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Migratory trajectory and oral history of English-speakers in the city of Pau

Citoyenne canadienne née dans une petite ville relativement rurale du nord du Canada. Au cours de sa vie d'adulte, elle a beaucoup voyagé à travers le monde. Elle a vécu à Pau à deux reprises et s'y est rendue à chaque fois pour suivre son mari qui travaille dans l'industrie pétrolière. Elle pense avoir eu une vie très différente de celle de ses enfants, principalement en raison des voyages qu'ils ont effectués dès leur plus jeune âge. Elle évoque toutefois les inconvénients de cette situation et la notion d'appartenance. Elle parle également de l'apprentissage d'une langue étrangère et de la façon dont cela affecte les traits de personnalité, en raison de l'incapacité à s'exprimer correctement en français. Elle note qu'il y a eu des moments difficiles dans sa vie en raison des déménagements et du fait qu'elle n'avait pas d'amis sur lesquels compter, ni de famille autour d'elle. Pour y faire face, elle a créé une entreprise florissante qui fournit de l'aide et des opportunités aux femmes qui sont dans la même situation qu'elle. Elle parle également des problèmes de santé mentale et de la manière dont elle les a surmontés grâce à la thérapie. Female Canadian citizen born in a relatively rural small northern town in Canada. She has travelled extensively during her adult life around the world. She has lived in Pau on two different occasions, and each time travelled to follow her husband her works in the petrol industry. She believes that she had a very different life to that of her children, mainly due to the travelling that they have experienced from an early age. However, she speaks of the downside of that and the notion of belonging. She also speaks of learning a foreign language and how this affects personality traits, due to inability to express herself correctly in French. She notes that there have been hard times in her life due to moving around, and not having friends to count on, or family around her. In order to deal with this, she set up a thriving business that provides assistance and opportunities to women who are in the same position as her. She also speaks about mental health issues and how she overcame these through therapy. Migratory trajectory and oral history of English-speakers in the city of Pau Temporal: 20th and 21st century Temporal: 1980-2023

Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender. Phoebe Apperson Hearst had a very successful son of William, but he was more like his father: a tough businessman. However, she found a delicate, artistic soul in the painter Orrin Peck (1860–1921), who was allegedly gay and who, while still his own mother's life, began to address her as “my second mother.” Based on a detailed study of their correspondence in Peck's estate, we may ask how much a progressive, rich 19th-century woman like Phoebe Hearst was aware of Peck's sexuality, and if so, if she had no problem with it, or was it an unspoken secret between them? Their story will be presented by art historian Ladislav Zikmund-Lender.

Published in New Orleans in 1845 by a group of free men of color, Les Cenelles: Choix de poésies indigènes is now commonly recognized as the first collection of African American poetry. As a testament to and expression of the intellectual prowess of New Orleans’s francophone free Black community, Les Cenelles deserves to be read as a formally integrated volume, a collection of poetry that was assembled with purpose and organized with a keen eye for the complexity and precariousness of the free Black experience in the 1840s. This essay reads Les Cenelles in conjunction with one specific aspect of this experience, namely, free Black efforts to gain access to formal education and institutions of learning. Examining Les Cenelles alongside debates surrounding the establishment of the Institution Catholique des Orphelins Indigents (Catholic Institution for Indigent Orphans), New Orleans’s first school run by and for free people of color, this essay traces the emergence of a poetics of education, a theory of free Black community engagement that relied on the persuasive and instructive powers of poetry. In the absence of formal curricula or instruction manuals, I analyze Les Cenelles as a textbook of sorts, an exercise in writing and reading, designed to train both its contributors and its readers in the form, function, and tradition of French letters while simultaneously educating them about the very real threats the free Black community faced in New Orleans during the 1840s. By reading Les Cenelles as a collective, deliberate, and cohesive work rather than a collection of individual poems compiled at random, this essay reveals not only how the contributors and their editor created webs of meaning through intertextual reference and by communicating to each other through their poems, but also how they engaged in a collective effort to consolidate, protect, and invigorate the free Black community through education.

Il contributo si offre come proposta metodologica ai fini della valorizzazione delle collezioni diocesane partendo dall’esperienza della mostra “Constancia. Donne al potere nell’impero mediterraneo di Federico II”, curata dagli autori, insieme alla prof. Di Natale, all’Istituto Italiano di Cultura di New York nei mesi di marzo e aprile 2022. Il testo illustra il percorso che ha condotto all’elaborazione del progetto curatoriale, a partire dall’ottavo centenario della morte di Costanza d’Aragona cui sono state correlate altre tre Costanza rispettivamente madre, figlia e nipote di Federico II di Svevia, offrendo così un originale taglio al femminile e un resoconto delle quattro donne al potere. Si descrivono, dunque, i temi e i contenuti delle due sale espositive nelle quali sono state portate in mostra, con la collaborazione di importanti istituzioni culturali ecclesiastiche, regionali e comunali e di collezioni private tra Palermo e Monreale e oltre, opere dall’XI al XIX secolo d’arte pittorica, di diplomatica, codici miniati, paliotti, monete, insieme ad alcuni manufatti del celeberrimo corredo funebre di Costanza d’Aragona. A quest’ultimo si è accompagnata l’esposizione per la prima volta dell’inedita gemma di quarzo proveniente dal sepolcro dell’Imperatore Federico II. Si spiega inoltre la ragione della sezione sul Revival ottocentesco che ha visto anche la messa in mostra di due pezzi inediti provenienti da collezioni private, un dipinto dei Vespri e un cofanetto in osso, legati alla quarta Costanza di Svevia, moglie di Pietro il Grande d’Aragona, scelto dai siciliani quale re di Sicilia in seguito ai Vespri del 1282. The contribution is offered as a methodological proposal for the purpose of the valorization of diocesan collections starting from the experience of the exhibition "Constancia. Donne al potere nell’impero mediterraneo di Federico II," curated by the authors, together with Prof. Di Natale, at the Italian Cultural Institute of New York in March and April 2022. The text illustrates the path that led to the elaboration of the curatorial project, starting from the eighth centenary of the death of Constancia of Aragon to whom three other Constancias were related, respectively mother, daughter and granddaughter of Frederick II of Swabia, thus offering an original feminine slant and an account of the four women in power. Thus, the themes and contents of the two exhibition halls in which works from the 11th to the 19th centuries of pictorial art, diplomatics, illuminated manuscripts, altarpieces, and coins, along with some artifacts from the celebrated funeral trousseau of Constance of Aragon, were brought to the exhibition with the collaboration of important ecclesiastical, regional and municipal cultural institutions and private collections between Palermo and Monreale and beyond. The latter was accompanied by the display for the first time of the unpublished quartz gem from the tomb of Emperor Frederick II.It also explains the reason for the section on the 19th-century Revival, which also featured two unpublished pieces from private collections, a painting of the Vespers and a bone casket, related to the fourth Constance of Swabia, wife of Peter the Great of Aragon, chosen by the Sicilians as king of Sicily following the 1282 Vespers.

Migratory trajectory and oral history of English-speakers in the city of Pau

Une retraitée de nationalité américaine vivant à Pau. Son père américain travaillait dans le service diplomatique et sa mère était française. Elle a eu l'occasion de vivre dans de nombreux endroits différents, et la famille restait généralement quelques années dans chaque pays (Yougoslavie, France, Inde, Turquie, Viêt Nam, Philippines). Elle a étudié les sciences politiques à l'université en Floride et son père l'a dissuadée d'entrer dans le service diplomatique, qu'il considérait comme n'étant pas fait pour les femmes. Elle a fait un Master et a étudié le français. Au moment de l'obtention de son diplôme, elle a trouvé un emploi chez Pan Am Airlines. Elle a voyagé dans le monde entier. Elle parle de l'ouverture d'esprit que lui ont apportée ces voyages et des contacts qu'elle a eus avec de nombreuses personnes de religions différentes. Elle évoque l'attentat à la bombe de Lockerbie en 1988 et la façon dont elle a ensuite quitté Pan Am et s'est lancée dans l'enseignement de l'anglais en tant que seconde langue, après avoir fait un Master en médias et la communication. Elle a travaillé dans diverses universités (Oklahoma et Californie). Elle parle de ses mariages, et en particulier de la façon dont elle a rencontré son mari actuel, qui était en fait un ami d'enfance qui vivait en face de chez elle lorsqu'elle avait 6 ans et que sa famille résidait à Maisons-Laffitte. Le couple vit aujourd'hui à Pau. Female retired American citizen living in Pau. Her American father was in the diplomatic service and her mother was French. She had the opportunity of living in many different places, and the family would generally stay a few years in each country (Yugoslavia, France, India, Turkey, Vietnam, Philippines). She majored in Political Sciences at university in Florida and was dissuaded by her father from going into the diplomatic service, which he deemed not to be for women. She went to graduate school and studied French and at the time of graduating she got a job with Pan Am Airlines. She travelled all over the world. She speaks of her openness coming from these travels and the contact that she had with many different people from different religions. She speaks of the Lockerbie Bombing of 1988 and how she subsequently left Pan Am, and got into teaching English as second language, after taking returning to graduate school to study Mass Media and Communication. She worked in various universities (Oklahoma, and California. She speaks of her marriages, and in particular how she met her present husband, who in fact was a childhood friend who lived across the street from her when she was aged 6 and living in Maisons-Lafitte. They now live in Pau. Migratory trajectory and oral history of English-speakers in the city of Pau Temporal: 20th and 21st century Temporal: 1960-2023

Among the myriad allegories covering the Room of Maps in Palazzo Farnese, the four personified continents stand out around the vast world map. First of all the analysis focuses on their formal strategies of presentation and the vocabulary of attributes they adopt, borrowed from ancient Roman coinage, to investigate the reasons behind their classical-style robe and the ideological statement emerging from this adoption. This article aims to interpret the representation in relation to the patron’s communicational needs: indeed, the personifications are organically integrated with the various components of the hall to form a complex celebratory organism expressing the ideals of Cardinal Alessandro Farnese regarding his own temporal and spiritual role in the world and the role of the counter-reformed Church more broadly. In so doing, I also compare the figurative code deployed in the Room to the previous Camerino dei Continenti in Rome’s Palazzo Firenze and three lunettes in Rome’s Palazzo Ruggeri (1553 and 1591, respectively), outlining visual and semantic analogies. The Camerino offers an early representation of our theme brimming with mythological and erudite references - in the panel of the vault with Europa, Asia, and Africa - as well as exotic ones in the external ornamentation. Even the later lunettes depict an oecumene which is anachronistically still tripartite, though visually anchored in a recent source (i.e. the Theatrum orbis terrarum frontispiece). Starting from the main case-study and considering these less-studied frescoes, it is thus possible to delve into forms of confluence (intertwining or instances of resistance) between the world of antiquity and the world of geographic exploration, as displayed by each image, eventually shedding light on potential motivations and iconological implications.