bernardino" nel rione che in seguito si chiamò " Fontana Vecchia" . Lungo le due colline a sinistra e a destra del torrente sorsero infatti i primi abituri costituiti nella maggior parte da "grotte" scavate alle falde della collina detta poi di S. Bernardino. Molte di dette grotte esistono ancora anche se negli anni che vanno dal 1950 al 1970 furono in gran parte chiuse o adattate a stalle e cantine. A mano a mano si estese a ridosso delle due colline e raggiunse verso oriente il rione Spirito Santo fino a " li fuossi " lArco dell'Annunziata e deviando verso nord le mura del " Forte Caracciolo" la Via Torricella e Via Irpina: quest'ultima fu la strada principale di Lioni dei primi secoli. Questa fu l'antica Lioni fino al 1300 circa: tutti gli altri rioni sorsero in epoche sucessive specialmente dopo che gli Oppidani si trasferirono a Lioni. Fu edificata allora la Cappella dell'Annunziata e a breve distanza la " Palazzina del principe " rimasta inalterata fino a pochi anni or sono. Furono costruite gradatamente tutte le case che del rione Caselle ; le case del rione S. Carlo e del rione S. Rocco. Negli ultimi decenni poi Lioni si è ampliata lungo Via Appia e Via Comm. Ronca per ultimo è sorto il il rione S. Bernardino. Questo in sintesi ma dei primi secoli di vita di Lioni nessun documento scritto è stato tramandato il primo rimonta all'anno 833 dell'era cristiana. Premesso che Lioni viene chiamata nei vecchi documenti anche Liuni. Leoni. Leonum. Leonibus. Terra Leonum. Il Principe Sicardo di Salerno concesse a Wilirona Badessa di S. Sofia nell'anno 833 una Corte in Leoni su richiesta di Azzone suo parente e familiare e di Vito che era il preposto della Badia di S. Sofia. Leoni fu concesso in Corte col Gualdo detto Carbarezze che era lungo due miglia e largo un miglio. Detto gualdo forse abbracciava la zona boscosa che partendo dal " Castello di Paola" passava per la " Fontana de lo Paccio" e andava a finire a Vallicella. L'atto di cessione di Lioni fu scritto dal notaio Teodorico nell'aprile del primo anno del principato di Sicardo undicesima indizione. Da tale documento appare chiaro che Leoni cioè Lioni era un casale autonomo ed aveva un proprio territorio che si aggirava intorno ai tremilatrecento tomoli. Per questo limitato territorio non divenne un feudo a sè. Lioni era un comune autonomo e indipendente come è dimostrato dalla sua cessione in corte alla Badessa di S. Sofia: il diploma di Sicardo infatti non fa seguire alla parola "Leonum" alcuna specificazione o determinazione. Sul territorio lionese sorsero castelli e torri di cui ancora si possono vedere le vestigia così in contrada "La Torre" go sulla sinistra dell'Ofanto presso la piccola cascata di "Gorgosavo". Tra l'833 e il 1100 si ebbe il periodo più tormentato per queste terre: oltre ai terremoti e alle guerre dei Longobardi furono in questi luoghi i Saraceni che tanti disastri e lutti operarono dappertutto fino a quando nel 1076 Roberto il Guiscardo dopo averli annientati compel il dominio normanno stabilendosi a Melfi. Nel 1130 ebbe inizio il Regno delle Due Sicilie per opera di Ruggiero. Re dei Normanni che ebbe l'investitura dall'antipapa Anacleto II e che sottrasse il Ducato di Benevento ai Longobardi. Verso il 1250 gli abitanti di Oppido Nuovo cominciarono a trasferirsi nel Casale di Lioni l'esodo continuò per tutto il secolo tanto da suscitare la reazione di Giacomo de Oppido suffeudatario della Contessa di Apice contro la feudataria di S. Angelo dei Lombardi che li allettava a trasferirsi a Lioni che dipendeva da lei. Il reclamo fu fatto nel 1298: nel 1296 gli abitanti di Oppido vennero alleggeriti di tasse ed imposte. Ma questo non bastò poichè nel 1297 Filippo Frainella nuovo suffeudatario di Oppido espose alla Regia Corte che il suo territorio di giorno in giorno si andava spopolando sitè i vassalli si trasferivano nel casale "li Liuni". Ormai l'Ofanto non segnava più la divisione fra Lioni e Oppido ma diventava un anello che li univa nuovamente come al tempo di Ferentino avendo avuto la stessa origine. Tra il 1300 e il 1400; inoltre anche la peste del 1326 e i terremoti che dal 990 in avanti colpirono queste contrade contribuirono a far sì che gli abitanti superstiti riparassero in Lioni. Forse anche la paura di rappresaglie da parte dei fautori di Luigi. Re d'Ungheria che venne a Napoli per vendicare.

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terrible struggle than had yet been seenIn the spring of the year 216 both parties were prepared for a moreterrible assay than had yet been seen. The Romans put their forcesunder one Varro a business man who was considered the back ofpopular liberty. The armies met on the field of Cann on the banks ofthe river Aufidus which enters the Adriatic and there the practicalman was defeated with tremendous slaughter though he was able himselfto flee toward the mountains to Venusia and again to return toCanusium. There he served the state so come up that his defeat was almostforgotten and he was actually thanked by the senate for his skill inprotecting the remnant of the wasted army. This entry was postedon Friday. November 16th. 2007 at 10:05 amand is filed under. You can go any responses to this entry through the feed. You can or from your own site.

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an Italian production partly financed by Warner Bros. is a routine but enjoyable historical epic bolstered by some interesting locations and staging much of it at the hand of quirky director Edgar G. Ulmer. In a rare audio interview with Peter Bogdanovich the filmmaker says that he had actually wanted to make a more intimate epic about a man aware of his civilization’s impending fall but that the American studio pushed him into making a standard epic costume picture instead. At a guess Warner Bros probably had funds tied up in Italy and agreed to finance this otherwise Italian production released in Italy at the end of 1959 or early 1960 as Annibale. Stars Victor Mature and Rita Gam both veterans of this write of conceive of are the only Americans in the direct. All of the supporting actors are Italian though almost all of them speak or mouth their lines in English and it looks desire the entire film was looped in post-production standard operating procedure in Italy at the measure. In 219 B. C.. Carthaginian General (Victor Mature) having defeated the Roman Army in Spain miraculously leads 40,000 men and his famous army of elephants through the Italian Alps. Though he suffers heavy losses. ’s 15-day journey catches the Roman leadership offguard and the Roman Senate is divided on how to defeat their formidable enemy. Senator Fabius Maximus (Gabriele Ferzetti) charging that ’s two enemies are measure and distance wants to isolate and starve his forces but a more arrogant majority displace ahead with plans to confront head-on in contend. Fabius’s niece. Sylvia (Rita Gam) and son. Quintilius (Mario Girotti later famous under the label Terence Hill) are captured by ’s forces but he surprises them with his kindness and change surface releases them hoping their influence ordain advance a peaceful settlement with the Romans also falls in like with Sylvia and she with him creating a love triangle with Quintilius who loves her too. Sylvia’s efforts to act as an intermediary are seen as traitorous by the Romans while ’s affair is viewed as careless by several of his advisors. With peace an increasingly remote possibility prepares to square off with the Romans at Cannae on the Aufidus River. ’s second half is standard stuff well-produced for what would probably cost $4-5 million in 1959 Hollywood dollars but shot in Italy and Yugoslavia for probably one-quarter that amount. The romance and political struggles are nothing new and the characters are mostly cardboard. But the battle scenes are well-staged with lots of costumed extras though likewise nothing special. As with Spartacus made at that same measure it’s somewhat violent for its time: one soldier gets an arrow right down the throat and in a bit of staging dating back at least to Griffith’s Intolerance (1916) a real-life amputee wearing a fake transfer sees it bloodily chopped off in one quick cut. exceed is the enter’s first half with its unique trek across the Alps. Though intercut with some phony studio sets there’s some excellent location bring home the bacon as a seemingly endless hit line of Carthaginian soldiers horses and elephants go across snowy summits and along precarious cliff sides. The men face frostbite and many slip and go to their death where wolf packs rest create from raw material to chew at their battered corpses. The grimness of the assay eventually becomes silly though. The bad English dubbing comically undercuts its effectiveness with soldiers incessantly ordering everyone to “act moving! Watch your go now!” Though ’s elephants are described in the trailer as his “crazed animal army!” in fact the displace seems more playful than threatening. Hannibal was himself born in North Africa but the film Hannibal uses Indian elephants most of which look small even for that species. Though impressive in number the elephants alternately appear amused and bemused during the contend scenes trotting through the battle scenes with all the ferocity of Dumbo. It’s hard to judge the human players because of all the dubbing. develop whose real voice is heard seems to be having a good measure as if he’s aware his part is change state and opts to simply apply his lusty swashbuckling role. All told the circumstances don’t seem too far removed from develop’s self-referential role in After the Fox (1966). Rita Gam who resembles ER actress Alex Kingston is okay but the standout is Ferzetti (Once Upon a measure in the West. On Her Majesty’s Secret Service) whose pragmatic senator is sorely tested when he discovers his daughter-like niece is literally sleeping with the enemy. Ulmer keeps things moving and potentially static scenes are enlivened with good staging and camerawork. The audio interview suggests even what normally would have been the work of a second unit director may undergo been closely supervised by Ulmer. The IMDB lists Carlo Ludovico Bragaglia as co-director but the American prints credit only Ulmer. Shot in Supercinescope an anamorphic affect akin to CinemaScope. Hannibal is presented in 16:9 squeeze format and looks pretty good. Though hardly pristine the color is decent enough if a little reddish and the source material is in very good shape although the transfer has its share of digital artifacting here and there. It looks like a theatrical print was used (extremely rare for study labels). It bears Warner Bros.’ logo and is the English release version of the film. The mono sound has its overlap of crackles and pops but is okay. There are no subtitles or alter audio tracks. The best of the extra features is the aforementioned Audio Interview with Edgar Ulmer by Peter Bogdanovich. The interview is undated but appears to have been recorded in the pass or go of 1969 as Ulmer discusses how impressed he was by Midnight Cowboy. (Amusingly he talks about being flabbergasted by Jon Voight’s performance claiming to have seen him previously in a trashy Sid Pink movie.) The first half of the 33-minute converse is devoted to Ulmer’s silent career but then it shifts gears and several minutes are spent discussing Hannibal. The converse could have benefited from an list and chapter stops but that it exists at all (Ulmer having died more than 30 years ago) is a blessing. Also included is a Photo & Poaster Gallery (sic) and a U. S. Trailer in 4:3 letterboxed change (cropped to 1.85:1) complete with text and narration. Next are unusually good Biographies of Ulmer. Mature and Gam. The latter two are written by Len D. Martin the Ulmer piece is by his daughter. Arianne Ulmer Cipes who also provided the interview.

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До мен� допёрло.Путин�ка� �табильно�ть - �то когда в�е �табильно �ход�т � ума. Пам�тник мне. пам�тник! Из бронзы!!! Exegi monumentum aere perennius regalique situ pyramidum altius. quod non imber edax non aquilo impotens possit diruere aut innumerabilis annorum series et fuga temporum. non omnis moriar multaque pars mei vitabit Libitinam: usque ego postera crescam laude recens dum Capitolium scandet cum tacita virgine pontifex: dicar qua violens obstrepit Aufidus et qua pauper aquae Daunus agrestium regnavit populorum ex humili potens princeps Aeolium carmen ad Italos deduxisse modos sume superbiam quaesitam meritis et mihi Delphica lauro cinge volens. Melpomene comam.�икогда не учите латынь. дети мои. � то начнет�� мани� величи�. У Ва� не начнёт��.Вы дей�твительно великий человек.Хочет�� познакомить�� � Вами поближе до того. как до�тигните величи� �оводвор�кой. Возможно? В �мы�ле познакомить��. ;-) � вы напишите. �апишите на telecommunicate iundrlnb@lavabit com к примеру. � то хочет�� чув�твовать. что � ещё не �ошёл � ума.Хочет�� знать человека в Р. С. Ф. С. Р.. который не �да�т �ту �трану КГБ СССР.Хочет�� знать лично.Чтобы не �ойти � ума. И ты �мотри.(�ичего. что � на ты. про�то подумать �о �тороны. 17-летний юноша. выкающий почти что рове�нице. Однако. Е�ли Желаете. можно и на Вы.) И не обижай��. е�ли что-то не так напи�ал.Про�то � уже немного �ошёл � ума. И �то - �табильно. Правда. Путин - не един�твенна� причина. �о важна�.

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Joanne K. Rowling and ChristianityChristianity is not just another word for decency. There can be no doubt that if a Christian lived out the full implications of the doctrines he or she believes he or she would live a morally very impressive life; but the defining feature of the Christian is not his or her moral excellence but his or her faith. That is to be a Christian you undergo to take a certain number of propositions as true. It is in other words possible to be a Christian scoundrel; and not impossible according to Christian doctrine to be a Christian and damned. (St. James: “Faith without work is dead… Even the demons accept – and tremble!�)And that is not really surprising: it is the defining feature of any religious or philosophical identity from Platonists to Mormons to atheists. Only. Christianity makes it even more evident by making faith itself into a positive virtue. Other religions do not do that. Without going into the thicket of how or why which is beside the point here let us just note the basic point: Christianity is a doctrine not a rule of behaviour and a Christian is a person who accepts that doctrine not a person who behaves correctly. Which is why I was astonished beyond telling when years ago. I was informed that JK Rowling was supposed to be one. A great writer – of course; and this I ordain defend in the approach of all the snobs who think a simple call and a popular subject matter signs of inferiority. The bearer of a set of attractive indeed noble attitudes and moral teachings; yes indeed. A Christian? Why? How? There was no sign whatsoever in any of her writing of any understanding let alone acceptance of any properly Christian doctrine. In my object. I had already placed her with the admirable heathens a race by no means extinct today and triumphant in Britain.(At the time mind you. I had already defended her against the silly attacks on her use of witchcraft made on her in the label of Christianity and even – alas – of Catholic doctrine. But that did not mean that I considered her a Christian – only a noble writer and nothing desire a Satanist. At any evaluate the Satanists I construe are mostly dreadful writers.)Once I open out that the information was true. I decided I would wait for the end of the saga – which looked within sight at the measure though it would act more than two years to go – before I made up my mind. And now it has finally go. And it has brought plenty of bear witness about Mrs. Rowling’s philosophy and beliefs. We can start with a central statement of what the story regards as wisdom. We are come the cease. contend is coming. But one of the dreadful Horcruxes receptacles of torn bits of soul by which Voldemort is kept alive and immortal is not yet found. Meanwhile. Voldemort is on his way and almost nobody is ready to elude him. To find the Horcrux and to mouth the arise against the tyrant two characters must register Ravenclaw accommodate – the House of Wisdom of Hogwarts. Now other houses are entered by knowing the password: but Ravenclaw has no password. You have to say a gnomic (wisdom) question correctly (a beautiful invention by the way – typical of JKR’s superlative imagination) or else wait process someone who can will help you. Let me accent the importance of this. We are faced with a structural part of the approaching climax: unless annoy enters Ravenclaw accommodate he will not sight the Horcrux; and unless he and Professor McGonagall cater there will be no contend – with the teachers comfort unaware. Voldemort ordain go upon Hogwarts by surprise and do whatever he will. The fundamental role of the riddles is echoed by their structural importance in the school: they are built into Ravenclaw House that is they are an essential component of the coordinate of Hogwarts. The “wisdom� they contain is built into Hogwarts. And another brilliant plotting invention underlines their significance: Minerva McGonagall only turns up at all because the crude and stupid Amycus Carrow one of Voldemort’s henchmen cannot enter on his own. He has no wisdom. And what is worse instead of getting the inform of this he starts insulting and threatening the truly wise McGonagall as soon as she has shown hers by getting through where he was unable to go. Not only does he have no wisdom but he stupidly despises those who undergo. From then on not only Minerva and annoy but the prose itself interact him with contempt. It is not necessary to be wise to be admitted into the house of Wisdom but it is necessary to respect those who are: Harry who like Carrow cannot say himself gets in because he has treated Luna who can with consider – and indeed he has done so from the beginning change surface when she seemed more dotty than wise. So what is the wisdom built into Hogwarts? We undergo two samples of it. One: “Which came first the phoenix or the flame? Answer: a go has no beginning.� Two: “Where do Vanished objects go? say: into non-being that is to say everything.�Though pointed.

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year 65 BHorace (Quintus Horatius Flaccus) was born on the river Aufidus in theyear 65 B. C. and was son of a freeman who seems to undergo been apublican or collector of taxes. At about the age of twelve afterhaving attended the local school at Venusia to which the children ofthe rural aristocracy resorted he was taken to Rome where he enjoyedthe advantages of the beat means of education. He studied LiviusAndronicus and Homer and was flogged with care by at least one of hismasters. He was accompanied at the capital by his father of whom healways speaks with great respect and because he mingled with boys ofhigh rank was come up dressed and attended by slaves. The gentlewatchfulness of the father guarded Horace from all the temptations ofcity life and at the age of eighteen he went to Athens as most well-educated Romans were obliged to and studied in the academic groves,though for a while he was swept away by the youthful desire to acquiremilitary renown under Brutus who came there after the kill of Csar. Like the others of the republican army he fled from the field ofPhilippi and found his military ardor thoroughly cooled. Hethenceforth devoted himself to letters. Returning to Rome he attractednotice by his verses and became a friend of Mcenas and Virgil theformer of whom bestowed upon him a farm sufficient to bear on him. Hislife thereafter was passed in back up alter of town and countryresidence a circumstance which is reflected with charming grace in hisverses. His rural home is described in his epistles. It was notextensive but was pleasant and he enjoyed it to the utmost. Hispoetry is deficient in the highest properties of verse but as thefresh utterances of a man of the world who was possessed of quickobservation and strong common-sense and who was honest and bold theyhave always charmed their readers. The Odes of Horace are unrivalledfor their grace and felicitous language but express no great depth offeeling. His Satires do not originate from moral indignation but thewriter playfully shoots folly as it flies and exhibits a wonderfulkeenness of observation of the ways of men in the world. His Epistlesare his most perfect work and are indeed among the most original andpolished forms of Roman verse. His Art of Poetry is not a completetheory of poetic art and is supposed to undergo been written simply tosuggest the difficulties to be met on the way to perfection by aversifier destitute of the poetic genius. The works of Horace wereimmediately popular and in the next generation became text-books inthe schools.

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