Always between two trains, or two countries, or two towns, catch me if you can. You may find me in English, except if I am in Pali or some other more or less exotic language, or book. Have you tried the Dhammapada recently? If not, just give it a try, in Pali of course. You may also have a try at looking for me on the Internet, simply Coulardeau with Google, but on the global web, not on the French pages of it. Have a good trip.
Friday, January 30, 2015
Jacques Coulardeau at Amazon
Right at the Bottom of the Urn[Kindle Edition]
Jacques
COULARDEAU(Author),
Annunzio
COULARDEAU(Illustrator)
The score is full of notes, filled
with notes, notes and bars that have no shape at first, except going up and
down, at times clustered in bunches here and there. The composer looks at his
score, perfectly and neatly printed in world-class toner on the paper. And he
has the sudden envy – and he has that sudden envy every single time he comes to
the end of a composition – to be able to take it and shake it and rearrange it
all haphazardly, maybe one day even empty it into the kitchen drain or flush
all those notes down the toilet in the bathroom. Good riddance.
To Ivan Eve,
at a time when the sky was all smiles
From his Lord Wotton
at a time when he fell for Dorian Gray
the toy of the Lord Shiva of all Perdition
preparing for the shiva’h of his youth
lost in the seven veils of his maturity
Product
Details :
File Size: 675 KB –
Simultaneous Device
Usage: Unlimited
–
Publisher: Editions La
Dondaine; 1st edition (May 15, 2010) –
$5.27includes VAT & free
international wireless delivery viaAmazon
WhispernetonAmazon.com;
€ 4,11TTC & envoi gratuit via réseau sans
fil parAmazon Whispernet on Amazon.fr.
# posted by Dr. Jacques COULARDEAU @ 2:09 PM 0 comments
God save the Queen, it's a fascist regime! Thanks Johnny Rotten
THE RIOT CLUB –
2014
The film is glamorous because it
is taking place at OxfordUniversity, among the aristocracy
attending there, business, political and real nobility all mixed in one culture,
with some representatives of some foreign top society, in this case the one
foreign student seems to be Greek. But that is not the point. Just for that
very reason we could expect some nobility and some common sense. But these
young men, just under or above twenty years of age, are rich and they show it,
spoilt and they stink like it in every single gesture of theirs, rotten but not
at all like the famous Johnny Rotten who was against the establishment with all
his guns, sexual or not. Here they are rotten because they turn their belonging
to the top establishment into the most disgusting condescending rejection of
all the others accused of being “the poor.”
In other words these young men
are plainly filthy. These four qualifying adjectives are the “subtitle” of the
DVD but they are just right.
Let’s say this film is the most
disgusting aristocratic remake of the famous film Clockwork Orange, but without
having the excuse of being rejected, socially discriminated against, uneducated
and bored to death by total inactivity, no jobs, no parents, no nothing anyone
is supposed to have, including doctors if necessary. The only thing the older
Clockwork Orange young men had was the police and prison. But in this film
these young aristocratic people have absolutely everything they can dream of
and they make it a weapon against hard working people and ordinary citizens
because they want to have fun, and for them fun is over-drink, over-eat, insult
people, make as much noise as possible, disturb everyone, destroy everything
they can, etc. And do not forget their sexism because for them the game is not
funny if there is not an escort girl to satisfy all their needs, of course
under the belt in this case, for a few hundred pounds.
But what makes this film
particularly bizarre and hateful is that one culprit will pay for the ten culprits
they are, one picked by the police on the presence of some DNA on the weapon
used to nearly kill the publican whose pub was trashed by them. The moral
lesson from the parents is that they have a good lawyer at their disposal and
that everyone can make a mistake and they, the young people, are at college in
order to learn how to adapt to any situation, including that basically criminal
behavior and action. They, parents and children, are sexists, they are extreme
segregationists against the poor, they are disrespectful of anything, sacred or
not. And among these ten people one will be Prime Minister one day and all of
them will be MPs or Lords (since some are from hereditary noble families
carrying the position of Lord) or ministers, with maybe one or two who will
prefer hiding away at Oxford university as dons overlooking the next generation
of noble hooligans.
The picture is absolutely
sickening and unbearable. If you can survive watching such young people full of
trash trashing the society that is providing them with more money they need and
can use, you may then understand why we have to get rid of the House of Lords
and of these universities who excuse nine culprits because their parents can
provide a lot of money. Here the rot is not in the sons of this aristocracy but
in the university institution and the social establishment that are behind.
This society needs some good cleansing. Where is Hercules, by Jove?
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 1:41 PM 0 comments
Thursday, January 29, 2015
dieudonné explication charlie hebdo «Je me sens Charlie Coulibaly »
Je ne me sens pas Charlie du tout pas plus que Coulibaly mais la liberté d'expression et la liberté de création doivent être totales. Que les gens qui se sentent gênés par ce que tel ou tel dit ou écrit qu'ils se tournent vers les tribunaux par des procédures normales dûment entérinés par les juges d'instruction et les procureurs de la République, sans procédure d'urgence qui sentirait la dictature et la remise en cause de la liberté de la justice: ce n'est pas au premier ministre de dire, même au Parlement, ce que la justice doit faire.
# posted by Dr. Jacques COULARDEAU @ 3:25 PM 0 comments
Jacqies COULARDEAU at Amazon
La Parole de Saint Chrosome [Explicit]
Jacques Coulardeau
Yesterday I was alone
All alone in my loneliness
Yesterday I asked Satan
Who
are you?
I am your best friend
Bone skin and flesh at once
I am the light of your mind
Daylight moonlight and sunlight
I am the solace of your heart
Some day the solstice of it
Yesterday I was alone
All alone in my solitude
Yesterday I asked Satan
What
is hell?
Hell is a very hot place
Hot pants hot ass all at once
Hot to live in hot to think of
All living thoughts of heat
Hot trendy in and never out
Hot clockwork orange muck
Yesterday I was alone
All alone in my lunacy
Yesterday I asked Satan
What
is the past?
You don’t want to know the past
There is nothing to know about it
You don’t need to know the past
It is both vain and empty
The past is finished done with gone
With the infernal wind of Lucifer
Yesterday I was alone
All alone in my reclusion
Yesterday I asked Satan
What
is the future?
He erupted in a fit of fiery anger
There is no future I know of
Your future is just what you have
now
Your future is the past that
doesn’t exist
Time is forever still and unmoving
Back from whatever
Not
here not there
A
no-place to avoid
Yesterday I was alone
All alone in my body aloofness
Yesterday I asked Satan
What
is sex?
Sex is the best vanity of the mind
To masterstroke your dendrites
The energy of the body turned
mental
Your master’s bait to perdition
The energy of the mind turned
aimless
The masterpiece of your mate
An
Egyptian mastaba
An
animated master plugin
Yesterday I was alone
All alone in my quarantine
Yesterday I asked Satan
What
is life then?
Life is nothing but an interlude
Between unzipped zilch and zero
Life is nothing but an intermezzo
Between naught nix and nullity
Life is nothing but the foreplay of
hell
The circumcised foreskin of a wolf
Sterile
prodestruction
Procreative
crucifixion
Jacques COULARDEAU
Amazon.com / Amazon.fr
Product Details / Détails sur le
produit
Total Length /
Durée totale: 44:48
Genres: Miscellaneous
/ Divers
Format: Explicit
Lyrics / paroles explicites
ASIN: B006DHBBWA / B006DDFRXI
$6.99 / €8,39
# posted by Dr. Jacques COULARDEAU @ 1:31 PM 0 comments
Wednesday, January 28, 2015
Le délire est si grand qu'on le croirait tremens
BERTRAND BONELLO
– SAINT LAURENT – 2014
Il s’agit là d’un film adulé. Il serait intéressant alors de se demander
pourquoi il est autant adulé alors que son concurrent, « Yves Saint Laurent », est passé sans véritablement
faire de vagues. La différence anecdotique est que Pierre Berger était pour
l’autre et contre celui-ci. Mais rien n’est simple en ce bas monde, alors on
peut se poser bien des questions. Serait-ce une sporte de réponse de la
bergère ?
Je vais simplement me demander ce qui donne à ce film un attrait si
irrésistible que certains ont qualifié d’hypnotique.
D’abord il fait l’impasse sur le peu utile épisode de l’Algérie et se
concentre sur l’adulte en France qui va bouleverser le monde d’une vision
endiablée et enflammée de la chair qu’il faut bien habiller au risque de laisser
la nudité envahir nos rues et nos salons. Il est un enfant du baby boom et le
film le place résolument dans cette dynamique qui commence aux alentours de
1956. Le film sait manier tous les médias et tous les arts qui ont bouleversé
l’âme de ce monde de l’après monstruosité, ce qui n’implique en rien qu’il n’y
a pas eu et qu’il n’y aura plus de
monstruosités dans ce monde.
Yves Saint Laurent apparaît alors comme un enfant pourri que le monde de la
France franco franchouillarde aurait bien pu éliminer par puritanisme
républicain et laïque sur la simple question de sa non conformité sexuelle et
de sa non-conformité addictive, quelque part dans un hôpital militaire. Il
cherchait dans la vie tout ce qui pouvait la faire dérailler de la normalité.
Bref il était le diable et une république laïque ne peut pas tolérer le diable
car celui-ci implique quelque part un dieu ou des dieux. Alors on déclare ce
diable fou, caractériel, psychotique, voire même schizophrénique, schizo comme
disent les gens branchés de la classe moyenne intégrée.
Le film alors puise dans la musique de ce temps-là et dans les informations
prioritairement télévisées et cinématographiques de l’époque. De Gaulle
traverse la coulisse et la scène en grand inspirateur qui n’a laissé de
souvenir que son nom. En fait de Gaulle comme Yves Saint Laurent étaient des
iconoclastes de l’ordre établi pour trouver un ordre nouveau qui soit généreux
et humain. Et je pèse mes mots. L’ont-ils trouvé ? En ces temps de Pays
Bas triomphants dans le doute érigé en morale obligatoire pourvue qu’elle soit
absolument non-religieuse, nous voulons dire non-chrétienne et non-juive mais
bien évidemment anti-la-troisième-religion-à-base-hébraïque, nous pouvons en
douter. Et Yves Saint Laurent rêve d’un Mohamed et d’un Ali derrière la Gare du
Nord dans les gravats d’un chantier en remplacement du Jacques que Pierre
Berger lui interdit.
Le film ensuite produit un tourbillon d’images composites et d’écrans
mosaïques qui font danser ensemble des images qui n’ont que peu à voir les unes
avec les autres. Il réinvente ou même peut-être invente le cinéma polyrythmique
à l’image – c’est le cas de le dire – de la musique polyrythmique
afro-américaine qui nous submerge alors, y compris dans ses formes françaises
comme Sheila, Sylvie Vartan et Johnny Halliday. Il n’hésite devant aucune
référence pour ancrer son discours dans le monde moderne des flux croisés,
parallèles et antiparallèles, convexes et concaves, centrifuges et centripètes
de l’information Internet de nos tablettes folles et de nos téléphones
soi-disant smart et qui ne sont que maelstromiques ou maelstromés. Il cite même
Jacques Brel entre deux tranches d’Andy Warhol, entre une Valérie Saint Laurent
qui VaiSseLle et celui qu’ils épargne d’un Emile Saint Laurent fictif qui
ferait ÉSL, aisselle.
Cela permet de faire passer un discours
dominant sur Yves Saint Laurent et de le centrer sur la seule mode féminine
comme s’il avait réinventé la Vierge Marie ou Marie-Madeleine, comme s’il avait
réinventé les Rois Mages et la Passion pour être capable de produire quelques
parures qui ne sont que des peintures superficielles de la chair qu’elles
enveloppent. Yves Saint Laurent par la drogue, l’alcool, la promiscuité multi-sexuelle
et la débauche poly-sexuelle a réussi a proposer à la planète et aux femmes une
façon de s’habiller qui ne soit qu’une mise en valeur de leur chair pour le
plus grand plaisir des magazines de mode et des journaux dits féminins. La
femme est devenue un objet d’adulation non contrôlé et cette adulation non
contrôlé fétichisée dans les fringues dont elles cachent ou révèlent leur chair
n’est que la libération en l’homme de l’imaginaire machiste de la possession
pour la seule satisfaction de pulsions sexuelles chez les hommes ne laissant
aux femmes que le soin de jouer leur rôle de fétiches sexuels très richement
habillés pour être tout aussi richement déshabillés.
Le film n’est vraiment fascinant que pour ceux qui ont leur conscience
intellectuelle et culturelle légèrement en-dessous du nombril. La beauté de la
fringue pour les femmes comme pour les hommes ne sont que les fioritures qui
allument les instincts sexuels des hommes et des femmes avec des bibelots
vestimentaires qui ne font que révéler l’objet du désir tout en le dissimulant,
au moins partiellement, demi-nu contre demi-vêtu.
Par contre la scène de la mort est un prodige si on est capable de ne pas
se laisser prendre par la lascivité des images de défilés qui défilent dans la
mémoire de l’homme mourant à qui il suffira d’enlever ses lunettes pour le
rendre funérairement vraiment mort.
Un film qui a tellement de nominations pour les Césars que les Jules du
monde entier s’en réjouiront pendant quelque temps : leur business en sera
réconforté. La mode est vraiment l’opium de tous les sexes et n’a fait que
remplacer la religion qui n’était l’opium que du peuple, et Marx entendait du
petit peuple puisqu’il a toujours rejeté tout ce qui n’était pas le prolétariat
en dehors du peuple exploité et asservi, seul digne d’être cité par lui.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 1:48 PM 0 comments
Tuesday, January 27, 2015
A miracle with countertenors where they are supposed to be
AGOSTINO STEFFANI – PHILIPPE JAROUSSKY – NIOBE REGINA DI TEBE – BOSTON
EARLY MUSIC FESTIVAL ORCHESTRA – 2015
It is necessary to consider the
plot of this opera first of all because it is the most surprising political
construction imaginable. Imagine a king and a queen so imbued with their own
personalities and selves that they decide to become gods mind you, and they are
encouraged in that folly by Jove himself when Jove rebuilds the walls of Thebes one day when the king, Anfione, asks him to protect
Thebes against
an attack from Creonte, some outside rival king. It is obvious that the vanity
of these people is flattered by the gods in spite of the fact that these king
and queen are tyrants, un the old understanding of the word: they take all
decisions by themselves.
The fact is that this first
situation leads to the worst imaginable events that will bring Niobe herself to
destroying the Gods’ statues in one main temple. That’s how tyrants are ungrateful
to the gods when the gods are dumb enough to support them. And then the whole
opera explodes in the most unnatural events: an earthquake that destroys
Thebes, kills all the children of Niobe and Anfione and finally brings them
down since Anfione finally becomes human and kills himself and Niobe is turned into
stone, by the gods I guess, or maybe because she has a volcanic and stony soul,
if any soul at all, and I won’t speak of her heart she only has soft fro gods
or people pretending to be gods. She gets every single gram – our ounce – of the
fate she endures – deserves – though her folly will have caused the death of so
many people in the meantime.
If it were for that kind of mushy
plot, the opera would not be very interesting.
The first interest is the love
imbroglio created by the composer and librettist. Niobe and Anfione are deeply
in love with each other and yet Anfione retires and leaves his wife alone on
the throne, though she is obviously not able to do the job and he knows it
since he brings some local nobleman, Clearte, to help her in that task. So she
gets that nobleman who is in love with her to sit on the throne though she has
no real feeling for him. Thebes
is attacked by Creonte who is secretly in love with Niobe, though that is
purely hormonal. He fails on the battlefield thanks to Jove. Then he uses the
magic of Poliferno to abduct the queen and he makes her fall in love with his
impersonation of Mars, the god, and she cannot but fall in love with that god
since she thinks she is a goddess. So her vanity leads her to fornicating with
a god – in her head, since it is an illusion – though probably not with that
Creonte who is impersonating the god. She is thus part of a blasphemous trap
but by falling in it she is the only blasphemous person because she should
refuse to have any sexual relation with any god, especially a false one,
particularly since she does not know he is false.
You add to these scabrous and adventurous
love affairs the only real one between Tiberino and Manto and then you have the
romantic dimension you need to be both baroque and slightly post-baroque, and
this love affair will be fully satisfied.
But this love imbroglio leads to
the exploration of all kinds of love feelings from virginal unutterable desire
to the most lascivious impulses. True love is at times expressed, true love
unrequited and true love unsatisfied but bound to succeed. But also false love that is trying to lure
the other partner into a trap, and the totally blasphemous love for a god that
can be the result of incredible vanity or of simple narrow-mindedness and
limited mental means. This exploration of love is at times funny. But that does
not make this opera great.
The greatness of this opera comes
from the music, which sounds logical, though I know some great operas that are
not necessarily very great as for their music.
Scene 13 in Act I gives the real
measure of Philippe Jaroussky in Anfione’s part with a small aria that he
transforms into a masterpiece. At this moment Anfione sounds like a wimp:
“Friendly spheres, now give my
lips
The harmony of your rotation.
And resting my weary limbs
May the tree, the stone have
motion
From my peaceful breathing.”
How can a man be that vain to
think the world, the material world, the most static stones will start moving
into the cosmos because he, that man, is going to start breathing life into
them? Vainer than him you die! But Philippe Jaroussky makes that moment a
challenge to simple beauty and both the voice and the singing, the music behind
both of course, make us feel, hear the boredom and the tiredness, the weariness
and the desire to escape. A wimp he sounds like, and a wimp he is. Philippe
Jaroussky and his high countertenor voice even enables us to understand and
imagine it is the child in the aging king that takes over and that he wants to
play with the universe as if it were his private collection of Lego blocks.
The next scene gives us the full
contrast with Niobe.
“I want to delight you always,
I want to be with you always.
My heart has no peace, no
well-being,
It lives in constant pain
When it is far from you, my
faith.”
The soprano Karina Gauvin has the
perfect voice for that regret expressed in contrast with the childish caprice
of going away into his play den expressed by the king. Her voice is here
slightly less high in pitch but especially slightly more somber in timber and I
must say the effect is amazing at this moment. We understand that this
separation is bound to lead to some kind of earth shattering catastrophe
because of these two voices and the deep contradictory ambitions and desires
they convey.
The simple duet at the end of
scene 23 Act I brings that contrast to its own acme
Anfione: My flame
Niobe: My passion
Both: Let us go to rejoice
Anfione: For you sweet pain
Niobe: My precious chain
Both: Death is pleasing to me.
And yet it will take two full
acts to bring that result. But this duet is so contemplative we feel that the
meaning is nothing but the mental death of love itself, love that makes the
mind unable to think, reflect, be, that makes the mind dead to the world and to
logic. And that feeling only comes with the music and the crossing of the two
voices.
Anfione’s aria in scene 5 Act II
is a prodigy of beauty both in text and music. I need to work on the Italian
original here.
Dal mio petto o pianti uscite
In tributo al mio dolor
E in virtù de miei tormenti
Disciogliendovi in torrenti
In voi naugraghi ‘l mio cor.
[From my breast, O tears, glow, /
in tribute to my sorrow. / By virtue of my torments, / dissolve yourself in
torrents, / in you my heart will be drowned.]
The text is beautifully built
around two rhymes, one embracing the other. The embracing one is rich since it
covers three words and the rhyming third word is naturally only covering the
vowel and the last consonant. The two words that are identical in front of
these two slightly different rhyming words amplify the rhyme itself. And this
rich emphatic embracing rhyme brings together a rhyme built on two three
syllable words that contain only one varying consonant in the middle The
meaning of some kind of torturing torment is perfectly rendered by this couple
of rhyming words that are tortured and tormented under our own eyes, in fact in
our own ears since they are sung.
What’s more this aria is 4:39
minutes long. It is enormous and of an extraordinary beauty that cannot and
must not be described. It has to be experienced.
In Scene 9, Act II, Niobe gives
us a self-centered egotistic selfish aria that becomes a sort of anthem to why
such people should be punished, since they are so blind to the world and to the
tricks that people can play on them. At this moment she is making love, in a
way, with Poliferno, a magician who is tricking her into believing she is with
a god.
“I press a god to my bosom,
My joy is made eternal.
In the beautiful rays of your
face
Every sorrow becomes joy.”
Karina Gauvin makes that aria so
aerial that we could hand ourselves to such an illusion of divine salvation.
In Scene 12 in the same Act II Anfione
gives us another piece of the beautiful innocent perversity of a king who suddenly
regresses to the state of a child in a play den.
“With warlike rhymes,
Reawaken my invincible heart
To arms.
This sorrowful soul
Now dedicates its valor
To raging war.”
We could expect some martial
tone. And you can be wrong one thousand times. He is in his play den playing
with his Lego blocks and his tin soldiers entirely oblivious to the world
outside. He is avenging himself with his fake plastic army of invincible GIs
like the tin soldiers Stephen King uses at the beginning of his latest novel, “Revival”.
The third act is providing us with
a few more pleasurable pieces, like Niobe’s aria in the first scene that
contains one sentence that explains the whole character amplified by the music:
Turn it the way you want this
simple phrase amplified by the initial ternary repetition like the three nails
in the two hands and the feet of Christ and then the adjective fatally rejected
at the end like the spear going through the heart of Christ still hanging on
his cross. That’s Niobe. She is so obtusely self-ego-centered that she enjoys
being put to death by the suffering brought to her by her vain running after
the pleasures of love. We can even wonder if for her love is not that simple
pain and suffering experienced in her full dissatisfaction in the vain pursuit
of love for a man who has retired, and for another who is a freeloader, and for
a third one who is a magical god-looking wizard, and/or a fourth one who is a
bewitched impersonation of a god by some human who is going to cause her final
fall. That’s what she is, that Niobe, “vanity” made flesh, “vanity of vanities”
impersonated, “vanity of vanities all is vanity” molded into cold stone.
I am afraid though the dirge Anfione
sings in the fourth scene of Act III where he declares he has lost all hope is
maybe not either grandiosely ironical since he has triumphed of everyone at
this point, or somberly mesmerizing since he is being hypnotized by the dark
side of life, the dark side of his being having stuffed his own head up the
dark tunnel of his own gut. We could even dream him as a child who is crying on
the hot chocolate he has spilled before drinking it. Anfione is a fool and as
such the music can only be ironical, perversely hypnotizing or capriciously
whimsical. And it is too flat at this point. The singing is not regenerating
it.
But I must admit the eleventh and
twelfth scenes of this third act, the scene of Anfione’s suicide and the
subsequent scene of Niobe’s being turned into stone are worth at least 50% of
any lauding praise poured on this opera. Those two scenes bring the opera to a
full embodiment of the anger of gods against people who try to destroy them,
and by gods we have to understand the natural order of history and the cosmos.
No one has the right to question and try to change what history is doing and
its long slow hesitating ambiguous course in time within the cosmic context
that cannot be negated and must not be changed. Both Anfione and Niobe had
tried to make history in their own image and to make gods become their own
slaves under the duress of the menace of being toppling down, at least their
statues in their temples.
The punishment of such people by
history is divinely eternal and unfathomable. Think of how all tyrants end in
history and imagine the distorted children an alliance of water and fire,
extreme left and extreme right can lead to. This opera then takes a powerful
meaning in the very present situation of our doubting and dubious human world.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 2:12 PM 0 comments
Monday, January 26, 2015
Ce livre aurait pu être génial
ANN-MARIE B. BAHR
– CHRISTIANISME, GUIDE ILLUSTRÉ DE 2000 DE FOI CHRÉTIENNE – H.F. ULLMANN –
AUSTRALIE – 2009
Si vous aimez les images c’est juste le livre que vous devez avoir. Si vous
cherchez du savoir précis et en profondeur, vous vous trompez d’adresse, je
dirai même que l’adresse de ce livre est plutôt maladroite. Pour juger un tel
livre il suffit de prendre un ou deux points sur lesquels vous avez une vaste
information et voir ce qu’il en est dit.
J’ai pris la période essentielle de l’Europe qui va de 800, le couronnement
de Charlemagne, au 12ème siècle et l’installation complète du
féodalisme. Tout cela peut tenir en trois pages si l’on veut mais vous ne
trouverez pas dans ce livre les choses suivantes sans lesquelles le féodalisme
n’est pas compréhensible.
La réforme religieuse qui supprime le baptême par immersion complète au
profit de la simple aspersion du fait du mouvement massif de christianisation
en fait lancée par le baptême des nouveaux nés pour les protéger dans leur vie
future. Mais cette massive transformation spirituelle et religieuse de l’Europe
se fait par une réforme beaucoup plus profonde.
Le passage des alleux et alleutiers à la propriété féodale du fief et des
serfs qui ne sont pas libres pour pouvoir appliquer la réforme religieuse et la
réforme agricole sur l’entier du territoire sous la direction des Bénédictins. Les
serfs sont attachés à la terre qui leur est confiée pour culture moyennant
l’abandon au profit du seigneur d’une partie de la récolte. Heureux étaient
ceux qui devaient abandonner un pourcentage de la récolte. Malheur à ceux qui
devaient abandonner une quantité fixe de produits. Les mauvaises années
causaient dans le deuxième cas des situations de disette sinon de famine.
On ne dit pas non plus que cette
réforme impose le respect des cinquante-deux dimanches, plus les trois semaines
de fête religieuse (Nativité, Passion, Assomption) plus l’Ascension plus courte,
soit entre soixante-quinze et quatre-vingts jours non travaillés, plus le
respect des angélus.
Le livre de dit rien de la réforme agraire avec une invention, le collier
pour le cheval, et le retour en force de la charrue au soc métallique des
Celtes, la rotation des récoltes, la jachère, la fumure, etc. Sans compter les
nouvelles cultures comme le chanvre et le métier à tisser que l’on va retrouver
chez de nombreux serfs leur permettant de développer un petit artisan personnel
et un petit revenu supplémentaire qui va alimenter les marchés en toile mais
aussi en pouvoir d’achat.
De même la réforme commerciale n’est pas abordée car le mouvement de la
Paix de Dieu lancée par les évêques d’Auvergne au 10ème siècle n’est
pas mentionné. Or c’est ce mouvement qui va permettre le développement des
marchés et des foires européennes avec la protection des marchands dans leurs
déplacements et dans leur séjour sur les marchés et foires.
Pas de mention de la réforme proto-industrielle des moulins à eau
principalement pour le grain, l’huile, le tan (des tanneries), le chanvre
(fibre et toile) et plus tard le papier ramené des Croisades. C’est cette
réforme proto-industrielle, que certains appellent une révolution, qui explique
le succès de la réforme religieuse et sociale en remplaçant le travail humain
par le travail mécanique.
C’est aussi ces moulins qui vont amener le vélin sur le marché européen et
cela va permettre la première étape de l’écrit dans cette société avec les
manuscrits enluminés de ce Moyen Âge seulement possible avec ce vélin « bon
marché » et léger, et ce sous le contrôle des scriptorium des monastères
et donc de l’église.
Sans ces trois ou quatre siècles du Haut Moyen Âge rien de la suite n’est
compréhensible. La Renaissance est dans le développement de la proto-industrie
avec les moulins en propriétés partagée entre les seigneurs locaux et l’église :
le développement commercial est là en germe dans ces activités et leurs profits.
La Renaissance culturelle n’est pas compréhensible si on ne voit pas le
passage de l’oralité complète à une société de l’écrit qui ne trouvera son
triomphe que dans l’importation de l’imprimerie au 15ème siècle,
mais cela fut largement préparé par le développement possible des universités
quand les livres pouvaient exister en quelques douzaines d’exemplaires
transportables en Europe. C’est la naissance de la littérature courtoise qui ne
peut être pensée que dans le cadre de l’écrit sur vélin, et c’est alors la
fixation sur un support perdurable de légendes et de toute une littérature de
création orale mais de conservation et de transmission écrite.
Donc si vous croyez à l’importance des images précipitez vous sur ce livre.
Si vous croyez à l’importance des faits et des idées, vous êtes mal conseillés
de vouloir considérer ce livre. Le seul avantage important est que le livre
pose le christianisme au niveau mondial, mais cela reste le plus souvent
anecdotique.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 1:38 AM 0 comments
Sunday, January 25, 2015
Hercule Poirot never steps back in front of fate
AGATHA CHRISTIE – DAVID SUCHET – HERCULE POIROT – THE DEFINITIVE
COLLECTION SERIES 1-13 – ITV – 1989-2010 – 2013
These seventy episodes, these
eighty-four hours of film, these thirty-five DVDs are worth a mountain of gold
of course. Agatha Christie created this particular character who is probably as
famous as Sherlock Holmes, and that is telling a lot. The stories themselves
are nearly anecdotic but the character is absolutely fabulous. And the actor
composed his character so well that we really think he is the man in the story.
Some extras explain that transformation of an actor into his character.
First this character is surprisingly
original for an English detective story writer. He is Belgian. He is some kind
of refugee in England.
He kept a delicious French accent, in fact a mixture between the Belgian and
the French accents of the French language. This accent is kept constant and
unvarying over twenty-one years by the very same actor who is aging of course
but since Poirot’s adventures stretch from the very end of the First World War
to just before the Second World War this aging is natural. The actor ages the
same number of years as the character.
Second the character has a
distinctive physique, walks in a distinctive way, has an astonishing moustache
that evolves with age but not that much, though in the last episode he reveals
the most astounding secret. He dies in that last episode and the explanation of
the last case is post-mortem, in fact four months after his own death. Hercule
Poirot can reach beyond his own grave.
The character has a final
characteristic that is particularly distinctive but also irritating. He is
absolutely vain and his vanity makes him consider he is the most intelligent
detective, and probably man, in the world and that his little grey cells have
no equal. He has no real competitor, not even Sherlock Holmes, of course. That
vanity makes him extremely nasty with most people around him and first of all
his secretary, Captain Hastings and his valet-butler, not to speak of all the
policemen he has to deal with. This vanity becomes a feature without which
Poirot would not be Poirot. Agatha Christie made him like that and he has to be
like that. She even includes in many episodes a female detective story writer
who is her own impersonation as a fictional doppelganger of herself. And of course
that doppelganger is not that swift and she often lets herself go into the
traps of false logic, I mean false criminal logic. The logic of a criminal has
little to do with that of a story teller.
But the whole series has another
quality that makes it nearly real. It is rooted in real life. Poirot is rooted
in England
in 1918 as a veteran from the front on a convalescing period. Then the cars,
the trains, the radio, and every single fixture in society move up with time
little by little, year after year. All the characters, policemen and others age
and go up in society, are promoted or just go away, disappear or die. The
treatment of this environment, settings, buildings, people, theaters, etc, makes
the series believable and true to the core.
Of course I would advise you not
to watch the thirty-five DVDs in one go. Take your time and alternate four or
five DVDs with something else for a few days. It may become slightly tiresome
in heavy doses. But then you will find out that the various episodes are always
a tremendous description of all kinds of social or cultural situations, in London and out of London,
and quite a few on the continent. Of course Agatha Christie’s stories are quite
realistic, but the TV production was very careful to look for and find the
proper elements that makes the whole thing rich and entertaining but with
enough variation for the series not to become tiring. We will also note how the
political situation is clearly alluded to and evoked particularly the rise of
Hitler and some Nazi party or groups in Great Britain. This political and
historical realism was typical of Agatha Christie and it is perfectly kept in
this series, and you will enjoy it.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 2:31 PM 0 comments
6 years spent in foreign countries: 1 year in North Carolina USA, 1 year in California USA, 1 year in Zaïre (Kinshasa), 3 months (2005, August-November) in Sri Lanka on research with an NGO attached to the UNESCO site of Sigiriya, numerous shorter periods in Great Britain, Ireland, Belgium, the Netherlands, Germany (East and West), Austria, among others