Margaret Atwoodt Penelopiaden Bonniers 2005 ISBN 91-0-010767-0

Nu när jag är död vet jag allt. Det var i alla fall det jag hade tänkt, men som så mycket annat tänkt blev det inte verklighet. Ryktesvägen har jag fått veta några få saker som jag inte förut visste. [ ...]
Alla som kommer hit ner bär på en säck, som de säckar man kan fånga vinden i, men säckarna här är fyllda med ord – ord man sagt, ord man hört, ord som sagts om en själv. Vissa säckar är mycket små, andra stora. Min är tämligen stor, men många av orden i den handlar om min framstående man. Han förlöjligade dig, säger en del. Det var hans talang, att förlöjliga folk. Han kom undan med allt , vilket var en annan av hans talanger: Att undkomma

Det är Penelope som är “jag”, den sedan många hundra år döda. Hon vill berätta sin historia. Vad hände egentligen och varför var Odysseus tvingen att döda alla hennes pigor?
Jag läser om den för Bokmanias lilla “Mytcirkel”: att under tiden december till februari läsa en till tre böcker ur Mytserien och sedan skriva om boken/böckerna på min egen blogg och lämna en kommentar inklusive länk hos Bokmania.

Déjà fin novembre, plus une seule feuille sur les arbres, le vent qui souffle fort, les jours qui se raccourcissent… des conditions parfaites pour rester bien au chaud chez soi et se vautrer dans le fauteuil avec un bon film en dvd ! C’est là que nous intervenons pour un petit débroussaillage des nouveautés fiction qui débarquent chaque semaine dans nos rayons.

Et pour commencer, j’ai envie de dire “deux Christian Bale, sinon rien”…  car nous avons effectivement reçu deux films avec cet acteur, qui, souvenez-vous, avait fait sa petite impression dans  le dernier épisode de Batman : Dark knight. Alors, Public enemies de Michael Mann ou Terminator : renaissance de Joseph McGinty Nichol ? Le choix est difficile, quoi que, l’adaptation de la vie de John Dilinger, l’un des plus grands criminels de tous les temps (incarné ici par Johnny Depp) et mis en scène par le réalisateur de Insider, Heat ou encore  Collateral semble le plus tentant (et plus grand public aussi). Cela étant dit, Terminator n’est pas un second choix (je l’ai visionné hier soir) mais pêche un peu sur le redondant du jeu du “si je viens du futur pour aller dans le passé, est-ce que je ne vais pas modifier mon présent ?“. Effectivement, John Connor doit protéger son père plus jeune que lui pour pouvoir dans Terminator 1 l’envoyer dans le passé afin de rencontrer sa mère… Par contre, pour les amateurs du genre, pas de temps morts (trop peu peut-être que pour bien placer l’histoire ) et une bonne dose d’univers post-apocalyptique.

Sinon, nous vous proposons aussi deux comédies :

Penelope de Mark Palansky : Penelope est une jeune fille qui, sous le coup d’un mauvais sort, se voit affublée d’un nez de cochon. Pour déjouer ce sort, elle doit épouser un garçon de la noblesse, chose pas très facile lorsque ses prétendants s’évanouissent face à son visage… Une fable romantico-comique sur la différence physique, tournée comme un conte de fée moderne. Un univers qui n’est pas sans rappeler celui de Tim Burton. Avec Christina Ricci qui a du chien nez.

Erreur de la banque en votre faveur de Michel Munz et Gérard Bitton. Une comédie française emmenée par Jean-Pierre Darrousin et Gérard Lanvin et où l’on retrouve le thème prépondérant de ces deux réalisateurs scénaristes, à savoir la force de la solidarité contre le pouvoir de l’argent : voir Ah, si j’étais riche, La Vérité si je mens.

Enfin, un film argentin, La Marea de Diego Martinez Vignatti et un portrait de femme en deuil. Une oeuvre qui semble assez sombre, organique et intimiste. A découvrir.

Qu’on se le dise !

Brigitte Segers

Bonjour nitwits and classic-wits and all the witts in between

So, as you have guessed, I have a mission for you all. And that is to go forth and watch my latest vid on youtube! Watch it all a million times, favourite, rate it excellent, blah blah blah.

For fans of my recent “Noble Man” vid, I think you shall also truly treasure this latest one. “Delicate Girl”, it is called.

http://www.youtube.com/watch?v=XzRg8gZW8N8

there is the link. Now go forth and be entertained!!!

I love you all

Marley

Pénélope

Pénélope nait dans une famille aristocratique sur laquelle plane une malédiction. L’arrière-arrière-grand-père ayant fauté avec une domestique mais ayant épousé une fille de bonne famille, la mère de la jeune abandonnée, une sorcière, a jeté un sort sur la première fille qui naitrait dans cette famille. Pénélope vient doncau monde avec un nez et des oreilles de cochon. Pour briser la malédiction, il faut qu’elle soit aimer de quelqu’un de son rang. En attendant, ses parents la cache et arrivé à l’âge adulte, tentent de la marier. Mais ce n’est pas facile de trouver un mari quand on effraie les prétendants… Elle fait la rencontre de Max, envoyé là par un journaliste qui recherche le scoop, et décide de sortir de sa prison dorée et de découvrir le monde qui l’entoure.

J’ai tout d’abord voulu voir le film car j’ai trouvé que l’affiche était très belle et annonçait un univers bien particulier, féérique  (un peu comme celle du Fabuleux Destin d’Amélie Poulain) mais j’avoue que j’ai été un peu déçue. L’histoire est très sympathique mais il manque un petit quelque chose qui aurait pu faire toute la différence et faire basculer ce film dans un monde un peu plus merveilleux. Malgré tout c’est un très joli conte de fées moderne, un peu pétri de bons sentiments et un peu formaté à l’américaine avec une jolie morale à la fin. Malgré tout, c’est une jolie morale sur la tolérance, la différence et l’acceptation de soi. Un film empreint de légèreté devant lequel on passe un bon moment. Mais je pense que le sujet aurait pu être mieux exploité.

L’esthétique du film est vraiment très réussi en particulier la chambre de Pénélope, qui crée un univers fantastique, poétique et féérique, à l’image de l’héroïne. Le personnage est magnifiquement interprété par Christina Ricci, une habituée des univers fantastiques (La famille Adams, Sleepy Hollow..) qui campe une héroïne extrêmement sympathique, une jeune fille qui veut sortit du giron maternel et voler de ses propres ailes : on est séduit et on s’attache à son histoire.

Ce film séduira les petits comme les grands et mettra du bonheur et de la légèreté dans notre grisaille hivernale!

Pénélope

Année de production: 2006

Pays de production : Etats-Unis, Grande-Bretagne, Allemagne

Réalisateur : Mark Palansky

Acteurs : Christina Ricci (Penelope), James McAvoy (Max) , Catherine O’Hara (Jessica Wilhern), Reese Witherspoon (Annie),
Simon Woods (Edward), Richard E.Grant (Franklin Wilhern),Peter Dinklage (Lemon)

Monday, November 23rd – Meet Oakland’s New Police Chief

All community stakeholders are invited to come to this introductory gathering with Oakland’s new Police Chief, Anthony W. Batts, to hear how he plans to approach the complex issues in Oakland.  Former Berkeley Police Chief Douglas Hambleton and Oakland’s former Acting Police Chief Howard Jordan will also be recognized for their distinguished community service. The event is sponsored by Alameda County Supervisor Keith Carson, District Attorney Nancy O’Malley, Public Defender Diane Bellas, The Black Elected Officials and Faith Based Leaders of the East Bay, BWOPA (Black Women Organized for Political Action, Oakland/Berkeley Chapter), The Ella Baker Center, Leadership Excellence, The Mentoring Center, Oakland Rising, PUEBLO (People United for a Better Life in Oakland), Youth Alive and Youth Uprising. This event will be held from 6-8pm at Maxwell’s, 341 14th Street. Find more info and RSVP on Facebook.

Friday, November 27th – Plaid Friday

Envisioned to be the independent business alternative to the big box store “Black Friday”, Plaid Friday is designed to help raise awareness about shopping local and supporting the local economy. Plaid Friday was created by two local independent businesses, Blankspace Gallery and the Compound Gallery, as a way to tie into the movement to support independent businesses and elevate the awareness of the abundant and thriving independent businesses located in neighborhoods throughout the East Bay. Celebrate by supporting participating shops on Friday, November 27th and throughout this Holiday season. Wear plaid on November 27th to show your support while shopping at participating businesses. Look for the special plaid placards at your local shops. Businesses throughout Oakland will be participating and some will be offering specials. Visit the Plaid Friday website to find out which businesses in your neighborhood are participating.

Friday, November 27th – Tipple n’ Tamales at Penelope

It’s the day after Thanksgiving and what will you do? Shop Indie then come by Penelope and throw back a few. Penelope Bar and Tina Tamale of La Borinqueña are joining forces for a Plaid Friday afterparty. Once everyone is worn out from shopping at fine indie businesses, we are inviting everyone to quench their thirst and fill their bellies with us.  Specials include $3 Plaid Friday Shots, $6 Select Signature Drinks, 1 cent Indie Special shot if you wear plaid , and $6 Tamale Plate with tortilla chips & salsa. This event will take place from 6-11pm at Penelope, at the corner of 11th and Clay in Old Oakland. For more info and to RSVP, visit the Facebook page.

Saturday, November 28th – Rockridge in the Snow

The Rockridge District Association will be hosting its annual holiday event this Saturday. There will be live entertainment, a children’s play area with snow, and they’ll be accepting donations of coats and toys. The event will take place from 3-6pm on College Avenue near the BART station. ]]> http://polesine.wordpress.com/2009/11/22/la-regione-veneto-ti-porta-al-cinema-con-due-euro-martedi-24-novembre/ Sun, 22 Nov 2009 13:46:31 +0000 polesine http://polesine.wordpress.com/2009/11/22/la-regione-veneto-ti-porta-al-cinema-con-due-euro-martedi-24-novembre/

inviato da: Giuseppe Bettiol Studio P.R.P Padova

La Regione del Veneto per il Cinema di Qualità.
la Regione ti porta al cinema con due euro
I martedì al cinema – martedì 24 novembre

Penelope Cruz mozzafiato, insostituibile musa di Pedro Almodovar, il bianco
e nero inquietante di Haneke alla vigilia della prima guerra mondiale,
Johnny Depp gangster spietato nel nuovo kolossal firmato Michael Mann CONTINUA A LEGGERE: la Regione Veneto ti porta al cinema con due euro: martedì 24 novembre

Alice, Arabella, Bedelia, Clementine, Clover, Cordelia, Daisy, Esme, Eleanor, Flora, Fern, Hazel, Hannah, Imogen, Ida, Iris, Josephine, Jemima, Juniper, Lucinda, Madeleine, Margaret, Nola, Olive, Poppy, Pippa, Polly, Penelope, Primrose, Rose, Sally, Stella, Shiloh, Matilda, Tallulah, Theodora, Thomasina, Violet, Zipporah, Amelia, Annora, Maude, Clara.

Arthur, Bertram, Bartholomew, Baxter, Bruno, Bramwell, Chester, Cassius, Cato, Dexter, Dominic, Emerson, Emmett, Elliot, Fergus, Felix, Gregor, Gulliver, Isidore, Jasper, Ned, Orlando, Quentin, Rupert, Rafferty, Samson, Toby, Thomas, Theodore.

Thoughts? Suggestions?

Cualquiera que me conozca un poco sabe que soy un enamorado del cine y de la música; dos pasiones sin las que se me haría muy difícil vivir. Y con el reciente trailer de NINE me han puesto los dientes largos, muy largos, qué le vamos a hacer.

La historia de este musical está inspirada en la película “8 y 1/2″ de Federico Fellini y es la adaptación de un éxito teatral de los 80. El director es Rob Marshall, que ya hizo antes “Chicago” y “Memorias de una Geisha” y tiene todo a su favor para tener una presencia más que notable en la próxima entrega de los Oscar.

En Venecia, Guido Contini, director de cine, atraviesa por una crisis artística y personal durante el rodaje de su última película. Mientras tanto, sopesa el papel que juegan las mujeres más importantes de su vida: su mujer (Marion Cotillard), su amante (Penélope Cruz), su musa cinematográfica (Nicole Kidman), su diseñadora de vestuario (Judi Dench), una periodista de moda (Kate Hudson), una prostituta a la que acudía cuando era joven (Stacy Ferguson) y su madre (Sofía Loren). Daniel Day Lewis será el afortunado protagonista, papel que rechazó Javier Bardem, al que acompañará tan impresionante reparto femenino, la mayoría de ellas ganadoras de un Óscar.

Ya sólo con ver el trailer (aquí) o el video con los ensayos (aquí) uno tiene ganas de que llegue el 22 de enero. Mira, un buen regalo de cumpleaños.

So, to wrap up Catholicism and Ulysses I’ll give a run down of the major Catholicism scenes in the chapters (I focus more on the early chapters, because my thoughts have significantly changed since those first posts), the themes that have emerged, and what I’m still looking for in scholarly sources. (Post finish: Sorry, this took me an unexpected amount of time to compile. Warning, long).

Telemachus introduced the idea of people standing in for Saints and Heretics right off, with Stephen and Buck as Arius (18), and Chrysostomos (1). Here we watch as Buck paints Stephen as the “gloomy jesuit” (14) which defines what Stephen spends the rest of the book attempting to reject. In fact, Stephen, in the very first chapter, begins to define himself by what he rejects, as mentioned by George Castle in Ousted Possibilities (Castle 309).

Looking back retroactively, I can also see that Stephen is more attracted by the delivery of the idea, rather than the idea itself, looking at his relationship to Buck/Chrysostomos. St. Chrysostomos was another fiery theologian, with theories that Stephen must have been inundated with at school. However, he would now reject them as a good heretic. His attraction to Chrysostomos/Buck, therefore, is an echo of his attraction to both Arian and Aquanian theory. He dislikes the person, but likes the performance, or passion of their delivery.

In part, this goes back to our discussion of Sirens, where Bloom can enjoy the musical output of Simon and Ben without being repulsed by their personalities (225). I’m actually not certain that this is what Joyce wants us to take away from Ulysses. Buck is an awful influence on Stephen, and does not really care for him; Simon is as poisonously uncaring of Bloom in Hades. While it’s good that both Bloom and Stephen can put their abuse behind them in exchange for pure intellectual stimulation and pleasure, these are not healthy relationships, and it might be best for them to break off ties with their friends. Indeed, I love that Bloom really dislikes Buck (does he even have anything good to say about Malachi Mulligan?), while Stephen has broken off all ties with his father. They are only half free of those negative influences, and in an awkward way, it benefits both by the end of the night, for if it was not for Buck trying to give Stephen the slip, and Bloom’s connection to Simon, the two would not have crossed paths significantly, and this would have been a shorter book.

Not that this supposition has anything to do with Telemachus, or my obsession. Nestor only continues the saints as people theme, mostly focusing on Stephen as Columbanus: “Was that then real? The only true thing in life? His Mother’s prostrate body the fiery Columbanus in holy zeal bestrode” (23).

However, Nestor is also important as it is the first point where I noted trinities. “The same room and hour, the same Wisedom: and I the same. Three times now. Three nooses round me here” Stephen thinks, telling himself that he can break them any instant (25). He cannot. At best, he only succeeds in denting the lampshade in Circe (477). The nooses hearken back to Telemachus where Stephen is the servant of three masters, Britain, the Catholic Church, and Ireland, “who wants [him] for odd jobs” (17). Taken in the context of the Trinity, Britain takes the place of the Father, domineering, in control, and patriarchal in Joyce, usually, as can been seen in Aeolus, Scylla and Charybdis, and Wandering Rocks, to name a few examples. The Catholic Church becomes Jesus in this trinity, which if viewed in relation to Britian on the national stage, acts just as several other Jesuses that litter the pages of the novel — Best, Bloom, right off the top of my head, although there are so many more. That is to say, the Catholic Church is ineffectual, and likely to become crucified in accordance with the will of the Father.

This is probably one of the stronger arguments against a Roman Catholic Irishness that Joyce returns to in the form of the ineffectual, disconnected Father Conmee of Wandering Rocks (180-184). Finally we have the almost forgotten Ireland, hovering on the edge of Stephen’s consciousness as the Holy Spirit. Stephen is not yet prepared to face the questions of the Holy Spirit, signaling his distance from Irish Nationalism, yet it tantalizes him, and haunts him through out the novel. The Trinity cues the relationships we are supposed to observe through out the novel, and also points to the secret questions/mysteries with which the characters are grappling when the Holy Ghost appears.

Ghost is an appropriate, really. Much of the time we see the Holy Ghost, it has to actually do with the dead, as in a lot of ways, Ulysses is all about mourning gone awry, and how death should be dealt with. The afterlife of the soul, clearly stated in Christian Dogma, is once again acting as Jesus, to the Catholic Church’s role as God for the characters of Dublin. Heaven and Hell are secondary thoughts for the living, no matter how the Church imposes its doctrine of Hellfire. The ghost of this morbid trinity is how the living are supposed to go on living after the dead have taken over their lives. No one really knows, and none of them handle it well. We have Simon Daedalus, incapable of getting over May, Stephen wrapped up in his guilt, and thus haunted by his mother, in scenes that turn May into a Holy Ghost herself. As part of Stephen’s search for the answers to the Holy Ghost, he is desperately searching for the way to forgiveness, and lifting of his guilt over his mother’s death (474).

Beyond this Trinity of death, we have the death of Rudy spinning both Molly and Bloom into damage control and denial. As for Rudy’s older sister, Milly becomes the ignored Holy Ghost. She is not physically present in the novel, her needs basically ignored by both parents, who merely react to what she says and does (630). Bloom, the father, controls her location, but does not seem to think that she would do better as a young girl with her parents. Molly, taking the Jesus role, crucified by Rudy’s death (640) and incapable of motherly acts since then, merely responds to Milly’s growing restlessness with knee-jerk reactions (631-632). What neither of them see is that they have Milly, a real living child, who is the future, as we’ve talked about, with her continuing the line through her “technical Jewishness” (Simpson November 16, 2009). Through Milly, the Holy Spirit can be vividly something desirable, and forgotten/ignored by those who need it the most.

Trinities that I’m still uncertain of:

- Trinity of the dead: May Goulding, Paddy Dignam, and Rudy Bloom. I haven’t figured out how these three all work together, and play off each other in the novel, but as they are all involved in other living/dead trinities, and there are three of them that are named, I want to say that they are one of these Father, Son, Holy Ghost trinities.

- Does Rueben J. Dodd’s son (curiously unnamed, yet conspicuous in a similar there/not there way that I associate with the characters acting as Holy Ghosts) fit into this?

Proteus is a mine for looking at Stephen theologically. I’m still plowing my way through the library books on consubstantiality, the Arian idea that Stephen entertains so happily, in the fact that it’s a heresy. I’m not prepared to wrap that up yet. While in a way, it seems to be displacement activity as Stephen avoids considering the Holy Ghost, because the nature of Jesus’ divinity is an easier concept to grasp, it’s still a really fascinating heresy. I’m hoping that once I understand the underpinnings, and logic behind it, I’ll be able to apply it to the microcosm that it wraps up and affects.

We also get an pre-echo of the arguments on the nature of the soul (37), in many theological discussions completely wrapped up in the Holy Ghost, that will appear throughout the novel, culminate in Molly’s theology in Penelope (643). Stephen is prefers to pin his soul on Aristotle, saying that “[his] soul walks with [him], form of forms” (37). This gives us a very intellectual soul that is part of the miracle of transubstantiation, which is based on Arisotolean thought. The conversations that we’ve had about cannibalism and the Eucharist, “those white corpuscles” (3) coming from “Corpus: body. Corpse” (66), center around the conflict of whether transubstantiation is real or not, which is also one of the critical points of the Reformation, as Protestants rejected the idea that the Eucharist was a miracle. Here, Stephen, in accepting that his soul is the original form, is accepting Catholic thought, even as he is trying to turn himself into a heretic. Oh Stephen.

For those who don’t remember what the theological argument of the transubstantiation of the Eucharist is I have a quick run down about how this connects Aristotle and miracles using dinosaurs: Okay, so you have a dinosaur that changes into a chicken. Everything that we can perceive about the dinosaur is now telling us that it is a chicken. However, the dinosaur still knows that possesses dinosaur-yness. This is normal and could possibly happen given enough evolutionary quirks. Or it is possible that the dinosaur actually knows that it is a chicken after the external change has taken place. Indeed, the natural change has changed dinosaur-yness into chicken-yness. Both options work. What doesn’t work without a strange amount of hocus-pocus is a dinosaur remaining physically a dinosaur, but thinking that it is a chicken. This is a miracle according to Aristotelian thought. The Eucharist takes place with bread and wine that rejects dinosaur-yness for chicken-yness. Protestants had a lot of issues with this idea, because the bread seemed to remain bready and full of awesome bread-yness.

Calypso hasn’t become any more of a helpful chapter in retrospect. We have Catholicism doing a lot through out the book. The “middle” up to Naausica focuses most obviously on the Catholic church as a controlling institution, and comments on it’s growing power over Irish Nationalism. With Circe, everything is all over the map, but we get a lot of everything. My posts pretty much cover everything that I skimmed over here.

Things to be aware of:

- Joyce’s comment on the growing Catholic nationalism = it’s a bad idea

- Trinities act as a pointer to interpreting character actions and placing them in a larger national context, or interpersonal actions

- No real difference between saints and heretics = call for perspective, moderation, and re-examination of race/gender/what makes people people.

- Circularity does not mean completion, or strength. Triangles/threes/trinities are the key!

Issues I still am having issues with:

- How does the cult of Mary fit into this to make a cohesive whole?! It’s just kind of off there in the background, relating female and male characters to the various aspects of the Virgin.

Pretending in “Penelope”: Masquerade, Mimicry, and Molly Bloom
By Kimberly J. Devlin

This article contends that Molly cannot be reduced to a stereotypical or archetypal representation of femininity because of her consistent acting out, flouting, and mimicry of gender roles.

Although the corroborating evidence is at times less than pointed, Devlin’s exposition of the critical intricacies embedded within Molly’s thought is worth its salt.

First off, Devlin argues that Molly appears to recognize the signifying practices that construct gender identification. Clothing, gender roles, (i.e. “prima donna,” (896), “criada,” etc.), gestural actions all become emblems in her mind not so much of reified gender categories as of fluid and inhabitable positionalities, where meaning assembles through performance (artifice/culture) rather than innate action (essence/nature).

For instance Molly often imagines inhabiting the feminine role in popular songs, theatrical texts, and other cultural artifacts. Yet this mimicry, Devlin argues, extends beyond sheer narcissistic or essentialized feminine identification. When Molly imagines herself as the “aestheticized female nude”, for example, her supposedly spontaneous leaps in consciousness reveal submerged critical processes. The leap that Devlin attaches to is the one where Molly envisions herself first in the painting “The Bath of the Nymph” and immediately thereafter as the “dirty bitch” in one of Bloom’s smutty photos. For Devlin, this leaps exposes that Molly is conscious of the “sexual impetus behind seemingly ‘refined’ artistic representations of the female [form]” as well as, of the fact that there are “real women behind the representation,” and women often forced into the occupation of artist’s model out of “economic need” (76).

Devlin goes on to cite numerous occasions in which Molly flouts or performs the social functions of femininity with “critical distance”. Ultimately, however, Devlin’s commentary doesn’t address the way Joyce’s formal decisions and anti-intellectual characterizations of Molly could in fact serve to reify gender dichotomies. There doesn’t seem to be much evidence that Joyce sees Molly’s epistemological techniques as the result of socialization, or is there?

Overall an alright article although I think it would benefit from a little more theoretically engaged dialogue with structuralist discourse.

OK! Here we go. The first of what will become a weekly write up. Enjoy!

Knit ‘N’ Felt Bags
20 Quick-and-Easy Embellished Bags
by Bev Beattie
2009
Trafalgar Square
www.trafalgarbooks.com

Those of us who felt know that you need to use wool, because felting happens in a washing machine with hot water. Bev Beattie has discovered the most amazing thing. Certain wools will felt in water that is cool—a mere 40 degrees! In this book, she will introduce you to low-temperature felting which means you can incorporate acrylic and novelty yarns into your designs. The projects in the book are divided into three sections: bucket bags, flat-bottomed bags, and shaped bags. She combines texture, colors, and embellishments throughout that will surely inspire you. The book is well photographed and there is a source of supply in the back so that you will be sure to find the exact yarns that Bev used to create her bags. The projects are worked on needles ranging from Size 10 US (6mm) up to Size 15 US (10mm) so they will work up fast.

One More Skein
30 Quick Projects to Knit
by Leigh Radford
2009
Stewart, Tabori & Chang
www.abramsbooks.com

The projects in One More Skein will take one or two skeins of yarn and just two needles. The four sections of the book, Put It On, Dress Up Baby, Take It With You, Make Your House a Home, give you a taste of what’s inside. Favorite projects include the Felted Vase Sleeve, the Albers Stash Blanket (worked in 9 panels of 2×4 ribbing), six different types of totes/bags/clutches, and Nash’s Garter Stitch Baby Cardigan. Great scarves and wristlets are also included. The instructions are good and the materials list extensive. The projects cross a variety of yarn weights and needle sizes. The photographs of the projects are large and clear (in focus!). You will find the projects in this book make great gifts and are quickly executed.

Oi meninas! Td bom?

Essa semana estou usando o Penélope, da Big Universo. Ele é um vermelho lindo com uma leve cintilância e, dependendo da luz, ele tem um brilho meio rosa.

Achei ele um pouco ralo. Duas camadas não foram suficientes pra cobrir direitinho o branquinho da unha, mas, na correria, acabei deixando assim mesmo. Com três camadas ficaria perfeito! =0)

Seguem as fotinhos:

Bjinhuzz!

Update: Penelope

In Penelope we get Molly’s interpretation of what I see as three of the most prevalent cyclical allegories for teleological processes (histories?) in Ulysses: foot to mouth, mouth to bottom, and of course procreative sex/intercourse.

FOOT TO MOUTH

It seems that Molly shares with Stephen an aversion to the pairing of feet and mouths, in the literal and figurative senses. Not only does she resent Bloom’s rather unconventional sleeping style, “his big square feet up in his wifes mouth,” she also plainly rejects the evasive self-denial that carves the circuitous routes of Bloom and Stephen’s wandering internal monologues. It seems no coincidence that it is in Molly’s nearly a-syntactic interior language that the text becomes most sexually explicit and revelatory of many previously ambiguous narrative events (though Joyce may also be working against this assumption as well). Molly obviously feels no impulse to obfuscate intentions or actions, and scoffs at the doctor’s word “omission”, a signifier most notably attached to adultery (through Bloom’s preoccupation with Molly potentially having a STD).

MOUTH TO BOTTOM

It is harder to say Molly’s exact opinion of this setup, although it is in some way connected to the notion of “omission” as a signifier of the negative capacity of masculine emission. This relation is particularly evident in Molly’s fantastic (as in the adjective form of the noun fantasy) seduction of Bloom. Here, the mouth to bottom kissing of Molly’s “brown part” acts as an intermediary transaction leading to Molly’s monetary benefit (“then Ill tell him I want £1”) as well as another of Bloom’s most masturbatory moments (“Ill let him do it off on me behind”), which subsequently ends in the now explicitly negative and commercialized climax (“Ill wipe him off me just like a business his omission then Ill go out,”) (642). In this economy, Bloom, as he has many times before, acts as the ultimate consumer, continuing processes beyond their predestined point of expiration (i.e. the end of the digestive tract “lick my shit”, the bottom of the pot “he goes and burns the bottom out of the pan all for his Kidney,” the grave (?) after all Bloom is at this point both asleep and a specter of Molly’s phantasmal sexual realization) and benefiting from them? (Couldn’t we say that Molly’s sexual fantasies are at this point the after-glow of her still fresh memories of an afternoon with Boylan?)

INTERCOURSE

Since I’m running out of room and time I will update this portion tomorrow on the blog and in class.

Broad overview of Fatherhood:

Stephen obsesses over his mother but there is little or no mention of his father.  Bloom thinks about himself as a father, what that means, and what makes or doesn’t make him a father.  Stephen argues about the consubstantiality of father and son.  Then we get the elevation of androgynous production. Then we see in Eumaeus and Ithaca the actual existence of a father-son relationship.  We see that unfold.  In Penelope something weird happens.  Molly romanticizes her father.  She seems to have made him the epitome of manhood.  She thinks about Bloom “I wish hed even smoke a pipe like father to get the smell of a man”  A good man in her mind is a man like her father.

It’s weird that Molly has this view of fatherhood.  I’m not sure what to do with this.  What does this have to do with her marriage? With her feelings about Rudy? about Stephen? about Milly?  What does this do to our perceptions of Molly? Also, I think there’s more to fatherhood in this episode than just this romanticization of her father… but I’ll try to add more about that when I know more after class on Monday and another read through.

Examination of gifts and giving in Ulysses has revealed a regular path: a certain theme gets introduced in one episode to be elaborated upon in subsequent chapters. Evidenced in the first ten chapters is the characterization of gifts and giving, from crass commercial exchange to sympathetic giving. In this phase, gifts fall under the garb of personal to social, usually with an eye toward some kind of return. This range in turn sheds light on (or underscores) the various characters populating the streets of Dublin. In the second phase, chapters eleven through fifteen, extremes of the earlier types of gifts are realized, both in literary form, character, and situation. In the third phase, episodes sixteen through seventeen, the father-son relationship of giving is explored in-depth. Episode Eighteen, Penelope, explores another facet of family exchanges – the husband-wife association, as well as recapping and transforming previous ideals concerning gifts in the prior chapters.

Within Molly Bloom’s rushing interior monologue we find a multitude of gift-forms scrutinized. The episode begins with Molly’s chafing thoughts on Bloom’s request for breakfast in bed. The husband-wife dynamic is highlighted immediately and ranges throughout the episode, and as guilt and social obligation seem to have little to do with whether the requests (from either party) are adhered to, other reasons must be found. There could be a sense of filial duty involved, and this possibility manifests itself, in Molly’s thoughts, in the put-upon woman form to the fleeting wish of a petticoat government, but these irate thoughts of duty are immediately followed by thoughts infused with feeling, or love, which constantly jumbles sense in a non-extreme way. The gift-giving in this dichotomy, then rests in how much the characters love each other, or are aware of their love for each other (mainly speaking about Molly, but some of Bloom’s actions can be traced throughout the day to have similar motivations). Realize that Molly has to work herself into this loving mood for Bloom throughout the chapter, but it ends with her deciding to adhere to his request for breakfast (she’s decided to put a spin on what “breakfast” might entail, which only proves my point).

Of course, wishes for commercial gifts are rife in this chapter, as Molly fantasizes over the myriad items she can dig out of Boylan’s gold-lined pockets. In the rest of the novel, this desire for the material would place a character into the “bad” category, or at the least unsavory. Boylan the Rich and Mulligan are the poster boys for this culture of giving, something for something. Molly’s place beside these two, however, is complicated. She indulges fleeting desires of clothes and jewels and attention, but the underlying problem resides again in her pauper-like relationship with Bloom, where the filial duty is going unfulfilled. This means more than simply adhering to or indulging the wishes of your spouse. As Molly points out, she sees herself as a good catch for Bloom yet notes that he is squandering her and aiding their poverty by being unable to hold a job down and constantly moving from one house to another. Interestingly, as the “sentences” continue, this commercial concern starts falling away to be replaced by the greater concerns of living with her spouse. Indeed, Molly herself sneers at the thought of riches and fame in the later sentences even as she craves them in the earlier ones.

Performance: 8888888

Opera: 88888

Song: 888888888888888888888888888

Music: 88888

Composer: 8

Instrument(s):

As always, the statistical breakdown is above.  In general, the frequency of occurrences in Penelope is fairly standard, although I probably missed some really minor ones, as there were many references to past performances or performers which didn’t seem particularly relevant.

I was struck by the lack of concrete references to songs in this episode.  Given that in the past most references occur within the mental space, and given that we were exclusively in the mind of a performer who is not interacting with the world around her (as Bloom would), the focus was notably not on music or song.  Obviously the circumstances of the day give Molly little reason to reflect on music, which was basically the best explanation I have for the lacking importance of music and song.

A passage which broke away from this and also held with some of my previous predictions was lines 18.874-900, where Molly references numerous songs while reflecting back on the early part of her romantic life.  This fits in with how song and memory are linked, and upholds my previous idea that the “experience” of a song affects how one views that particular song, and vice versa.

Molly’s approach to music and/or sound in general (as well as pretty much everything else) was, as expected, much less mechanical than Bloom’s.  In her mind performances take place, they’re either good or bad, and some memories are best expressed in part by remembering certain songs.  This is best summed up by her own understanding and thoughts of Bloom, on which she states: “he never can explain a thing simply the way a body can understand” (18.566-67).  This essentially pits the two as intellectual opposites, and fits in with Bloom’s own assessment of the situation.

Although not directly related to my obsession, Molly’s views on poetry (which could potentially be relevant to music) with regards to sparking a relationship with Stephen are somewhat rational, yet appear as only another “skeleton” form of art similar to printed music or plays: “Ill read and study all I can find or learn a bit off by heart if I knew who he likes so he wont thing me stupid” (18.1361-62).  The removal of emotional attachment and the economic benefit she would theoretically receive from this misrepresentation (or false presentation) is twisted in an odd way—she knows she would eventually hurt Stephen, yet really doesn’t seem to care.

Retail Price: 228 usd + tax

Our PRICE : SGD 158 (self-pick up only, includes sales tax and shipping & handling fee)

*Please top up SGD 5.00 if you opt for registered mail. Home Delivery is available at SGD15.00 islandwide.

MALAYSIA PRICE: RM 500 (includes sales tax and DIRECT shipping & handling fee)

Desire #: CO13166A3     Colour: Lavender_White

Details:

# Lavender and white Optic Art Signature C on PVC fabric
# Fabric is water and stain resistent coated fabric
# Polished Nickel hardware
# Matching lavender satin lining
# Coach creed inside on white leather
# Zip top closure
# Interior slip pocket
# One interior zipperd pocket
# Measures appx. 11 L x 5.5″ x 1.5″

Brand new with tag. Includes Care Card, Coach tissue, Coach sticker and Coach paper bag. Gift Receipt & Gift box is available upon request. Dustbag will be provided if COACH / COACH outlet provides them. Large gift box may require top up for shipping.

Mix Music é o único festival de música voltado para o público LGBT
no Brasil. Desde 2000, ele é o braço musical do festival de cinema
Mix Brasil. Organizado pela Associação Cultural Dynamite. Este ano,
o festival chega a sua 10ª edição ininterrupta, com quatro eventos,
sendo três totalmente gratuitos.

LEIA MAIS NOS SITES
:: SORTIMENTOS.COM >> http://www.sortimentos.net/?p=4312
:: GEBBEG >> http://gebbeg.com.br/?p=7283

.

*Pê fala para Omar Dito: Poxa..linguiça defumada uai…já provou? Nó, delícia..rs.

*Pê fala paraValdirene de Minas: Ai..se eu soubesse dirigir..ía parar aí agora..nem q fosse pra biliscar um pedacinho…

Una nueva comedia romántica que nos ofrece
IFC Films, The Weinstein Company, Stone Village Pictures

Con Christina Ricci, James McAvoy, Reese Witherspoon, Catherine O’Hara

Cartelera

A causa de una maldición familiar, la heredera de una aristocrática familia nació con una nariz de cerdo, y la única solución para romper dicha maldición era que Penelope encontrara a alguien de su misma condición social que sea su verdadero amor. Los padres de Penelope se dedican entonces a buscarle marido. Regularmente se presentan numerosos candidatos atraídos por la cuantiosa dote de Penelope, pero que terminan huyendo luego de ver su rostro animal. Hasta que llega un joven que no sale corriendo, sin embargo, Max no es lo que pretender ser: ha sido pagado por un periodista y un ex-pretendiente para sacarle una foto para publicarla en un periódico. Y cuando Max y Penelope se conocen, sus vidas cambian para siempre, aunque no de la forma esperada…

My blog today will focus on Weldon Thornton’s Voices and Values in Joyce’s Ulysses. The book in general focuses on Joyce’s narrative and literary forms, their connotations, historical underpinnings, and whether or not Joyce is promoting certain narrative/literary modes over others. The general argument given is that Joyce was not “in-line” with the modernist themes of the “realist” novel or the contemporary perspective that the omniscient third-person narrative was archaic in novel writing.

In particular, I focus on chapter 5 “Voices and Values in Later Episodes,” as each of the episodes after 6 (excluding 8 and the last half of “Nausicaa”) are related in that they exhibit literary and narrative forms that Joyce disapproves of for one reason or another. In the section “Penelope,” the feminine interior monologue creates “the only moment in the novel where a figural voice totally obliterates the authorial narrative voice throughout the entire chapter.” Thornton claims that Joyce’s use of the monologue is to exhibit both its strengths and short-comings, and that he has set up the episode for the best possible scenario, having it come at the end (i.e., letting us get acquainted with Molly’s relationships with others and her general situation for an entire book before dropping us in) and allowing zero interactions to occur with the outside world during the monologue. For Ulysses, the form is deftly handled.

There are, however, obvious problems with it. The lack of punctuation makes sense when depicting the wandering un-punctuated thoughts of Molly, but the speaker (thinker?) surely has pauses of thought, changes in inflection, that cannot be conveyed without punctuation. Moreover, this absence of punctuation highlights puzzles and confusion, and actually makes the reader more aware of the author. As Thornton quotes one E. R. Steinberg: “Constantly feeling for the ends of the sentences as he progresses, the reader is continually aware of the difficulty of the reading and conscious of the fact not only that he is reading but that he is solving a puzzle. This awareness, of course, keeps him aware of the author, who presented the difficulty. As well, by completely effacing the narrator the ability to build a “world” examining self and society, Ulysses’ Dublin, breaks down.

I’m not entirely sure I agree with Thornton, in terms of this chapter at least. Afetr reading the chapter, I can agree that occasionally I despised Joyce for putting me into this puzzle, but a lot of the time I was lost in Molly’s thoughts, and keenly aware of only the “Molly” part of that phrase.

My favorite sketches from this past weekend’s episode of Saturday Night Live with host Taylor Swift.

I personally thought she did an great job.  One of the best hosts they’ve had recently.  She’s got such a natural knack for comedy.  It also doesn’t hurt that shes completely adorable.

AND she’s freakin’ hot as a brunette.

-I