Set amid the splendor of London drawing rooms and gilded Venetian palazzos, The Wings of the Dove is the story of Milly Theale, a naïve, doomed American heiress, and a pair of lovers, Kate Croy and Merton Densher, who conspire to obtain her fortune. In this witty tragedy of treachery, self-deception, and betrayal, Henry James weaves together three ill-fated and wholly human destinies unexpectedly linked by desire, greed, and salvation. As Amy Bloom writes in her Introduction, “The Wings of the Dove is a novel of intimacy. . . . [James] gives us passion, he gives us love in its terrible and enchanting forms.”
(Source: LibraryThing.com)
Novel: A Passage to India by E. M. Forster Film: A Passage to India by David Lean
The main incident of the novel is the accusation by an English woman that an Indian doctor followed her into a cave and attempted to rape her. Doctor Aziz (the accused man) is a respected member of the Muslim community in India. Like many people of his social class, his relationship with the British administration is somewhat ambivalent. He sees most of the British as enormously rude, so he is pleased and flattered when an English woman, Mrs. Moore, attempts to befriend him.Fielding also becomes a friend, and he is the only English person who attempts to help him--after the accusation is made. Despite Fielding's help, Aziz is constantly worried that Fielding will somehow betray him). The two part ways and then meet many years later. Forster suggests that the two can never really be friends until the English withdraw from India.
(Source:classiclit.com)
Novel: The Remains of the Day by Kazuo Ishiguro Film: The Remains of the Day by James Ivory
The novel The Remains of the Day tells the story of Stevens, an Englishbutler who dedicates his life to the loyal service of Lord Darlington (mentioned in increasing detail in flashbacks). The novel begins with Stevens receiving a letter from an ex colleague called Miss Kenton, describing her married life, which he believes hints at her unhappy marriage. The receipt of the letter allows Stevens the opportunity to revisit this once-cherished relationship, if only under the guise of possible re-employment. Stevens' new employer, a wealthy American, Mr Farraday, encourages Stevens to borrow a car to take a well-earned break, a "motoring trip." As he sets out, Stevens has the opportunity to reflect on his unmoving loyalty to Lord Darlington, the meaning of the term "dignity", and even his relationship with his father. Ultimately Stevens is forced to ponder the true nature of his relationship with Miss Kenton. As the book progresses, increasing evidence of Miss Kenton's one-time love for Stevens, and his for her, is revealed. Working together during the years leading up to the Second World War, Stevens and Miss Kenton fail to admit their true feelings. All of their recollected conversations show a professional friendship, which came close, but never dared, to cross the line to romance. Miss Kenton, it later emerges, has been married for over 20 years and therefore is no longer Miss Kenton but has become Mrs Benn. She admits to occasionally wondering what her life with Stevens might have been like, has come to love her husband, and is looking forward to the birth of their first grandchild. Stevens muses over lost opportunities, both with Miss Kenton and with his long-time employer, Lord Darlington. At the end of the novel, Stevens instead focuses on the "remains of [his] day", referring to his future service with Mr Farraday.
(Source: Wikipedia)
Novel: The Four Feathers by A. E. W. Mason Film: The Four Feathers by Shekar Kapur The novel tells the story of British officer, Harry Feversham, who resigns his commission from his regiment just prior to Sir Garnet Wolseley's 1882 expedition to Egypt to suppress the rising of Urabi Pasha. He does this for his own personal reasons, rather than cowardice. However, he is faced with censure from three of his comrades for cowardice, signified by the delivery of three white feathers to him, from Captain Trench and Lieutenants Castleton and Willoughby, and the loss of the support of his fiancée, Ethne Eustace, who presents him with the fourth feather. His best friend in the regiment, Captain Durrance, becomes his rival for Ethne. Talking with Lieutenant Sutch, a friend of his father, an imposing retired general, Feversham questions his own true motives, and resolves to redeem himself by whatever means necessary, travelling on his own to Egypt and Sudan, where in 1882 Muhammad Ahmed proclaimed himself the Mahdi (Guided One) and raised a Holy War. On January 26, 1885, his forces, at the time called Dervishes, captured Khartoum and killed its British governor, General Charles George Gordon. It is mainly in the eastern Sudan, where the British and Egyptians held Suakin, that the action takes place over the next six years. Durrance is blinded by sunstroke and invalided home. Castleton is reported killed at Tamai where a British square is briefly broken. Feversham's first success is with Willoughby, by recovering lost letters of Gordon. He is aided by a Sudanese Arab, Abou Fatma. Later, disguised as a mad Greek musician, Feversham gets imprisoned in Omdurman, where he rescues the now Colonel Trench, who had been captured on a reconnaissance mission, and they escape. Returned to England, Feversham has his honour restored and the feathers returned. Trench admits he instigated the feathers. Durrance yields Ethne, and travels to Germany to seek a cure for his blindness. Ethne and Feversham wed. The story is rich in characters and sub-plots, which the filmed versions perforce trim, along with making major changes in the story line, with the best known 1939 version centered on the 1898 campaign and battle of Omdurman, only hinted as a future event in the novel.
Painter of classical, historical, and literary subjects. John William Waterhouse was born in 1849 in Rome, where his father worked as a painter. He was referred to as "Nino" throughout his life. In the 1850s the family returned to England. Before entering the Royal Academy schools in 1870, Waterhouse assisted his father in his studio. His early works were of classical themes in the spirit of Sir Lawrence Alma-Tadema and Frederic Leighton, and were exhibited at the Royal Academy, the Society of British Artists and the Dudley Gallery. In the late 1870s and the 1880s, Waterhouse made several trips to Italy, where he painted genre scenes. After his marriage in 1883 to Esther Kenworthy, Waterhouse took up residence at the Primrose Hill Studios (number 3, and later, number 6). Nino married Esther Kenworthy at St Mary's Church, Ealing, LondonPhotograph by Rob Cartwright Future occupants of the same Primrose Hill studios would include the artists Arthur Rackham and Patrick Caulfield. Waterhouse painted primarily in oils, yet he was elected to the Royal Institute of Painters in Watercolour in 1883, resigning in 1889. In 1884, his Royal Academy submission Consulting the Oracle brought him favourable reviews; it was purchased by Sir Henry Tate, who also purchased The Lady of Shalott from the 1888 Academy exhibition. The latter painting reveals Waterhouse's growing interest in themes associated with the Pre-Raphaelites, particularly tragic or powerful femmes fatales, as well as plein-air painting. Other examples of paintings depicting a femme fatale are Circe Invidiosa, Cleopatra, La Belle Dame Sans Merci and several versions of Lamia. In 1885 Waterhouse was elected an associate of the Royal Academy and a full member in 1895. His RA diploma work was A Mermaid. However, as this painting was not completed until 1900, Waterhouse offered his Ophelia of 1888 as his temporary submission (this painting was 'lost' for most of the 20th century--it is now in the collection of Lord Lloyd Webber). In the mid-1880s Waterhouse began exhibiting with the Grosvenor Gallery and its successor, the New Gallery, as well as at provincial exhibitions in Birmingham, Liverpool and Manchester. Paintings of this period, such as Mariamne, were exhibited widely in England and abroad as part of the international symbolist movement. In the 1890s Waterhouse began to exhibit portraits. In 1900 he was the primary instigator of the Artists' War Fund, creating Destiny, and contributing to a theatrical performance. The pictures offered to the War Fund were auctioned at Christie's. In 1901 he moved to St John's Wood and joined the St John's Wood Arts Club, a social organization that included Alma-Tadema and George Clausen. He also served on the advisory council of the St. John's Wood Art School where young and upcoming "neo Pre-Raphaelite" artists such as Byam Shaw numbered amongst his pupils. Despite suffering from increasing frailty during the final decade of his life, Waterhouse continued painting until his death from cancer in 1917. From 1908-1914 he painted a series of paintings based upon the Persephone legend. They were followed by pictures based upon literature and mythology in 1916 (Miranda, Tristram and Isolde). One of his final works was The Enchanted Garden, left unfinished on his easel at his death, and now in the collection of the Lady Lever Art Gallery in Liverpool. Very little is known of Waterhouse's private life - only a few letters have survived and thus, for many years, the identity of his models has been a mystery. One letter that has survived indicates that Mary Lloyd, the model for Lord Leighton's masterpiece Flaming June, posed for Waterhouse. The well-known Italian male model, Angelo Colorossi, who sat for Leighton, Millais, Sargent, Watts, Burne-Jones and many other Victorian artists, also sat for Waterhouse. Waterhouse and his wife Esther did not have any children. Esther Waterhouse outlived her husband by 27 years, passing away in 1944 at a nursing home. Today, she is buried alongside her husband at Kensal Green Cemetery in north London.
(Source: johnwilliamswaterhouse.com)
Music: "Tu chiami una vita" by Jan A.P. Kaczmarek
Lyrics by Salvatore Quasimodo ("Tu chiami una vita")
"Fatica d'amore, tristezza, tu chiami una vita che dentro, profonda, ha nomi di cieli e giardini. E fosse mia carne che il dono di male trasforma."
Fatiga de amor, tristeza, tú llamas una vida, que dentro, profunda, tiene nombres de cielo y jardines.Y fuese mi carne lo que el don del mal transforma.
Jan A. P. Kaczmarek
Jan A. P. Kaczmarek is a composer with a tremendous international reputation that continues to grow. As a successful recording artist and touring musician, Jan turned to composing film scores as his primary occupation. Jan's first success in the United States came in theater. After composing striking scores for productions at Chicago's Goodman Theatre and Los Angeles' Mark Taper Forum, Jan won an Obie and a Drama Desk Award for his music for the New York Shakespeare Festival's 1992 production of John Ford's "Tis Pity She's A Whore," directed by JoAnne Akalaitis, starring Val Kilmer and Jeanne Tripplehorn. Newsday wrote that Jan's score "undulates with hypnotic force that gets under your skin," while Frank Rich of the New York Times found it worthy of the films of Bernardo Bertolucci and Luchino Visconti. Educated as a lawyer, he abandoned his planned career as a diplomat, for political reasons, to write music in order to finally gain freedom of expression. First he composed for the highly politicized underground theater, and then for a mini-orchestra of his own creation, "The Orchestra of the Eighth Day". The major turning point in his life, he says, was a period of intense study with avant-garde theater director, Jerzy Grotowski. "Playing and composing was like a religion for me," Kaczmarek explains, "and then it became a profession." "The Orchestra of the Eighth Day" began touring Europe in the late 1970's and to date, has completed eighteen major tours. They appeared at the Queen Elizabeth Hall in London, the VPRO Radio International Contemporary Music Festival in Amsterdam,the Venice Biennale, and the International Music Festival in Karlovy Vary, Czechoslovakia, where Jan won the Golden Spring Prize for the Best Composition. He is a five-time winner in Jazz Forum's Jazz Top Poll. At the end of the Orchestra's first American tour in 1982, Kaczmarek recorded his debut album, Music for the End, for the Chicago-based major independent Flying Fish Records. Jan returned to America in 1989 to find a label for his latest composition for the Orchestra. Jan stayed in the United States where he expanded his horizons by composing for theater as he had already done in Poland with great success, capped by two prestigious New York theater awards in 1992. Having also composed music for films in Poland, he focused his attention to that medium, achieving recognition as a film composer with scores to such films as "Total Eclipse", "Bliss", "Washington Square", "Aimée & Jaguar", "The Third Miracle", "Lost Souls", "Edges of the Lord", "Quo Vadis" and Adrian Lyne's "Unfaithful."February 2005, Jan won his first Oscar for Best Original Score on Marc Forster's highly acclaimed film, "Finding Neverland."J.A.P.K. also won The National Review Board's award for Best Score of the Year, and was nominated for both a Golden Globe and BAFTA's Anthony Asquith Award for Achievement in Film Music. In addition to his work in films, Jan was commissioned to write two symphonic and choral pieces for two important national occasions in Poland. “Cantata for Freedom” (2005) to celebrate 25th anniversary of Solidarity movement, and oratorio “1956” (2006) to commemorate 50th anniversary of bloody uprising against totalitarian government in Poznan, Poland. Both premiers were broadcast live on national television.Jan is also setting up an Institute inspired by the Sundance Institute, in his home country of Poland, as a European center for development of new work in the areas of film, theatre, music and new media. The Institute website (currently under construction) is: http://rozbitek.org/. It is anticipated that Rozbitek will begin accepting students in 2007.
(Source: created by WIERZBICKI.ORG /jan-ap-kaczmarek.com)
The Serra do Caramulo is a place where nature reigns supreme and man has learned to live with it and for it, never against it. It is a place full of surprises and magnificent views.You will notice the green fields and woods, the grey of the granite, the bright colours of the heathers, ganisters, oleanders or brooms and ancient small and picturesque villages.
A good way to visit the Serra do Caramulo is exploring the mountains on foot. Just outside the town Caramulo starts a very beautiful hiking trail along an old Roman Road.It goes all the way up to the lonely top, Caramulinho. The last part is very steep, but there are granite steps to help you up, and you will have a spectacular panoramic view.The Black Clay Pottery of MolelosThe craftsmanship of Molelos has been kept alive in the Serra do Caramulo for several generations. All sorts of decorative and useful items are for sale, for use in the house, or to decorate a corner — and to take away as the perfect souvenir of our mountains. Molelos is the first village you come trough after you turn off the IP3 to go to the Serra do Caramulo.
(Source: quintadoriodao.com )
THE CARAMULO MUSEUM
The history of the Caramulo Museum explains why it is really two different museums: it was founded in the 1950´s by the brothers Abel and João de Lacerda, the first an art lover, the second a lover of antique cars.The art collection is extremely varied. It contains for instance paintings by artists such as Picasso, Dali, Dufy and Legér, but also a fine selection of ceramics from many different periods, and four monumental 16th century tapestries.The car museum has 70 cars and 30 motorcycles in permanent exhibition, all with the original motor, and in running condition. They are taken out on the road during the antique car festival that takes place every year in September.Among the cars that can be seen in the museum are: the oldest car in Portugal that still works (a 1899 Peugot), the Bugatti that broke the speed record at more than 200 km/h in 1931, and two cars owned by the Portugese dictator Salazar (an armoured Mercedes-benz and a Cadillac).
(Source: quintade bispos.com)
Art Collection
Started in 1953, by Abel Lacerda, based on the principle of the generosity of benefactors, the art collection at the Museu do Caramulo was made up of gifts from both collectors and contemporary well-known artists, such as Vieira da Silva, Jean Lurçat, Salvador Dali and Pablo Picasso. The art collection is very diversified given the different categories of the objects on show. covering a long period of history, from the age of Antiquity up to the Contemporary period. The rooms of the museum have paintings, sculptures, furniture, objects in gold, glass, enamel, textiles and ceramics. In this last section, the objects reveal the taste and technology of ceramics from different periods, from the Han and Tang dynasties in China, to a jug by Picasso, Delft and Ming porcelain, and most particularly, the famous bottle by Jorge Álvares of 1552. In the textile sector, there are four monumental tapestries, ordered by the King of the Discoveries – D. Manuel I – and made in Tournai in the first quarter of the XVI century. Given their extraordinary cultural value, these pieces are an exceptional means of understanding the XVI century, and the relationship between Portugal and Flanders and show the influence of the Portuguese Discoveries in Western art. In paintings, the Museu do Caramulo exhibits a selection of works by consecrated Portuguese artists, such as Grão Vasco, Silva Porto, Columbano and Amadeo de Sousa Cardoso. There are also works by the Flemish artists such as Frei Carlos, Quinten Metsijs, Isembrant, Jaco Jordaens and of French artists such as Hyacinthe Rigaud, Frans Pourbus, Raoul Dufy and Fernand Leger. The collection of sculptures is made up of works made by Portuguese artists such as Salvador Barata Feyo, Canto da Maya, Leopoldo de Almeida or António Duarte, and also works by foreigners such as José Cañas and José Clará. The Museum of Caramulo is rightfully considered one of the principle museums in Portugal, reflecting the careful and rigorous selection of the works on show, made up by an extraordinary collection that covers all areas of Art.
(Source: museu-caramulo.net )
Automobile collection
The Automobile, Motorcycle and Bicycle Collection in the Museu do Caramulo started with João Lacerda, in 1955, when he bought a 1925 Ford Model T. The collection has grown ever since and is on show in the museum.Given the success of the museum and its prestige, several pieces have been added to the collections due to the donations from private and public entities.However, to be put on show each car must be completely restored and in full running condition, just like when it was manufactured. To achieve it the vehicles have to run at least once a year for maintenance purposes. The participation in various events, such as races, rallies, competitions orpublic demonstrations are crucial, not only to guarantee its correct roadworthy condition, but to reach out to the enthusiasts and general public with live and running pieces of history.This was idea was taken in account, when the second building was constructed, to house the growing automobile collection. Its design allows each vehicle to exit easily, without restrictions.The Museu do Caramulo has a permanent collection of 30 motorcycles, and 70 cars (of which 14 are vintage cars), representing 36 different makes and 7 countries. The oldest is an 1886 Benz and the most recent a Ferrari 456, of 1998. There are also collections of antique bicycles and tricycles.Many of the cars on show are connected to the History of Portugal. In the permanent collection at the museum one can see: The oldest car in Portugal, still in running condition, an 1899 Peugeot; The Bugatti 35B that in 1931 established the speed record in Lehrfeld at more than 200 km/h; The bullet proof armoured Mercedes-Benz and Cadillac that were in the service of Oliveira Salazar; The Pegaso, given by General Francisco Franco to President Craveiro Lopes; The Chrysler Imperial belonging to the Portuguese Secret Service (PIDE) that was used in the escape from the Caxias Prison; The Renault that belonged to "conselheiro" João Franco; The Rolls-Royce that was used by Queen Elizabeth II, President Eisenhower, Pope Paul VI and Pope John Paul II during their state visits to Portugal; The Fiat offered to João de Lacerda, by the President of the Fiat Group.
