Joseph Delteil was a 20th-century French writer and poet. Joseph Delteil was born in the farm of La Pradeille, from a woodcutter-charcoal father and a "buissonnière" mother. Joseph Delteil spent the first four years of his childhood at the Borie of Guillamau, 30 kilometers south of Carcassonne, in the Val de Dagne. Of this hovel, today there remain only stumps of walls, which one can always see while hiking on the "Path in poetry" at the entrance of which one reads "Here the time goes on foot" created by Magalie Arnaud, mayor of Villar-en-Val, her friends to honor the memory of the poet. In 1898, his father purchased a vineyard plot at Pieusse; this was, according to Delteil, his "native village", in the heart of the land of the Blanquette de Limoux, "where the landscape grows, from the forest to the sun, from Occitan to French ". He remained there until his Certificat d'études primaires he joined the Saint-Louis school in Limoux, he was a student at the Collège Saint-Stanislas in Carcassonne.
The publication in 1922 of his first novel Sur le fleuve Amour attracted the attention of Louis Aragon and Andre Breton for whom this work "compensated for so many devils to the body." Delteil collaborated with the magazine Literature and participated in the drafting of the pamphlet Un cadavre written in response to the national funeral of Anatole France. Breton quotes him in his Surrealist Manifesto as one of those who have done "an act of absolute surrealism."On May 24, 1924, at the "Soirée du Claridge" where the former Russian Page Corps was gaving a charity ball, a fashion show with costumes by Sonia Delaunay illustrated a poem by Joseph Delteil La Mode qui vient. "The appearance of this group raised the applause of the social gathering". The publication in 1925 of his Jeanne d'Arc, a work rewarded by the Prix Femina, aroused the rejection of the Surrealists and of Breton in particular, in spite of the scandal caused by the anti-conformist vision Of the Maid of Orleans. For Breton, this work was a "vast shit".
Delteil participated in the first issue of La Révolution surréaliste, but after an interview in which he declared that he never dreamed, he received a letter of rupture from Breton. In 1931, he fell ill and left literature and Parisian life for the south of France. In 1937, he settled in the Tuilerie de Massane near Montpellier where he led a peasant-writer life until his death, accompanied by his wife, Caroline Dudley, the creator of the Revue nègre. In his Occitan retreat, he maintained strong friendships with writers, poets...), painters, actors. By publishing, in 1968, La Deltheillerie, he regained some of the notoriety of the years 1920, supported by personalities like Jacques Chancel, Jean-Louis Bory, Michel Polac, Jean-Marie Drot, he is buried, along with his wife Caroline, in the Pieusse cemetery. André de Richaud, Vie de saint Delteil, Paris, La Nouvelle Société d'Édition, 1928. Maryse Choisy, Delteil tout nu, Paris, éd. Montaigne, 1930. Christian Chabanis, « Joseph Delteil au cœur du monde » in Le Figaro Littéraire, 30 December 1961.
Claude Schmitt, « Joseph Delteil ou l'épithète introuvable » in revue L'Honneur, 1970. Collective under the direction of Claude Schmitt, Delteil est au ciel!, Alfred Eibel Éditeur, 1979. Robert Briatte, Joseph Delteil, coll. « Qui êtes-vous? », Lyon, La Manufacture, 1988. Jean-Marie Drot, Joseph Delteil prophète de l'an 2000, Imago, 1990. Jean-Louis Malves, Delteil en habit de lumière, Éditions Loubatières, 1992 Collectif s/d de Robert Briatte, Les Aventures du récit chez Joseph Delteil, Montpellier, Éd. de la Jonque/Presses du Languedoc, 1995 Collective under the direction of Denitza Bantcheva, Joseph Delteil, coll. « Les Dossiers H », L'Âge d'homme, 1998. Denis Wetterwald, Joseph Delteil. Les escales d'un marin étrusque, Christian Pirot éditeur, 1999. Guy Darol, Joseph Delteil brille pour tout le monde, Samuel Tastet éditeur, 2006. Marie-Françoise Lemonnier-Delpy, Joseph Delteil: une œuvre épique au XXe, destinées du héros et révolution du récit, Éditions IDECO, 2006. « Les Riches heures de Joseph Delteil » Metz, imprimerie Jean Vodaine, 1977.
Triple issue of the journal Dire. Typographie au plomb par Arthur Praillet. Pur chiffon de Lana. 50 copies. Site devoted to Joseph Delteil
Giulietta Masina was an Italian film actress, best known for her performances of Gelsomina in La Strada and Cabiria in Nights of Cabiria. Both films won Academy Awards for Best Foreign Language Film and were described by their director Federico Fellini as having been "inspired" by Masina's "humanity."Italian cinema historian Peter Bondanella described Masina's work as "masterful" and "unforgettable," and Charlie Chaplin, with whose work Masina's is compared, called her "the actress who moved him most." Giulia Anna Masina, the oldest of four children, was born in San Giorgio di Piano, near Bologna. Her father was a violinist and her mother was a schoolteacher; when Masina was four, her uncle took her to meet the Italian playwright Luigi Pirandello, to win the Nobel Prize in literature. A few years when this uncle passed away, his widow, Masina's aunt, asked Masina's parents if they would allow her to come to Rome to stay with her. Masina's parents agreed, in part because they believed that in Rome Masina would have more success in the arts, for which she was demonstrating a unique talent.
Masina attended an Ursuline convent school and took lessons in voice and dance. Her first experiences acting took place during World War II as part of the theater section of Rome's Gruppi Universitari Fascisti, a state-sponsored but university-student-led arts organization, she graduated with a degree in Literature from Sapienza University of Rome. She began to work as a voice actress on radio during the war, which earned her more money and attention than stage acting, it was as a radio artist that Masina met a radio show screenwriter. They married in 1943, a few months Masina suffered a miscarriage after falling down a flight of stairs. In 1944, she became pregnant again. Masina and Fellini had no other children. Masina died from cancer on 23 March 1994 at age 73, five months after her husband's death on 31 October 1993. For her funeral, she requested that trumpeter Mauro Maur play "La Strada" by Nino Rota, a poignant leitmotif from the film, she and Fellini are buried together at Rimini cemetery in a tomb marked by a prow-shaped monument, the work of sculptor Arnaldo Pomodoro.
Working together with her husband, Masina made the transition to on-screen acting. Half of her Italian films, the most successful ones, were either directed by her husband. Masina made her film debut in an uncredited role in Rossellini's Paisà, credit for the script being given to Fellini, she received her first screen credit in Lattuada's Without Pity, another adaptation by Fellini and played opposite John Kitzmiller. In 1954, she starred with Anthony Quinn in Fellini's La Strada, playing the abused stooge of Quinn's travelling circus strongman. In 1957, she won the Best Actress Award at the Cannes Film Festival for her portrayal of the title role in Fellini's Nights of Cabiria, she played a prostitute who endures life's tragedies and disappointments with both innocence and resilience. In 1960, Masina's career was damaged by the critical and box office failure of The High Life. Subsequently, she became dedicated entirely to her personal life and marriage. Nonetheless, she again worked with Fellini in Juliet of the Spirits, which earned both the New York Film Critics award and the Golden Globe award for Best Foreign Language Film.
In 1969, Masina did her first work in English in The Madwoman of Chaillot, which starred Katharine Hepburn. After two decades, during which she worked sporadically only in television, Masina appeared in Fellini's Ginger and Fred, she rejected outside offers in order to attend to her husband's precarious health. Her last film was Jean-Louis Bertucelli's A Day to Remember. In the late 1960s, Masina hosted a popular radio show, Lettere aperte, in which she addressed correspondence from her listeners; the letters were published in a book. From the 1970s on, she appeared on television. Two performances, in Eleonora and Camilla were acclaimed. Masina is referred to favorably as Fellini's "muse,", a term, that feminist scholars have argued can eclipse consideration of women's roles as thinkers and artists in their own right. A recent critic has suggested that "perhaps the time has come for the field of Fellini studies to properly reassess creative role in the making of some of her husband's masterpieces."
Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards. Best Actress: Nights of Cabiria and Fred Best Supporting Actress: Without Pity, Variety Lights She was twice nominated for a BAFTA Film Award for Best Foreign Actress. David di Donatello: 2 David awards David di Donatello for Best Actress award, by Juliet of the Spirits Honorary award. Cannes Film Festival Best actress award, by Nights of Cabiria. San Sebastián film festival Best actress award, by Nights of Cabiria. Giulietta Masina on IMDb Giulietta Masina at AllMovie Giulietta Masina at the RAI Giulietta Masina at Find a Grave
Nanterre is a commune in the Hauts-de-Seine department, the western suburbs of Paris. It is located some 11 km north-west of the centre of Paris. Nanterre serves as both the capital of the Hauts-de-Seine department and seat of the eponymous arrondissement; the eastern part of Nanterre, bordering the communes of Courbevoie and Puteaux, contains a small part of the La Défense business district of Paris and some of the tallest buildings in the Paris region. Because the headquarters of many major corporations are located in La Défense, the court of Nanterre is well known in the media for the number of high-profile lawsuits and trials that take place in it; the city of Nanterre includes the Paris West University Nanterre La Défense, one of the largest universities in the Paris region. The name of Nanterre originated before the Roman conquest of Gaul; the Romans recorded the name as Nemetodorum. It is composed of the Celtic word nemeto meaning "shrine" or "sacred place" and the Celtic word duron "hard, enduring".
The sacred place referred to is believed to have been a famous shrine. Inhabitants of Nanterre are called Nanterriens, they are called "Nanterroises" and "Nanterrois". The sacred shrine of antiquity, referred to etymologically had been placed by tradition in Mont-Valérien. However, archeological discoveries made between 1994 and 2005 found a Gallic necropolis, dated to the third century BC, call into debate both the exact location of the pre-Roman capital of the Parisii and the initial site of Lutetia, the Roman era Paris; the large necropolis, as well as working people's homes from some time in the ancient era, is near the bank of the Seine, in the northwest of Nanterre, might be the sacred place, being referred to etymologically. Lutetia is mentioned by Julius Caesar in 50 BCE, reporting an assembly in Lutetia in 53 BC between himself, commander of the Roman Legions, local Gallic leaders. Although this had been thought to be Île de la Cité since Caesar mentions an island, the river at Nanterre follows two channels around an island.
In 52 BC, the Parisii took up arms with the Gallic war leader Vercingetorix, were defeated by Titus Labienus, one of Caesar's legates. Caesar mentions in his Commentarii that the Parisii destroyed the bridges and set fire to Lutetia before the arrival of the Roman forces; the archeological work in Nanterre has suggested over 15 hectares of pre-Roman or Roman era construction. These archeologic findings may be an indication that Nanterre was the closest pre-Roman settlement to the City's modern centre. Sainte Genevieve, patron saint of Paris, was born in Nanterre ca. 419–422. On 27 March 2002, Richard Durn, a disgruntled local activist and killed eight town councilors and 14 others were wounded in what the French press dubbed the Nanterre massacre. On 28 March, the murderer killed himself by jumping from the 4th floor of the Quai des orfèvres, in Paris, while he was questioned by two policemen about the reason for his killing in the Nanterre City Hall. Nanterre is divided into two cantons: Canton of Nanterre-1 Canton of Nanterre-2 Nanterre is served by three stations on RER line A: Nanterre – Préfecture, Nanterre – Université, Nanterre – Ville.
Nanterre – Université station is an interchange station on the Transilien Paris – Saint-Lazare suburban rail line. Société Générale has its headquarters in the Tours Société Générale in La Nanterre; the company moved into the building in 1995. Faurecia, the sixth-largest automotive parts supplier, has its headquarters in Nanterre. Groupe du Louvre and subsidiary Louvre Hôtels have their head office in Village 5 in La Défense and Nanterre. Senior high schools include: Lycée Joliot-Curie de Nanterre Lycée professionnel Louise-Michel Lycée professionnel Paul-Langevin Lycée professionnel Claude-Chappe The basketball club Nanterre 92 plays at Palais des Sports Maurice Thorez; the rugby union club Racing 92 opened the new Paris La Défense Arena in October 2017 and played their first game in the new facility in December 2017. It has a capacity of 32,000 for 40,000 for concerts; the venue opened as U Arena, but received its current name in June 2018 through a sponsorship deal with Paris La Défense, the company that manages the La Défense business district.
Nanterre is twinned with: La Défense business district. List of tallest structures in Paris Communes of the Hauts-de-Seine department INSEE Official website Université Paris 10 Nanterre Nanterre students News coverage of March 2006 University occupation Pictures of Nanterre Nanterre Cathedral gallery of pictures
Arturo Martini was a leading Italian sculptor between World War I and II. He moved between a vigorous classicism and modernism, he was associated with public sculpture in fascist Italy, but renounced his medium altogether. Martini seems to have been an active supporter of the Futurist movement between 1914 and 1918, he corresponded with Umberto Boccioni and produced a modernist booklet in 1918. His early works show an archaic tendency, two-dimensionality and polychrome effects His works returned to a more traditional style, but with "irony, agility and an eclectic capacity to combine or reinterpret sources". Between the wars, he became the semi-official sculptor of the fascist regime, he was overwhelmed by commitments: great monuments and commemorative works for courthouses and universities. Examples include the great bronze at La Sapienza University in Rome and the memorial to the aviator Tito Minniti, he sculpted the monument to the Fallen at Naples. After the fall of Mussolini, feeling that his art had been corrupted, he published an essay against sculpture in the magazine La Martini in 1945: "scultura, lingua morta".
He writes for example: "La scultura un'arte è da negri e senza pace". Despite this attack on his own métier, he created one significant work after the war, a marble sculpture in a tribute to the guerrilla leader Primo Visentin, known as "Masaccio", killed at the end of the war in Loria in unexplained circumstances. Martini is as important Italian sculptor in the period between the world wars, he worked with many materials but never moved far from figuration, although he was able to model abstract forms, as his atmosfera di una testa of 1944 testifies. He exercised great influence on Italian sculptors such as Marino Marini, Emilio Greco, Marcello Mascherini, Pericle Fazzini, his student Fiore de Henriquez. Media related to Arturo Martini at Wikimedia Commons Web galley of 20th Century figure sculpture 1200 years of Italian sculpture
Ambroise Paul Toussaint Jules Valéry was a French poet and philosopher. In addition to his poetry and fiction, his interests included aphorisms on art, letters and current events. Valéry was nominated for the Nobel Prize in Literature in 12 different years. Valéry was born to a Corsican father and Genoese-Istrian mother in Sète, a town on the Mediterranean coast of the Hérault, but he was raised in Montpellier, a larger urban center close by. After a traditional Roman Catholic education, he studied law at university and resided in Paris for most of the remainder of his life, where he was, for a while, part of the circle of Stéphane Mallarmé. In 1900, he married Jeannie Gobillard, a friend of Stéphane Mallarmé's family, a niece of the painter Berthe Morisot; the wedding was a double ceremony in which the bride's cousin, Morisot's daughter, Julie Manet, married the painter Ernest Rouart. Valéry and Gobillard had three children: Claude and François. Valéry served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to young French painters, decorators, engravers and musicians.
Though his earliest publications date from his mid-twenties, Valéry did not become a full-time writer until 1920, when the man for whom he worked as private secretary, a former chief executive of the Havas news agency, Edouard Lebey, died of Parkinson's disease. Until Valéry had earned his living at the Ministry of War before assuming the flexible post as assistant to the impaired Lebey, a job he held for some twenty years. After his election to the Académie française in 1925, Valéry became a tireless public speaker and intellectual figure in French society, touring Europe and giving lectures on cultural and social issues as well as assuming a number of official positions eagerly offered to him by an admiring French nation, he represented France on cultural matters at the League of Nations, he served on several of its committees, including the sub-committee on Arts and Letters of the Committee on Intellectual Cooperation. The English-language collection The Outlook for Intelligence contains translations of a dozen essays related to these activities.
In 1931, he founded the Collège International de Cannes, a private institution teaching French language and civilization. The Collège is still operating today, offering professional courses for native speakers as well as courses for foreign students, he gave the keynote address at the 1932 German national celebration of the 100th anniversary of the death of Johann Wolfgang Goethe. This was a fitting choice. In addition to his activities as a member of the Académie française, he was a member of the Academy of Sciences of Lisbon, of the Front national des Ecrivains. In 1937, he was appointed chief executive of what became the University of Nice, he was the inaugural holder of the Chair of Poetics at the Collège de France. During World War II, the Vichy regime stripped him of some of these jobs and distinctions because of his quiet refusal to collaborate with Vichy and the German occupation, but Valéry continued, throughout these troubled years, to publish and to be active in French cultural life as a member of the Académie française.
Valéry died in Paris in 1945. He is buried in the cemetery of his native town, Sète, the same cemetery celebrated in his famous poem Le Cimetière marin. Valéry is best known as a poet, he is sometimes considered to be the last of the French symbolists. However, he published fewer than a hundred poems, none of them drew much attention. On the night of 4 October 1892, during a heavy storm, Paul Valéry underwent an existential crisis, an event that made a huge impact on his writing career. Around 1898, he quit writing altogether, publishing not a word for nearly twenty years; this hiatus was in part due to the death of his mentor, Stéphane Mallarmé. When, in 1917, he broke his'great silence' with the publication of La Jeune Parque; this obscure, but sublimely musical, masterpiece, of 512 alexandrine lines in rhyming couplets, had taken him four years to complete, it secured his fame. With "Le Cimetière marin" and "L'Ébauche d'un serpent," it is considered one of the greatest French poems of the twentieth century.
The title was chosen late in the poem's gestation. The poem is written in the first person, is the soliloquy of a young woman contemplating life and death and withdrawal, love and estrangement, in a setting dominated by the sea, the sky, rocky cliffs, the rising sun. However, it is possible to read the poem as an allegory on the way fate moves human affairs or as an attempt to comprehend the horrific violence in Europe at the time of the poem's composition; the poem is not about World War I, but it does try to address the relationships between destruction and beauty, and, in this sense, it resonates with ancient Greek meditations on these matters in the plays of Sophocles and Aeschylus. There are, evident links with le Cimetière marin, a seaside meditation on comparably large themes. Before la Jeune Parque, Valéry's only publications of note were dialogues, some poems, a study of Leonardo da Vinci. In 1920 and 1922, he published two slim collections of verses; the first
Jacques Doniol-Valcroze was a French actor, critic and director. In 1951, Doniol-Valcroze was a co-founder of the renowned film magazine Cahiers du cinéma, along with André Bazin and Joseph-Marie Lo Duca; the magazine was edited by Doniol-Valcroze between 1951-1957. As critic, he championed numerous filmmakers including Orson Welles, Howard Hawks, Nicholas Ray. In 1955, he was a member of the jury at the 16th Venice International Film Festival, in 1964 a member of the jury at the 14th Berlin International Film Festival. In his thirties he played a pivotal role in the French New Wave, discussing the beginnings of "the new cinema" as the co-founder of Cahiers du cinéma and defended Alain Robbe-Grillet. In 1963 he appeared in L'Immortelle, an international co-produced drama art film directed by Alain Robbe-Grillet, his own works in this area include directing the film L'eau a la bouche and acting in some New Wave films, including Chantal Akerman's cult classic Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles.
Additionally he was friends with François Truffaut who shot his first film Une Visite in his apartment. He was married to Françoise Brion; the Director’s Fortnight, founded in 1968 during the nationwide strikes which closed down the Cannes Film Festival that year, was the brainchild of Jacques Doniol-Valcroze. The event was sponsored by his fledgling Société des Réalisateurs de Films with the intention of "...opening up the Cannes Festival to little-known filmmakers and national cinemas, without concern for budgets or shooting formats."He died of a ruptured aneurysm in 1989
Walter Elias Disney was an American entrepreneur, voice actor and film producer. A pioneer of the American animation industry, he introduced several developments in the production of cartoons; as a film producer, Disney holds the record for most Academy Awards earned by an individual, having won 22 Oscars from 59 nominations. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors. Several of his films are included in the National Film Registry by the Library of Congress. Born in Chicago in 1901, Disney developed an early interest in drawing, he took art classes as a boy and got a job as a commercial illustrator at the age of 18. He moved to California in the early 1920s and set up the Disney Brothers Studio with his brother Roy. With Ub Iwerks, Walt developed the character Mickey Mouse in 1928, his first popular success; as the studio grew, Disney became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons and technical developments in cameras.
The results, seen in features such as Snow White and the Seven Dwarfs, Fantasia and Bambi, furthered the development of animated film. New animated and live-action films followed after World War II, including the critically successful Cinderella and Mary Poppins, the latter of which received five Academy Awards. In the 1950s, Disney expanded into the amusement park industry, in 1955 he opened Disneyland. To fund the project he diversified into television programs, such as Walt Disney's Disneyland and The Mickey Mouse Club. In 1965, he began development of another theme park, Disney World, the heart of, to be a new type of city, the "Experimental Prototype Community of Tomorrow". Disney was a heavy smoker throughout his life, died of lung cancer in December 1966 before either the park or the EPCOT project were completed. Disney was a shy, self-deprecating and insecure man in private but adopted a warm and outgoing public persona, he had high expectations of those with whom he worked. Although there have been accusations that he was racist or anti-Semitic, they have been contradicted by many who knew him.
His reputation changed in the years after his death, from a purveyor of homely patriotic values to a representative of American imperialism. He remains an important figure in the history of animation and in the cultural history of the United States, where he is considered a national cultural icon, his film work continues to be adapted. Walt Disney was born on December 5, 1901, in Chicago's Hermosa neighborhood, he was the fourth son of Elias Disney—born in the Province of Canada, to Irish parents—and Flora, an American of German and English descent. Aside from Disney and Flora's sons were Herbert and Roy. In 1906, when Disney was four, the family moved to a farm in Marceline, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor. Elias was a subscriber to the Appeal to Reason newspaper, Disney practiced drawing by copying the front-page cartoons of Ryan Walker. Disney began to develop an ability to work with watercolors and crayons.
He lived near the Atchison and Santa Fe Railway line and became enamored with trains. He and his younger sister Ruth started school at the same time at the Park School in Marceline in late 1909. In 1911, the Disneys moved to Missouri. There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced Disney to the world of vaudeville and motion pictures. Before long, he was spending more time at the Pfeiffers' house than at home. Elias had purchased a newspaper delivery route for Kansas City Times. Disney and his brother Roy woke up at 4:30 every morning to deliver the Times before school and repeated the round for the evening Star after school; the schedule was exhausting, Disney received poor grades after falling asleep in class, but he continued his paper route for more than six years. He attended Saturday courses at the Kansas City Art Institute and took a correspondence course in cartooning. In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, moved back to the city with his family.
Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I. In mid-1918, Disney attempted to join the United States Army to fight against the Germans, but he was rejected for being too young. After forging the date of birth on his birth certificate, he joined the Red Cross in September 1918 as an ambulance driver, he was arrived in November, after the armistice. He drew cartoons on the side of his ambulance for decoration and had some of his work published in the army newspaper Stars and Stripes. Disney returned to Kansas City in October 1919, where he worked as an apprentice artist at the Pesmen-Rubin Commercial Art Studio. There, he drew commercial illustrations for advertising, theater programs and ca