Foto: ©Wolfregen

Frühsommertage

Juni, Holunder- und Rosenmond,
Unter den Bäumen ein Zauber wohnt,
Freunde, geht es euch ebenso?
Ich bin beides: traurig und froh.

Niemals im Jahr sonst, nichts eilt hinfort,
Fühl ich vergänglicher Zeit und Ort,
Sommerfenster zur Ewigkeit,
Alles grünt und atmet befreit.

Blühende Gärten im hellen Licht,
Liegend im Schatten die Stille spricht,
Tagtraum schimmert so süß und bleich,
Blauen Himmel spiegelt der Teich.

Sonne, was treibt dich nach Norden nun?!
Pan lässt am Mittag mein Herz nicht ruhn,
Stört ihn goldenes Flötenspiel?
Nie ist Sehnsucht näher am Ziel…

©Wolfregen

P. 1 of the Spanish version held at BNP (click to see enlarged)

The 7^th June marks the 525th anniversary of the signing of the Treaty of Tordesillas. The treaty was named for the Castilian town near Valladolid where it was signed by the Catholic Kings (Isabella I of Castile and Ferdinand II of Aragon) and John II, King of Portugal. The signing of this treaty divided those parts of the world newly “discovered” by Spain and Portugal between the empires of the two kingdoms along an imaginary meridian 370 leagues west of the Cape Verde islands. The lands to the east of this line corresponded to Portugal and those to the west to Spain.

The Treaty of Tordesillas had a precedent, the Treaty of Alcáçovas (1479), that followed the War of Castillan Succession, and already marked the division of the Atlantic into two spheres of influence, one…

Le film «À bout de souffle» illustre parfaitement ce communication difficile, où l’homme demande à une femme si elle l’aime et elle répond pas maintenant. Comme une opposition au «Mépris» où c’est la femme qui demande à l’homme si il l’aime.

«Souris-moi, tu es lâche dommage» 

Godard illustre dans beaucoup de ces films les soucis de la communication, dans «Pierrot le fou» ce manque de compatibilité étouffe le héros qui meurt tragiquement. Ces personnages du quotidien tentent de vivre ensemble, mais jamais rien ne fonctionne. Le film «A bout de souffle» illustre le temps qui passe et l’incompréhension du désir de l’autre. Fonctionnant sur une iconographie et une époque, Jean Luc Godard filme le réel et livre une vérité où chacun par son intention va donner du sens. Les corps des acteurs et actrices deviennent des écrans où se projettent les pulsions et inquiétudes des spectateurs.

“No one leaves home unless/home is the mouth of a shark.” (From Home by Warsan Shire)

The world’s a pretty depressing place at the moment. War and poverty has led to waves of migration – people fleeing to the more prosperous parts of the world, seeking safety, a better life, or both. Sadly, the response of many people has been xenophobia, fear and a lack of compassion. A mood whipped up by the right wing press and populist politicians.

We’ve been here before, many times. Over the centuries migrants who have settled here and contributed to our culture and prosperity, but who were initially greeted with the same reaction. The 1930’s are an example when Jews and other “undesirables” had to flee Nazi repression and death camps. The reaction then, from the usual suspects, was the same as we see today.

Despite the hysteria of the likes of the Mail…