The Nordic saga as the identity

The comment is that isn’t clue of Christianism in Nordic saga, that are alone tales, absolutely fantastic, that haven’t nothing that we can think as Christian; but while is reading the saga we can find some connection with Christianism: the tale of Arngrímr and his sons, Arngrímr is a king that has had twelve sons; it can is a casual case but the people of Nord Europe have had accepted and mixed Christian religion with their mythology, hence it is possible that the twelve son were the correspondent of apostles and the final of this tale conform this hypothesis, because: “For this they become everywhere famous and nobody king weren’t that didn’t depended from their desire”; it seems that Gospel and the submission of every king to Christ this is God. Other clue that is hidden is in other tale when in the tale The oath of Hjörvarðr the tale tells: “Happened now that in a night of solstice of winter, during a ceremony the men given the oaths , as it was used…”, normal narration and not other, certainly, but if we think well these last words, we find a notation that is relatable to specific culture of these peoples, because this costume is specific of Nordic people. The oath is to a wedding, the is tale said: “They given the oath the sons of Arngrímr and Hjörvarðr swore that he is going to have the daughter of Ingjaldr, king of Swedish, since the girl was famous because he was beauty and quality and other woman he didn’t want”; it is alone a use of these populations, yes, certainly, in fact it is important, in south Europe the weddings were determined from political interest alone, the matrimonial politic was an important chapter of aristocratic families, and for this marriage were necessary accord between families, but certainly the choice was determined alone form money and power, but a scion of aristocratic family certainly could not swore that he is going to have a girl because beauty or famous; hence it is a typical use of that people, therefore it is a connotation of that population, whereby the anonymous author is telling a costume of his people. The violence was present also in woman in that land because other contender that shown his desire of marry the girl, and she given the choice to his father this is has been more valid in duel, usually the woman avoid the fight but in Nordic culture the use was frequent. Other episode that modified the ancient Greek and also occasionally Christin use, the interpretation of dream, because Angantýr, one of twelve brothers, tells a dream to a Jarl, a noble that we can compare to a count or governor, in Viking time, but the difference is evident if we consider that the interpretation is asked to a laic figure, a manager. The contemporary era, hence more near to us the brothers Jacob(1785-1863) and WilhelmGrimm(1786-1859), they seem didn’t renounce to Gospel, because a fable, The poor and the rich has took directly from the parable of Lazarus and Epulione, because the rich is condemned to worse fate instead the poor enjoys of better sort; in fact the God is hosted from the poor couple and God asked three desires that God fulfills, and same he made also to rich couple but the husband asked three wrong desires that are fulfills; it is manifestation of Christian German Christian, but the Gospel as the twelve sons that we have read above is constant.

Alessandro Lusana              

 

 Ancient words to portrait of contemporary politic

During the read of Plutarch(46°.Ch.-127 a.Ch.), The advises to politic men, is very easy think to daily and contemporary politic men and women, a step of this book says: “…so the politic man , until he hasn’t popularity e trust of people that is fundamental to govern a city, he must be uniform to current think, study it and understand it, where and how he can grant this trust…the soul of Athens people is irascible, but also ready to comprehension, and it is suspicious, and it aides the poor and humbles…Different id s character of people of Carthage, irascible, servile to major and wrong to inferior, unworthy during the fair…”; we must consider that this judge od Plutarch about the Carthage people is alone a heredity of the Punic wars, and it is judge is absolutely false, because when Plutarch written this book, this is the 1th or 2th century after Ch., and the Punic wars occurred at last 4 centuries before, whereby Plutarch didn’t know the people of Carthage. But the read of this book is very important to understand the politic strategy, that, as Plutarch self said regard to times, that already during his life, were different from Athens and Spartan, he describes the better strategy to politic man, hence: “…the politic man doesn’t be equal to people, but when he has understood its wit he must uses the better method to gain the consent, because a politic man that ignores it is destined to the defeat…”; and other politic and human truth: “The people doesn’t allow  easily to manage itself from an unknown and it doesn’t offers nothing motive to managed by somebody…the politic man must consider it and he must be irreproachable also in private life…merited was the fame of tribune of people Livy Drusus, that answering to an artisan, that has proposed to him of hidden the sides of his house to the neighbor, Livy said, that he could pay major sum if the artisan if you become transparent so that every citizen can see what I am making”; the other truth that in confront our days is more true that other: “Two are the way  to access to policy: one is brilliant  and swift, and it is because the future politic man has attracted the fame for other motives, and other way is slow but certainly more secure…”, other human truth regard to people is: “The people, in fact, when is convinced to assume the contrary opinion  to his honest chief , after that it is recognized the error he  regrets it, hence attacks whom is motive of his conviction…”. These politic truths are written centuries ago, but today are valid because both the politic men or politic woman use same way, why? Simple because mankind is same from centuries, and the politics are human, and they make as human, that use the strategies Plutarch has descripted, I don’t think that they has read Plutarch, because we must consider us very fortunate if a politic knows read, but experience and observation of reaction to some word or some strategy or politic action is better school to an aspirant politic, because the politic is same and the people is same always.

Alessandro Lusana             

 French influence: Clay Edgar Spohn

An American painter may known in USA but in Europe unknown, this is Clay Edgard Spohn(1898-1977), very polyhedral artist that has tried every technique, he has been a painter, muralist, printmaker, sculptor, designer and also professor, in fact he taught in California School of Fine Arts, that now is San Francisco Art Institute; but the important meeting to his style, at last I think, is to Fernard Legèr(1881-1955) that Spohn has had as professor in the Académie Moderne de Paris, 1926-1927, I think that this year was very deeply to Clay, certainly he has known the art of Jean Miró(1893-1983),  because in this painting we can find the clues and influence of these two artists, and we can identify the influence of Léger, that is palmar in The ramification(Figs.1), datable 1941-1942, evidently Spohn has brought from Paris the direct style of Legér, because the same line and the same net line that defines the body and objects; it is same definition of form that used from Legér(Figs.2-4), but Spohn reused in painting of same year(Figs.5-6); as the irrational composition(Figs.7-8) and the colors as the summary conformation of some particular(Figs.9,12) are from Miró(Figs.10-11); since the friendship to Calder, during the return to USA of Alexander he could speak about these European masters; I think that he has seen the works of Miró, because he has transferred to French in 1919, and Spohn was in French in years 1926-1927, whereby he has seen the painting of Spanish; but versatility of Spohn is evident also to choice of styles because in other painting; he took from Jackson Pollock(1912-1956)(Figs.13-15), that through his dynamic painting has influenced directly our Spohn(Fig.16); but Edgard turned also the classic and academic definition of landscape(Fig.17), because he certainly during the French period has had contact both direct and indirect to Caspar David Friedrich(1774-1840); indirect certainly because the German painter was died, but to his works, although the Louvre Museum has alone some drawing, but Spohn may has seen some reproduction; Friedrich has suggested to Spohn some cloud for his painting(Fig.20). We have seen an eclectic artist that has took both the different technic and the different artist, thereupon he was a total polyhedral.

Alessandro Lusana     

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Plastic Miró: Calder

The plastic Miró I want consider no the sculpture of Spanish master, but the sculpture that has took origin from Jean Miró(1893-1983), this is the plastic art of Alexander Calder(1898-1976), that during his stay in Paris that were crucial years for his develop of his style, and the influence was radical, at last to judge from works of Alexander; it is sufficient a confront between the painting works of Miró and the sculpture of Calder(Figs.1-4); the wire that Calder used for his sculpture is the lines that Miró used in his painting(Fig.4); the suggestion from this use, very strange, of wire is from a friends of Calder, Clays Spohn(1898-1977), that after a glance to a work of Calder suggested to him of work the wire; he has worked that wire and he has followed the graphic line with wire, but during stay in Paris, evidently he has modified the use of wire, and also the colors he has took from Miró, because the confront is automatic(Figs. 1,2,5,6-6bis); the strong tone of colors that Calder has used to sculpture and painting, because the influence of Miró was involved also the painting of Calder, the irrational composition of Miró(Fig.4) has suggested to Calder(Fig.9). The sense of these subject is irrational, as the abstractionism, and Calder during his French adhered to abstractionism in 1930 after the visit to studio of Piet Mondrian(1872-1944). The portraits of Calder, worked with wire has took from painted portraits Miró’s(Figs.10-17), that after Calder has worked with wire, the facial typology is very similar, and the essential lines that Calder used to one of his wire portrait(Fig.16) follows the essential line that Miró used for one very famous work(Figs.17-18); but the influence of the Spanish master continued also to great sculptures; some memory of Miró is present(Figs.22-23). Therefore the French period of Calder is a involved school, and he persisted in the style of Mironian shape, although he didn’t never copied the Spanish, but the influence is radical. Other innovation of Calder in sculpture is the movement that he, thank his love to technology because he was an engineer, given to sculpture because the light iron that used for his sculpture has given to static art as sculpture the possibility of movement; before of Calder the movement was suggested from the dynamic posture of figure, but Calder gives to his works the certitude of dynamic vision, because is sufficient a light wind and the movement is assured. He has melted the dynamism to aesthetic, he has took lessons of contemporary masters but has kept the technic that has used to develop of sculpture.

Alessandro Lusana     

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Mankind in the theatre: Pirandello

Bernard: actor

Louis: actor

Conformism: voice

Mary: wife

Adrian: husband

A theatre full of public and the Ladies that healed one other much elegant, formal, and polite behavior, formal smiles and pure hypocrisy, but every person was happy because that was occasion to make accord. The curtains opened it and the company of theatre counted two actors alone, and they are discussing about the works of a Italian writer, Luigi Pirandello(1867-1936), that in his comedies and his romances has descripted the human gender, with his hypocrisy, false grief and other opportunisms; one of actors turned to the public and asked: “You Ladies has smiled and laughed about bullshits, you have worried for dislike episodes, as the death of somebody, but are you sure that somebody is died?”, the public in audience looked one other and somebody asked: “Yes my father is died,”, and other: “My mother too”, and so following. The actor, Bernard commented: “It is possible that they aren’t died and they wanted disappeared as Mattia Pascal”, and the public asked together: “Who is this guy?”, and Louis, other actor on stage answered while he seat is reading a paper, hinted with a finger and a voice: “He is a guy that everybody has believed died and he has hold this opinion, because the society believes that he was died and nobody has recognized him in his town, and when somebody that has recognized him has asked to Mattia: “You are Mattia, Mattia Pascal” he answered: “No, I was Mattia Pascal”; the public asked: “Why?”, and a voice: “Because for society he was died, and nobody recognized because is more easy follow the common opinion rather than ascertain the truth, this is the died of Mattia Pascal”, and one of public: “Who are you?”, and voice: “The conformism”, and the public: “What is?”, and the voice: “It is the idiocy of follow something without ask yourself because everybody follow; since everybody makes it I want be equal other, but why? Nobody asked”. The curtains closed and other stage opened it, same actors and now other choreography a room with persons that spook one other, and one actor: “Excuse me the public is waiting your voice and cutes”, and a woman on stage: “No certainly! They are here because…why they are here?”, and other woman: “Not a clue! I think that they are here because they amuse so, it is looking us!”, and other woman: “No, I think that they are here because every are boring of their life”, and other: “In my opinion it is that they are waiting the pièce”, and other: “In my opinion they are here because they have argued to neigh door”; finally a voice spook to women and: “it so is whether to want”, and turned to public and told: “it other comedy of Pirandello, It is so whether to want, that tells about the different opinions that every has about somebody, and since the truth is impossible to know because everybody has his truth we can alone say that it is so whether it is to like to you”. Other stage and three actors that are speaking one other, an old man, a woman and a man that seems musing, he looked the woman and the old man, and he tough: “But how much we are in this stage? Because my wife to me has other customs, but to hers father other, and now she is manifesting it, and with to our daughter other custom, hence I have married three different women, and my father in law is authoritarian, but to me he is calm and polite, almost good, whereby I have married three women and I have two father in law”; while Adrian, this is name of musing, his wife, Mary, though same: “I have married three men and I have two fathers, because to Adrian is very polite and to me he is categorical”, and same thinks has had the law in law around his daughter and son in law”; thereupon in that stage were at last eight actors, but on stage were alone three, how it is possible? A voice: “Because everybody has an opinion or two opinion regard to everybody, and everybody has, in our opinion, three personalities, thereby for everybody we are One, nothing and one hundred thousand; this is the title of a romance of Pirandello” and one guy from public: “Who is nothing?” and voice: “I am it, because you and other have seen me never, hence I am one each guy that you met every day in street, this is nobody”

Alessandro Lusana                  

  

           

 

Lawyer of Socrates

Who has read the apologize of Socrates, this is the book of Plato (b.Ch.428-348) that describes the accusations to Socrates (b.Ch.470-399), among the pupils of Athenian philosopher was also Xenophon(b.Ch.430-355), that written the Memorable, this a defense of Socrates beginning from the process that he has suffered and that judged him as atheist and condemned to capital pain: the defense of Xenophon is took also from apologize that he certainly seen, and that transcribed also Plato, because same words have used both from Xenophon and Plato, he writes the accuse: “Socrates is guilty of doesn’t to believe to gods that the city(Athens) honors, and of want set here other divinities, and he is guilty of corrupt the young(the corruption is alone moral). Xenophon tells: “The first regard to accusation of atheism what proof the accusers given? It is known that he sacrificed both in his dwell and in the common public altars of city and he used often the prophetic art. But he didn’t set nothing of new in confront of other that believe to divination, this is oracles, presages or sacrifices. They in fact think that through these birds or persons that they meet the gods give the signals and also the he though it.” An apologize duty emerge in the following tale because evidently Xenophon  to hold his defense followed the common custom: “Furthermore he advised the friends that make that was necessary and make it way that they tough the best, by the way that he was uncertain he advised to ask to oracle”. Other defense duty is the following, where is followed the same custom: “he said that who belies that every of these matters depends from gods and it depend alone from human intelligence is a crazy…”; certainly somebody has said it but we can think that it is alone an extreme apologize of Socrates, therefore all is perfect, it is as a lawyer that must defend from accusations a costumer, he will say alone the goods actions; it is the wit of this book. The defense of a follower of Socrates is more clear in following step: “In fact he didn’t speaks about the nature of everything, as much other, and searching how is built the universe…”; this is lack of inquiry of Socrates is duty from a rational choose that he evidently made, this is the words that he used repeat to every acknowledge, this is: “I know that I don’t know(εν οιδα οτι ουδειν οιδα)”; therefore if he have searched he could be the acknowledge; thereupon the lack of search is alone an way to deny the opinion through the logic, that he has used also in his process. Xenophon certainly didn’t known the history of philosophy , hence he could not define the period of Socrates, that we can call as the anthropologic period of philosophy, and he involuntary confirms it: “He(Socrates) in stead inquired the things regard the man, searching what was honest, what profane, what beauty, what right and what wreck…”; it isn’t the duty apologize but true, and Socrates is the father of this searching about the man. The condemn is alone one politic choose, because he was the anomalous and different, thence he could be condemn, also because the people of Athens wanted, to psychological motives, a victim, and Socrates, absolutely powerless they can condemn him, because nothing effect would give to the city. Xenophon in fact said the truth but he didn’t consider that then was necessary a victim, every it was.

Alessandro Lusana   

  

  

 

 

 

The swift sun: the impressionism

 The group of Impressionist painters is born during sixteen in Paris from a society of independent artist, after the refuses to exhibitions, above all because they weren’t near the canonic academic painting, we are in Belle Époque, when the form was all, and the form in painting of Impressionist was very scant respected, why? May because they has refused the form? No certainly! Because they wanted revolutionize the style? No certainly; the importance and formal sacrilege of impressionism is determined from a technical date, elementary and daily to every work, what is? The time; the name Impressionist if from an art critic Louis Leroy(1812-1885), regard a painting of Claude Monet(1840-1926), Impression soleil levant(Fig.1), in years 1872. Louis Leroy despised the painting because it seemed incomplete; we can refuse this judge but we must consider that he has expressed the motive of success of Impressionism; the time has been fundamental to this style, because the light, the sun, the effects of radiant light was momentanei, hence was necessary that the painter was swift to take the moment, the light of that moment, because some minute or time after the effect disappeared, and the painter have to wait the follow day, in fact the same Monet when have to not took the light, in studio, when the model isn’t the sun and light, but human he was much academic(Figs.2-3), the light is but isn’t the principal argument of the impression, because now are important the human and the campaign or land, as the Impressionist paintings but now Monet could work these paintings in studio, without stalk the sun or light; for this characteristic of light and not defined Leroy expressed this judge: “The open air, the diffused light, the true sun assume today in the painting an importance that it never has had, and that, frankly, don’t deserve”; the comments are going to be .”Today this judge would be despised or refused absolutely”, this comment is perfect, but with notation of time, this is today, because then it was normal judge to painting that were distant and different from academic painting; reflects on water(Fig.4) were momentanei, because the sun and the light changed after some minute, thereupon was necessary that painter took immediately the effects; evidently from a technical date is born a style, that was refused but then because today is very much appreciated. Every century has its style and its preference.

Alessandro Lusana

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