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30 January 2017 @ 11:51 pm
One or 2 small translation glitches that I have noted in several editions of NDdP:

  1. Agnès Guybertaut/Esméralda's date of birth is clearly stated as the feast of Saint Paula (26 January). This is close enough to the feasts of St Agnes (21 and 28 January) to explain why she could still be named Agnès, as mediæval people were commonly named for saints whose feasts were in the vicinity of their birth or baptismal date. A lot of the saint's symbolism is attached to her: Djali replaces St Agnes's lamb (a visual pun which appears as early as her mosaic portrait at San Apollinare in Ravenna), and both girls are executed after repeated threats to their virginity, including threats being made to them in a brothel. However, most English translations incorrectly render this as the "feast of St Paul" (25 January being the feast of the Conversion of St Paul), presumably because they hadn't heard of Paula of Rome, but a bit of a faux-pas, as "Sainte Paule" is clearly feminine.

  2. The large wound in Claude's side is described in French as "mal fermée", yet most English translations render this as "not yet closed" or "scarcely closed", rather than the more accurate "badly closed". Yet this is a significant difference. A "badly closed" wound suggests one which has partially healed and broken down – i.e., it is infected, suppurating. This matters because not only does it suggest  (deliberate) self-neglect/further self-harm – he has, after all, studied medicine – but it informs how we perceive his subsequent behaviour. The bouts of delirium, hallucinations, the Porte Rouge scene in all its horror and absurdity, his ghastly appearance by the time of the meeting with Pierre at the For-l'Évêque all suggest severe physical as well as mental breakdown. In the pre-antibiotic, pre-antiseptic world of the 15C (or, indeed, the early 19C when he was created), Claude is dying from recurrent bouts of wound infection.

 
 
Current Location: The North Tower
Current Mood: thoughtfulthoughtful
Current Music: 'Wicked Game' (Ursine Vulpine/Annaca cover version)
 
 
25 January 2017 @ 10:40 am
I just want to comment a little on the US musical, The Hunchback of Notre Dame. The main problems are that it is a fudge between the book and the Disney film. It retains the songs and main structure from Disney, with Phœbus as romantic lead. However, it has restored Claude to being an archdeacon, and Esméralda is executed in the end, although not in the manner of the book. But it still misrepresents the origins of Quasimodo and his relationship with Claude, making him Claude's nephew... No, I'm not joking. They've made Claude older and narrowed the age-gap between the brothers, so that Quasimodo is the teenaged son of Jehan by a gypsy woman... While the show is imaginatively staged and well-acted, there are ultimately too many problems with its attempt to square the circle of Hugo and (spit!) Disney...

Anyway, you can see for yourselves...
The Hunchback of Notre Dame: MusicalCollapse )
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Current Location: The North Tower
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24 January 2017 @ 09:30 pm
And here are some highlights from the Donetsk Ballet's Notre Dame de Paris (based on Pugni's La Esméralda score):
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24 January 2017 @ 09:26 pm
There are highlights to view online from the Royal Swedish Ballet's Hunchback of Notre Dame...
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Current Location: The North Tower
Current Mood: calmcalm
 
 
24 January 2017 @ 08:59 pm
The book on Visitations for the Archdeaconry of Josas for the late 15C is available. No wonder he prefers messing about in his laboratory or with his books... Admin is such a distraction from research... ;-D

(x-post from silverwhistle)
 
 
Current Location: The North Tower
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Another Paris Opera Ballet production of the Roland Petit ballet has been posted online. The cast is Eleonora Abbagnato as Esméralda, Yann Bridard as Quasimodo, José Martinez as Claude and Hervé Moreau as Phœbus.
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Current Location: The North Tower
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24 January 2017 @ 08:36 am
I ordered one of these (in burgundy) a few months ago and embroidered around the lettering to make it stand out more... Well, it's been true since c. 1980-81.

I also have my own designs with Lemud's lovely depictions of Claude, which the photography shop next to Tesco's printed for me. I've posted one of my designs online...

I also ordered some of other people's designs from RedBubble: "My soulmate is a fictional character", "Victor Hugo ruined my life" and a line drawing of Notre Dame.

(edited x-post from silverwhistle )
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Current Location: The North Tower
Current Mood: amusedamused
 
 
23 January 2017 @ 08:18 pm
I recently obtained a 1988 programme from the Northern Ballet's production of The Hunchback of Notre Dame, choreographed by Michael Pink to a score by Philip Feeney. Sadly, there doesn't appear to be a visual record of it, but I discovered that Pink (now working for Milwaukee Ballet) has reworked the production for them, as Esmeralda, and some snippets are online. The company also produced a couple of pdfs, a Study Guide and Production Notes (on archive.org's WayBack Machine). The treatment of Claude is disappointing, though, especially re: his reasons for adopting Quasimodo.

Clips about the productionCollapse )
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Current Location: The North Tower
Current Mood: calmcalm
 
 
23 January 2017 @ 01:08 pm
Have just posted on IMDb. Someone has done a poll on "Best Fictional French Villain". Not only have they included Claude, whom I would class as "Romantic tragic hero/anti-hero", but they have illustrated him with the travesty of him presented by Disney in their abominable so-called 'adaptation'...
C'est damnable...

(And as syntinen_laulu says, they've even listened the non-fictional and arguably not villainous Armand du Plessis de Richelieu, too!)

(x-post fromsilverwhistle)
 
 
Current Location: The North Tower
Current Mood: grumpygrumpy
 
 
23 January 2017 @ 10:20 am
Glad to see everything up and running again here!
The North Tower of Notre Dame de Paris has been very much my refuge in a difficult year (personally and politically).

Recent acquisitions include:
D P Walker: Spiritual and Demonic Magic. This includes music theory and the role of Orphic singing in Ficino & c. It's a fascinating insight into Claude's intellectual world, and the distinctions between different kinds of 'magic' in the 15-16C.

I visited Rimini in September and saw the tomb of Giorgios Gemistos Plethon at the Tempio Malatestiano, which strikes me as a very Claude sort of building, that would get him very excited about its symbolism. It's a Gothic Franciscan church, which has then been encased in the mid-15C by Alberti in a marble Neo-Classical shell. The interior has also been decorated in a Classicising manner with chapels decorated with the Planets, the Liberal Arts and Childhood Games.
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Current Location: The North Tower
Current Mood: calmcalm