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#Parc Monceau
rurik-dmitrienko · 3 months
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Erotic game By Rurik Dmitrienko
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landschaftsmalerei · 8 days
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Landschaft: Der Parc Monceau von Claude Monet (oil on canvas)
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𝔓𝔞𝔯𝔠 𝔐𝔬𝔫𝔠𝔢𝔞𝔲, 𝔓𝔞𝔯𝔦𝔰, 𝔉𝔯𝔞𝔫𝔠𝔢
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podartists · 11 months
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Le Parc Monceau (1877) | Gustave Caillebotte (1848-1894)
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postcard-from-the-past · 10 months
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Monceau park in Paris
French vintage postcard, mailed in 1905
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send-me-flowers · 8 months
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Monceau Fleurs, Paris, France
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chicinsilk · 1 year
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Marc Bohan for Christian Dior Spring/Summer 1963 Haute Couture Collection. on the left, the "Parc Monceau" suit. Photo by Karen Radkai. Models Anne de Zogheb and Astrid Heeren.
Marc Bohan pour Christian Dior Collection Haute Couture Printemps/ Été 1963. à gauche, le tailleur "Parc Monceau". Photo Karen Radkai. Mannequins Anne de Zogheb et Astrid Heeren.
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fleurlisse · 1 year
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Paris in the springtime by @fleurlisse
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Le Parc Monceau vous attend pour une balade romantique
Profitez le temps d’un weekend pour emmener votre partenaire en balade dans le Parc Monceau à Paris. Vous serez ébloui par ses nombreuses végétations, sculptures et ruines.
Crédit photo : 139904 de Pixabay
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genealogistapro · 7 months
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Sobre “Cartas a Camondo”, de Edmund de Waal
Sobre las Cartas a #Camondo, de #EdmundDeWaal, mi última lectura (y entrada) sobre libros sobre #archivos, #genealogía e #historia familiar, editada por @Acantilado1999 con traducción de @MartaMarfany #CartasaCamondo
Edmund de Waal vuelve a dedicarse a los archivos, esos lugares que describe como “una forma de mostrar lo concienzudo que se es”, y a la historia familiar, ahora, la de los Camondo, una familia de origen sefardí que, desde Constantinopla, llegó a París en 1869, como también hicieran sus antepasados procedentes de Odesa, los Ephrussi, cuya genealogía e historia familiar nos presentó en La liebre…
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annacswenson · 1 year
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"I take my desires for reality, because I believe in the reality of my desires" —graffiti at the Sorbonne, 1968
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rurik-dmitrienko · 1 year
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Parc Monceau, Paris
By Rurik Dmitrienko
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landschaftsmalerei · 2 months
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Landschaft, Der Parc Monceau von Claude Monet (1876, Öl auf Leinwand)
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Parc Monceau, Paris, France  
Source: escapeinhertravels.com
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ugisfeelings · 1 year
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tbh I’m relatively new to francophone scholarship on the French Revolution and I unfortunately cannot read French-- but just from skimming the autotranslations of this article by Pascale Pellerin, Algeria writer Kateb Yacine’s 1984 play, Bourgeois sans-culotte ou le specter du parc Monceau, presents as possibly one of the most compelling dramaturgical interpretations of the French terror and Maximillien Robespierre’s historical memory imo and should honestly be considered a primary example of his radical influences. Yacine unfortunately died while revising the manuscript, so it was never published in the form he intended, but there have been partial translations online, and a clip from the posthumous 1988 Paris performance is on youtube as well.
The play on Robespierre was commissioned by and performed mostly in Arras, aka Robespierre’s hometown, but it would be remiss to shrug Yacine’s interpretation of the French Revolution as a provincial hagiography or redundant to previous French leftist nationalist discourses. Bourgeois sans-culotte is thoroughly a transnational story about revolutionary violence and freedom, and a critical recuperation of Robespierre’s legacy from the perspective of France’s former colonies. For Yacine especially, it was important to highlight the parallels in historiographic receptions of the “reign of terror” to colonial propaganda of the Algerian Revolution and other anticolonial guerilla struggles in Haiti, Vietnam, and Algeria
Posting my favorite sections from Pellerin’s analysis, translations provided by google lmfao; highlights & underline mine--
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“Kateb Yacine's piece constitutes a circular vision of History of which Robespierre would be the centre. Whether one is in Indochina, in France, in Algeria, in the 18th century or during the Algerian war, the image of Robespierre speaks of the violence of History and its justification in the face of the violence of the oppressor, that of monarchical power, that of colonialism, that of Nazism. The representations of the guillotine, the Terror and Robespierre constitute a major ideological challenge for Kateb Yacine and take on a particular meaning depending on the place and the space.” (p4).
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Note: Yacine’s conspicuous influences from Marx and direct homage to the opening line, “a spectre is haunting Europe—the spectre of communism," from The Communist Manifesto.
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Note: Yacine’s decision to weave his autographical self and experiences in colonial Algeria into re-telling the French Revolution.
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Note: Yacine’s portrayal of the guillotine as indeed a “ambivalent tool”-- not as a post-Thermidorian carcicature of popular violence against the bourgeoise-- but due to its later mobilization by the French colonial government in the execution of over 2300 Algerian revolutionaries 1956-63.
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Note: Yacine’s mediations on Francophone historiography and moralization of the “Reign of Terror”; direct resonances for Algerian revolutionaries on the role of terrorism in struggles for national indepedence from French colonialism
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Note: Yacine’s explicit affirmation of Robespierre as the original and legitimate symbol of an enlightened French republic-yet-to-come, in spite of the revolution’s failure to manifest it.
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Note: Robespierre attempting to reach Karl Marx prior to his confrontation with de Gaulle, the latter of whom mocks Robespierre as “[having] nothing of a man of action.” Empower by his meeting with Marx, Robespierre responds to this attempted demasculation [perhaps paralleling popular portrayals of his feud with Danton?] with, “And you, the great de Gaulle, you have subdued the generals, but you have not seen Second Lieutenant Le Pen, who is threatening to take power” (Yacine in Pellerin, pp27).
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canis-majoris · 1 year
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