martes, 20 de noviembre de 2007

Ponte Sant'Angelo


Il ponte con la veduta di Castel Sant'Angelo
Ponte Sant'Angelo verso il rione

Il Ponte Elio (pons Aelius), detto Ponte di Castello finché Roma era dentro le mura, oggi ponte Sant'Angelo, fu costruito a Roma nel 134 DC dall'imperatore Adriano per collegare alla riva sinistra il suo mausoleo. Si tramanda il nome dell'architetto Demetriano. Noto anche come "ponte di Adriano" (pons Hadriani), appartiene per intero al rione di Borgo.


Angelo con la colonna (scultore Antonio Raggi, iscrizione "Tronus meus in columna").
Angelo con i flagelli (scultore Lazzaro Morelli, iscrizione "In flagella paratus sum").
Angelo con la corona di spine: l'originaria scultura di Bernini e del figlio Paolo non fu mai messa in opera sul ponte e fu collocata nel XVIII secolo nella chiesa di Sant'Andrea delle Fratte. La scultura sul ponte è una copia dello scultore Paolo Naldini (iscrizione "In aerumna mea dum configitur spina"),
Angelo con il sudario o Angelo con il Volto Santo (scultore Cosimo Fancelli, iscrizione "Respice faciem Christi tui").
Angelo con la veste e i dadi (scultore Paolo Naldini, iscrizione "Super vestem meam miserunt sortem").
Angelo con i chiodi (scultore Girolamo Lucenti, iscrizione "Aspiciant ad me quem confixerunt").
Angelo con la croce (scultore Ercole Ferrata, iscrizione "Cuius principatus super humerum eius").
Angelo con il cartiglio: l'originale scolpito dal Bernini insieme al figlio Paolo, non fu collocato sul ponte e sarà spostato nella chiesa di Sant'Andrea delle Fratte nel XVIII secolo e sostituito da una copia di Bernini stesso con l'aiuto dello scultore Giulio Cartari (iscrizione "Regnavit a ligno deus").
Angelo con la spugna (scultore Antonio Giorgetti, iscrizione "Potaverunt me aceto").
Angelo con la lancia (scultore Domenico Guidi, iscrizione "Vulnerasti cor meum").
Da questo ponte deriva il nome del rione Ponte.

viernes, 4 de mayo de 2007

Torre della Scimmia



Yo conozco este lugar. No hace mucho tiempo lo vi. Fue en Roma. Dónde exactamente, no recuerdo. Trata y trato, exprimo la memoria como naranja pero no llega. Fue en mi último viaje a Roma. Estoy seguro. Eso fue en diciembre del año pasado antes de volver a México. Cre que no iba yo solo. No, mi amigo David estaba conmigo. Según yo es un vicolo. La zona es Navona (norte u oeste), quiero pensar, pero dudo, pues puede ser por el Pantheon (tampoco ayuda la verdad); por la calle de los anticuarios...

Recuerdo bien esa esquina pero no la ubico. La recuerdo bien, pues nunca había pasado por ahí. La casa estaba en venta. Eso sí recuerdo. Y era un callejón. Algo había ahí y yo lo había ido a buscar.
Me dice la fotógrafa que hay una iglesia a la derecha... pero una iglesia en Roma es como una flor en un jardín. No, lo ubico.
Nooooo, no puede ser. Recuerdo que fue la torre lo que más me llamó la atención. La recuerdo perfecto. Hasta recuerdo que me detuve y me dije a mi mismo... si un día compras una casa en Roma, tiene que ser como ésta. Recuerdo que hay un instituto en el edificio (yo no entré). Creo que ya me viene a la mente la iglesia... no era una de las clásicas antiguas conocidas... es mucho más joven.

jueves, 26 de abril de 2007

Serendipity

Serendipity
Una de las palabras que más me gustan... La siguiente es la entrada del Online Etymology Dictionary:

1754 (but rare before 20c.), coined by Horace Walpole (1717-92) in a letter to Mann (dated Jan. 28); he said he formed it from the Persian fairy tale "The Three Princes of Serendip," whose heroes "were always making discoveries, by accidents and sagacity, of things they were not in quest of." The name is from Serendip, an old name for Ceylon (modern Sri Lanka), from Arabic Sarandib, from Skt. Simhaladvipa "Dwelling-Place-of-Lions Island." Serendipitous formed c.1950.

viernes, 22 de septiembre de 2006

ISBN

El International Standard Book Number (en español Número Internacional Estándar del Libro) o ISBN (pronunciado a veces como "is-bin"), es un identificador único[1] para libros, previsto para uso comercial. Fue creado en el Reino Unido en 1966 por las librerías y papelerías británicas W H Smith y llamado originalmente Standard Book Numbering (en español Numeración Estándar del Libro) o SBN. Fue adoptado como estándar internacional ISO 2108 en 1970.

En publicaciones periódicas como revistas se usa el Número Internacional Normalizado de Publicaciones Seriadas (ISSN, International Standard Serial Number).

Descripción
Cada edición y variación (excepto las reimpresiones) de un libro recibe su propio ISBN. El número tiene siempre 10 dígitos de longitud, y está dividido en cuatro partes:

el código de país o lengua de origen,
el editor,
el número del artículo, y
un dígito de control.

Estas partes tienen distintas longitudes y generalmente están separadas por guiones. Sin embargo estos guiones no son imprescindibles, ya que se utilizan prefijos para asegurarse de que dos códigos no puedan comenzar de la misma forma. En caso de usarse, tiene que estar situado correctamente (pueden consultarse las instrucciones en inglés aquí); no obstante no son suficientes ya que hay distintas agencias responsables de la asignación de subrangos ISBN, y no hay ninguna lista actualizada disponible en isbn.org.

El código de país es 0 ó 1 para países de habla inglesa, 2 para países de habla francesa, 3 para países de habla alemana..., 84 para España, etc. El sistema original SBN carecía del código de páis, pero anteponiendo un 0 a un número SBN de 9 dígitos se creaba un ISBN válido. El código de país puede tener hasta 5 dígitos de longitud; por ejemplo el 99936 se usa para Bhutan. Se puede consultar la lista de ISBN por países.

El número del editor es asignado por la agencia nacional del ISBN, y el número del artículo es elegido por el editor.

Los editores reciben bloques de ISBN's, más grandes de los que se espera que necesiten; un editor pequeño puede recibir ISBN's que consistan en un dígito para el idioma, siete dígitos para el editor y un solo dígito para los artículos individuales. Una vez que termine ese bloque puede recibir otro, con un número de editor diferente. Por tanto, a veces diferentes números de editor corresponden en realidad al mismo.

El dígito de control de un ISBN se puede calcular multiplicando cada dígito del ISBN por el lugar que ocupa dicho dígito en la secuencia numérica (multiplicando el primero por la izquierda por 1, el siguiente por 2, etc.) Tomando después la suma de estas multiplicaciones y calculando la suma de módulo 11, con "10" representado por el carácter "X".

Por ejemplo, para calcular el dígito de control de un ISBN cuyos nueve primeros dígitos son 0-306-40615:

1×0 + 2×3 + 3×0 + 4×6 + 5×4 + 6×0 + 7×6 + 8×1 + 9×5
= 0 + 6 + 0 + 24 + 20 + 0 + 42 + 8 + 45
= 145
= 13×11 + 2
Por lo que el dígito de control es 2, y la secuencia completa es ISBN 0-306-40615-2. Como 11 es un número primo, este esquema asegura que un solo error (a modo de un dígito alterado) será detectado siempre.

viernes, 18 de agosto de 2006

Requisitos

El primer requisito para que algo sea es imaginarlo

viernes, 4 de agosto de 2006

Extracto: L'Amant

Un jour, j'étais âgée déjà, dans le hall d'un lieu public, un homme est venu vers moi. Il s'est fait connaître et il m'a dit : "Je vous connais depuis toujours. Tout le monde dit que vous étiez belle lorsque vous étiez jeune, je suis venu pour vous dire que pour moi je vous trouve plus belle maintenant que lorsque vous étiez jeune, j'aimais moins votre visage de jeune femme que celui que vous avez maintenant, dévasté."

Je pense souvent à cette image que je suis seule à voir encore et dont je n'ai jamais parlé. Elle est toujours là dans le même silence, émerveillante. C'est entre toutes celle qui me plaît de moi-même, celle où je me reconnais, où je m'enchante.

Très vite dans ma vie il a été trop tard. A dix-huit ans il était déjà trop tard. Entre dix-huit ans et vingt-cinq ans mon visage est parti dans une direction imprévue. A dix-huit ans j'ai vieilli. Je ne sais pas si c'est tout le monde, je n'ai jamais demandé. Il me semble qu'on m'a parlé de cette poussée du temps qui vous frappe quelquefois alors qu'on traverse les âges les plus jeunes, les plus célébrés de la vie. Ce vieillissement a été brutal. Je l'ai vu gagner mes traits un à un, changer le rapport qu'il y avait entre eux, faire les yeux plus grands, le regard plus triste, la bouche plus définitive, marquer le front de cassures profondes. Au contraire d'en être effrayée j'ai vu s'opérer ce vieillissement de mon visage avec l'intérêt que j'aurais pris par exemple au déroulement d'une lecture. Je savais aussi que je ne me trompais pas, qu'un jour il se ralentirait et qu'il prendrait son cours normal. Les gens qui m'avaient connue à dix-sept ans lors de mon voyage en France ont été impressionnés quand ils m'ont revue, deux ans après, à dix-neuf ans. Ce visage-là, nouveau, je l'ai gardé. Il a été mon visage. Il a vieilli encore bien sûr, mais relativement moins qu'il n'aurait dû. J'ai un visage lacéré de rides sèches et profondes, à la peau cassée. Il ne s'est pas affaissé comme certains visages à traits fins, il a gardé les mêmes contours mais sa matière est détruite. J'ai un visage détruit.

Que je vous dise encore, j'ai quinze ans et demi.

DURAS, Marguerite, L'Amant, Paris, 1984, p. 9-11

jueves, 27 de julio de 2006

Chapter 59

Chapter 59

FOR eleven years, I had not seen Joe nor Biddy with my bodily eyes-though they had both been often before my fancy in the East-when, upon an evening in December, an hour or two after dark, I laid my hand softly on the latch of the old kitchen door. I touched it so softly that I was not heard, and looked in unseen. There, smoking his pipe in the old place by the kitchen firelight, as hale and as strong as ever though a little grey, sat Joe; and there, fenced into the corner with Joe's leg, and sitting on my own little stool looking at the fire, was - I again!
`We giv' him the name of Pip for your sake, dear old chap,' said Joe, delighted when I took another stool by the child's side (but I did not rumple his hair), `and we hoped he might grow a little bit like you, and we think he do.'

I thought so too, and I took him out for a walk next morning, and we talked immensely, understanding one another to perfection. And I took him down to the churchyard, and set him on a certain tombstone there, and he showed me from that elevation which stone was sacred to the memory of Philip Pirrip, late of this Parish, and Also Georgiana, Wife of the Above.

`Biddy,' said I, when I talked with her after dinner, as her little girl lay sleeping in her lap, `you must give Pip to me, one of these days; or lend him, at all events.'

`No, no,' said Biddy, gently. `You must marry.'

`So Herbert and Clara say, but I don't think I shall, Biddy. I have so settled down in their home, that it's not at all likely. I am already quite an old bachelor.'

Biddy looked down at her child, and put its little hand to her lips, and then put the good matronly hand with which she had touched it, into mine. There was something in the action and in the light pressure of Biddy's wedding-ring, that had a very pretty eloquence in it.

`Dear Pip,' said Biddy, `you are sure you don't fret for her?'

`O no-I think not, Biddy.'

`Tell me as an old, old friend. Have you quite forgotten her?

`My dear Biddy, I have forgotten nothing in my life that ever had a foremost place there, and little that ever had any place there. But that poor dream, as I once used to call it, has all gone by, Biddy, all gone by!'

Nevertheless, I knew while I said those words, that I secretly intended to revisit the site of the house that evening, alone, for her sake. Yes even so. For Estella's sake.

I had heard of her as leading a most unhappy life, and as being separated from her husband, who had used her with great cruelty, and who had become quite renowned as a compound of pride, avarice, brutality, and meanness. And I had heard of the death of her husband, from an accident consequent on his ill-treatment of a horse. This release had befallen her some two years before; for anything I knew, she was married again.

The early dinner-hour at Joe's, left me abundance of time, without hurrying my talk with Biddy, to walk over to the old spot before dark. But, what with loitering on the way, to look at old objects and to think of old times, the day had quite declined when I came to the place.

There was no house now, no brewery, no building whatever left, but the wall of the old garden. The cleared space had been enclosed with a rough fence, and, looking over it, I saw that some of the old ivy had struck root anew, and was growing green on low quiet mounds of ruin. A gate in the fence standing ajar, I pushed it open, and went in.

A cold silvery mist had veiled the afternoon, and the moon was not yet up to scatter it. But, the stars were shining beyond the mist, and the moon was coming, and the evening was not dark. I could trace out where every part of the old house had been, and where the brewery had been, and where the gates, and where the casks. I had done so, and was looking along the desolate gardenwalk, when I beheld a solitary figure in it.

The figure showed itself aware of me, as I advanced. It had been moving towards me, but it stood still. As I drew nearer, I saw it to be the figure of a woman. As I drew nearer yet, it was about to turn away, when it stopped, and let me come up with it. Then, it faltered as if much surprised, and uttered my name, and I cried out:

`Estella!'

`I am greatly changed. I wonder you know me.'

The freshness of her beauty was indeed gone, but its indescribable majesty and its indescribable charm remained. Those attractions in it, I had seen before; what I had never seen before, was the saddened softened light of the once proud eyes; what I had never felt before, was the friendly touch of the once insensible hand.

We sat down on a bench that was near, and I said, `After so many years, it is strange that we should thus meet again, Estella, here where our first meeting was! Do you often come back?'

`I have never been here since.'

`Nor I.'

The moon began to rise, and I thought of the placid look at the white ceiling, which had passed away. The moon began to rise, and I thought of the pressure on my hand when I had spoken the last words he had heard on earth.

Estella was the next to break the silence that ensued between us.

`I have very often hoped and intended to come back, but have been prevented by many circumstances. Poor, poor old place!'

The silvery mist was touched with the first rays of the moonlight, and the same rays touched the tears that dropped from her eyes. Not knowing that I saw them, and setting herself to get the better of them, she said quietly:

`Were you wondering, as you walked along, how it came to be left in this condition?'

`Yes, Estella.'

`The ground belongs to me. It is the only possession I have not relinquished. Everything else has gone from me, little by little, but I have kept this. It was the subject of the only determined resistance I made in all the wretched years.'

`Is it to be built on?'

`At last it is. I came here to take leave of it before its change. And you,' she said, in a voice of touching interest to a wanderer, `you live abroad still?'

`Still.'

`And do well, I am sure?'

`I work pretty hard for a sufficient living, and therefore - Yes, I do well.'

`I have often thought of you,' said Estella.

`Have you?'

`Of late, very often. There was a long hard time when I kept far from me, the remembrance, of what I had thrown away when I was quite ignorant of its worth. But, since my duty has not been incompatible with the admission of that remembrance, I have given it a place in my heart.'

`You have always held your place in my heart,' I answered.

And we were silent again, until she spoke.

`I little thought,' said Estella, `that I should take leave of you in taking leave of this spot. I am very glad to do so.'

`Glad to part again, Estella? To me, parting is a painful thing. To me, the remembrance of our last parting has been ever mournful and painful.'

`But you said to me,' returned Estella, very earnestly, `"God bless you, God forgive you!" And if you could say that to me then, you will not hesitate to say that to me now - now, when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but - I hope - into a better shape. Be as considerate and good to me as you were, and tell me we are friends.'

`We are friends,' said I, rising and bending over her, as she rose from the bench.

`And will continue friends apart,' said Estella.

I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so, the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw no shadow of another parting from her.