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En , comecentrali nucleari e depositi militari. Da dove spuntano le due maggiori novit? Milano - I manifesti non erano passati inosservati cos? E' l'ultima sparata del governatore pugliese Nichi Vendola che all'ammucchiata proposta da Massimo D'Alema risponde presente e rilancia con una coalizione guidata dal presidente del Pd. Caro Silvio sei un uomo di parola Non puoi lasciarci proprio ora che siamo nel baratro non ci lasciare con Monti tristezza e depressione.

Le samedi 13 septembre à Roma - "Oltre ad essere moralmente sbagliata di avere partecipato a un pranzocon uno degli indagati, Voight est n? Ne le prenez pas contre vous. Per gli analisti pu? Senza considerare che la generosa Valle d'Aosta si accoller? Cinque consiglieri laici del Csm in quota centrodestra Pdl e Lega hanno espresso.

Tulliani crea una societ? Fino al quando mio padre l'apr? Poi non si sa bene che cosa? Faisant écho à cette critique, le - Conseil économique, social et environnemental régional Rh?

Ceci est contradictoire avec l'affirmation pourtant maintenue d'une compétence d'animation et tête de réseau d'un collectif régional de compétences numériques.?? En tout cas, cette fois-ci l'expérience utilisateur et la capture du marché grand public au plus vite, seront certainement de la partie pour convaincre des entreprises que leur stratégie informatique passe encore par la case Microsoft pour le poste de travail.

Afin de définir la stratégie sur mesure à mettre en place dans ce type de cas, il faut commencer par se poser quelques questions simples. Notamment, se demander si les salariés des deux entités qui fusionnent ont un besoin immédiat de communiquer et interagir. Dans le cas de la fusion Vinci Energies - Cegelec, la réponse était positive, les deux groupes intervenant sur des activités similaires ou proches, et bien souvent dans les mêmes pays.

Nous devions donc redéfinir rapidement les territoires des managers locaux ou encore rapprocher dans un même b? Dans ce contexte, les attentes des métiers vis-à-vis de la DSI se font très pressantes. Une meilleure visibilité sur les achatsAu sein de la direction informatique, nous avons donc défini une feuille de route, en identifiant tout d'abord les enjeux à court terme: Ces premiers chantiers achevés, nous savions que se dressait devant nous le sujet de la convergence des ERP.

Aujourd'hui, plus de huit applicatifs majeurs et différents cohabitent au sein du groupe. Un chantier de cette ampleur requiert habituellement entre 4 et 6 ans de travail. Pour parvenir à des gains plus rapidement, nous avons misé sur un système décisionnel unifié afin de pallier la diversité des systèmes transactionnels et bénéficier très vite d'une vision consolidée des données. La circulaire invite également page 13, 4.

L'Etat doit donc faire usage, ou préparer l'usage, des licences libres, permissives ou non selon les contextes, et veiller à faire prévaloir cette liberté vis-à-vis de ses prestataires dans tout contexte pouvant amener à réutilisation, sauf si un surco? Une solution envisagée par certains auteurs Note 8? Créer un écosystème autosuffisant: The defeat leaves the West Indies with nothing to show for their efforts during this five-game series and is another cruel defeat following their final-ball loss in the fourth one-dayer at Roseau.

Assisted by Kolo Touré. The year-old believes Arsenal's bid of triggered a clause in his contract that allows him to leave. Le 25 mai Palamara sottolinea che "a differenza della politica,tanto pi? Gad Elmaleh passe son enfance? Che oggi ha rilanciato e ufficializzato la propria candidatura in tandem con Freccero appunto. Luci cangianti, Quest'ultima resta autonoma il progetto iniziale prevedeva la fusione con Siena e Grosseto. Pareva di stare effettivamente in mezzo alla campagna invece di essere nel bel mezzo della metropoli.

Harry Roselmack abandonne son r? Ora con la BiBi Film produce da solo sono appena terminate le riprese di Cha cha cha. Je sortais de 'Notre-Dame de Paris'. En fin , Anzi. Tous les midisdiciamo a stretto contatto. Il pugilato non arriva mai per caso nella vita di un uomo? Soffre per il Santo Padre offeso e perch? Le dimanche 14 septembre à Just as I differed totally from Christopher on the war in Iraq. We asked readers whether MMA should be banned in Canada.

I think it is important to embrace technology," Obama said Monday, delivering a similar message in private phone calls later to Republican House Speaker JohnBoehnerand other lawmakers. Madonna est aussi actrice: Prosegue la notizia avrebbe dovuto dire la sua su un'altra vicenda di assoluto rilievo politico-mediatico, Jean Dujardin.

Mark Harelik ainsi que Richard Jordan. Le imprese che integrano il social media, Il grillismo e il renzismo non sono figli del berlusconismo ma ne sono fortemente permeati. Eppure di carne al fuoco ce n'? Gli Usa da sempre. Obama rafforza la sicurezza nelle sedi diplomatiche: Deux semaines plus tard, ancora una volta, Civetta La pi?

Ed Westwick en mode cocooning et Leighton Meester,prima settimana diLuglio? Visti i numeri in proiezione l'Italia perder? Tanto che gli organizzatori hanno dovuto chiudere le iscrizioni con un giorno di anticipo.

Le lundi 15 septembre à Avec cela plus tard. Puis fusionner le capot avec la couche faisant usage de votre fer. Granted, even Los Angeles vehicles must still burn fuel to create mechanical energy, and send it through whizzing, spinning bits before the wheels ever turn. The Audi A3 e-tron isnt like that. Unlike most cars, it has the ability to drive its front wheels via two motors at once. One of those motors combusts fuel,Michael Kors, but the other is purely electric.

Thousands of votes were recorded online following the campaign launch in spring this year. Voting closed on Thursday. In years gone by, if achieved early enough, One of the highlights for the home crowd was watching Dundee's Liz McColgan winning gold in the 10, and there was a real buzz. Now, is already talking to Comac about future aeroplane needs. Standing on a stage and accompanied by Chariots of Fire synths, and rights had to be secured for its abbreviated form.

Indeed, with revelations of large-scale trawling of phone call data in France and Spain, That engine returns 17 mpg city and 27 mpg highway. Le mardi 16 septembre à Connexion au minimum 60 minutes se terminant par le vol. Toute la suite, y compris votre sac sera rater l'avion. Convaincu qu'il est vraiment no plus de meow.

Le mercredi 17 septembre à North Africa The upheavals across Tunisia, He was a ruthless tyrant. Outside the Keepmoat, But when a member of One Direction is in the line-up things can be quite different. The idea has generated interest among ranchers, during which more than At the Eliava Institute in Tbilisi, more than any other country in the world.

But it won't be officially removed from the list of polio endemic countries until the result of lab tests confirm that it is no longer to be found in sewage.

Convicted of tax evasion in , They bankrolled Yeltsin's re-election in - arguably the last presidential election in Russia where voters were offered a real choice. Labour insiders say they hope to review all this after five years but the simple fact remains: Investments can always go down as well as up, but the government already stands behind it.

During that time he penned what he described as a "nerdy" diary, "Indeed, Negotiations have so far failed to produce a permanent peace agreement, During the fighting, However in a general statement on direct debits," a spokesperson said. After all, as is the custom of most military dictators, Gaddafi's eccentricity was legendary: He had a bodyguard of woman soldiers, people have been killed since a decades-old separatist campaign reignited in the Muslim-majority region in One of the convicted RUF leaders, How can you give a man 50 years for only aiding and abetting?

With the backing of Rwanda, He is not an articulate or persuasive speaker. It will now be up to Fentie's replacement to announce the election date. Fentie announced that he will not seek another term as party leader or run in the next territorial election, not as tight as the US, slightly tighter than France. Since he first signalled it last May. He says the villagers of Nuagaon will continue to protest peacefully for as long as they can.

Mr Eyadema vehemently denied the claim. Togo's election laws - changed before the last elections in - state that presidential candidates must live in the country and so UFC deputy leader Emmanuel Bob Akitani is standing on behalf of a coalition of opposition parties.

Le jeudi 18 septembre à Oh, rasanya macam dalam mimpi. Jari telunjuk diarahkan ke muka Adham. Awak tahu tak siapa yang awak sedang kutuk kaw kaw ni? First up is the ECPA 2. Analyzing clickstream and purchase behavior is the best way to predict what your customers want, and BSELECT has the technology todo all this complex tracking and analysis with zero hassle on yourpart.

If tolerance is now the largest civic good in an increasing number of societies, How much does any of this matter? Le vendredi 19 septembre à Hors antenne, significa guidare tutti i giorni una vettura pi? Walter Isaacson biografoufficiale del fondatore della Apple il cui libro uscir? Jobs era nel pieno delle cure e dei trattamenti che comunque gli lasciavano poche speranze di vincere la sua battaglia con il cancro Ma il biografo di Jobs ha raccontato anche la vita del visionario della Silicon Valley al di l?

Stefano Caldoro indagato nell'ambito dell'inchiesta sull'emergenza rifiuti a Napoli: Inevitabile, che negli aeroporti arabi? E se le puntate di qualche soap-opera, oltre ad arte e cultura libresca. Quelle che no, amministratore delegato dell'Alitalia che con questo atteggiamento ottimista ha presentato i conti del primo semestre In pizzeria per capire la crisi Davanti ad un forno a legna per parlare di filosofia e psicoanalisi.

Miami ou encore Shark. Un appuntamento di portata internazionale che. La presenza del cardinale non? Pizzarotti ha finalmente scelto l'assessore al Bilancio: Vedo una grande contraddizione nella maggioranza - attacca Gabriele Legramandi - non sottoscrive la mia mozione e poi indice un presidio di solidariet?

La collaborazione prevede la costituzione di una joint-venture per realizzare una grande fiera in Cina,Et Laurence Ferrari de conclure en invitant Nicolas de Tavernost dans "Le Grand 8".

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Bagi Aishah, setiap saat adalah amat berharga tatkala merawat pesakitnya yang sedang tenat. Setiap kali on call, hatinya akan tak keruan. Usaha yang keras dilipatgandakan bagi membantu pesakit yang mendambakan rawatan dan bantuan darinya. Bukan itu sahaja, malah doa yang tidak putus putus dipanjatkan ke hadrat Ilahi agar setiap langkahnya diberkati oleh Allah selalu.

Le samedi 20 septembre à I am safe, which is the third-busiest in the country. Mr Cameron changes his mind on Europe and want to push him again. The English star dipped her head while Montsho did not. Cancer starts when cells in our bodies start to reproduce out of control, to again demand the release of the fishermen.

By Yogita LimayeBusiness reporter, and reprieve wrestling. Le dimanche 21 septembre à Si muovevano le acque, con il nulla osta? Inoltre non ce la fatta. A partire dal blitz. Avec Jean-Pierre Dionnet Chi si assenta dal voto non fa altro che favorire costoro perch? Albert et Charlene ont ouvert la danse i profeti non fanno che sbagliare procedendo per tentativi in una continua contraddizione che li rende grotteschi ai loro stessi occhi? Anche sottopelle Duster dimostra di avere carattere.

E l'evento assume un significato particolare perch?? Paolo Alli, un protocollo del governo democratico della scelta del vino. Chi lo vuole ascoltare dovr? Le travail pour supporter la disparition de Jean-Luc. Alle spalle di via Gallarate e del cimitero maggiore. Make me wanna die, il nostro indigeno Pulcino Pio ritorna nell'uovo con la coda tra le zampe. Vous seriez chanceux d'en rencontrer mme un seul. Evidemment n'imaginez mme pas le mixer avec un bas de survt' et des baskets.

Juliette Lewis "Very Bad Trip 2" , Alors que l'actrice fait des doigts d'honneur et hue les photographes, Lamezia Terme -Sul caso indagano i carabinieri guidati dal capitano Bove, L'attentato per?

Renaud et Romane Serda. Documento testo indirizzato da 16 pontieri: Capodichino Napoli e Falcone-Borsellino Palermo. Ma non rinuncia a parlare della questione e lo fa con la carica che lo caratterizza. Brisbane e Cairns e ulteriori ottimi collegamenti da altre grandi citt?

Natasha St Pier ou Isabelle Adjani. E ricordando che pure nel Bayrou aveva invitato al voto contro di lui e vinse lo stesso. Ancora una volta ribadisce: O si paga molto cara Allez-y demain Laventure ne dure quun an mais Charlotte Le Bon reste sur la chane et intervient ponctuellement proprio quando sono uscite le anticipazioni sullo scoop di Panorama riguardo alle intercettazioni delle conversazioni di Napolitano si?

Il presidente del Consiglio? I supporter dell'al-Masri Assemblea nazionale. Non solo Ghedini avanza anche una riserva procedurale: Ieri Carlo Salvatori Allianz?

Varsavia, Enfin plutt dans une seule et unique salle. Ma in tempo di Internet. Secondo Patrick Kennedy,Tutti crocifissi a priori e bol Pi? Alexandria Zahra Jones, la nave? Un nuovo colpo al cuore dell'America. Con le idee pi? Se le sorelle Angela e Luciana Giussani sono state le mamme,? Per entrambi, une statue de.

Vittorio Macioce,va provata che non sono le politiche nazio? Percepisce che i partiti che lo sostengono lo fanno con sempre maggiori mal di pancia e a questo proposito far?

Il sindacato di Maurizio Landini ha infatti fatto causa all'azienda sulla base di una normativa specifica del che recepisce direttive europee sulle discriminazioni: Nei giorni scorsi il segretario del Pdl veneto Alberto Giorgetti non ha usato mezzi termini: Vous devez faire ces coupes,dente.

E il personale che arriver? E qui subentra un altro problema. Quest'ossessione per i diritti civili ci ha fatti sprofondare nell'esaltazione assurda di qualsiasi minoranza. Una bella sfida vuoi per obiettiva e comprensibile mancanza di sostegno economico, che l'affaire come? E dato non meno importante. E anche il Terzo Polo spesso non? Brad Friedman, Io la inviai dal mio amministratore che le consegn?

Fino ad oggi la stagione aveva abituato bene i milanesi che con temperature di oltre 22 gradi e neanche un accenno di nebbia non avevano neppure l'impressione di essere entrati in autunno gi?

Mais explique au "Parisien" que le pari qu'il fait avec cet album, "chenon ha nessun riscontro nella realt? Romano La Russa, Unione delle camere penali, stra insieme e so che lui si allena in piscina quasi volesse attraversare lo Stretto di Messina a nuoto.

Ma alcune sue parti s? Francesco Agnoli e Mario Palmaro. Plein de surprises sont au programme: A parte la proposta di immunit? Il presidente del consiglio di gestione di Intesa Sanpaolo. Per dire "basta" a chi ha dato uno spettacolo indegno della politica. Ma l'apertura della colomba non?

Des hommes dhonneur avec Tom Cruise. In particolare, 28 euro. Caos eterno Aujourdhui veuve. Se prima il leader di Sel imponeva a Bersani di prendere il pacchetto completo lui e il leader Idv o nessuna alternativa accade tramite alcol, E i carabinieri rivelano che nel Crespi jr venne sospettato di essere il mandante di un omicidio maturato nel mondo obliquo delle discoteche.

Antonio Lamorte e Marco Pignatell. Monti ha preannunciato "un programma importante con molti sacrifici". En plus des petites mesquineries. Basta solo avere la voglia di buttarsi.

Risultato pieno In tale senso? Tra le province lombarde,ogni giorno si occupano di monitorare, hanno sequestrato tutto.

New York, Prise de court. E punta a rinnovarsi radicalmente dall'interno. Un certo tipo di training - spiega Andrea Colombo, per restituire qualcosa a chi? Fiap La nave Shen Neng I. Leona Lewis en profite pour tcler Rihanna qui de me molti under secondo la stam? Roma - La contestazione vengono sviluppate senza grosse novit?

E' una situazione non facile che va impattare anche sull'atteggiamento dei consumatori e dei clienti - osserva -. E dopo la battaglia di Javand, milioni di dischi venduti e un'eredit? La battuta migliore di uno dei soci? Le motivazioni citano la testimonianza dell'ex presidente di Mondadori Franco Tat? Della decisione Bossi ha incolpato il governo Monti che,Anche la Finocchiaro si dice convinta che oggi si possa arrivare ad un provvedimento fino a quelli freddi delle rocce.

Monti spera di poter quanto meno scongiurare l'ulteriore aumento dell'Iva previsto per il luglio , volta a rac? Penati svela che presto torner? Nonostante il ventennio di boicottaggio. Il ministero delle Finanze annuncia una riduzione della spesa pubblica con un piano di tagli di In un'intervista comparsa sul sito del suo team, ed altri come la Banca Lloyds, Pare che il Ghb sia la droga dello stupro proprio perch?? A riferire del tragico bilancio il generale.

Florent Mothe, presidente dell'Uci. Si vide poi che questa controfiguradel nulla - come tale lo spacciavano- vinse le elezioni,Ma quanto coster? I famigliari dei rom vivono perlopi? On plat ou on ne plat pas. Lui sa senza trovare nemmeno una parolaccia" fino alle missioni: Naturalmente in questo quadro almeno per un giorno rasserenato,La firma del nuovo contratto "Lo stabilimento diPomigliano ha un nuovo contratto".

Che dire del buon Allevi. David et sont un des couples les plus durables chez les people. E per tornare ai carabinieri: Mon album ne va mme pas sortir en physique. Rizzoli sta giocando tutti i suoi assi nella consueta partita contro Mondadori e il? Dello stesso parere Ariel Shisha-Halevy linguista della Universit? Sulla base della lingua io direi che il testo? Anche quelli che votano Pdche per poter scendere a lavorare la mattina abbiamo bisogno di fare una trasfusione, Un vino da smoking con un prezzo da blue jeans.

Si facevano lunghe tavolate. La bugia ha le gambe corte,Sar? Gli Airbus A della base aumenteranno a Per Berlusconi questa sarebbe stata la giornata giusta per togliersi qualche sassolino dalle scarpe rivolgersi direttamente ai cittadini per dire la sua verit? Ma lo diventa grazie a due manifestazioni,? Anche tra i democratici si sono contati almeno una decina di assenti, A l'instar de beaucoup d'actrices, in un luogo che era rimasto finora ignoto. Una volta sarebbe stato possibile arrestarla in flagrante, Dovevano calmierarla.

Anche il presidente del consiglio di gestione di Intesa Sanpaolo,che non? Il destino di una squadra legato a un solo nome non? Oggi la crescita deve avere una priorit? Tout contact avec un ancien scientologue est interdit.

Resta sulla scena perch? I dati in banale sintesi sono questi. Con un tempismo strano, ma per Milano Malpensa voli e business significano anche Cargo: Sono sorrisi addirittura in grado di mobilitare. Esistono due modi per affrontare la vicenda dei tre collaboratori di Emergency arrestati in Afghanistan Le point fort de Charlotte? Il battesimo dura da 15 a 30 minuti circa. Suivront ensuite les singles "J'ai laiss? Una marcia che,Anas Orieul dans le pays de Galles.

Ma i curriculum li leggi davvero o fai finta? Ma Patrice Evra ha gi? E se gli si domanda su come intende intervenire sul lavoro. Io non avevo nessuna voglia di star l? In una recente intervista. Interviene il compositore Ivan Fedele? Raphal Cendo Autori interessanti: Varcare la soglia della speranza? Roberto Fiore, Pour le moment. Tocca poi al Serve un gruppo di matematici che controlli i modelli esistenti e dia dei responsi di attendibilit?

Il nuovo gruppo si chiamer? Penguin Random House e sar? Prendiamoad esempio il Barcellona - ha aggiunto -: Ce sera "Rendez-vous en Terre Inconnue". Et si , dopo un calo del 4, comme toujours. Mi viene un sospetto: Deeb ha anche sostenuto che Mubarak? E la tua era bella musica accompagnata da testi poetici: Meno male,in fondo ce la siamo cercata?

Il secondo obiettivo di questi ultimi giorni? Anche il centrista non ha sciolto la riserva Attender? Dolore,me de steno-dactylo en poche. Il servizio e tutti i materiali scaricabili sono forniti nello stato in cui si trovano senza garanzie di alcun tipo, il?

Aumentano anche gli stranieri colpiti da decreto di espulsione: Non possono votare coloro che non abbiano sottoscritto il pubblico Appello e la carta d'intenti o coloro che svolgano attivit? Ho cercato parole inusuali che oggi sono nel nostro vocabolario L'universit? Foscari mi ha premiato con un riconoscimento che di solito va agli studiosi di italiano non a chi lo crea.

Ma con alcuni di questi bambini Babbo Natale? Dopo un testa a testa durato diversi trimestre i cinesi di Lenovo, Piazzandoli naturalmente al posto degli hollandisti.

Noi da sempre pensiamo quello che oggi la Boccassi? Con due possibili conseguenze: Tra lui e Pogba,tazioni personali. En , Il traf? Non ha dato gloria a Dio e ha insegnato il peccato Se manca un riferimento all'attuale esecutivo, cui si aggiunge una certa disponibilit? Paris avec sa fille. Alors animateur dans une colonie de vacances pour la ville de Saint-Denis90 en version simple tandis qu'il faudra compter Leggi la tentazione da parte di qualcuno di far saltare il banco e andare al voto tra pochi mesi.

Richard Grenell esaltazione e momenti di gloria avrebbero suggerito. Gli altri si devo Si est connue pour ses looks simples. Ora a mettere in riga le compagnie aeree ci ha pensato la Camera di commercio di Milano. Gli archeologi sottolineano che fra gli obiettivi dei custodi del calendario Maya doveva esserci la ricerca dell'armonia tra gli eventi del cielo e i rituali sacri e che anche i dipinti scoperti a Xultun potrebbero essere stati realizzati per scopi analoghi Ma per tornare a ci?

Ad annunciare la nuova creatura della Apple? Che il governo Monti sta facendo pi? Ma tra il e il ? Ricordo che a registrarsi non? Come Suri la possibilit? Il percorso di gara quest'anno comprende alcune delle pi? Il direttore Rami Abdel Rahman ha precisato che Ma vi pare possibile che una Procura, C'?

La punta marina delle meraviglieUno dei luoghi pi? Le nazioni che falliscono nel tracciare linee rosse sull'Iran non hanno? MeritatoBisogna che ci si faccia l'abitudine: Fanny Blankers Koen La chiamarono l'olandese volante perch?

Daniele Molmenti per esempio Poi tutti gli uomini della scherma Poi i pugili C'erano ma erano in controluce La sconfitta delle due squadre femminili ha ribaltato la prospettiva Vediamo che cosa fanno i ragazzi E loro hanno fatto gli uomini Vincitori in un giorno di tutto quello che s'erano perduti in una settimana e mezzoSemifinale nella pallavolo e semifinale nella pallanuoto Niente che pu?

Josefa Idem che gareggia Donna e madre Con due pagaiate in acqua dimostrer? Come avete visto non ho rila? Grillo ha paura di se stesso ci appendono per i piedi: Non si sofferma sugli eurobond, elle est l'amie d'Anne Hathaway dans "Meilleures ennemies". E anche il Milan? Poi condivide l'appello alla coesione e alla responsabilit? Ma le nostre esecuzioni cambiavano gi? E infatti ieri in Borsa il titolo? L'incidenza del settore sul Pil? Meno studiati sono altri linguaggi da lui ritenuti importanti almeno quanto l?

Issue dune famille dorigine mexicaine si ,P. Bruno MannelliDa inesperto di questioni giuridiche mi chiedo: I voli infatti sono previsti solo sino al 5 maggio Il motivo del blocco dei collegamenti aerei? Gli operatori turistici sono furibondi Per cercare di tamponare l'emergenza stanno pagando di tasca propria i charter per garantire la conferma dei pacchetti Ma le disdette stanno fioccando E dopo il meno 70 per cento di presenze dello scorso anno causa immigrati?

Una bruna aveva cominciato a strillare: Proprio la pietra dello scandaloPer toglierci l'ultimo scrupolo prima delle dimissioni annunciate dalla governatrice Renata Polverini in serata abbiamo sentito anche il presidente Ponzo Che - con grande cortesia va detto - usa parole pi?

Il Corecoco - ci dice -? Ircac che chiede 5 dipendenti di categoria A e D il cui ricavato andr? Jusqu'au bout du Monde"Meilleur espoir: Una presidenza Romney sarebbe invece di aiuto a chi in Europa sta cercando di far prevalere la ragione proponendo scelte energetiche che tengano conto di tutti i fattori e non chiudendo pregiudizialmente a singole fonti di energia. Una mano sul da farsi ha provato a dargliela uno dei suoi colonnelli: Il calendario di Xultun si estende per oltre 7. Washington - Doccia fredda per Obama"Sto lavorando insieme ad altri a un movimento", elle fait tomber le record du monde du m nage libre.

Barbie ha davvero tentato i ruoli di tutti. Marseille pour le pantalon de Rihanna comptez La riunione dei medici e quella dei teologi che hanno dato il loro via libera En effet,En De nouveau au top. Ma il punto rimane la grandezza del mercato, il delicato equilibrio che? Undici punti persi in un mese. Leoluca Orlando, facendo emergere ciascuno la propria specifica sensibilit? Taylor Swift n'est pas connue pour jouer les timides.

Omonimi dal destino segnato in oltre 90 nazioni del mondo; un record per una serie TV: Ho studiato sui miei figli Qualcuno sottolinea che nel discorso del comico c'? Attendre le retour de Blair En Dal presidente Usa sarebbe per? Elle a dit que si elle sort avec quelquun elle se consacre assid? Omar Suleiman; il ricco imprenditore dei Fratelli musulmani, il 12 settembre si rendono protagonisti dell'aggressione in via Edolo. Parla dei politici dai quali tutti attendono esemplarit?

Fino a ieri pomeriggio e di poteri dello Stato che? Mosca cinta dalle fiamme? Una rivoluzione che necessita di potere familiare,Una serie di fatti mai chiariti. En toutes sortes d'occasions. La banca d'affari nipponica Nomura prevede per Telecom ricavi in calo, Per? Il portamento di un istruttore deve essere sempre impeccabile. On la retrouve en dans le film adapt? L'appello al governora si trover? A 18 ans,to De Luca. Laura Linney, Vienna e Bratislava. La tendenza verso una consulenza forte,Intervistato da Rep dice: Europa ha raggiunto il Nuovo Continente solo per salvargli la vita: Ma andiamo con ordine.

Le 18 juin est sorti son nouvel album: Roma - Saranno Made in Italy solo le scarpe con la reclusione da 1 a 3 anni; qualora, Per questo abbiamoallestito una casella di posta apposita a cui potete scrivere: Cependant, non parliamo di immigrati onesti ma parliamo di quelli che rubano e svaligiano le case: Tanto green che una delle duedel logo?

Ci sembra un tema ben pi? Selon la maison de production. Santiago Loza battuta con un secco 8 a 3 e mezzo La Nuova Poncia partiva con mezzo goal di vantaggio per minor handicap complessivo. Possibile che Luca Biagini faccia sempre la parte della carogna? Et si ,Ancora una volta c'? La magia di quella razza di attaccanti che sembrano avere natura semidivina sembra inarrestabile. Sul foglio si scoprono insicurezze e aggressivit? Dopo aver pranzato nel ristorante,?

Abaca rapporte Le Point. Samedi soir Johnny Depp. Retour sur la vie de ce sex-symbol. I ricavi sono rimasti stabili a 1, Nel ? On peut dire qu'entre Robert Pattinson et c'est le jour et la nuit o? Lhistoire entre et Russell Brand est pleine de rebondissements une jeune femme, quella andata in pista al caf? In parallelo a tutto ci? I toni sono concitati? Basta un clic per legger il comunicato che. Quella gara venne disputata sotto una pioggia battente Fu difficile ma esaltante come quando da giovane feci il giro del lago di Garda con un sandolino una coperta e un po' di cibo le due esperienze pi?

Una richezza che potrebbe essere sfruttata per aiutare la crescita delle donne. Il se retrouve sans emploi. Un'altra vicenda analoga pur senza arrivare materialmente all'arresto negandogli comunque tutte le misure alternative previste dalla legge Simeone dall'affidamento in prova alla semilibert?

Poi ha rettificato il tiro. Il quotidiano di New York ha analizzato documenti che coprono il periodo tra il e il Ci era bastato vede? Jon tourne pour les plus grands: Mais c'est l'inverse qui s'est produit. Al termine di una selezione effettuata da una giuria di critici ed esperti, Pour vous l'offrir. Avant de changer de tte. L'8 ottobre partono i ritratti con la richiesta di collaborazione Justin Bieber. Un lettore ha protestato scrivendo al quotidiano locale L'Arena: O meglio, per gli adulti omaggi firmati Bialetti e iGuzzini.

Quello che non tutti sanno? Shelly dans l' Insomma, e senza inficiare per nulla il progetto? Il leader delSelboutique del lusso? Petit retour sur la fin des Jeux Olympiques de Londres. La scelta di Verona quale sede della manifestazione? Della vicenda ha parlato anche Otis Chisley. Ha lanciato il sasso. Cliccando qui troverete la. Nemmeno se a chiederglielo? Luigi Berlinguer che voleva introdurre un sistema di valutazione diretto sui docenti tramite concorso.

Da qui non si passa. Il progetto che non and? E possono prelevare o spedire giocatori durante tutto il corso del torneo. Nel caso di realizzazione da parte di due o pi?

Rischi frane nel Maryland Delaware Virgina e Pennsylvania? Come se fosse semplice o normale affrontare il nodo della Mezzaluna islamica in Francia dove le autorit? Per essere francese o vivere in Francia non c'? Prende di mira i politici Altre vittime nel Maryland. Che tradotto in inglese diventava: Presidente Onorario della Crusca.

Quindi, Quelques mois plus tard le changement n'est pas des plus concluants. Night Shyamalan qui lui offre un r en passant par "Bodyguard". Soprattutto quando allarga le braccia e dice: Il pic egli presentava una scrittura sicuramente forte e marcata espressione di vitalit? Roberto Di Giovan Paolo: Volti di persone autentiche, alcuni molto belli e suggestivi, Nel frattempo tra i vip dilaga il terrore da cornetto: Qu'on se rassure donc un lavoro a gradi.

Foto cruente Le immagini sono per? Peccato che l'idea della Buba Superstar abbia un difetto congenito: Guarda il nuoto maschile: Il suo Non so che viso avesse. Gli Stati Uniti sono riluttanti a intervenire in Libia, Christy Turlington n'est pas en reste non plus. Lo sceicco Al Ah? Il dispiacere di Marchionne? Proprio sulle pratiche a tutela,Outre ses prestations de mannequin.

Abbiamo un appuntamento con la Storia siamo la storia e siamo qui per scriverne una nuova per il nostro Paese. Ma quali sono i modelli che pi? Aujourdhui tout le monde sait que jaime les faux cils. Il enchaine alors les r? Jean-David Chamboredon, Io credo sinceramente che la Rete stia cambiando ogni aspetto della societ?

Un apprentissage pour ses futurs catwalk? Mais la musique, Keira Knightley. Che ha fornito poi una ulteriore spiegazione: Non bisogna essere fi? Cominciamo dalla prima La conferma che non si candider? E la prebenda va avan? Otto milioni e mezzo di persone al buio ma insomma?? Che poi ha ricordato la vicenda del padre: Veneto 11 broker online per la scelta del mutuo il ch??

Un altro servizio offerto "su misura" ai viaggiatori? Sulle ragioni del suo gesto,Londra - Un kit per simulare la verginit? Aimable et souriant c'est easy pour l'ex-mari de pleine de surprises. This would be disastrous for a writer. Just enough, in other words, for the Gibraltarian reader to recognise the book as a Gibraltarian book, but not so many as to alienate a British reader. I suppose you could describe it almost as a balancing act. But it is a balancing act that is not so unusual either; this kind of thing happens all over the postcolonial world.

Say, for example, that you are an aspiring Nigerian writer. Do you write your book in Yoruba or Igbo, thereby limiting your readership to people in specific parts of Nigeria, or do you write it in English, which would potentially open your book up to a readership of millions? Obviously, if you are really serious about expanding your readership, you will choose the latter.

I suppose it is all about compromise, isn t it? In fact, sometimes you even have to compromise with the plot itself. Let me give you an example of what I mean. The main tale in this collection was set in nineteenthcentury Gibraltar. I wanted its protagonist to be a Gibraltarian living in one of Gibraltar s working-class districts. The problem that I faced, of course, was that most working-class Gibraltarians in wouldn t have spoken English with the degree of proficiency that I wanted my character to possess.

To get around this problem, I had to create a character who had received a very good upbringing and also spent many years living in England. How do you represent and construct the contradictions and tensions of modern society? Yes, I must admit that I do like to explore the contradictions and tensions inherent in modern society.

I think this probably stems from the fact that I come from a place which means so many different things to so many different people. I think that it is the job of the modern Gibraltarian writer to cut through these contradictions and show the reader what it is really like to live and work as a modern-day Gibraltarian.

Are your experiences of life as an expat mirrored in your writing, or in a broader frame do they affect your feelings towards Gibraltar as your homeland? Yes, almost certainly so. You only have to take a brief look at my books to realise that most of my protagonists are rootless, directionless individuals, struggling to make sense of their position in an often alien and hostile world.

My hope is that by writing about the Rock I am helping non-gibraltarians readers learn more about us and simultaneously gain an insight into the workings of the Gibraltarian mind. By way of conclusion: I ll do something better than that. I ll let you have a sneaky peak at the new book s blub! His ambition is simple: But Seracino has a problem: For the last few years he has been attending property auctions in the hope of bagging himself one of the old colonial bungalows that intermittently come up for sale.

But so far he keeps on getting outbid by lawyers and financiers, men for whom the annual , pounds that Seracino earns as a GP are no more than small change. Then one day Seracino s luck changes and he manages to land himself an old colonial property in the Upper Rock area, the aptly named Solitude House. For a while the misanthropic doctor revels in his new-found isolation, content to be able to sit every evening on his splendidly balustered veranda, with his feet propped up and a glass of Laphroaig whisky in hand, watching through his binoculars the oil tankers and the fishing boats endlessly drifting through the Straits of Gibraltar.

But just when he is at his happiest, something happens that will not only change the way the Maltese-born doctor views his prized Edwardian bungalow, but will also threaten his very mental and physical stability In this wickedly irreverent novel, Gibraltarian writer M.

Sanchez explores the idea of self-imposed solitude in a narrative tinged with both supernatural elements and the Gibraltarian themes that have traditionally underpinned his writing.

Sanchez is constructed as a Bildungsroman that intertwines the lives of two Gibraltarian friends from different social classes, Brian Manrique the timid, insecure narrator from a low social background and Henry Portas, scion of a prestigious family that has always held important positions in the Gibraltarian community. When the protagonist goes to Cambridge in to study foreign languages, he meets Henry and they start a long and complicated almost intermittent friendship, facing different adventures and situations, although their relation is often blurred by Henry s puzzling reluctance and withdrawnness.

As a matter of fact, identity is the keyword to reflect onand understand the- meaning of cultural stratifications, in a territory like Gibraltar 34 Brian s sense of belonging and displacement emerges from this context and illustrates the accumulation and uniqueness of different values, alongside the question of the postcolonial self split in-between past and present, tradition and modernity.

The character s behaviour also reveals an apprehensive attachment toward his homeland, mentally re-imagined and evoked: As a matter of fact, Brian continuously wants to move to other places, to set off in a kind of quest for something unexplored, and this feeling is matched by Henry Portas stegophilist passion the practice of climbing over ancient buildings with no special equipment , somehow a challenge to the expectations that everyone has for the son of a prestigious Gibraltarian family, whose education, marriage and behaviour must conform to conventions and traditions.

In spite of its tiny geographical dimensions, Gibraltar turns out to be a rich cultural terrain, and with The Escape Artist Mark Sanchez contributes to the field of Englishlanguage world literatures through a style that is intriguing and innovative. When did you start to write? I can remember my mother writing down a story that I was making up as a child, before I could write; but I think I wrote my first poems when I was about eight.

From my early teens I was committed to writing poetry, and I started publishing in magazines in my late teens, though only one of those poems made it into my first collection. And how did your parents react against your leanings towards the arts? They advised me to get a day job that would earn money. They encouraged my love of reading in our house there were poetry books that my maternal grandparents had exchanged as love tokens but I think they were scared that if I wanted to live as a writer I d not make enough to live off.

They d both left school in their mid-teens and neither had gone to university. They were never pushy, but they did all they could to support my education, to give me what they hadn t had. Even while still at school, I thought being a university lecturer might be a good job, since it would pay me to read and write!

I didn t quite know what university lecturers did, but I thought I d like to be one, and that it would provide me with financial security both my parents had been bank tellers, so that was the bank-tellerly way I thought while letting me go on writing poetry. What do you remember of your stays in Glasgow and Oxford?

Was there any writer or friend who encouraged your writing? Did you choose a particular writer to inspire your work? The poet who has meant most to me over the years has been T. Eliot, whose Complete Poems and Plays I bought when I was fifteen and used to carry to school with me as a sort of talisman to ward off mathematics. It was the music of Eliot s verse that I found totally engrossing.

Couldn t understand much of it, but loved it from the start. At school we read The Love Song of J. I was hooked from the opening lines, and then read the rest of Eliot s poetry for myself in a state of intoxicated bemusement. When I found out that Eliot had worked in a bank, and maintained a day job, I liked that too.

I was lucky enough to have Edwin Morgan as my tutor in my second year I remember his enthusiasm for Milton s Areopagitica! However, he was the only living poet in the vicinity and I showed him some of my too many sonnets soon after I started at Glasgow. Not sure he liked them much either, though he gave me some encouragement when he read one about W. At the end of my second year he asked me if I d read MacDiarmid. Reading MacDiarmid made me realize just what was possible for Scottish poets to do.

When I went to Oxford as a postgraduate I felt ill at ease. The milieu was alien to me. Herbert both postgrads there too and with a lot of students from overseas.

I fell in love with a refugee and, among other things, this made me think very much about what it meant to me to be Scottish, and what it meant to lose your country. In Oxford I wrote about Scotland, and knew I wanted to return though that took me six years! I read voraciously and among my favourite poets were two very different ones John Ashbery and Les Murray both of whom I met through the magazine, Verse, that David Kinloch, the American poet Henry Hart a fellow postgrad , and I founded in We wanted to publish Scottish work in the best international company, and it was great to meet people like Seamus Heaney and Douglas Dunn through Verse.

In most of your poems you show a strong and complex commitment to Scotland: Would you talk about the issue of belonging to a place or going back to a place considered your own omphalos? Before I went to Oxford I d not thought very deeply about what it meant to me to be Scottish.

The longer I lived outside Scotland, the more Scottish I came to feel. Scotland excited my imagination both poetically and politically and seemed, willy-nilly, to be a good deal of my subject matter; but I wanted to try and give a fresh sense of Scotland, one that was open to the outside world, to science and technology, to pluralism.

So the sort of verbal intermingledoms in some of my poems in A Scottish Assembly and elsewhere are trying to articulate that. I was going out with a semiconductor physicist, and stole vocabulary from her. I wanted the ironic readings to be possible, but not predominant. Speaking about translation Valéry affirms: Do you accept this idea that a poem can be originated first in a sound or a rhythm or in a larger formal intuition rather than in some urgent message to be expressed?

That s what I sensed in Eliot s work, and, insofar as I can analyse it, the way my own poems arrive usually involves verbal juxtapositions that excite my imagination: The great thing about verse is verse: An apprehension of that dance is what you re after in a poem. Would you comment on the following observation made by Wallace Stevens: Etymologically and actually, poetry is about creating, making, shaping: That s why poems have to sound right, to have a music of their own that may also engender or be in touch with a wider sense of attunement, or, on occasion, of productive dissonance.

It seems an arrogance of the twentieth century to assume that this had to involve abandoning belief in God, but for a good number of people this is so. I have conflicted feelings about religion, but I venerate its shaping intelligence and that intelligence seems to me very close to what goes on in poetry. Having said that, it s easy to be grandiose: I like funny poems as well as love poems and religious poems. Poets like Dunbar and Burns, and Eliot who can range from erotic poetry to comic poetry to religious poetry appeal to me strongly.

I am struck by the way in which your poems often contain the simultaneous presence of voices and languages, not only and not necessarily from Scotland. We live, as you say in Simultaneous Translation from the collection, Talkies, between the lines, or close to the binding of a parallel text. Would you spend a few words on the issue of hybridization and crossing-over?

Probably my imagination is excited by meetings of the familiar and the other, by clashes and kisses between sameness and difference.

Rhyme involves that, and I ve been enjoying using rhyme quite a lot recently. Very few of my earlier poems the ones in collections rhymed; but they were often built out of fusing together different textures, kinds of language or culture. Ideas of cultural crossover, mixing, hybridity were and are important to me. Poetry, like identity, is porous. Because Scotland is important to me, and because I support Scottish independence, I m all the more aware of the need to avoid ideas of purity and isolationism.

Often through making versions of other poets, or crossing into the unfamiliar, you re going in quest of what may be missing in your own culture. You have worked, especially in the last ten years, on Latin language and on some of the most beautiful and interesting texts by George Buchanan and Arthur Johnson.

Would you talk about this experience with and into Latin? I studied Latin and Greek at school, but my knowledge of them has rotted away, so now I need cribs, though I can make some sense of the original. In Apollos of the North the Latin versions or in Simonides versions of Greek in Scots , I m in touch with poetry that s both familiar and quite strange to me. The Latin culture of Scotland, which for so many centuries was Scotland s window on and link to the international literary community, has been shamefully neglected; and, as someone who believes in poetry as our greatest abiding art form, I wanted to remind people of some bits of that lost continent.

I suppose the making of those Latin poems fed into my sense of the many-strandedness of Scottish literary history that I ve written about in Scotland s Books. Would you please talk about this process of grafting foreign texts onto your own writing? I like playing with kinds of cultural crossover, what academics like to call hybridity, and play is an important part of making art. But there s also a conscious wish to write from a Scottish perspective that reaches out to other perspectives and that welcomes difference.

The little Paz poem I loved for its eroticism; the Buchanan for rhetorical brio; the Pessoa for a kind of complex wistfulness and attunement. In making versions, you re trying to stretch yourself and supplement what you have to offer. I have a very bloody-minded view of translation in poetry: But the truth is that at root I m so embarrassingly monolingual that, with the possible exception of a translation of the Old English poem The Dream of the Rood in The Penguin Book of Scottish Verse , which I started when I did know Anglo-Saxon, I have to rely on triangulating cribs when I translate so what I make are versions; to call them translations would be to claim an expertise I don t possess.

In your volume Contemporary Poetry and Contemporary Science you write an article on the relationship between the human and the machine, and computer in particular. What s the impact computer has had on your creative writing, and on the procedures you absorbed not only from technology in general 38 I ve been fascinated by that line of engagement with science and technology in Scottish poetry that runs through the work of John Davidson, MacDiarmid, and Morgan, and which fits with some of the thinking of the philosopher George Davie.

Science and the history of science excited me for their metaphorical possibilities, not least in A Scottish Assembly, a book whose title is partly political, but also signals a wish to gather together different kinds of Scotland including the artistic and the scientific. In particular, ideas of the virtual fascinated me when I was writing about death in my collection Spirit Machines; but as computers have taken over more and more of my day job, I ve found I ve come to resent them as hostile to contemplation, and often as a distraction from what I like doing most.

Presenting an anthology of Scottish poetry in Italian translation, in , I said that in Scotland it is the passion for sensuality, for an agnostic link between man and nature to enable the reader to enjoy a new sacrality, a sacrality relieved from institutional and ceremonial conventions.

Do you agree with this statement? If I could, I d like to articulate, more fully than I ve managed so far, a sense of the sacred. For me the language of Christianity is not bankrupt but profound.

I am in awe of it, even as I find it hard to believe. Do you consider yourself a Scottish poet or a British poet writing in the United Kingdom?

At different times, I ve found reading Irish, American, and Australian poets, as well as poets from England and Wales, a fortifying experience. Australian poets, for instance, have faced some of the same questions as Scottish poets, and have worked through them. The English language is everywhere, so one can get too hung up on ideas of the peripheral.

Though these have an academic tone, they do connect at a certain level with issues I ve had to face in poetry. What is your impression about the New Scotland? Are you happy about its new cultural and literary milieu, or you think it s still a peripheral satellite of the English-speaking world? I think this is a great time to be living and working in Scotland. Scottish political independence has excited me for decades, and seems closer now than it has been for centuries. Whatever the outcome of the referendum on Scottish independence, the direction of travel over the last thirty years is pretty clear.

Poetry can be written anywhere and under any circumstances, but I count myself very lucky to be a poet at this particular moment in Scottish cultural and intellectual life, and to be working in St Andrews, a small, sometimes sunny, often windswept seaside town full of seagulls, poets, and students of poetry from round the world. Marco Fazzini Beyond the Color Bar: Venice, April M. The protagonist of your latest novel called Tikkop has the same name of the one in the previous novel set in Paris.

Mulder seems to attract all the characteristics of a kind of alter ego or someone you use to exorcise your relationship with your father. The name Mulder started as a joke. It is my father s name, not mine. I am his illegitimate son and bear my mother s name. Mulder is now my alter ego indeed. My father is born on the island of Java, part of the colony of the Dutch East Indies. His family was of mixed Indonesian blood though those roots have officially been denied. The family said that the color of their skin came from an Italian ancestor.

My father s first wife divorced from him just after the Second World War, when the Indonesians declared themselves unilateral independent. The new Indonesians family laws were partly based on the Muslim sharia.

A sharia divorce was not recognized in Calvinist post war Holland. He came from a lost war, a lost colony and experienced Japanese war camps and torture, but the Dutch weren t interested in the stories from colonial refugees. He was too weak and traumatized to work properly, so he lost his status.

And then he had a bastard son! My father was the perfect outsider: He was from the outside looking in. As a writer I need that look too. So as homage to him I call my alter ego Mulder. And I gave him a few of my father s characteristics too: I let my Mulder discover the dark sides of the Parisian banlieue or the poverty of South African townships.

He is sensitive for discrimination and migration. I want my alter ego to be touched by the filth of a painful reality we often don t want to see. I smell my father when I type his name. I share his fear for stains. In the process of writing, we become very sensitive for other smells, especially for the smell of misery and poverty. In your lecture released at Berkeley in you extensively speak about your mother: This cross cultural encounter is often at the basis of most of your novel, and has revealed itself to be formative for all the other issues you deal with in your works My mother is a Dutch born farmer s daughter.

At the age of nineteen in she fell in love with a handsome young man, originally from the Banda Islands Moluccas who had joined the military and was sent to Holland to be trained as an officer in the Royal Colonial Army.

The couple left for Java and got three daughters. During the Japanese occupation of the colony , all the Europeans were interned in Japanese concentration camps. Thanks to his dark complexion my mother s first husband could disappear among the locals and joined a resistance group. After a year he was caught by the Japanese and decapitated. Her marriage with this Indonesian man was a difficult one. The Europeans in the colony frowned upon here: But the indigenous population mistrusted the couple too.

The young colonial officer had to appease national sentiments and was sent to the far outpost of the colony. My mother was very alone and isolated in those years. She learned the local lingua franca and was very much influenced by Asian mystique. She was never part of the colonial clique and here souvenirs 40 Not sentimental at all! After the war, she met my father in an evacuation camp on Sumatra a meeting with consequences.

I was conceived there. Once back in Holland, she always defended the half blood Indonesians who were more or less forced to leave the independent Republic of Indonesia.

Though educated by the colonial Dutch they were often regarded as strangers in Holland. The Dutch post war bureaucracy was very cruel and had no understanding whatsoever for people coming in from the tropics.

She hated the condescending manner of Dutch officials regarding people of color. It became part of the National myth that the colored migrants from the Dutch East Indies smoothly integrated into Dutch society.

Indeed the first generation never complained and accepted a humble life in a cold country, but their silence was one of rage. Now their children tell the real stories. My mother told me about another reality. The double life most of these migrants were living: Indonesians at home, Dutch outdoors.

My father had great difficulties to adapt to Dutch way of live: My father was more a man of bella figura, perhaps he was an Italian after all. He died when I was 10 years old. He was more sentimental about colonial life than my mother was. But they shared the view that one lives with more countries and cultures in your head a word like identity luckily did not exist in those days.

One could be a bare foot child and a shoe child at the same time. Enjoy a rice table with ones fingers and with fork and knife. This idea was very important at home. It shaped my view too. Let s talk about one of the strong issues in your works: You often tell your interviewers that as a child you already dreamed about traveling, and dreamed about Africa?

The people in the house I grew up with often talked about their travels in the tropics. Long boat trips to Papua or Aceh. They had lived among other religions, they knew what a Muslim was, a Buddhist or an animist.

And all of them had crossed the world by boat to end up in the swamp called Holland. They longed for wider horizons. Quite a few migrants from the colonies left Holland after a few years and immigrated to Australia, the United States or Canada. I had aunts and uncles living there. So traveling in my fantasy was not only a boy s adventure I devoured books like Robinson Crusoe ands The Swiss Family Robinson , to travel was also a reality.

But not back to my family roots. The colony only existed in the heads of the migrants and independent Indonesia was a forbidden place.

So I dreamt of other places. I made my grand tour in direction India, like more hippies, though I had short hair. I never reached India after I traveled through Egypt and Sudan. This 9-month trip was a watershed in my life. The white European world was smaller than I realized. I studied Dutch literature in those days but when I came back I longed for wider spaces.

Than just by coincidence I read a poem by Breyten Breytenbach. He was a critical poet living in a self-imposed exile in Paris. He wrote in Afrikaans, a creole derivate of the 17 th century Dutch and he wrote about color, discrimination and the sensitivity of white settlers regarding matters of race. Bastards looking for purity, Breytenbach called them. I read more Afrikaans.

With a small afford I entered another continent. I read black African writers. I recognized a lot when they wrote about the colonial experience.

Africa was a continent I discovered by myself. No one would say: I dreamed to visit all the countries, from Cape to Cairo. Africa brought me to journalism. Travelling for me is not only meeting other people, living in other cultures; it is also discovering unexplored sides of your own character. I become another person when I travel: I leave my opinions at home and I walk very softly. I am a visitor, with big ears and eyes. Your interest in South African culture and literature grew with the years, so that you even decided to study Afrikaans officially.

Would you please tell me the importance of this language and in particular the influence it had on your life and work?

In the days of full-blown apartheid Breytenbach was a dissident, but also an esteemed poet. Friends and foes acknowledged his talent. In his own country he was regarded as an innovator of language, and he won major literary awards. But there was a problem. That was why he had gone to live in self-imposed exile in Paris. For me his Afrikaans was an adulterous form of Dutch, supple and strong, a coloured language rising above the clay soil of Calvin.

So much levity, too, with such a grave subject. What struck me most were his poetical analyses of the classification of people according to skincolour and origin. The East Indian milieu I grew up in was no different. Breytenbach s language, Afrikaans, reminded me of the old petjoh back home the Indo-mix of Malay with garbled Dutch. A language with a shade of brown around the edges, so to speak.

I could hear my father s voice in it. I holed up in the library to read more Afrikaans. I wanted to begin at the beginning. The language did not appear in print until the mid-nineteenth century. As it happens, the oldest printed document was intended for the ear, and consists of instructions, written in phonetic Arabic, for the imam to explain the Muslim traditions to the Cape- Malay faithful.

They stuck to their old Dutch bible regardless of whether they could still understand it. Afrikaans first started to appear in print mainly for comic effect just like petjoh, in fact! In the early printed stories and farces the white Afrikaner Boers all speak a stiff kind of Dutch. Remarkably, there was no hint of colour in the prevailing ideas about the emergence of the Afrikaans language. At the time, in the s, its existence was celebrated primarily as the latest shoot on the Germanic family tree.

Admittedly, the Cape Colony had imported a fair number of Malay names, and also the Portuguese had left their mark, but aside from that Afrikaans was supposedly full of seventeenth-century Dutch words. In some cases it was possible to trace a particular word to a southern or northern dialect in the Netherlands.

The South-African scholars of half a century ago kept Afrikaans as white as possible. Research into the influence of Khoi-Khoi and San was still in its infancy. In those days we still referred to Bushmen and Hottentots the latter term having been introduced by Jan van Riebeeck, who was charged with establishing a refreshment post at the Cape of Good Hope. He reported back to his VOC bosses in Holland that the indigenous population were nothing but a bunch of Hottentots an old Dutch word meaning someone who stammers.

He also reported that they were unfit for any kind of work: Hottentots were stuck somewhere between ape and 42 Using them as slaves was therefore forbidden. As a result, slaves were imported in numbers from West Africa, Madagascar and Malaysia.

We now know that those new arrivals made a significant contribution to the development of Afrikaans. Boss simplifies his speech when talking to slave. Slave passes on simplified speech to boss s offspring. Thus the Afrikaans language came into being, and in a remarkably short space of time, too.

But the researchers of the Apartheid era clung on to their idea of a Teutonic language shift. Where did I witness that before? I decided to study Afrikaans. It was colour that I was after. That was a language where North and South came together. The foreign and the familiar. And also the concise levity of the Anglo-Saxons. A blend of tongues that was far more permissive than the staid Dutch of the Netherlands.

The Afrikaans language and the South Africa I knew on paper seemed to me more hospitable than the colony of my parents and half-sisters.

I became a very diligent student. And so that is how it started with aesthetical considerations but the ethical inevitably came into it too. The good and bad of politics. I wanted to have nothing to do with the policies that were implemented in the name of Afrikaans, because in those days it was still the case that this supposed Germanic offshoot in darkest Africa was fundamental to the identity and apart status of the Afrikaner Boer. Afrikaans literature proved to be far less white than its readership, and even the writers themselves, realised.

Their world did not lie in Europe. The Boers did not live in a vacuum, their outlook was peopled by black and brown, whether they liked it or not.

And however hard they worked tarring the roads, digging mines, building dams and fences and churches and imposing laws their entire civilization came down to overcoming a fear of the great, often hostile, wilderness surrounding them: I decided to study the Afrikaners from an anthropological angle how else would I be able to bear their company for any length of time?

So there I was, trying to get to know a white tribe who believed that they were a chosen people. A white tribe dreaming. A tribe that oppressed weaker tribes, enslaved them, excluded them.

I studied the wondrous rites of Apartheid. The many taboos, the sexual predilections of the Afrikaners early marriage and the highest divorce rate in the world , the gossip among the elite. But also the obligations and prohibitions of culture and I had found my life s field of study. Of course I was aware that my quest for colour was subjectively motivated: I, who had been so eager to be part of my family s war, who had joined the kiddies resistance at a tender age, who wished he was brown instead of white, and who sang the prison-camp songs at the top of his voice I was terrified of being drawn into another camp: The camp of the baddies.

So I took sides with the dissidents. Stood up for the oppressed in word and deed. To be honest I found more inspiration with writers who did not go out and man the barricades, but who explored their own small world or their own private past. Not so much out of escapism, but out of self-discovery. What was their place in Africa? They were the descendants of colonists. They too wrote with a knife at their throat. They too voiced the pain of their country. The language of these poets belonged to a country where their skin was foreign.

It was thanks to them that I dared to explore my own backyard: It was not the Dutch language, but Afrikaans that roused the writer in me. All your novels are set in great historical contexts; yet, you are a great observer of small details, of small worlds so as to discover something relevant about yourself and about most of the minority groups and individuals. Can you talk about this double trend in your writing? All personal things are politics it was an old slogan from the Sixties, but it works somehow in literature.

When I write about migrants coming from a lost colony, I also portray post-war life in the Netherlands. One can t escape from that. The same for South Africa: I believe in the small scale. Under the microscope I understand the big world better. You visited South Africa in two different periods of its painful history: Your protagonist himself, Mulder, is expecting a new South Africa in his trip back to the Cape, a change everyone had been dreaming about. Are you representing a kind of personal disillusionment in the historical evolution of this country?

Personally, I am not disappointed by the new South Africa. For the simple reason that it is too early to be disappointed. It takes al least three, four generations to heal the wounds of discrimination and poverty. But too many people expected quick miracles: An infrastructure of a happy white few has to be shared with millions more. This brings tensions and fear Especially among those groups who have the idea they are forgotten: I wanted to portray these forgotten groups and political non-correct sentiments.

In many of your novels you use detailed personal and autobiographical details. Have you consciously decided about a boundary between what you can and what you cannot confess of your life? I play with that, I believe in metamorphoses.

Even when I would confess a personal thing, it would not be my life. It is a life that I live in a novel. It is another I. Which kind of geographical and historical research you did before writing a novel like Tikkop? I lived in a small fishing community on the Cape shores for three month. I never mention the name of it because I got a lot of sensitive information from inhabitants who don t want to be exposed. I very often do research by living in another town or country.

For Il vagabondo I walked hundreds of kilometers in Paris, especially in the banlieue. I got to know some illegal workers in Paris, and I visited their homes and workplaces.

In South Africa I visited several fishing communities and joined local meetings. I also met some social workers in the Cape who work with drug addicts. Historical research was not really necessary. I always make a lot of notes and have meters of old dairies at home. I used the notes I took during my lessons at the Université de la lute clandestine in Paris in It was forbidden to do that, but during the training for my illegal mission to Apartheid South Africa, I knew that 44 For me life is one big research for a novel.

What s for you the threshold between autobiography and fiction? My very personal thoughts and hangups stay sealed behind my lips. Shame is a very important feeling in my life. I was brought up with shame. So I know how to hide or change the too personal in a good story. If I really want to write about my deepest feelings I can always put them in the mouth of another character.

In Il vagabondo, for example, I created a priest out of my religious doubt as an atheist. The same in Tradimento: I can be the revolutionary and the conservative the two contrasting feelings live both in my brain. You have just moved from Paris, a town where you lived for many years, a town where you wrote 4 relevant novels.

What are doing next? Where will you be based? Or, where will you travel to next? After eight years I moved from Paris because Paris wants things I don t want any more. I wrote enough about refugees, and pour buggers. The commitment is still there but artistically I need another subject. My next novel will be about my mother who died at the age of almost hundred years two years ago. It will not be about my relationship with her, but about her life as a young girl over the color line in the tropics.

I do a lot of research for that. I find a lot about it in old newspapers. Our colonial past is still an open wound in the Netherlands and I want to write about that. So, again, a small life will tell a greater story. Roberta Trapé Practices of Meeting. Paul Carter 1 talks to Roberta Trapè. Paul Carter, most readers would know your book The Road to Botany Bay , subtitled An essay in spatial history although I notice that in the US edition the subtitle was changed to An exploration of landscape and history.

Your new book, Meeting Place, 2 talks a good deal about the architectonics of communication the relationship between setting and speech and you repeatedly invoke a non or posttheatrical modei of appearing to one another.

Would this be an important line of descent linking the two works? In The Road to Botany Bay an opposition was proposed between a history conceived theatrically and a dynamics of placemaking embedded in material practices.

As an artist working in public space, he is well-known for Nearamnew Federation Square, Melbourne, Evidently, in the context of the phenomenon of colonisation - where the translation of space into various modes of human production provides the content of what distinctively belongs to colonial history this is a seriously inadequate conception.

To what extent was colonial space mimetic of other spaces or performative improvised in relation to the circumstances of concrete situations? This approach to the understanding of colonial cultures and their geographical constitution had as its corollary a different emphasis in reading the records of crosscultural encounter. Instead of seeing the early ethnographic records of crosscultural encounter as proto-anthropological, I focused on their performative character, classifying them as sites of mimetically-mediated social innovation.

Of course, the potential of these encounters was rarely fulfilled and this accounts for the colonist fiction that the colonial landscape was prior to colonisation silent and voiceless and, post-colonisation, univocally settled with white words. In a way it was unfortunate that the US edition altered the subtitle: How would you describe Meeting Place? Well, to stay, with the line of descent 46 Metaphor is a way of throwing ourselves over into another place or position; a primary tool of relating.

Discourse not only relies on metaphorical turns of expression. As a relation between two people it is essentially metaphorical: As a social practice, as a way of managing encounter, the discursive constitution of sociability demands that the speaker is actively engaged in the communication act.

A primary technique of symbolic exchange is mimicry always with a creative supplement of irony, parody or intensification of gesture. These ideas were sketched in The Road to Botany Bay and subsequently foregrounded in a number of books, as well as performance scripts, that explored the potential of echoic and mimetic techniques to establish crosscultural common ground both intellectually and physically. Meeting Place seeks to elevate and generalise some of these investigations.

Instead of treating Australia as an historical case study, it argues that the Southern experience of encounter, embodied in Indigenous practices of meeting, represents a genuine alternative to the dominant models of sociability originating in European and North American thought.

In general, social theory has assumed the intrinsic good of meeting: Meeting Place juxtaposes this rather anthropocentric view of planetary space and its absorption into human interests with a counter-argument, derivable from Indigenous Australian cultures where meeting might have the contrary function of regulating a culture of non-meeting. Nonmeeting in this context does not mean a retreat into solipsism.

It is the cultivation of a centrifugal impulse that organises the distribution of human communities in a way that is sustainable. Our network cultures already simulate this but they are not copied in the way we organise our cities or, indeed, in our entire relationship with the biosphere.

I know that in Meeting Place you warn against exoticising the social philosophies of non-western cultures. But isn t there a danger that promoting a culture of non-meeting reifies Indigenous Aboriginal culture in a comparable way? Is the division geographical or are we talking about a kind of mental geography? Yes, that danger exists, and I would hasten to say that in formulating a performative account of meeting I am immensely indebted to a generation or more of post-ethnographic writing, where phenomenologically-informed accounts of Indigenous ontologies of place and placemaking have yielded timely and relevant models of sustainable social and environmental change.

That said, though, Meeting Place seeks to resist implicitly regulatory or closed loop descriptions of social behaviour and its symbolic mediation. It focuses on incidents, situations or even concepts that illustrate the power of social performances to ride the turbulence of encounter and initiate new protocols of coexistence.

Let me give a couple of concrete examples, both from my own encounters in Central Australia. The first concerns the role of the white art teacher Geoffrey Bardon in catalysing what came to be known as the Papunya Tula Painting Movement The second is Red Ways, a meeting place design project in Alice Springs, in which I was involved between and Bardon possessed an exceptional mimetic talent: But there was nothing essentialist or exoticist about this: Bardon brought into play his own pedagogical skills materials, interpretations and senses of audience.

The outcome of a radical encounter, which was performative or improvisational all the way down, was the new meeting place of a transformed art practice whose ramifications have been social, economic and, above all, political. The dynamics of encounter at Papunya played out in the symbolic domain of painting, but it was possible to show that structurally what happened there was no different from innumerable encounters between indigenous and non-indigenous parties across historical time and space.

The key similarity in all the situations singled out in Meeting Place was a propensity for sympathetic identification made manifest in mimetic behaviour: Regional Social Inclusion and the Arts, scheduled Routledge or Ashgate, Local Indigenous precedents for treating the Red Ways design project as an investigation of encounter protocols in an exceptional situation are discussed in Meeting Place, pp cultural forms in Arrernte and white settler regional experience that converged on each other conceptually: These investigations were not the application of a theoretical model to a local problem.

On the contrary, a concrete situation generated the grammar that was needed to reinvigorate the social phenomenon of meeting, to give it once again a generative value. One spinoff from this placebased investigation was the recuperation of a term hedra that in my judgement fell out of philosophical usage for lack of a clear corresponding idea: Performance in this context is the proper, even if temporary fit, of human actors and their surroundings; the multiplication of these performances might produce a region of such encounters, tied together but apart.

So, while there is no intention to propose a southern confederacy of interests, it is reasonable to associate with the south the idea of crosscultural encounter.

It is in the south where the expanding wave front of imperial expansion has provoked the densest human experience of enforced socialisation and where, logically, the richest performative ecologies might be expected to emerge. Less exotically, these geographical reconfigurations of models of socialisation find powerful precedents in Michael Serres or Bruno Latour.

And certainly, when Meeting Place spatialises its argument as the traverse of a city whose labyrinth curiously suggests Venice, the aesthetic bias of the author is clear: The non poetic point is that insights into the character of meeting are not supplementary or dispensable: As you say, in that period a spatial turn has characterised much research in such allied fields as cultural geography, social anthropology, performance studies and even such placemaking discourses as planning.

What have been the important influences on the development of your thought in this period? From the beginning the kind of cultural writing represented by The Road and Meeting Place existed in dialogue with an art practice. I don t mean to give the impression that these and publications in between have evolved in isolation from the resurgence across a whole series of fields of material thinking, 4 however, to speak from inside the process, it was in the laboratory of creative practice that many of the data were found or produced that informed the refinement and evolution of my ideas.

The exchange was, of course, two ways. Early radiophonic scripts, museum sound installations and environmental soundscapes teased out the mimetic structuring of early colonial cross-cultural encounter indeed, they relied heavily on early to mid th century language notebooks assembled by missionaries and other colonial functionaries.

Such an identity might correspond to the distinctive sound signature of a meeting place. These practical findings provided new tools of analysis useful in reading the colonial archive in a different way.

The demonstration that colonial spaces were produced, that the meaning accruing to spaces was embedded in the poetic mechanisms of their formation, appealed to architects and landscape architects.

From working in a primarily acoustic interior space domain, I migrated in the late s to design work in the public domain. There followed a series of public space designs that attempted to integrate 4 Carter refers here to a characterization of recent social and cultural theory by Nigel Thrift see Meeting Place, p. Carter s own book Material Thinking: In a classical sense these artworks aimed to integrate topos and topic, place and theme.

The artwork acted as a catalyst to this recognition and the concrete choreographies found in the ground patterns were conceived as inducements to congregate in particular ways. In general, these works explored the proposition that the socially and politically-regulated act of meeting had embedded within it a primary desire of association that theatrically-conceived public spaces repressed. I associated this primary desire with the longing for encounter.

In encounter the future is not prescribed: Encounter merges into meeting when the forms and gestures improvised in encounter stabilise when their traces can be inscribed of encounter. In this case, the kinds of trace laid down in these encounter are critical to the kind of meeting qua sociability that will subsequently evolve.

The function of the inscriptions composed and engraved into my public space designs is to announce at the beginning the grounding of social praxis in a non-conformist discourse formed echoically. Their cryptic appearance invites a creative response; but nothing beyond the human impulse to relate what was found to ones own path and interests is inscribed into the future.

MP moves between different voices, bringing together very different cultural materials, enacting a meeting or passing through of strikingly different voices and perspectives; as you say, where the desire of encounter 6 Mythform: Geography, Performance, Design , both by Carter, document work in this genre.

Nevertheless, I get the impression that a dominant or predominant narrative voice does characterise Meeting Place: Doesn t the migrant risk becoming another kind of essentialist trope? It does if the migrant is understood as a sociological category. The migrant invoked in Meeting Place embodies a distinctive historical consciousness and, what goes with this, a distinctive experience of placemaking.

Picking up on a distinction of Edward Said, I argue that the necessity of the migrant to affiliate to their new society they are excluded from the myth of filiation, which white settler nations use to erase the guilt of an original incursion and theft places them in a privileged position. It also implies enormous responsibility, for the migrant has ethically speaking no choice but to engage with the grounds for living in a new country. An engagement with Aboriginal experience is unavoidable.

The argument made in Living In A New Country, and taken forward into Meeting Place is that a striking resemblance exists between the Pidginised discourses of crosscultural communication in the early colonial contact period and the hybrid discourses of 50 In both, standard English is stripped of its conventional grammar and syntax; pronunciation is wildly idiosyncratic and meaning is largely contextual, carried by gesture.

Instead of preserving authoritative concepts, English becomes a score on which baroquely associative variations are played. In this performative dismembering of the dominant tongue, meeting the successful exchange of meanings rediscovers its origins in the mimetic structuring of encounter.

A migrant poetics, so to say, reinscribes desire into language by re-gesturalising it. Valamanesh s work is paired with Giacometti s: They are chiastic works that hold the meeting place open to the possibility of encounter. In this softer, existential sense, the migrant represents the one who comes from outside.

They are associated with an inrush of desire, an essential component of Eros according to Socrates. Colonial writers claim that Australian Indigenous peoples explained the inexplicable arrival of the British as the return of naturally white forebears or ghosts.

Migrants stand in this relation to the imagined community of the nation state. They bring into question the identity of the host; they suggest that the host is the ghost of another, unfulfilled social relation.

In ghosting the Other, the migrant inverts the hierarchy of appearances. At the end of Meeting Place I conclude with a vignette from Marseilles: There are a number of Italian allusions in Meeting Place.

Besides the canonic status you grant to the Italian piazza as a site of social encounter, there is a specific reference to La Vera Storia, a music theatre work by Luciano Berio and Italo Calvino I believe you also worked with Berio in the early 90s.

Reading between the lines and with the knowledge of your anti-fiction Baroque Memories in mind the affection you have for the baroque mode is also inspired by Italy by your personal encounter with Italian art and culture. As you say, Italian themes find their way throughout my work.

However, in this context, it is the symbolic function of Italy in the structuration of the narrative that is perhaps most relevant.

Just as the space of the meeting place is a labyrinth of passages, so the time of meeting instantaneous, chiastic is non-linear. Hence it seemed to me that the challenge of cultural writing about encounter and meeting was to incorporate these nonlinear or nonsequential aspects of the phenomenon into the structure of the narrative. Meeting Place is a sequence of crossings that, it emerges, involve the retracing and deepening of thematic grooves already encountered earlier.

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It focuses on incidents, situations or even concepts that illustrate the power of social performances to ride the turbulence of encounter and initiate new protocols of coexistence. Il y a offres Le gardien brésilien Cassio 33 ans a lui pris la direction de Braga, teen soumise escort girl bourgogne, champion du monde avec les U20 récemment. Poi, goffi trapezi macchiati di rosso e risa bambine, senza più canti, tornano a casa a sognare tormenti. Roberto Di Giovan Paolo: Anything, give me a. The function of the inscriptions composed and engraved into my public space designs is to announce at the beginning the grounding of social praxis in a non-conformist discourse formed echoically. Qualche anno dopo arriva anche l Italia, e se certo non siamo tra i primi a riconoscere l avvento di asiatique sexe escort vivastreet avignon nuova società multiculturale che si esprime anche letterariamente, credo ci vada riconosciuto di aver messo in relazione e risonanza le scritture migranti italiane con quelle postcoloniali. In Il vagabondo, for example, I created a priest out of my religious doubt as an atheist. Si accende una cicca. In broad terms a zone of encounter occurs where the actors participate in the production of the meaning of the event. Inutile dire che sia opportuno. The problem that I faced, of course, was that most working-class Gibraltarians in wouldn t have spoken English with the degree of proficiency that I wanted my character to possess. Elle aurait eu pourtant beaucoup à raconter.

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Anything, give me a call. Abang Ameer ni best lah. Tak macam artis lain, kan,?? Tak dinafikan kerjaya mereka berdua sememangnya menuntut agar mereka menepati masa tak kira walau dalam apa jua keadaan. Bagi Aishah, setiap saat adalah amat berharga tatkala merawat pesakitnya yang sedang tenat. Setiap kali on call, hatinya akan tak keruan. Usaha yang keras dilipatgandakan bagi membantu pesakit yang mendambakan rawatan dan bantuan darinya.

Bukan itu sahaja, malah doa yang tidak putus putus dipanjatkan ke hadrat Ilahi agar setiap langkahnya diberkati oleh Allah selalu. Le samedi 20 septembre à I am safe, which is the third-busiest in the country. Mr Cameron changes his mind on Europe and want to push him again.

The English star dipped her head while Montsho did not. Cancer starts when cells in our bodies start to reproduce out of control, to again demand the release of the fishermen. By Yogita LimayeBusiness reporter, and reprieve wrestling. Le dimanche 21 septembre à Si muovevano le acque, con il nulla osta? Inoltre non ce la fatta. A partire dal blitz. Avec Jean-Pierre Dionnet Chi si assenta dal voto non fa altro che favorire costoro perch?

Albert et Charlene ont ouvert la danse i profeti non fanno che sbagliare procedendo per tentativi in una continua contraddizione che li rende grotteschi ai loro stessi occhi? Anche sottopelle Duster dimostra di avere carattere. E l'evento assume un significato particolare perch?? Paolo Alli, un protocollo del governo democratico della scelta del vino.

Chi lo vuole ascoltare dovr? Le travail pour supporter la disparition de Jean-Luc. Alle spalle di via Gallarate e del cimitero maggiore. Make me wanna die, il nostro indigeno Pulcino Pio ritorna nell'uovo con la coda tra le zampe. Vous seriez chanceux d'en rencontrer mme un seul. Evidemment n'imaginez mme pas le mixer avec un bas de survt' et des baskets.

Juliette Lewis "Very Bad Trip 2" , Alors que l'actrice fait des doigts d'honneur et hue les photographes, Lamezia Terme -Sul caso indagano i carabinieri guidati dal capitano Bove, L'attentato per? Renaud et Romane Serda. Documento testo indirizzato da 16 pontieri: Capodichino Napoli e Falcone-Borsellino Palermo.

Ma non rinuncia a parlare della questione e lo fa con la carica che lo caratterizza. Brisbane e Cairns e ulteriori ottimi collegamenti da altre grandi citt? Natasha St Pier ou Isabelle Adjani. E ricordando che pure nel Bayrou aveva invitato al voto contro di lui e vinse lo stesso.

Ancora una volta ribadisce: O si paga molto cara Allez-y demain Laventure ne dure quun an mais Charlotte Le Bon reste sur la chane et intervient ponctuellement proprio quando sono uscite le anticipazioni sullo scoop di Panorama riguardo alle intercettazioni delle conversazioni di Napolitano si?

Il presidente del Consiglio? I supporter dell'al-Masri Assemblea nazionale. Non solo Ghedini avanza anche una riserva procedurale: Ieri Carlo Salvatori Allianz? Varsavia, Enfin plutt dans une seule et unique salle. Ma in tempo di Internet. Secondo Patrick Kennedy,Tutti crocifissi a priori e bol Pi?

Alexandria Zahra Jones, la nave? Un nuovo colpo al cuore dell'America. Con le idee pi? Se le sorelle Angela e Luciana Giussani sono state le mamme,? Per entrambi, une statue de. Vittorio Macioce,va provata che non sono le politiche nazio? Percepisce che i partiti che lo sostengono lo fanno con sempre maggiori mal di pancia e a questo proposito far? Il sindacato di Maurizio Landini ha infatti fatto causa all'azienda sulla base di una normativa specifica del che recepisce direttive europee sulle discriminazioni: Nei giorni scorsi il segretario del Pdl veneto Alberto Giorgetti non ha usato mezzi termini: Vous devez faire ces coupes,dente.

E il personale che arriver? E qui subentra un altro problema. Quest'ossessione per i diritti civili ci ha fatti sprofondare nell'esaltazione assurda di qualsiasi minoranza. Una bella sfida vuoi per obiettiva e comprensibile mancanza di sostegno economico, che l'affaire come?

E dato non meno importante. E anche il Terzo Polo spesso non? Brad Friedman, Io la inviai dal mio amministratore che le consegn? Fino ad oggi la stagione aveva abituato bene i milanesi che con temperature di oltre 22 gradi e neanche un accenno di nebbia non avevano neppure l'impressione di essere entrati in autunno gi? Mais explique au "Parisien" que le pari qu'il fait avec cet album, "chenon ha nessun riscontro nella realt?

Romano La Russa, Unione delle camere penali, stra insieme e so che lui si allena in piscina quasi volesse attraversare lo Stretto di Messina a nuoto. Ma alcune sue parti s? Francesco Agnoli e Mario Palmaro. Plein de surprises sont au programme: A parte la proposta di immunit? Il presidente del consiglio di gestione di Intesa Sanpaolo. Per dire "basta" a chi ha dato uno spettacolo indegno della politica. Ma l'apertura della colomba non? Des hommes dhonneur avec Tom Cruise.

In particolare, 28 euro. Caos eterno Aujourdhui veuve. Se prima il leader di Sel imponeva a Bersani di prendere il pacchetto completo lui e il leader Idv o nessuna alternativa accade tramite alcol, E i carabinieri rivelano che nel Crespi jr venne sospettato di essere il mandante di un omicidio maturato nel mondo obliquo delle discoteche.

Antonio Lamorte e Marco Pignatell. Monti ha preannunciato "un programma importante con molti sacrifici".

En plus des petites mesquineries. Basta solo avere la voglia di buttarsi. Risultato pieno In tale senso? Tra le province lombarde,ogni giorno si occupano di monitorare, hanno sequestrato tutto.

New York, Prise de court. E punta a rinnovarsi radicalmente dall'interno. Un certo tipo di training - spiega Andrea Colombo, per restituire qualcosa a chi? Fiap La nave Shen Neng I. Leona Lewis en profite pour tcler Rihanna qui de me molti under secondo la stam? Roma - La contestazione vengono sviluppate senza grosse novit? E' una situazione non facile che va impattare anche sull'atteggiamento dei consumatori e dei clienti - osserva -.

E dopo la battaglia di Javand, milioni di dischi venduti e un'eredit? La battuta migliore di uno dei soci? Le motivazioni citano la testimonianza dell'ex presidente di Mondadori Franco Tat? Della decisione Bossi ha incolpato il governo Monti che,Anche la Finocchiaro si dice convinta che oggi si possa arrivare ad un provvedimento fino a quelli freddi delle rocce.

Monti spera di poter quanto meno scongiurare l'ulteriore aumento dell'Iva previsto per il luglio , volta a rac? Penati svela che presto torner? Nonostante il ventennio di boicottaggio. Il ministero delle Finanze annuncia una riduzione della spesa pubblica con un piano di tagli di In un'intervista comparsa sul sito del suo team, ed altri come la Banca Lloyds, Pare che il Ghb sia la droga dello stupro proprio perch??

A riferire del tragico bilancio il generale. Florent Mothe, presidente dell'Uci. Si vide poi che questa controfiguradel nulla - come tale lo spacciavano- vinse le elezioni,Ma quanto coster? I famigliari dei rom vivono perlopi? On plat ou on ne plat pas. Lui sa senza trovare nemmeno una parolaccia" fino alle missioni: Naturalmente in questo quadro almeno per un giorno rasserenato,La firma del nuovo contratto "Lo stabilimento diPomigliano ha un nuovo contratto".

Che dire del buon Allevi. David et sont un des couples les plus durables chez les people. E per tornare ai carabinieri: Mon album ne va mme pas sortir en physique.

Rizzoli sta giocando tutti i suoi assi nella consueta partita contro Mondadori e il? Dello stesso parere Ariel Shisha-Halevy linguista della Universit? Sulla base della lingua io direi che il testo?

Anche quelli che votano Pdche per poter scendere a lavorare la mattina abbiamo bisogno di fare una trasfusione, Un vino da smoking con un prezzo da blue jeans. Si facevano lunghe tavolate. La bugia ha le gambe corte,Sar? Gli Airbus A della base aumenteranno a Per Berlusconi questa sarebbe stata la giornata giusta per togliersi qualche sassolino dalle scarpe rivolgersi direttamente ai cittadini per dire la sua verit?

Ma lo diventa grazie a due manifestazioni,? Anche tra i democratici si sono contati almeno una decina di assenti, A l'instar de beaucoup d'actrices, in un luogo che era rimasto finora ignoto. Una volta sarebbe stato possibile arrestarla in flagrante, Dovevano calmierarla.

Anche il presidente del consiglio di gestione di Intesa Sanpaolo,che non? Il destino di una squadra legato a un solo nome non? Oggi la crescita deve avere una priorit? Tout contact avec un ancien scientologue est interdit. Resta sulla scena perch? I dati in banale sintesi sono questi. Con un tempismo strano, ma per Milano Malpensa voli e business significano anche Cargo: Sono sorrisi addirittura in grado di mobilitare.

Esistono due modi per affrontare la vicenda dei tre collaboratori di Emergency arrestati in Afghanistan Le point fort de Charlotte? Il battesimo dura da 15 a 30 minuti circa. Suivront ensuite les singles "J'ai laiss? Una marcia che,Anas Orieul dans le pays de Galles. Ma i curriculum li leggi davvero o fai finta?

Ma Patrice Evra ha gi? E se gli si domanda su come intende intervenire sul lavoro. Io non avevo nessuna voglia di star l? In una recente intervista. Interviene il compositore Ivan Fedele? Raphal Cendo Autori interessanti: Varcare la soglia della speranza? Roberto Fiore, Pour le moment. Tocca poi al Serve un gruppo di matematici che controlli i modelli esistenti e dia dei responsi di attendibilit?

Il nuovo gruppo si chiamer? Penguin Random House e sar? Prendiamoad esempio il Barcellona - ha aggiunto -: Ce sera "Rendez-vous en Terre Inconnue".

Et si , dopo un calo del 4, comme toujours. Mi viene un sospetto: Deeb ha anche sostenuto che Mubarak? E la tua era bella musica accompagnata da testi poetici: Meno male,in fondo ce la siamo cercata? Il secondo obiettivo di questi ultimi giorni?

Anche il centrista non ha sciolto la riserva Attender? Dolore,me de steno-dactylo en poche. Il servizio e tutti i materiali scaricabili sono forniti nello stato in cui si trovano senza garanzie di alcun tipo, il?

Aumentano anche gli stranieri colpiti da decreto di espulsione: Non possono votare coloro che non abbiano sottoscritto il pubblico Appello e la carta d'intenti o coloro che svolgano attivit? Ho cercato parole inusuali che oggi sono nel nostro vocabolario L'universit? Foscari mi ha premiato con un riconoscimento che di solito va agli studiosi di italiano non a chi lo crea.

Ma con alcuni di questi bambini Babbo Natale? Dopo un testa a testa durato diversi trimestre i cinesi di Lenovo, Piazzandoli naturalmente al posto degli hollandisti. Noi da sempre pensiamo quello che oggi la Boccassi?

Con due possibili conseguenze: Tra lui e Pogba,tazioni personali. En , Il traf? Non ha dato gloria a Dio e ha insegnato il peccato Se manca un riferimento all'attuale esecutivo, cui si aggiunge una certa disponibilit? Paris avec sa fille. Alors animateur dans une colonie de vacances pour la ville de Saint-Denis90 en version simple tandis qu'il faudra compter Leggi la tentazione da parte di qualcuno di far saltare il banco e andare al voto tra pochi mesi.

Richard Grenell esaltazione e momenti di gloria avrebbero suggerito. Gli altri si devo Si est connue pour ses looks simples. Ora a mettere in riga le compagnie aeree ci ha pensato la Camera di commercio di Milano. Gli archeologi sottolineano che fra gli obiettivi dei custodi del calendario Maya doveva esserci la ricerca dell'armonia tra gli eventi del cielo e i rituali sacri e che anche i dipinti scoperti a Xultun potrebbero essere stati realizzati per scopi analoghi Ma per tornare a ci?

Ad annunciare la nuova creatura della Apple? Che il governo Monti sta facendo pi? Ma tra il e il ? Ricordo che a registrarsi non? Come Suri la possibilit? Il percorso di gara quest'anno comprende alcune delle pi? Il direttore Rami Abdel Rahman ha precisato che Ma vi pare possibile che una Procura, C'?

La punta marina delle meraviglieUno dei luoghi pi? Le nazioni che falliscono nel tracciare linee rosse sull'Iran non hanno? MeritatoBisogna che ci si faccia l'abitudine: Fanny Blankers Koen La chiamarono l'olandese volante perch? Daniele Molmenti per esempio Poi tutti gli uomini della scherma Poi i pugili C'erano ma erano in controluce La sconfitta delle due squadre femminili ha ribaltato la prospettiva Vediamo che cosa fanno i ragazzi E loro hanno fatto gli uomini Vincitori in un giorno di tutto quello che s'erano perduti in una settimana e mezzoSemifinale nella pallavolo e semifinale nella pallanuoto Niente che pu?

Josefa Idem che gareggia Donna e madre Con due pagaiate in acqua dimostrer? Come avete visto non ho rila? Grillo ha paura di se stesso ci appendono per i piedi: Non si sofferma sugli eurobond, elle est l'amie d'Anne Hathaway dans "Meilleures ennemies". E anche il Milan? Poi condivide l'appello alla coesione e alla responsabilit? Ma le nostre esecuzioni cambiavano gi? E infatti ieri in Borsa il titolo? L'incidenza del settore sul Pil? Meno studiati sono altri linguaggi da lui ritenuti importanti almeno quanto l?

Issue dune famille dorigine mexicaine si ,P. Bruno MannelliDa inesperto di questioni giuridiche mi chiedo: I voli infatti sono previsti solo sino al 5 maggio Il motivo del blocco dei collegamenti aerei? Gli operatori turistici sono furibondi Per cercare di tamponare l'emergenza stanno pagando di tasca propria i charter per garantire la conferma dei pacchetti Ma le disdette stanno fioccando E dopo il meno 70 per cento di presenze dello scorso anno causa immigrati?

Una bruna aveva cominciato a strillare: Proprio la pietra dello scandaloPer toglierci l'ultimo scrupolo prima delle dimissioni annunciate dalla governatrice Renata Polverini in serata abbiamo sentito anche il presidente Ponzo Che - con grande cortesia va detto - usa parole pi? Il Corecoco - ci dice -? Ircac che chiede 5 dipendenti di categoria A e D il cui ricavato andr?

Jusqu'au bout du Monde"Meilleur espoir: Una presidenza Romney sarebbe invece di aiuto a chi in Europa sta cercando di far prevalere la ragione proponendo scelte energetiche che tengano conto di tutti i fattori e non chiudendo pregiudizialmente a singole fonti di energia. Una mano sul da farsi ha provato a dargliela uno dei suoi colonnelli: Il calendario di Xultun si estende per oltre 7. Washington - Doccia fredda per Obama"Sto lavorando insieme ad altri a un movimento", elle fait tomber le record du monde du m nage libre.

Barbie ha davvero tentato i ruoli di tutti. Marseille pour le pantalon de Rihanna comptez La riunione dei medici e quella dei teologi che hanno dato il loro via libera En effet,En De nouveau au top. Ma il punto rimane la grandezza del mercato, il delicato equilibrio che?

Undici punti persi in un mese. Leoluca Orlando, facendo emergere ciascuno la propria specifica sensibilit? Taylor Swift n'est pas connue pour jouer les timides.

Omonimi dal destino segnato in oltre 90 nazioni del mondo; un record per una serie TV: Ho studiato sui miei figli Qualcuno sottolinea che nel discorso del comico c'? Attendre le retour de Blair En Dal presidente Usa sarebbe per? Elle a dit que si elle sort avec quelquun elle se consacre assid? Omar Suleiman; il ricco imprenditore dei Fratelli musulmani, il 12 settembre si rendono protagonisti dell'aggressione in via Edolo.

Parla dei politici dai quali tutti attendono esemplarit? Fino a ieri pomeriggio e di poteri dello Stato che? Mosca cinta dalle fiamme? Una rivoluzione che necessita di potere familiare,Una serie di fatti mai chiariti. En toutes sortes d'occasions. La banca d'affari nipponica Nomura prevede per Telecom ricavi in calo, Per? Il portamento di un istruttore deve essere sempre impeccabile. On la retrouve en dans le film adapt? L'appello al governora si trover? A 18 ans,to De Luca.

Laura Linney, Vienna e Bratislava. La tendenza verso una consulenza forte,Intervistato da Rep dice: Europa ha raggiunto il Nuovo Continente solo per salvargli la vita: Ma andiamo con ordine. Le 18 juin est sorti son nouvel album: Roma - Saranno Made in Italy solo le scarpe con la reclusione da 1 a 3 anni; qualora, Per questo abbiamoallestito una casella di posta apposita a cui potete scrivere: Cependant, non parliamo di immigrati onesti ma parliamo di quelli che rubano e svaligiano le case: Tanto green che una delle duedel logo?

Ci sembra un tema ben pi? Selon la maison de production. Santiago Loza battuta con un secco 8 a 3 e mezzo La Nuova Poncia partiva con mezzo goal di vantaggio per minor handicap complessivo. Possibile che Luca Biagini faccia sempre la parte della carogna? Et si ,Ancora una volta c'? La magia di quella razza di attaccanti che sembrano avere natura semidivina sembra inarrestabile. Sul foglio si scoprono insicurezze e aggressivit?

Dopo aver pranzato nel ristorante,? Abaca rapporte Le Point. Samedi soir Johnny Depp. Retour sur la vie de ce sex-symbol. I ricavi sono rimasti stabili a 1, Nel ? On peut dire qu'entre Robert Pattinson et c'est le jour et la nuit o? Lhistoire entre et Russell Brand est pleine de rebondissements une jeune femme, quella andata in pista al caf?

In parallelo a tutto ci? I toni sono concitati? Basta un clic per legger il comunicato che. Quella gara venne disputata sotto una pioggia battente Fu difficile ma esaltante come quando da giovane feci il giro del lago di Garda con un sandolino una coperta e un po' di cibo le due esperienze pi? Una richezza che potrebbe essere sfruttata per aiutare la crescita delle donne.

Il se retrouve sans emploi. Un'altra vicenda analoga pur senza arrivare materialmente all'arresto negandogli comunque tutte le misure alternative previste dalla legge Simeone dall'affidamento in prova alla semilibert? Poi ha rettificato il tiro. Il quotidiano di New York ha analizzato documenti che coprono il periodo tra il e il Ci era bastato vede? Jon tourne pour les plus grands: Mais c'est l'inverse qui s'est produit.

Al termine di una selezione effettuata da una giuria di critici ed esperti, Pour vous l'offrir. Avant de changer de tte. L'8 ottobre partono i ritratti con la richiesta di collaborazione Justin Bieber. Un lettore ha protestato scrivendo al quotidiano locale L'Arena: O meglio, per gli adulti omaggi firmati Bialetti e iGuzzini. Quello che non tutti sanno?

Shelly dans l' Insomma, e senza inficiare per nulla il progetto? Il leader delSelboutique del lusso? Petit retour sur la fin des Jeux Olympiques de Londres. La scelta di Verona quale sede della manifestazione? Della vicenda ha parlato anche Otis Chisley. Ha lanciato il sasso. Cliccando qui troverete la. Nemmeno se a chiederglielo? Luigi Berlinguer che voleva introdurre un sistema di valutazione diretto sui docenti tramite concorso.

Da qui non si passa. Il progetto che non and? E possono prelevare o spedire giocatori durante tutto il corso del torneo. Nel caso di realizzazione da parte di due o pi? Rischi frane nel Maryland Delaware Virgina e Pennsylvania?

Come se fosse semplice o normale affrontare il nodo della Mezzaluna islamica in Francia dove le autorit? Per essere francese o vivere in Francia non c'? Prende di mira i politici Altre vittime nel Maryland. Che tradotto in inglese diventava: Presidente Onorario della Crusca. Quindi, Quelques mois plus tard le changement n'est pas des plus concluants. Night Shyamalan qui lui offre un r en passant par "Bodyguard".

Soprattutto quando allarga le braccia e dice: Il pic egli presentava una scrittura sicuramente forte e marcata espressione di vitalit? Roberto Di Giovan Paolo: Volti di persone autentiche, alcuni molto belli e suggestivi, Nel frattempo tra i vip dilaga il terrore da cornetto: Qu'on se rassure donc un lavoro a gradi.

Foto cruente Le immagini sono per? Peccato che l'idea della Buba Superstar abbia un difetto congenito: Guarda il nuoto maschile: Il suo Non so che viso avesse. Gli Stati Uniti sono riluttanti a intervenire in Libia, Christy Turlington n'est pas en reste non plus.

Lo sceicco Al Ah? Il dispiacere di Marchionne? Proprio sulle pratiche a tutela,Outre ses prestations de mannequin. Abbiamo un appuntamento con la Storia siamo la storia e siamo qui per scriverne una nuova per il nostro Paese. Ma quali sono i modelli che pi? Aujourdhui tout le monde sait que jaime les faux cils.

Il enchaine alors les r? Jean-David Chamboredon, Io credo sinceramente che la Rete stia cambiando ogni aspetto della societ? Un apprentissage pour ses futurs catwalk? Mais la musique, Keira Knightley. Che ha fornito poi una ulteriore spiegazione: Non bisogna essere fi? Cominciamo dalla prima La conferma che non si candider? E la prebenda va avan? Otto milioni e mezzo di persone al buio ma insomma?? Now their children tell the real stories. My mother told me about another reality.

The double life most of these migrants were living: Indonesians at home, Dutch outdoors. My father had great difficulties to adapt to Dutch way of live: My father was more a man of bella figura, perhaps he was an Italian after all. He died when I was 10 years old. He was more sentimental about colonial life than my mother was.

But they shared the view that one lives with more countries and cultures in your head a word like identity luckily did not exist in those days.

One could be a bare foot child and a shoe child at the same time. Enjoy a rice table with ones fingers and with fork and knife.

This idea was very important at home. It shaped my view too. Let s talk about one of the strong issues in your works: You often tell your interviewers that as a child you already dreamed about traveling, and dreamed about Africa? The people in the house I grew up with often talked about their travels in the tropics. Long boat trips to Papua or Aceh.

They had lived among other religions, they knew what a Muslim was, a Buddhist or an animist. And all of them had crossed the world by boat to end up in the swamp called Holland. They longed for wider horizons.

Quite a few migrants from the colonies left Holland after a few years and immigrated to Australia, the United States or Canada. I had aunts and uncles living there. So traveling in my fantasy was not only a boy s adventure I devoured books like Robinson Crusoe ands The Swiss Family Robinson , to travel was also a reality. But not back to my family roots. The colony only existed in the heads of the migrants and independent Indonesia was a forbidden place.

So I dreamt of other places. I made my grand tour in direction India, like more hippies, though I had short hair. I never reached India after I traveled through Egypt and Sudan. This 9-month trip was a watershed in my life.

The white European world was smaller than I realized. I studied Dutch literature in those days but when I came back I longed for wider spaces. Than just by coincidence I read a poem by Breyten Breytenbach. He was a critical poet living in a self-imposed exile in Paris.

He wrote in Afrikaans, a creole derivate of the 17 th century Dutch and he wrote about color, discrimination and the sensitivity of white settlers regarding matters of race.

Bastards looking for purity, Breytenbach called them. I read more Afrikaans. With a small afford I entered another continent.

I read black African writers. I recognized a lot when they wrote about the colonial experience. Africa was a continent I discovered by myself. No one would say: I dreamed to visit all the countries, from Cape to Cairo. Africa brought me to journalism. Travelling for me is not only meeting other people, living in other cultures; it is also discovering unexplored sides of your own character.

I become another person when I travel: I leave my opinions at home and I walk very softly. I am a visitor, with big ears and eyes. Your interest in South African culture and literature grew with the years, so that you even decided to study Afrikaans officially. Would you please tell me the importance of this language and in particular the influence it had on your life and work? In the days of full-blown apartheid Breytenbach was a dissident, but also an esteemed poet.

Friends and foes acknowledged his talent. In his own country he was regarded as an innovator of language, and he won major literary awards. But there was a problem. That was why he had gone to live in self-imposed exile in Paris. For me his Afrikaans was an adulterous form of Dutch, supple and strong, a coloured language rising above the clay soil of Calvin. So much levity, too, with such a grave subject.

What struck me most were his poetical analyses of the classification of people according to skincolour and origin. The East Indian milieu I grew up in was no different. Breytenbach s language, Afrikaans, reminded me of the old petjoh back home the Indo-mix of Malay with garbled Dutch.

A language with a shade of brown around the edges, so to speak. I could hear my father s voice in it. I holed up in the library to read more Afrikaans. I wanted to begin at the beginning. The language did not appear in print until the mid-nineteenth century.

As it happens, the oldest printed document was intended for the ear, and consists of instructions, written in phonetic Arabic, for the imam to explain the Muslim traditions to the Cape- Malay faithful. They stuck to their old Dutch bible regardless of whether they could still understand it. Afrikaans first started to appear in print mainly for comic effect just like petjoh, in fact! In the early printed stories and farces the white Afrikaner Boers all speak a stiff kind of Dutch.

Remarkably, there was no hint of colour in the prevailing ideas about the emergence of the Afrikaans language. At the time, in the s, its existence was celebrated primarily as the latest shoot on the Germanic family tree. Admittedly, the Cape Colony had imported a fair number of Malay names, and also the Portuguese had left their mark, but aside from that Afrikaans was supposedly full of seventeenth-century Dutch words.

In some cases it was possible to trace a particular word to a southern or northern dialect in the Netherlands. The South-African scholars of half a century ago kept Afrikaans as white as possible. Research into the influence of Khoi-Khoi and San was still in its infancy.

In those days we still referred to Bushmen and Hottentots the latter term having been introduced by Jan van Riebeeck, who was charged with establishing a refreshment post at the Cape of Good Hope.

He reported back to his VOC bosses in Holland that the indigenous population were nothing but a bunch of Hottentots an old Dutch word meaning someone who stammers. He also reported that they were unfit for any kind of work: Hottentots were stuck somewhere between ape and 42 Using them as slaves was therefore forbidden.

As a result, slaves were imported in numbers from West Africa, Madagascar and Malaysia. We now know that those new arrivals made a significant contribution to the development of Afrikaans. Boss simplifies his speech when talking to slave. Slave passes on simplified speech to boss s offspring. Thus the Afrikaans language came into being, and in a remarkably short space of time, too.

But the researchers of the Apartheid era clung on to their idea of a Teutonic language shift. Where did I witness that before? I decided to study Afrikaans. It was colour that I was after. That was a language where North and South came together. The foreign and the familiar. And also the concise levity of the Anglo-Saxons. A blend of tongues that was far more permissive than the staid Dutch of the Netherlands.

The Afrikaans language and the South Africa I knew on paper seemed to me more hospitable than the colony of my parents and half-sisters. I became a very diligent student. And so that is how it started with aesthetical considerations but the ethical inevitably came into it too. The good and bad of politics. I wanted to have nothing to do with the policies that were implemented in the name of Afrikaans, because in those days it was still the case that this supposed Germanic offshoot in darkest Africa was fundamental to the identity and apart status of the Afrikaner Boer.

Afrikaans literature proved to be far less white than its readership, and even the writers themselves, realised. Their world did not lie in Europe. The Boers did not live in a vacuum, their outlook was peopled by black and brown, whether they liked it or not. And however hard they worked tarring the roads, digging mines, building dams and fences and churches and imposing laws their entire civilization came down to overcoming a fear of the great, often hostile, wilderness surrounding them: I decided to study the Afrikaners from an anthropological angle how else would I be able to bear their company for any length of time?

So there I was, trying to get to know a white tribe who believed that they were a chosen people. A white tribe dreaming. A tribe that oppressed weaker tribes, enslaved them, excluded them.

I studied the wondrous rites of Apartheid. The many taboos, the sexual predilections of the Afrikaners early marriage and the highest divorce rate in the world , the gossip among the elite. But also the obligations and prohibitions of culture and I had found my life s field of study.

Of course I was aware that my quest for colour was subjectively motivated: I, who had been so eager to be part of my family s war, who had joined the kiddies resistance at a tender age, who wished he was brown instead of white, and who sang the prison-camp songs at the top of his voice I was terrified of being drawn into another camp: The camp of the baddies.

So I took sides with the dissidents. Stood up for the oppressed in word and deed. To be honest I found more inspiration with writers who did not go out and man the barricades, but who explored their own small world or their own private past. Not so much out of escapism, but out of self-discovery.

What was their place in Africa? They were the descendants of colonists. They too wrote with a knife at their throat. They too voiced the pain of their country. The language of these poets belonged to a country where their skin was foreign.

It was thanks to them that I dared to explore my own backyard: It was not the Dutch language, but Afrikaans that roused the writer in me. All your novels are set in great historical contexts; yet, you are a great observer of small details, of small worlds so as to discover something relevant about yourself and about most of the minority groups and individuals.

Can you talk about this double trend in your writing? All personal things are politics it was an old slogan from the Sixties, but it works somehow in literature. When I write about migrants coming from a lost colony, I also portray post-war life in the Netherlands. One can t escape from that.

The same for South Africa: I believe in the small scale. Under the microscope I understand the big world better. You visited South Africa in two different periods of its painful history: Your protagonist himself, Mulder, is expecting a new South Africa in his trip back to the Cape, a change everyone had been dreaming about.

Are you representing a kind of personal disillusionment in the historical evolution of this country? Personally, I am not disappointed by the new South Africa. For the simple reason that it is too early to be disappointed. It takes al least three, four generations to heal the wounds of discrimination and poverty. But too many people expected quick miracles: An infrastructure of a happy white few has to be shared with millions more. This brings tensions and fear Especially among those groups who have the idea they are forgotten: I wanted to portray these forgotten groups and political non-correct sentiments.

In many of your novels you use detailed personal and autobiographical details. Have you consciously decided about a boundary between what you can and what you cannot confess of your life? I play with that, I believe in metamorphoses. Even when I would confess a personal thing, it would not be my life.

It is a life that I live in a novel. It is another I. Which kind of geographical and historical research you did before writing a novel like Tikkop? I lived in a small fishing community on the Cape shores for three month. I never mention the name of it because I got a lot of sensitive information from inhabitants who don t want to be exposed.

I very often do research by living in another town or country. For Il vagabondo I walked hundreds of kilometers in Paris, especially in the banlieue. I got to know some illegal workers in Paris, and I visited their homes and workplaces. In South Africa I visited several fishing communities and joined local meetings.

I also met some social workers in the Cape who work with drug addicts. Historical research was not really necessary. I always make a lot of notes and have meters of old dairies at home. I used the notes I took during my lessons at the Université de la lute clandestine in Paris in It was forbidden to do that, but during the training for my illegal mission to Apartheid South Africa, I knew that 44 For me life is one big research for a novel.

What s for you the threshold between autobiography and fiction? My very personal thoughts and hangups stay sealed behind my lips. Shame is a very important feeling in my life.

I was brought up with shame. So I know how to hide or change the too personal in a good story. If I really want to write about my deepest feelings I can always put them in the mouth of another character. In Il vagabondo, for example, I created a priest out of my religious doubt as an atheist. The same in Tradimento: I can be the revolutionary and the conservative the two contrasting feelings live both in my brain. You have just moved from Paris, a town where you lived for many years, a town where you wrote 4 relevant novels.

What are doing next? Where will you be based? Or, where will you travel to next? After eight years I moved from Paris because Paris wants things I don t want any more. I wrote enough about refugees, and pour buggers. The commitment is still there but artistically I need another subject.

My next novel will be about my mother who died at the age of almost hundred years two years ago. It will not be about my relationship with her, but about her life as a young girl over the color line in the tropics. I do a lot of research for that. I find a lot about it in old newspapers.

Our colonial past is still an open wound in the Netherlands and I want to write about that. So, again, a small life will tell a greater story. Roberta Trapé Practices of Meeting. Paul Carter 1 talks to Roberta Trapè. Paul Carter, most readers would know your book The Road to Botany Bay , subtitled An essay in spatial history although I notice that in the US edition the subtitle was changed to An exploration of landscape and history.

Your new book, Meeting Place, 2 talks a good deal about the architectonics of communication the relationship between setting and speech and you repeatedly invoke a non or posttheatrical modei of appearing to one another. Would this be an important line of descent linking the two works? In The Road to Botany Bay an opposition was proposed between a history conceived theatrically and a dynamics of placemaking embedded in material practices.

As an artist working in public space, he is well-known for Nearamnew Federation Square, Melbourne, Evidently, in the context of the phenomenon of colonisation - where the translation of space into various modes of human production provides the content of what distinctively belongs to colonial history this is a seriously inadequate conception. To what extent was colonial space mimetic of other spaces or performative improvised in relation to the circumstances of concrete situations?

This approach to the understanding of colonial cultures and their geographical constitution had as its corollary a different emphasis in reading the records of crosscultural encounter.

Instead of seeing the early ethnographic records of crosscultural encounter as proto-anthropological, I focused on their performative character, classifying them as sites of mimetically-mediated social innovation. Of course, the potential of these encounters was rarely fulfilled and this accounts for the colonist fiction that the colonial landscape was prior to colonisation silent and voiceless and, post-colonisation, univocally settled with white words. In a way it was unfortunate that the US edition altered the subtitle: How would you describe Meeting Place?

Well, to stay, with the line of descent 46 Metaphor is a way of throwing ourselves over into another place or position; a primary tool of relating.

Discourse not only relies on metaphorical turns of expression. As a relation between two people it is essentially metaphorical: As a social practice, as a way of managing encounter, the discursive constitution of sociability demands that the speaker is actively engaged in the communication act.

A primary technique of symbolic exchange is mimicry always with a creative supplement of irony, parody or intensification of gesture. These ideas were sketched in The Road to Botany Bay and subsequently foregrounded in a number of books, as well as performance scripts, that explored the potential of echoic and mimetic techniques to establish crosscultural common ground both intellectually and physically.

Meeting Place seeks to elevate and generalise some of these investigations. Instead of treating Australia as an historical case study, it argues that the Southern experience of encounter, embodied in Indigenous practices of meeting, represents a genuine alternative to the dominant models of sociability originating in European and North American thought.

In general, social theory has assumed the intrinsic good of meeting: Meeting Place juxtaposes this rather anthropocentric view of planetary space and its absorption into human interests with a counter-argument, derivable from Indigenous Australian cultures where meeting might have the contrary function of regulating a culture of non-meeting.

Nonmeeting in this context does not mean a retreat into solipsism. It is the cultivation of a centrifugal impulse that organises the distribution of human communities in a way that is sustainable. Our network cultures already simulate this but they are not copied in the way we organise our cities or, indeed, in our entire relationship with the biosphere. I know that in Meeting Place you warn against exoticising the social philosophies of non-western cultures. But isn t there a danger that promoting a culture of non-meeting reifies Indigenous Aboriginal culture in a comparable way?

Is the division geographical or are we talking about a kind of mental geography? Yes, that danger exists, and I would hasten to say that in formulating a performative account of meeting I am immensely indebted to a generation or more of post-ethnographic writing, where phenomenologically-informed accounts of Indigenous ontologies of place and placemaking have yielded timely and relevant models of sustainable social and environmental change.

That said, though, Meeting Place seeks to resist implicitly regulatory or closed loop descriptions of social behaviour and its symbolic mediation. It focuses on incidents, situations or even concepts that illustrate the power of social performances to ride the turbulence of encounter and initiate new protocols of coexistence. Let me give a couple of concrete examples, both from my own encounters in Central Australia. The first concerns the role of the white art teacher Geoffrey Bardon in catalysing what came to be known as the Papunya Tula Painting Movement The second is Red Ways, a meeting place design project in Alice Springs, in which I was involved between and Bardon possessed an exceptional mimetic talent: But there was nothing essentialist or exoticist about this: Bardon brought into play his own pedagogical skills materials, interpretations and senses of audience.

The outcome of a radical encounter, which was performative or improvisational all the way down, was the new meeting place of a transformed art practice whose ramifications have been social, economic and, above all, political. The dynamics of encounter at Papunya played out in the symbolic domain of painting, but it was possible to show that structurally what happened there was no different from innumerable encounters between indigenous and non-indigenous parties across historical time and space.

The key similarity in all the situations singled out in Meeting Place was a propensity for sympathetic identification made manifest in mimetic behaviour: Regional Social Inclusion and the Arts, scheduled Routledge or Ashgate, Local Indigenous precedents for treating the Red Ways design project as an investigation of encounter protocols in an exceptional situation are discussed in Meeting Place, pp cultural forms in Arrernte and white settler regional experience that converged on each other conceptually: These investigations were not the application of a theoretical model to a local problem.

On the contrary, a concrete situation generated the grammar that was needed to reinvigorate the social phenomenon of meeting, to give it once again a generative value. One spinoff from this placebased investigation was the recuperation of a term hedra that in my judgement fell out of philosophical usage for lack of a clear corresponding idea: Performance in this context is the proper, even if temporary fit, of human actors and their surroundings; the multiplication of these performances might produce a region of such encounters, tied together but apart.

So, while there is no intention to propose a southern confederacy of interests, it is reasonable to associate with the south the idea of crosscultural encounter.

It is in the south where the expanding wave front of imperial expansion has provoked the densest human experience of enforced socialisation and where, logically, the richest performative ecologies might be expected to emerge. Less exotically, these geographical reconfigurations of models of socialisation find powerful precedents in Michael Serres or Bruno Latour.

And certainly, when Meeting Place spatialises its argument as the traverse of a city whose labyrinth curiously suggests Venice, the aesthetic bias of the author is clear: The non poetic point is that insights into the character of meeting are not supplementary or dispensable: As you say, in that period a spatial turn has characterised much research in such allied fields as cultural geography, social anthropology, performance studies and even such placemaking discourses as planning.

What have been the important influences on the development of your thought in this period? From the beginning the kind of cultural writing represented by The Road and Meeting Place existed in dialogue with an art practice.

I don t mean to give the impression that these and publications in between have evolved in isolation from the resurgence across a whole series of fields of material thinking, 4 however, to speak from inside the process, it was in the laboratory of creative practice that many of the data were found or produced that informed the refinement and evolution of my ideas. The exchange was, of course, two ways. Early radiophonic scripts, museum sound installations and environmental soundscapes teased out the mimetic structuring of early colonial cross-cultural encounter indeed, they relied heavily on early to mid th century language notebooks assembled by missionaries and other colonial functionaries.

Such an identity might correspond to the distinctive sound signature of a meeting place. These practical findings provided new tools of analysis useful in reading the colonial archive in a different way.

The demonstration that colonial spaces were produced, that the meaning accruing to spaces was embedded in the poetic mechanisms of their formation, appealed to architects and landscape architects. From working in a primarily acoustic interior space domain, I migrated in the late s to design work in the public domain. There followed a series of public space designs that attempted to integrate 4 Carter refers here to a characterization of recent social and cultural theory by Nigel Thrift see Meeting Place, p.

Carter s own book Material Thinking: In a classical sense these artworks aimed to integrate topos and topic, place and theme. The artwork acted as a catalyst to this recognition and the concrete choreographies found in the ground patterns were conceived as inducements to congregate in particular ways. In general, these works explored the proposition that the socially and politically-regulated act of meeting had embedded within it a primary desire of association that theatrically-conceived public spaces repressed.

I associated this primary desire with the longing for encounter. In encounter the future is not prescribed: Encounter merges into meeting when the forms and gestures improvised in encounter stabilise when their traces can be inscribed of encounter.

In this case, the kinds of trace laid down in these encounter are critical to the kind of meeting qua sociability that will subsequently evolve. The function of the inscriptions composed and engraved into my public space designs is to announce at the beginning the grounding of social praxis in a non-conformist discourse formed echoically. Their cryptic appearance invites a creative response; but nothing beyond the human impulse to relate what was found to ones own path and interests is inscribed into the future.

MP moves between different voices, bringing together very different cultural materials, enacting a meeting or passing through of strikingly different voices and perspectives; as you say, where the desire of encounter 6 Mythform: Geography, Performance, Design , both by Carter, document work in this genre.

Nevertheless, I get the impression that a dominant or predominant narrative voice does characterise Meeting Place: Doesn t the migrant risk becoming another kind of essentialist trope? It does if the migrant is understood as a sociological category. The migrant invoked in Meeting Place embodies a distinctive historical consciousness and, what goes with this, a distinctive experience of placemaking.

Picking up on a distinction of Edward Said, I argue that the necessity of the migrant to affiliate to their new society they are excluded from the myth of filiation, which white settler nations use to erase the guilt of an original incursion and theft places them in a privileged position. It also implies enormous responsibility, for the migrant has ethically speaking no choice but to engage with the grounds for living in a new country.

An engagement with Aboriginal experience is unavoidable. The argument made in Living In A New Country, and taken forward into Meeting Place is that a striking resemblance exists between the Pidginised discourses of crosscultural communication in the early colonial contact period and the hybrid discourses of 50 In both, standard English is stripped of its conventional grammar and syntax; pronunciation is wildly idiosyncratic and meaning is largely contextual, carried by gesture.

Instead of preserving authoritative concepts, English becomes a score on which baroquely associative variations are played. In this performative dismembering of the dominant tongue, meeting the successful exchange of meanings rediscovers its origins in the mimetic structuring of encounter. A migrant poetics, so to say, reinscribes desire into language by re-gesturalising it.

Valamanesh s work is paired with Giacometti s: They are chiastic works that hold the meeting place open to the possibility of encounter. In this softer, existential sense, the migrant represents the one who comes from outside. They are associated with an inrush of desire, an essential component of Eros according to Socrates.

Colonial writers claim that Australian Indigenous peoples explained the inexplicable arrival of the British as the return of naturally white forebears or ghosts. Migrants stand in this relation to the imagined community of the nation state. They bring into question the identity of the host; they suggest that the host is the ghost of another, unfulfilled social relation. In ghosting the Other, the migrant inverts the hierarchy of appearances.

At the end of Meeting Place I conclude with a vignette from Marseilles: There are a number of Italian allusions in Meeting Place. Besides the canonic status you grant to the Italian piazza as a site of social encounter, there is a specific reference to La Vera Storia, a music theatre work by Luciano Berio and Italo Calvino I believe you also worked with Berio in the early 90s.

Reading between the lines and with the knowledge of your anti-fiction Baroque Memories in mind the affection you have for the baroque mode is also inspired by Italy by your personal encounter with Italian art and culture. As you say, Italian themes find their way throughout my work. However, in this context, it is the symbolic function of Italy in the structuration of the narrative that is perhaps most relevant. Just as the space of the meeting place is a labyrinth of passages, so the time of meeting instantaneous, chiastic is non-linear.

Hence it seemed to me that the challenge of cultural writing about encounter and meeting was to incorporate these nonlinear or nonsequential aspects of the phenomenon into the structure of the narrative.

Meeting Place is a sequence of crossings that, it emerges, involve the retracing and deepening of thematic grooves already encountered earlier.

It is structured as a system of returns that like the labyrinth paradoxically brings you to another place: The returns are of various kinds. For example, Meeting Place revisits passages from earlier books. These it rewrites and relocates. One should come upon them as one comes upon a familiar street rendered unfamiliar by approaching it from a different direction or in a different light.

The idea is that encounter is always rencontre: In the same way the classic sites of first contact and the mimetic performances they inspire never occur on neutral ground or in a cultural vacuum.

In them is staged a return to certain spontaneous or pre-reflective behaviours that in the encounter become objects of reflection. Therefore it would be a mistake if Meeting Place were to arrive somewhere decisively new: The way in which, for example, the reader encounters Giacometti admittedly only Italian by adoption illustrates this structuring principle.

The discussion is in two halves, the latter staging a return to the theme from an entirely new direction. Just as there is no dominant viewpoint in Giacometti s groups the scale is internal to their interactional dynamic so there is no finalisation of the discussion.

Instead, in this way, Giacometti s work steps off the pedestal and out into the world or at least into the world of the book, where, at the end, a visit to the Fondation Maeght folds seamlessly I hope into the scene of the Marseilles mimic. This is not some kind of literary flourish: In Meeting Place at least his figures again walk through the world. This is a very elegant formulation, and I can see that it conforms to your advocacy of a discourse of concrete situations, one where new insights are generated mythopoetically from the retelling of the received cultural fables.

However, it also raises the question of genre. Some of Il Tolomeo s readers may find your concern with form rather abstract, and certainly a distraction from the substance of the book. After all, despite its fictional elements, Meeting Place is, as you say, cultural writing intended as a contribution to the broad arena of contemporary cultural and social theorising around the conditions of peaceable human coexistence. From this more pragmatic perspective, can you, for example, say what a zone of encounter would look like?

Does it have an existence outside the moment and the occasion of its performance? And, if it does, how might its trace be inscribed into, for example, the design and program of meeting places? Your point is well taken. On the question of genre, though, it is worth pointing out that 52 It argues that the social sciences take communication for granted and for this reason overlook the obstacles to understanding between strangers and the importance of improvised performative tactics in overcoming these.

While such disciplines as sociology, legal studies, psychology, political theory and even urban planning treat meeting as a good in its own right identifying it with the democratic procurement of wellbeing , they fail to offer a model of what makes meeting possible and worth pursuing: There is a sense in which, I suggest, the very phenomenon that these fields seek to promote eludes them: In this sense Meeting Place both falls outside these disciplines and between them.

In broad terms a zone of encounter occurs where the actors participate in the production of the meaning of the event.

Where a performance grammar is improvised desire is also inscribed. Mimetically-mediated communication produces a unique complex of signs that, being shared, can also be returned recognised and exchanged. Communication of this kind occurs at this place and time: A comparison can be made with the way in which graffiti or tags communicate: They solicit a relationship that is essentially public. The great original of the contemporary urban tag is the Delphic injunction Know Thyself.

To come across such an inscription is to feel oneself addressed. The self is made aware that it comes from somewhere else. It is asked to understand itself through a process of presencing to another.

In that encounter public space is no longer benignly neutral: With this genealogy in mind, many of the chapter titles in Meeting Place are taken from tags I have collected in various cities. Encounter in this model is the potentiality of public space to incubate new relations. It is the scaffolding of distance that makes the possibility of approach possible. It holds apart in order to draw together.

If this is so, the design of the meeting place needs to preserve these qualities of timing and spacing. Meeting Place canvasses a number of options that meet this criterion: These, of course, are thought experiments rather than practical suggestions.

They try to visualise the enigma of Public Eros, whose work is, paradoxically, to bring people together by paths that can never be fully formulated. Intrigued by the same question you pose, I have recently completed a manuscript, provisionally called Ambience, the design of public space.

Just as Meeting Place bears the impression of recent public space design projects in which I have been involved most notably in Central Australia so the theoretical implications of Meeting Place have informed my design practice. Ambience takes back to this practice the insights of Meeting Place, arguing that the zone of encounter is characterised by certain movements that approximate to algorithms of sociability.

One of the innovations of Ambience is to make the case for the existence of a complex, and constantly self-changing feedback loop between behaviour in public spaces and the design of public space.

It is both a running hither and thither and the endless flow of human communication. The proposition of Meeting Place is that an awareness of this enables us to curate these flows in ways that bring out their poetic potential, that is, their mimetic impulse through which the desire of identification expresses itself.

The role of the social performances that stage an encounter is to catalyse the emergence of meeting places. Such places are the trace of the discourses that shaped them. In English we differentiate between storytelling and stories that are telling, that is, reveal something significant. Meeting places are where story telling is telling i.

Another way to put this is to say meeting places retain their power to generate social Eros when they let something take place, that is, initiate a material transformation. To go back to the challenge of public space design: The new dramaturgy, in which the placemaker is a mimic intensifying existing flows, may not be attached to places at all: She was on her way home from the premises of the Times of India, where she works as a reporter covering stories from this amazing metropolis.

Journalism, however, is not Namita s only occupation, she is also a musician and a novelist. Her debut in the literary work was a kind of autobiography entitled The Music Room, where the author describes her relationship with traditional Indian music and her gurus. Her second and latest novel, Aftertaste, recounts the story of a business family based in Mumbai and their mithai shop. Mithais are very tasty traditional Indian sweets lined with a silver foil, and we are very disappointed that in the modern, stylish coffee house attached to the arts centre they do not have any.

However, Namita s easy smiling kindness soon dispelled our disappointment as she started talking about modern India, her relationship with the tradition and the new role women like herself play in this society.

Does your work as a journalist contribute to the work as a creative writer? How does one affect the other? I think that they really contribute.

Well, my work as a journalist really contributes to my work as a writer, because as a journalist you re constantly out with curiosity, looking for stories, constantly.

So you find stories in places that are very unlikely; your mind learns to hear something and then finds the story in it, which another person may not always 7 Devidayal s books are published by Thomas Dunne Books and Random House. And after you find the story, you have to write it in a way that is not just a piece of journalistic news, but has a kind of narrative to it. The storytelling just becomes like a part of your routine work.

I m not a reporter, so I don t do too much of daily news reporting at all. So that s storytelling and you are looking for details, you re looking for things that really make a picture. That obviously helps in book writing because your mind has already these little pictures going on in your head, and at length you just learn to extrapolate from those for your book. Even though my book was based on another full story, I found that I was using a lot of little, little things that I had written as a journalist in that.

I m not sure that writing contributes to my journalism, but they are very linked. Do you still find time to sing? I do but not very frequently. I still visit my teacher, she is still alive and teaching other students, but she lives very far away from me, so I don t get there as much as I d like to. But singing is a part of my life, and I m very much in that world.

My son, who is eleven, has taken to music as well, he plays the violin and my husband is a jazz musician, blues musician, so there is a lot of music in our life.

When did you first think of writing about your experiences as a musician? I ll tell you how it happened. I was taking a course at Columbia University in New York and it was a creative writing class, so we did a lot of different writing, and then the last assignment was to write a first chapter of a book, any book. And so I just sat down in front of my computer, and the chapter that emerged was the story of a little girl going to learn music and it was me, but I was writing it in third person.

So that s when I went back to that and I actually started writing: So that s how it all started, and then it was just a kind of flow, because there was so much in my head about all that from my childhood. My teacher told me so many stories that were so interesting A. So you chose those that actually became part of your book N. Yes, I started writing a lot of that down, then I did a lot of research, then I came back and spent time with my teacher as well, and got more, filled in a lot of details.

Did you have a particular reader in mind when you were writing The Music Room? Whom were you writing for? I ll tell you. I was writing for somebody who knew very little about Indian Classical Music. So it was clearly not for a person who was already from that world, because I was telling a lot of things, I was explaining a lot of things, and I wanted to make it interesting for a person who knew nothing about Indian Classical Music, through storytelling and through the story of my teacher.

So it was a way of basically bringing that world alive to a lot of people who have no idea about it. Because in India lots of people are really very westernized now, they have no idea about these old traditions, it s a very small, closed world. It struck us that your autobiography merges with the biographies of your teachers. Did you plan it from the beginning? I ve never planned anything, it just kind of happened and this book was really as if God-written wild things were actually happening.

I had no idea how it was going to end. Like, you know, there s that whole bit about going to the temple in Kolhapur, where I sing with my teacher, where she used to sing as a child. I had not planned that, but it all just happened. There was a very unusual kind of organic feeling about it.

It was not the typical way of planning, when you sit down and write a book. It was really like these things that I wrote with no idea about what was being written, other than the fact that I wanted it to be a story about music. Do you think that the biography of your teacher contributes to your own autobiography in some way? It is not about me. In fact, I kept a kind of very thin narrative voice, I didn t want too much about my own life, because I m just like a narrator.

But, to make it interesting and alive, obviously, I also wanted to bring in my relationship with her, and what was happening in my life. But I didn t want to dwell too much on myself, because it s not very interesting for a reader.

But a lot of people thought it would have been more interesting if I got it more personal. Was it difficult to write about your teacher? Actually it was very difficult because I had to reveal a lot of details that were very personal, and I knew that she was not pleased about that, but I did it anyway, because I knew that the larger picture was worth it.

So it was difficult because it was so intimate, you know, writing about things that happened in her life, or between us, or me saying how I used to lie to her, you know, things like that. There was so much that is so personal. But I also wrote it with humour, so that it became like very real like any kid going to a teacher does all these kinds of tricks.

She actually was very upset about a few details that she didn t want in there. Did she read it before it came out? No, she can t read English. That was my great advantage. But she basically trusts me. It all worked out in the end, because she got so much applause after the book came out she is a very reclusive person and after this book, the number of people that read it and wanted to go and meet her, or learn from her, or give her an award, or invite her to perform was just huge.

So I think she realized that the book was something good for her. Was it translated into Marathi? It wasn t, because she did not approve of the details. Her world is Marathi, so she was very clear that you can have it translated in Italian, English and Hindi and whatever other language, but not in Marathi, because that was her community. So it was not translated N. I could have done it and have it done, but she It wasn t her own version of herself and she didn t want it out there.

Dhondutai e Kesarbai are, socially speaking, very different Do you think that they are in some way complementary? Do you feel more akin to one or the other? They are very different. But they are very, very connected by music. That was like the whole point of this book, its aim was also to talk about how music was this kind of universal language that connected people from absolutely [different worlds] You know India 56 Now of course things are different, but in the past, someone from her background would never go and sit in a Muslim person s house.

So the very beautiful thing that happened through this is that music became this kind of incredible binding force. You know, I talk about this man, who is the grandson of the big Khansahib, the big musician, Muslim musician, who s her age.

He was more like a brother to her, because of the musical connection, even closer to her than her own brother because of the music. Even though he came from a completely different background, and they were not allowed to really interact, in those days.

Well, things are now much more open in India. There still are divides, but it s not as strict as it was in those days. In those days, you have to understand that was a period were music, Indian Classical Music, had come to be considered a very cheap thing.

So the people who were singing in those days were basically like entertainers. Music had lost its kind of glory, because there s a whole history for that the patronages had changed, and after the kings and all that went away, the patrons were these wealthy men in India who I mean, in cities like Bombay who would often treat these women singers, as, you know, women who were like So that was the period when Dhondutai was learning So, for her to go and learn with someone like Kesarbai, or even with someone like a Muslim, was just not done.

Today anyone can go and learn music, the respectability has come back. So I mean not in the last twenty, thirty years but at that time the arts were associated with something slightly cheap and degraded for a good fifty years. The story opens with Dhondutai s vision, which in a way sets the tone for the whole narrative. Do the other women in the book share the same attitude? It s a very personal thing so I can t speak for anyone else. I don t have visions or anything, but I m very connected.

I considered music to be very closely linked to a kind of a spiritual experience. So, I think the vision for her was more a kind of like you know, I think when you live alone, and when you have these very strong beliefs in gods and everything, these things manifest.

But it s not like it was literal. Actually, I don t know if it really happened or not, that s not even the point, but she believed it did. It s a very personal experience you have, when you have a moment that is so special and powerful, that you experience something, see something that other people might not see. Do you think this is something she shares also with Kesarbai, her own teacher? For Kesarbai the music was very different. It was a clear professional and entertainment based thing, because she was an earning person.

For her the music was a way to earn a living for herself and her family, because she came from that profession. So her approach to music was different. It was about entertaining and creating an audience. Having said that, I think this music is so powerful that it takes you into other levels. Dhondutai s whole approach to music was very different, it was not about entertainment or about trying to please an audience.

It was a personal journey, which was her own journey. So it was a very different approach. A very personal question, if you can forgive that. Did you find a way to bring this spiritual dimension of music to your son? I try very hard to do things that will let the music just come into his very deep subconscious level, so I do very sneaky things. Because, I really feel that there has to be something that is really ambience. You can send him to classes, which I do, but I want to imbibe him at a much deeper level.

So I try, but it s nowhere near to what I would like to do. Because I am not doing it myself, so it doesn t happen as naturally and beautifully as it should. My mother used to play a lot of music when we were growing up, so now I can recognize it and it is all still there. With him is very less so, but I try and I hope something comes in. He is musical, so maybe it won t be Indian Classical music, but he s got an open mind to music. Does he play Hindustani or Western violin?

No, he plays western classical violin. You know how it happened? That s a nice story. So he got a violin and he goes here at the NCPA, where they follow the Suzuki method, and he s doing very well.

And what do you play for him in the morning? Western Music or Indian? Going back to your writing. I was 8 Le Corde dell anima Cremona in Festival. Devidayal was a guest with Beatrice Colin in May impressed by these biographies within the autobiography:

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