Carme Jimenez Huertas LATINA EST DELENDA

bienvenue à la méthode scientifique
eco-logie und ego-latrie?

• “The way to love LATIN is to realize that it may be lost.” 

quote attributed to G K Chesterton 

• No sóc  expert en filología, però en 50 anys veurem nous descobriments  sobre  origen i diversitat de llengües. M'agrada la pàgina d'un poc especialista:   etymonline

•  Ignoramus no podria dir que el català i el romanès son molt propers. Al meu entendre no tant. Lingüística històrica i alternative facts poden coexistir com hem vist sovintment.

Carme Jimenez Huertas is a philologist specializing in linguistics and language technologies.

Her passion for language led her to investigate cognitive processes and behavioral patterns in modern and ancient languages. 

 LINK 

Foreword by Cristina Brescan     

http://carmejhuertas.blogspot.com/

451_ She is not alone...

• "Le français ne vient pas du latin, essai sur une aberration linguistique"

                       (Yves Cortez, édition L'Harmattan -2002)   -lien

• Danielle Corbin lo defendieron desde el francés. Galicia Irredenta, desde el gallego. Jaume Clavé, desde el catalán. Ribero-Meneses, desde el castellano. Lo mismo está sucediendo desde el rumano con Lucian Iosif Cueşdean y Mihai Venereanu

273_for one critique to Carme J. Huertas:  Ander Ros .... ...  web




1 - NUEVA EDICIÓN en INGLÉS del libro:

 No venimos del latín

• For many years, we have been taught that Romance languages come from Latin. Historical grammar has described this process on the basis of a complicated theoretical framework of successive changes that caused a deep transformation of the parent tongue, which degenerated into the so-called Vulgar Latin. However, as shown in recent research, on a morphosyntactic structure level, linguistic change is a very slow process. Some of the internal changes of a language do not occur over centuries but rather could be traced back over millenia.

• Why does historical grammar attribute to external influences the evolutionary process from Classical to Vulgar Latin and disregard the fact that it could be caused by the substrate language or languages? Some features of those languages would have survived the Romanization and point to an older common ancestor, an agglutinative and compositional language shared by the various Mediterranean peoples and from which the so-called Romance languages would stem.

• This work presents some new research hypotheses, which show that Romance languages share a high percentage of phonetic, lexical, morphosyntactic and semantic characteristics, showing a close kinship to a linguistic typology that relates them to each other but distances them from Latin.

2-   ESTUDIO   - LINK

BANCO .....    del germánico «bank» y significa asiento
BANCAL ...    del árabe «manqála» y significa soporte 
BANDEJA...   del portugués y significa recipiente plano para servir
BANDA ...     del germánico «band» y significa cinta, faja o tira de material flexible
BANDO ...     del gótico «bandwo» que significa bandera y también reunión de gente o
                      «conjunto de personas en lucha con otras o con ideas opuestas respecto a ellas»

Todas estas palabras tienen en su base una idea o concepto de grupo, de unión. Así, por analogía con una banda (agrupación de hilos que conforman una cinta flexible) se crea tanto el concepto de un bando de personas como el de una banda musical, y la tela que les representa es su bandera, y un conjunto de tablones unidos en el que, a diferencia de una silla, pueden sentarse varias personas, es un banco. Si nos fijamos entonces en la palabra abandonar y remitiéndonos a su sentido originario, significaría haber sido dejado fuera de su bando. Esta nueva aproximación a la etimología pasa por identificar estos constructos de modo que puedan ayudarnos a detectar los procesos mentales que se reflejan a través de la evolución del lenguaje. ¿Tenemos alguna prueba de la existencia de esta lengua antigua, de carácter aglutinante, que unía unidades léxicas (monosilábicas) que correspondían a conceptos y a ideas?

3 -   ROMANIAN  CONNEXIONS___

Cristina Brescan

Melbourne, Australia  - 3 December 2017  - LINK

• Why would I listen to something that goes against everything reputable that has been written on the subject for decades – no, for centuries? How dare you go against what the most reputable researchers of the Romance languages are saying – not only in Romania but also in Italy, Spain and France? 

• the work in this book does more than bring to us, for analysis, a body of evidence in support of an unsettling hypothesis. It questions some of the most fundamental premises in mainstream linguistic methodology, and in historical linguistics in particular.

ADDENDA -1 :

Xavier B. C. (historian) some views on linguistics and Carme's work - here

ADDENDA -2 :
from a comment in  Carme's blog:

Something that you might find fascinating is when the Huns and Tatars invaded the land of Hungary today (Huns and Tatars are from northern China), well they also forced their language upon those Geto-Dacians living on the land of Hungary, but still over 2,000 words of the Hungarian language today actually originate from Romanian. If you look into the Dacian language on the Sinaia Lead Plates, you will see that the Romanian old language used “latin”, Cyrillic and Greek letters. But if you look even further than that by looking into the Danube script, Turdas-Vinca symbols, Cucuteni-Trypillian symbols as well as art you can see the similarities in the Iberian symbols/letters.

Mitsuko’s story many issues -"Bog Rhubarb Shoots.

Woman and Progress ... 

a history of unhappiness

Mitsuko’s story is heart wrenching and especially interesting because it captures so many issues of her day… the soul crushing poverty of Japanese farmers, the plight of women, the Japanese work ethic. 

"No one came to see her in prison. She sat there huddled against the cold and the wind and comforted herself with songs about rhubarb shoots pushing through the snow—the same shoots she once picked for her own mother when she was a little child and her mother in her illness got comfort from them. 

Her son Mii wrote her only once: a family that brutalizes its women does not make men of virtue and grat­itude. "  (Landes, 1998)

A short story written by Yamashiro Tomoe around 1950.

The story is quite heartbreaking and it was of special relevance to me because it echoed some of the stories I had heard from my grandmother about India in the early 1900’s. Apparently Yamashiro was involved in social reform movements in Japan in the 1940’s and spent some jail time for her efforts.

All these stories appeared

in Mikiso's Hane (1988)

 Reflections on the Way to the Gallows: 

Rebel Women in Prewar Japan

Hane's final woman is a college-educated factory worker, Yamashiro. Tomoe, active with her husband in the communist movement. Her account, for the first time, we can hear the startling, moving voices of adventurous and rebellious Japanese women as they eloquently challenged the social repression of prewar Japan. The extraordinary women whose memoirs, recollections, and essays are presented here constitute a strong current in the history of modern Japanese life from the 1880s to the outbreak of the Pacific War. 

The book is probably one of the most cited works on early-20th century Japanese feminism available in the English language. And with good reason! For reader's comments, here.

While in jail, Yamashiro. Tomoe met a woman whose circumstances caught her attention and so she made this woman, Mitsuko, the subject of her story.... Bog rhubarb shoots.

So here is a synopsis of

Bog rhubarb shoots: 

Mitsuko was orphaned at the age of seven when her poor peasant mother died. Her relatives got together and sent her to work as a nursemaid for a wealthy family. This family treated her well and when her term of service was over they married her into a suitable family.  

The Japanese had a joint family system so this meant Mitsuko shared a small home with 9 other inhabitants. After 3 yrs of marriage she has a son, works from dawn to dusk in the family business and does not have a say in any of the family affairs. Her husband decides to leave the village to serve in the Korean war, ostensibly to make more money for the family. 

However, he did always say that he did not want to spend his whole life being a dirt farmer. So he gets to pursue his dreams while she must live out this prescribed life. Well, the man is gone and she is left to fend for herself in this family who, having discovered her talents at the weaving loom, work her to the bone. She is not allowed to spend time with her son or attend his school dramas.  

Basically the family just uses her talents to make money to pay for the improvements on the family home without giving her either monetary or verbal credit for her labor. The husband finally decides to come back 20 yrs later and installs a concubine in the house relegating poor Miksuto to the status of a servant.  

He beats and abuses her and she, thrown to the edge of crazy, sets fire to the newly renovated house! And after setting fire to the house she tries to drown herself in the family well…unsuccessfully. The village elders give her a prison sentence of 8 yrs and in prison is where she meets the author of this story.

Red band society

THE RED BAND SOCIETY seasons 1&2 https://en.wikipedia.org/wiki/Red_Band_Society There are some people in this world who face life head on, who know the true meaning of friendship, who take life’s knocks and get back up again and whose lives are powered by love. They are The Red Band Society. The Red Band Society laugh, cry, struggle and fail like all of us, but they do so with a special kind of intensity, which is why they live their lives twice as much as the rest of us. STEVEN SPIELBERG & MARTA KAUFFMAN TO BRING “THE RED BAND SOCIETY” TO AMERICAN AUDIENCES Synopsis Season 1 (13x45') Season 2 (15x45') “The Red Band Society” is a story of friendship, overcoming obstacles and the will to live. The show puts the role of the doctors to one side and gives the leadership to the patients, kids aged between 8 and 17 who, despite their illness, have the same worries as any child their age and the same desire to laugh, fall in love and to discover new things. The ever present tenderness and sense of humour add a vitalistic tone to the series. At Season 1, TRBS shows what life is like for six kids in hospital, how they settle in and how their stay at the centre will also change the lives of those around them, their families, the doctors and their friends. At Season 2, two years have gone by. Most of the kids from Season1 have left the hospital, but some are still in and out of it. The RedBands share very powerful memories, some of them are painful ones and not everyone wants to remember. Friendship will be tested and new characters will arrive. Life goes on. The series has been shot in a vitalistic tone that far from being sad, gives the viewer a sense of happiness, will to live and strength to overcome the problems that its characters possess. The Red Band Society is a series for all audiences. The first Season is  completed (13x45min) the; second season (15x45') is now in-production and scheduled to be completed in the first quarter of 2013. The leader. He turns 15 during the first season and has been at the hospital for two years. He has cancer and has had leg amputated. He shares a room with  another  boy with severed leg.  The second leader (who would be the leader if the leader weren't there). He arrives at the hospital in the first episode. He is 14 years old. He has cancer and has to have a leg amputated. He's in love with the girl.  The girl. She lives on a different floor. She suffers from anorexia. During the first season, she debates whether she is in love with one or the other.  The handsome one. He is admitted to the hospital after fainting on the playground. At first, he doesn't want to make friends, but as it becomes clear that he will be hospitalized for some time he joins the society.  The clever one. He is the oldest of the society, but he seems like a young child. He has Asperger's syndrome, which makes him seem a bit odd. He arrives at the hospital because of a motorcycle accident.  The indispensable one. The kid of the group. He is in a coma after jumping off a diving board. His mother visits him frequently and speaks to him. He has a special relationship with Toni because he can communicate with him despite being in a coma. He serves as the show's narrator. The red Band society __ final chapter (english subt)

Francis - a full life with illnesses

Francis of Assisi  (1181-1226)

- a full life with illnesses

 a  feeble body with bodily wounds, scars, laceration and soul pain, anguish and hearbreak.

PART 1.  Francis’s life was encumbered by dark shadow. His psychological trauma began with his military service in Assisi’s war against its more powerful neighbor, Perugia in 1202. He saw men he knew since childhood torn limb from limb in a devastating battle, and was taken prisoner for a year, thrown in a dark, damp hole in the ground. 

This left Francis a broken man, traumatized. He was a physical and emotional wreck, too ill and depressed to go out of the house. There he contracted malaria which racked him with violent pains and would return periodically for the rest of his life.

PART 2. Upon Francis’s arrival home, he fell ill with, most likely, tuberculosis and spent another year in bed. Francis was filled with anguish and sorrow for several years before he could finally find tranquility. Such prolonged spiritual anguish would hint, at least in the medieval era, at the acedia (Spiritual or mental sloth, apathy, negligence).
One complication of his malaria occasionally seen around Francis' time was a purple hemorrhage of blood into the skin.

PART 3. In his journey to the middle-east (1220) he developed an eye condition. A degenerative and extremely painful eye disease, trachoma, which was eventually to make him virtually blind.

PART 4. Francis’ Stigmata (Christ’s wounds) in 1224 is the first recorded stigmatic in Christian, two years before his death. 

The marks were round on the palm of each hand but elongated on the other side, and small pieces of flesh jutting out from the rest took on the appearance of the nail-ends, bent and driven back. 

In the same way the marks of nails were impressed on his feet and projected beyond the rest of the flesh. 

Moreover, his right side had a large wound as if it had been pierced with a spear, and it often bled so that his tunic and trousers were soaked with his sacred blood.

Levantine Legends and Histories of Bread

PREDRAG MATVEJEVIC´  (1932-2017)

Among his works: "Breviario Mediterraneo" (1987)

Levantine Legends and Histories of Bread 

Translated from Croatian by Russell Scott Valentino

From Our Daily Bread (Kruh naš), 

Zagreb: Ambrozija, 2009

          link

It was born in ashes, on stone. Bread is older than writing. Its first names are etched in clay tablets, in dead languages. Part of its past has been left in ruins. Its history is shared among countries and peoples. The story of bread draws upon both the past and the story of the past. It accompanies both without becoming one with either. Brick was perhaps the model for the first baker of the first loaf. Earth and dough found themselves together on the fire, on the far side of memory, before legend. The link between bread and body was realized from the start. 

Where and how the first ear of wheat sprouted may remain forever a mystery. Its presence attracted the gaze, awakened curiosity. The classification of grains—their ordering in an ear—offered a model of harmony, measure, perhaps even equality. The kinds and qualities of wheat pointed toward differentiation, virtue, and, likely, hierarchy. 

Grain was harvested on various continents. It succeeded on the plains of the “fertile crescent” in ancient times. Along the Euphrates the so-called Star Anunit shone bright, along the Tigris the Star of the Swallow—whose sheen, it was believed, contributed to the fertility of Mesopotamia. Wheat grew at the Horn of Africa between the Great and Turkish Seas, within reach of Axum, Asmara, Addis Ababa. In the highlands of Ethiopia and Eritrea the desert fades, the climate grows milder, the soil more moist. Nearby the Blue Nile takes form, descending into the rift it shares with that other, “white” source of the miraculous river. There is much sunlight here. “Bread is the fruit of the earth blessed by light,” read the words of the poet. From the Near East cereals were first brought probably to Egypt. But they took other routes as well. 

Fossilized seeds have been found in the western portions of the African desert, on hearths more than eight thousand 
years old—here too someone once sowed and reaped. The desert tribes approached the Nile, keeping close to its banks. They rose from the Sahara, which once resembled a savanna. It was laced with streams, where the nomads, along with the camels and gazelles, would quench their thirst. The Bedouins would stop at its oases before continuing on their way. They too are older than history. 

The heritage of bread is linked to the transformation of the nomad into the stationary person, the hunter into the shepherd, and each of these into the farmer. Some moved from one pasture to another, one hunting ground to another; others cleared and plowed the meadows. Cain clashed with Abel. Nomadism sought adventure; stationary life required patience. In the graffiti discovered in caves where nomads once took refuge, lines of long dashes predominate, leading from one unknown place to another. 

Farmers’ lines are more inclined to encircle, to bound space, where shelter and centering are discernible. Sowing and reaping divided time into segments, the year into months, weeks, days. Roads brought what was distant nearer. Huts were erected in the valleys, pile dwellings along the rivers. Furrows transformed the look of the fields, which were covered in grain. The landscape changed from one generation to the next. 

The Epic of Gilgamesh remarks on the bread consumed by the hero Enkidu, who was skilled in the hunt and accustomed to wild game: “The mountain man who had nibbled at the grass alongside gazelles and sipped the milk of wild beasts was surprised the first time he tasted bread.” The road was long from raw grain to cooked, from ground grain to baked. The man who prepared bread differed from his ancestors. He found himself on the threshold of history. The farmer surveyed the plowed land, awaiting its yield. He looked up at the sky, fearing for his crops. Both the land and the sky posed questions without offering answers, and a variety of ideas and beliefs sprouted and spread. “Bread belongs to mythology,” read the words of Hippocrates. Necessity divided the labor. The field fell to the men, the garden to the women. Eve picked the fatal apple in the Garden of Eden and offered it to Adam, and divine punishment fell upon them: to eat their bread by the sweat of their brow. He sowed and reaped; she kneaded and baked. In The Iliad we read, “The women carefully mixed the white flour, preparing supper for the reapers.” The Odyssey’s singer emphasizes the difference between those who consume bread and the lotophagi or “lotus eaters,” “barbarians” who do not even know how to speak properly. Some used salt in their meals. Some did not. The Cyclops Polyphemus knew neither bread nor salt. 

According to Old Testament legend, Gideon defeated the Midianites with the help of a dream about barley: “From a large quantity of barley he formed enormous loaves” and set them rolling down into the enemy camp. Pausanias has conveyed to posterity the story of a farmer who contributed to the Battle of Marathon, midway between Athens and Karystos: “A man of peasant mien and attire” attacked the numberless Persians, waving a plow and twisting at the waist like a reaper. No one knew who he was or where he was from, not even the oracle at Delphi, who, in place of an answer, pronounced in sibylline fashion, “One must honor the Ehetleia” (the plow-wielder). A “monument in white marble” was erected in his honor, according to Pausanias. Herodotus makes use of the image of wheat and grain when he tells the story of Periander, tyrant of Corinth, who sent a messenger to Thrasybulus, tyrant of Miletus, asking about the most successful way to rule: “When one ear grows taller than the rest, it must be cut down and discarded.”

 Periander took his advice and had Corinth’s most prominent citizens killed. According to the Book of Genesis, Pharaoh, too, dreamed of wheat ears and bread loaves: “In the dream there were three baskets of white bread” and “seven heads of full, healthy wheat” that were swallowed up by seven scorched and emaciated ones. Joseph advised the ruler that after abundance follows famine and suggested that he should build enormous warehouses to store the grain so that there would be bread even during lean years. Wheat and bread cross from reality to dream and return from dream to life, finding a place in spirit and body. The prophet Isaiah foresaw an age in which swords would be “beaten into plowshares and spears into pruning hooks.” But the sky did not heed the prophet’s words. The earth remained deaf to their call. Faith failed to disarm the combatants. Power favored the soldier over the sower. But despite everything, bread became part of human destiny. 

Parasites have since the very beginning been a threat to grain and u flour, bread and the human body that it nourishes. Their names became symbols of failure, ruin, and ill-fortune. The darnel, tare, and ear cockle were named in sacred writings along with blight—also known as rust, scab, blotch—and with chaff and mold. There were also locusts and cockroaches, not to mention worms and beetles, which infested the crops, while rats and other rodents contaminated the granaries. Many were the pests whose names we don’t know, too, though ants were not among them. It was these perhaps who showed man how to collect and store grain for the days to come, a hypothesis suggested by natural historians of centuries past, the young Darwin included. We owe to ants a variety of sayings, comparisons, and metaphors: In order to survive, farmers needed to be “as industrious as ants” and “to gather on threshing floors and fields like ants,” and it was said that a good man would not harm even an ant. The ant carries more than its weight. Clearing the wheat fields of tares and chaff, separating the grain from straw and darnels, and the flour from twigs and bran, what was clean from what was not—these are all ancient practices that have left traces and traditions that continue today and continue to be improved upon. The remains of grain and bread have been preserved in sarcophaguses and urns, in the Pyramids, in places where the dead were wished farewell in the hope of eternal life. “The universe begins with bread,” read the words of Pythagoras, conveyed to posterity by Diogenes Laertes. 

Bread is the product of both nature and culture. It has served as condition of peace and cause of war, pledge of hope and source of despair. Faiths blessed it. The people swore their oaths upon it. Unhappy were the lands where there was not bread for all; nor were those happy where bread was all they had. “One does not live by bread alone,” has been repeated through the ages. Knowledge of grain and of bread was passed from generation to generation. The ancestors bequeathed tools and techniques to their heirs, similar in their appearance, familiar in their uses. The kneading trough for dough resembled the cradle in which newborns were rocked, the bed in which one lay down to sleep, the coffin in which the body was laid out after death, the boat that ferried it from this shore to the other. The sifter and the sieve are close relatives, as are the filter and the net, just as the retina (from the Latin word for net) of the human eye filters the light and carries the image through. These various means and mechanisms passed through long, uncertain times: from the tinderbox and fire ring to the hearth and the oven; from the sharpened stone to the knife; from the deer antlers that were probably first used to plow the barren fields to the wedge and then the true plow; from foot stomping and grindstones, for which the jaw may have served as a model, to the millstone turned by water or wind, by mules and by slaves. These tools, each according to its nature and function, characterize bread’s past and its present. As do the amphoras, baskets, bags, and buckets in which the grain and flour were carried and transported. In the stone- or brick-lined oven the dough would acquire its finished form. It became a loaf of bread—served on a table, offered at a feast, blessed on an altar, given as alms on the street, robbed on the highway. Accompanied by song, prayer, and plea. Bread’s history is sometimes different from the history that accompanied it, from the past that gave it birth. Many of the traces left behind affirm that growth and development are not always in accord. These are often scattered or slight, and the story of the past tries to collect and give shape to them. Memories of bread are often better than bread itself. 

The body of the loaf is mortal. 

Sowing and reaping were performed in different seasons with greater u or lesser rainfall, wind, or frost. In the Nile River valley rye was sown toward the end of autumn and harvested toward the middle of spring. It matured quickly, leaving space in the fields for other crops. The star that the Egyptians called Sotis—which might be the same as our Sirius— announced the rise and fall of the river and warned of potential flooding. Wheat was grown in furrows after the autumn rains so that it could be harvested by summer. 

Ripening and yield were measured according to the cycle of the zodiac, the positions of the sun and moon, the stars, and the constellations. The “shepherd’s star” rose in late dusk and set in early morning. Wheat was sown under Virgo, harvested under Leo. Barley’s cycle was shorter, beginning almost simultaneously under Virgo, but ending under Cancer. Rye’s growth was even quicker, lasting just a hundred days, from Aries to Leo. A variety of meanings were attributed to Virgo, “when shooting stars visit the heavens, and archangels the earth,” which were linked to the spreading of seed, conception, fertility, and birth. 

Beliefs about how the phases of the moon might influence the dough and the leavening inside it—just as they affect the tides and our bodies and minds—were common along the coasts and in the hinterlands. The belief that the zodiac signs and patterns were true and effective was likely more important than the signs and the star patterns themselves. The Levant measured time and counted years according to lunar calendars long before the creation of solar ones. 

Anaxagoras of Lampsacus, one of the first of the ancient sages to identify and describe the relationship between bread and the body, wrote, “Let us consider bread. Composed of vegetable matter, it nourishes the human body. But the body is composed of numerous different elements: skin, flesh, veins, tendons, bone, cartilage, hair. How is it possible for so many different components to stem from the uniform composition of bread? Given that the properties themselves are unchanging, we must conclude that the various substances in the human body are contained in the bread that we consume.” The translator of this old Greek text in Rome tried to supplement its meaning: The philosopher is attempting to move from bread to grain, from grain to the earth, from each of these to water, fire, the first elements and principles of the world. The body and what is consumed by it can in this way be connected to types of temperament: the sanguine, the choleric, the phlegmatic, and the melancholic. 

Those of different temperaments do not usually eat different bread, though they sometimes eat the same bread differently. 

In Cappadocia, the early Christian theologian Gregory of Nyssa noted the relation of bread to the body in much the same manner as had the materialist Anaxagoras: “In bread we can truly see the body, for when it enters the body, we can truly see it become body.” 

It has often been said that bread and body understand each other.

All the senses, each in its own manner, are linked to bread. Its aroma stands out. After reaching the nostrils, it passes into the body, leaving its traces therein, and connecting with memories acquired in one’s family, one’s home, in childhood and youth. 

Its taste too is closely associated with memories, near and far, sometimes the most distant of all. Is it now what it once was? Worse or better from what we remember, or the same, or even true? Why is it the same or no longer the same as we remember, as how it ought to be? 

Nor is the touch of bread something one forgets. The crust smooth or rough, the inside soft or dry. How you take it in your hand, your palm, your fingers. How you grasp it, break it apart. When and to whom you offer it. How and where you do so. 

Vision too has its measure. How the loaf before us looks now, how it might look or ought to. Is it like what we’ve seen in nature or imagination, in waking or in dream? The eyes have often cried over bread. 

Its connection to hearing is perhaps the hardest to discover. Bread is silent, mute. It does not make any noise—people who gather around it make noise. When a slice falls to the floor from the table or your hand, it is almost inaudible. Perhaps there’s a sign in this too. There are moments when bread does make a sound. As the baker or woman of the house would take it from the oven, they knew to flick the crust with a finger to check whether it had baked through. In response they would hear a thud or a murmur, telling them it was or was not ready. 

“You need to pick it up from the floor.” Once upon a time mothers would tell their children that when doing this, they should give it a kiss. 

When bread was placed on the table properly and in a timely manner, one might expect to see the remains of an old ritual, more or less remembered. The Hebrew or Christian laying of hands upon it demonstrates the relation of bread to the body. In some Islamic countries, they imprint a finger on the dough before placing it on the hearth or in the oven, showing in this way that it is the product of human hands. The bread’s “heart”—the soft extreme interior—was once placed on cuts to stem the bleeding and heal the wound. The wounded body accepted and conformed to it. 

In times of peace, when the people were fighting neither with others nor among themselves, bread crumbs would be collected in the palm of the hand, saved, and left for the birds.

On each FILE: constant injuries, fatal wounds, deadly end, oh LIFE

WHO IS this person? Each one had to endure ordeals .... 

•  IL.  GONYA   OTLIAUS 

•  F.  DREA  ANSC  SEISSCO 

•  EMU   ALRAT   LYIRA 

HINTS

name 1: .....................

They lacerated her entire body with scourges armed with lead, poured boiling oil over all wounds, and applied burning torches to both sides and breasts.The executor ordered that all-over flesh should be torn off with iron hooks until the bones should be laid bare. To add insult to injury, there was a determination to have a burn-alive conclusion.  

The executioners therefore kindled a great fire around her, and the flames catching all hair the corpse was quickly smothered.  (as told by Prudentius)

name 2: .....................

In August, with a few of the brothers, he made waywards through the forest to a place of retreat. And here on  September 14, in that in-between time before sunrise began, but after night was done, a vision of a flying winged being, nailed to a cross was made vivid with stabs of pain in hands, feet, and sides. The vision vanished, and  the body was witness of the stigmata. Thenceforth both hands were kept covered with sleeves, and wore shoes and stockings. December 1223 was  spent outside the nearest village, weary in mind and body. Having become extremely frail, he remained at this place for some months longer.  

Overall signals of health were growing worse, the stigmata were a source of pain, and eye-sight  failing. Finally, having undergone the agonizing treatment prescribed- cauterization of the forehead by white-hot iron, and plasters to keep the wound open. Strangely enough, obtaining some relief.  Praying to sister death again.

Having asked to be buried in the criminals' cemetery, a will not fulfilled: the next morning a crowd of his fellow citizens came down and bore his body to the church of St. George. Hard to overcome when you ponder if my bones will turn into relics  and future believers would make pilgrimages to this very place believing it has have been sanctified ....

name 3: .....................

In a quixotic attempt in 1521 to defend the border fortress against the enemy artillery, his limb was shattered by a cannon ball, and  then set back into place - a procedure performed without anesthesia-  on the battlefield on a stretcher.Captors, impressed by the sheer courage, carried a  severely wounded person on a litter to his family home where he was on the offset of a long span of convalescence.  However,  bones were not properly set. (he called it butchery!)

The physicians broke his bones for a second time and reset them again. After his second surgery,  she soldier was left with a violent fever which left him in a weakened, life-threatening state. His physicians thought he would live for only a couple of days before the fever would eventually take his life, and received the sacrament of the Anointing of the Sick and was preparing for death. Because of these surgeries, part of his bone protruded from just behind his knee. Bravely enough,  he begged that the bone be cut off and removed so as not to have an obvious deformity. The bone was cut off and left the cavalier with one leg shorter than the other. 

As the bones mended, he tried weights pulling on the bones of his shortened leg in at attempt to have the leg returned to its normal length. However, the wound caused a permanent limp for the rest of his life.  

He then was bed-ridden for nine endless months. Just like anyone else who would be confined to a bed for that long, he was dead bored. He asked for brave new books - on knights, chivalry and beautiful women but .... (the rest is history with light and food for soul aswell)

• KEY
• 
  
• name 1: .......  Patroness Saint of BCN (12 February)
• 
  
•                          EMUALRATLYIRA   (290-304 CE)
•                    A greatest martyr and profoundly beloved by the Spanish Orthodox people.
• 
  
• 
  
• name 2: .......  Patron for the poverty as an example
• 
  
•                       Born Giuseppe -but known as the current Pope :) 
•                        FDREAANSCSEISSCO  (1181/82 -1226 CE)
• 
  
• name 3: .......  A well-know figure in Manresa,
• 
  
•                         after his 11-month stay by the banks of Cardoner river
•                        a book and a rapture 
• 
  
•                        ILGONYAOTLIAUS   (1491-1556 CE)
• 
  

Haritha views on art

Learner of life, teacher, mother and ... artist. With these words we could approach Harita Havriti. We broke the silence sharing a warm cup of Tea. She very kindly accepted the challenge. Hope you enjoy the ride into a great and generous mind. 

My words are not enough to do justice to describe her paintings so let her answer some friendly questions on her views on art. Judge by yourself.

juny  2016

To read a bit more...

    about  her pasion for many arts 

    (writer, translations, social activist, exhibitions,  ...)          (Dec 2019 post)  ... here

    about     her  art gallery 

    ( February/April  2020 post )   ... here

 INTERVIEWed by  Aoi              

You started painting young. Can you go back to your first artistic impulse, or your recorded memory in the scope of art?

•  My father was an art teacher. He was graduated from the most reputed art college in Kerala. But he decided to let her daughter follow her instincts from the childhood. I didn’t get toys to play but loads of watercolour tubes, brushes and good quality paper. Painting was a fantastic part of my life. 

• When I learned to walk, eat and do the daily routines, I also learned to hold the brush properly. The only one instruction that I received from my father was not to use artificial white while doing water colour works. That kind of artistic freedom helped me to truly become a free spirit in art, flexible, adaptable and receptive.

Illustration drawn for a Echmu Kutty's novel.

 

   At the level of environment you have lived in, your native place has an impressive view of the glowing landscapes and imposing forests. The boating experience on the Keralan shore is beyond words.

What are the elements or those people that have most influenced you? 

Mermaid at Monsoon

 

•  Nature is the only factor which influenced me. My life was immersed with water in our surroundings, yes. Water is channeled, it curls or flows smoothly in brooks, sometimes torrential. Lagoons, marshes, waterways. Streams that approach the rough beaches, the bay.
  
  Every night I sleep listening to the rhythmic sound of the waves of Arabian sea. Through the gaps between branches and trees I could see the silver surface of a river. There was a pond in our land also. If you check closely, you can find the mixtures of green and blue occurring repeatedly in my paintings.
  
  If you ask me to paint a flower, unintentionally I will paint a water lily. I enjoy the presence of fishes in the rich, deep turquoise background of my paintings. When I ponder about other painters (or craftpersons) who influenced me, no answers come to mind. Because I feel that only mother nature can influence an artist.

How do you prepare to tackle each of your works? That is, the long journey of the artist you are goes thru the ups and the downs, so how do you get nourished along this quite solitary life?

• Normally when I start painting, there will be an outline. Nothing more than that. A painting just happens to get into place. I do not make it. It has its own natural process of evolution. At some point I feel that it is enough. This canvas doesn't need me anymore.  Besides, any artist, I guess, takes delight in experimenting with styles and materials as much as I do. Have you heard of Gold leaf? It is a material which is very difficult to use, but produces unbelievable results. I managed to learn how to use it myself. Like this, I try to follow the techniques that impress me. But I am not interested in following the style blindly. I try to attain new techniques and use it to enrich my style.

What has been your personal way of researching inspiration material within Art in Capital letters? 

• I don’t know what other artists do, but I check the works produced by my favourite creators. I love to observe how they have used materials and techniques to produce desired result. To be honest,  Gustav Klimt is definitely my favourite artist. Let me get clear here …   I never imitate, but try to learn how the artists have worked. I am interested only in their techniques. Perhaps it is a bit of wrong way to approach art, who knows? ... but  I mostly work like that. 

From her rich FB pictures files