ellauri038.html on line 486: Onnexi on Rodinoje kino, jossa näytetään mm. Vasili Shukshinin kodikkaita pätkiä.
ellauri055.html on line 1130: En 1895, il rencontre la cantatrice Georgette Leblanc, sœur de Maurice Leblanc, avec laquelle il tient, vers 1897, un salon parisien fort couru dans la villa Dupont : on y croise, entre autres, Oscar Wilde, Paul Fort, Stéphane Mallarmé, Camille Saint-Saëns, Anatole France, Auguste Rodin.
ellauri098.html on line 568: Christina Aguilera, Pamela Anderson, Marie Antoinette, Fred Astaire, David Beckham, Yogi Berra, Bjork, David Bowie, prinsessa Diana, Bob Dylan (taas), Lady Gaga, Paris Hilton, Michael Jackson, Mick Jagger, Erwin "Magic" Johnson, Jimi Hendrix, Audrey Hepburn, Paul McCartney (taas), Marilyn Monroe, Jim Morrison (taas), W.A. Mozart, keisari Nero, Brad Pitt, Prince, Leni Riefenstahl, Rihanna, Keith Richards (taas), Auguste Rodin, Britney Spears, Elizabeth Taylor, Justin Timberlake (taas), Thich Nhat Hanh (vietn. pasifisti), John Travolta, Pharrell Williams
ellauri246.html on line 533: Kaikista mitä Brodsky omistaa, ei puutu vain lahjakkuutta, vaan kyky luoda ihanaa. Ja ulkomailla, jonkun muun paikan edessä, hänen edessään sama arkki. "Tämä valkoinen, tyhjä paperiarkki on täynnä rivejä. Tyhjyys voitetaan luovuudella. " Tässä on kaava, joka Brodsky tarjoaa taistelun tyhjästä. Aitoaan testataan ei-olemassaolo, turha kiirehtiä ikuisuudessa. Luovuus oli ainoa lanka, joka yhdistää Brodskin todellisuuteen, ja se on luovuutta, kuten me tiedämme runolla "Uusi elämä" (1988, Nobelin palkinnon toimituksen jälkeen) innostuksella kaiken pahan maan kasvoilta. Brodskin tuomioistuin itse on paljon tiukempi. Ehkä kirjoittaja itse on pettynyt niihin teksteihin, joista pidämme. On väistämätön ajatus henkilö, jolla on tehostetut vaatimukset. Dostoevskyn omistuksessa olevassa artikkelissa Brodsky toteaa, että kesken luovuutta alkaa haluta itseparannusta, mieluiten pyhyyttä. Mutta tietyssä vaiheessa sanataiteilija huomaa, että hänen sulka on saavuttanut enemmän menestystä kuin hänen sielunsa. Ja sitten hän asettaa tehtävän vähentää luovuuden ja persoonallisuuden välistä kuilua. Näin ollen moraalisen itseparannusongelma tulee esiin. "Mitä sinä työskentelet nyt?" - "Työskentelen itseäni". Oletko työskennellyt hyvin? kysyi Rodin kavereilta. Kuis käsi käyb, kysyi Jaakko Hintikka apupojilta.
ellauri254.html on line 180: Ajatus Venäjän suuresta tehtävästä jatkui myöhemmin Blokin vallankumouslyriikassa, jossa Blok yhdisti sosialismiin kristillistä mystiikkaa ja saksalaisen idealistisen filosofian käsityksiä taiteen kumouksellisuudesta. Blok keskittyi poliittisiin teemoihin teoksissaan Voznezdije (1910–21), Rodina (1907–16) ja Skify (1918).
ellauri264.html on line 477: Henley edited the Scots Observer (which later became the National Observer), through which he befriended writer Rudyard Kipling, and the Magazine of Art, in which he lauded the work of emerging artists James McNeill Whistler and Auguste Rodin. Henley was a close friend of Robert Louis Stevenson, who reportedly based his Long John Silver character in Treasure Island in part on Henley.
ellauri277.html on line 167: Kahlil Gibran esiteltiin uudelleen William Blaken runouteen ja taiteeseen Pariisissa, todennäköisesti Auguste Rodinin studiossa ja Rodinin itsensä ollessa melan varressa. Gibran vahvisti siellä pyrkimyksensä olla symbolistimaalari.
ellauri315.html on line 499: P.S. Mikhail Shulman (tai sen kaima :) tuotti 2015 venäläisen Homeland Security-remaken Rodina. Shulman is an Ashkenazi Jewish surname that literally means "shul-man".
ellauri315.html on line 501: Rodina (venäjäksi: Родина; Homeland) on Pavel Lunginin ja Timur "Lenk" Weinsteinin kehittämä venäläinen poliittinen trilleri-televisiosarja, joka perustuu israelilaiseen Hatufim-sarjaan, jonka on luonut Gideon Riffraff. Rodina on toinen Hatufim-sovitus Howard Gordonin ja Alex Gansan amerikkalaisen version Homeland jälkeen.
xxx/ellauri130.html on line 778: En septembre 1913, la sculptrice Camille Claudel, sœur de Paul (et ancienne maîtresse d'Auguste Rodin) , est internée en asile d'aliénés à Mondevergues (Montfavet - Vaucluse) à la demande de la famille et à l'instigation de son frère Paul, qui décide d'agir immédiatement après la mort de leur père. En trente ans d'hospitalisation, Paul Claudel ne va voir sa sœur qu'à douze reprises. Lors de la rétrospective qui lui fut consacrée en 1934, des témoins ont rapporté que Paul Claudel s'emporte : il ne veut pas qu'on sache qu´il a une sœur folle.
xxx/ellauri154.html on line 260: –sanoi Auguste Rodin ohimennen trotuaarin kantilta –
xxx/ellauri154.html on line 294: Mies hymyili kuullessaan mitä ruukulla oli sanottavana. Mies kertoi, ettei koskaan ajattelut heittävänsä ruukkua pois, sillä ruukku oli hänelle todella hyödyllinen. ”Hyödyllinen?”, kysyi ruukku. Kuinka se voi muka olla hyödyllinen, jos mies menettää rahaa joka päivä sen vuoksi? Mitä muuta hyötyä muka on paizi raha? (Ruukku ruukku oisit kuunnellut mitä Rodin juuri huikkasi!)
xxx/ellauri187.html on line 34: Rilke Rodinin pyllynnuolijana
xxx/ellauri187.html on line 49: Rodin nakupellenä
xxx/ellauri187.html on line 51: Bei diesem Werk handelt es um eines der bekanntesten Dinggedichte und ist als Hommage an den Bildhauer Auguste Rodin zu sehen. Rilke arbeitete in den Jahren 1905/06 als Privatsekretär bei diesem bekannten Bildhauer.
xxx/ellauri187.html on line 77: At the Petite École, Rodin “finished lessons so quickly that the teachers eventually ran out of assignments. He did not care to socialize with his classmates; he wanted only to work.” Rodin’s talent was noted by his legion of admiring artists, writers, and lovers. His rise was a matter of time, even if he was ignored by academic art institutions early in life.
xxx/ellauri187.html on line 79: Rilke’s path was more circuitous. Born to a liberal family in Prague when Rodin was 35, the young Rilke was dressed as a girl by his mother and called “Sophie.” (His given name was actually René.) When he came of age, his parents sent him to a military academy in hopes that he might achieve the officer’s rank that eluded his father, but the students there saw him as “fragile, precocious and a moral scold”—qualities that linger with him throughout the book, until he emerges from Rodin’s shadow as a major writer.
xxx/ellauri187.html on line 83: Corbett’s chapters alternate between poet and sculptor until the pair converge, when the ambitious yet unremarkable Rilke, again in search of a master, travels to Paris to write his monograph on Rodin. Even at this early stage, he was one of many Rodin’s true believers.
xxx/ellauri187.html on line 90: Few of these bullshit artists and temporary thinkers were as staunchly individualist as Rodin and Rilke. Their kinship, for better and worse, relied on a shared belief about the vocation of the artist—that it was supreme: no relationship, duty, or family obligation should get in the way of his work.
xxx/ellauri187.html on line 92: It seems at times that Rodin and Rilke struggled with the practice of empathy, as if—like their own art—it was a genuinely new and difficult thing to comprehend.
xxx/ellauri187.html on line 107: Rilke spent his life wandering. From an art colony in Germany he migrated to a position as Rodin's secretary in Paris; the sculptor eventually claimed that the poet was answering letters without his permission and summarily dismissed him, as much to Rilke's relief as to his chagrin. From Berlin he made two pilgrimages to Russia to meet Tolstoy, on one trip going nearly unacknowledged because of a titanic quarrel between the count and the countess. He traveled from Italy to Vienna to Spain to Tunisia to Cairo. His restless peregrinations had their origins in his epoch, and in a temperament forced painfully to choose perfection of the life or of the work. Rilke's academic sponsor and friend was Georg Simmel, the celebrated German sociologist and philosopher of modernity. In "The Adventurer," one of his most famous essays, Simmel argued that only the experience of art or adventure could invest time with the significance once lent it by religious ritual. The work of both art and adventure had a beginning and an end; they were each an "island in life" that briefly imparted a transcendent wholeness to experience. And of all possible modern adventures, Simmel concluded, the one that most completely combined the profoundest elements of life with a momentary apprehension of what lay beyond life was the love affair.
xxx/ellauri187.html on line 193: Who knew that Rodin in his 60s met, inspired, and shaped Rilke in his 20s? Nowadays, it would be temping to call Rodin a groomer. The poet and the sculptor actually lived and worked together, spent hours criminally conversing, and forged a special bond.
xxx/ellauri187.html on line 197: But why did aging Rodin in his 60s capture Rilke’s imagination at the turn of the last century? It’s hard to see at first. What made Rodin radical then is no longer radical today. In his “Self-Portrait” (1890), Rodin grimaces amidst rough marks. The picture emblematizes how Rodin heralded raw and unpolished sculptures that were strikingly modern. It was a breath of fresh air since most of early-19th-century sculpture was smooth, neoclassical, and to be harshly honest, predictably dainty. Charles Baudelaire lamented this nadir in 1846 when he wrote his provocative essay “Why Sculpture is Boring.” Rodin went on to prove Baudelaire wrong. He showed how sculpture could be modern with distorted, coarse, rough textures. Rodin knocked the idealized body off its pedestal. And the modern sculptors that came after him saw no reason to put it back.
xxx/ellauri187.html on line 199: The pair first met outside Paris on Rodin’s country estate in September of 1902. Rilke, 26, took on a project as an art critic to write a German monograph on Auguste Rodin, at the time 61. Neither probably expected they would hit it off as much as they did. But long talks about art, and how to cultivate a work ethic bonded them together. Ten days into his initial stay on Rodin’s estate, Rilke wrote Rodin an affectionate letter confessing their dialogue’s intense effect. Rodin offered the young poet an open invitation to observe his studio for the next four months. During that time, Rilke not only gleaned insights for his monograph, but discovered how to be a better poet.
xxx/ellauri187.html on line 201: Three years later in September of 1905, Rilke took a job as Rodin’s assistant and lived with him full-time on his country estate. For the first time, Rodin’s correspondence was prompt and his files organized. Rilke relished more long talks with Rodin and the book is filled with examples of how Rodin stimulated the poet during this period of employment and intense "dialogue."
xxx/ellauri187.html on line 203: One of the more amusing examples is how Rodin said good night to Rilke. Rather than “bonne nuit,” Rodin would say, “bon courage,” roughly translated to “show courage” or “have good courage,” Or "chins up", but this idiomatic expression is hard to translate. While an unusual way to say good night, Rodin was trying to telegraph to Rilke that he would need to be courageous as he prepared for the night's inevitable challenges.
xxx/ellauri187.html on line 205: Predictably, the honeymoon didn’t last forever. A row over a letter Rilke wrote to one of Rodin’s contacts without permission in April 1906 aroused Rodin’s suspicion, so he fired Rilke. But an indelible impression was nevertheless left on the poet.
xxx/ellauri187.html on line 207: After a period of silence following the 1906 firing, Rilke and Rodin rekindled in August of 1908. Rilke was now living with Isadora Duncan and other artists in an abandoned convent in Paris, which Henri Matisse had converted into a school and commune. Rodin met Rilke there, spent hours catching up, buried the hatchet, and decided to move in the following month. After the sculptor’s death, the building became Paris’s Rodin Museum.
xxx/ellauri187.html on line 217: Rodin had a penchant for antiquities. A picture from the archives of Paris’s Rodin Museum shows Rilke, Rodin, Rodin’s wife, and dogs with some headless torsos behind them.
xxx/ellauri187.html on line 219: We will never know whether Rilke had Rodin in mind when he wrote. But it’s undeniable a lot went well when he met Rodin. And while an artist taking on a protégé is not unique, that Rodin and Rilke bonded despite differing languages, ages, and artistic disciplines is noteworthy. As Rilke wrote to Kappus, “in the deepest and most important places, we are unspeakably alone; and many things must happen, many things must go right, a whole dark constellation of events must be fulfilled, for one human being to successfully enter another. ”
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