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196_29 | movie crouches itself in the first half, it pounces really well in the second and manages to save the day". |
196_30 | Sudhir Srinivasan of The Hindu wrote, "For a filmmaker who chose such an atypical beginning, why he goes on to take recourse in a super-typical love angle, only he will know. And then, the twist comes, and you finally get something to be interested in when Jayaseelan finds himself in a cat-and-mouse game with I-can't-tell-you". He added, "Without these ugly distractions, the story would have been much more gripping, and Suseenthiran would’ve had a lot more time to dwell on the villain's descent into evil". Behindwoods gave the film 2.75 out of 5 stars and stated, "With a strong climax and a concrete closure to the story, Paayum Puli declares a clear statement". Criticising the pace of the first half and the characterisations, the reviewer wrote "Hero always getting to be the smartest, heroine being a docile, fun-loving person is all an age-old template. Etching characters with depth could have brought in impact to the narration". Karthik Keramalu of CNN-IBN gave the film 3 out of 5 |
196_31 | stars and stated, "Paayum Puli finally ends up as a film you’re angry at because it could have gone up several scales but is okay with taking a seat somewhere in the middle". IANS gave the film 3 out of 5 stars and stated that Paayum Puli "sadly reduces itself to a police drama that fizzles out even before it starts to get impressive". IndiaGlitz gave the film 2.5 out of 5 stars as well and stated, "Suseenthiran has chosen an emotional action story about brothers on both sides of the law pitted against one another which could have had the audiences at the edge of their seats, but his own screenplay is contrived and lacks the grip that his other movies are famous for" and concluded that Paayum Puli is "worth watching for Vishal's action and Samuthirakani's acting". |
196_32 | Sify called Paayum Puli a "predictable concoction of a cop story mixed with brother sentiments and the usual commercial trappings of Tamil cinema" and opined that the romance between the lead pair "sticks out like a sore thumb". Latha Srinivasan, writing for Daily News and Analysis, rated the film 2.5 out of 5 and criticised the film's script and the romance between Vishal and Kajal in the film, calling it "extremely insipid and badly written". She concluded that the film can be watched only if the viewer was a fan of either Vishal or Samuthirakani. Anupama Subramaniam of Deccan Chronicle too gave the film 2.5 out of 5 stars and stated, "With plenty of action and criminals waiting to be apprehended, Paayum Puli is a pure entertainer, but a weak script will leave you wondering and wandering". S. Saraswathi of Rediff.com gave 2 out of 5 stars and stated that the film "lacks the subtlety, intrigue and clarity that we have come to associate with director Suseenthiran". |
196_33 | Reviewing the Telugu version Jayasurya, Indiaglitz rated 3 out of 5 stating that "Vishal has played the gutsy cop in the past, in this he is as strong as an actor as he can be. He shows verve, ably assisted by a good screenplay. Besides the gutsy avatar, Vishal has a sentimental side. When it is time for sentiment, the director keeps the proceedings measured and restrained. Sans excess in terms of melodrama, the climax works. The pre-climax portion is as surprising for the key character as the interval bang was for the audience. Just goes to show the strength of the line. This one is yet another film which relies on the strength of the line but throws up little in terms of scenes. The comedy involving Surya doesn't work quite well. Kajal cackles up the screen when she is around, as is her style. Velraj's cinematography is deft and Imam's music fits the bill. Vishal's performance leaves a strong impact. Watch him balance action and sentiment and carry them on his shoulders with ease. |
196_34 | Samuthirikaran and Soori have a good amount of screenspace, the former more effective in delivering the goods as he gets a big share in the pie. Murli Sharma, Harish Utthaman, RK and others do their parts well. Jayasurya may be watched for Vishal's verve-filled performance. |
196_35 | References
External links
2015 films
Indian films
Films shot in Madurai
2015 action films
Films directed by Suseenthiran
Films featuring an item number
Indian action films
Fictional portrayals of the Tamil Nadu Police
Indian police films
2010s Tamil-language films
Films shot in Chennai |
197_0 | Jerzy Sever Linderski (born 21 August 1934 in Lwow, Poland, now Lviv) is a contemporary Polish scholar of ancient history and Roman religion and law.
Currently George L. Paddison Professor of Latin Emeritus at the University of North Carolina at Chapel Hill, Jerzy Linderski is one of the foremost classical philologists and Roman historians of the modern era. He earned his Ph.D. from the University of Kraków in Poland in 1960. He has served on the faculties of the University of Oregon and the University of North Carolina at Chapel Hill. His scholarship has concentrated, in particular, on topics of Roman religion and augury, Roman law and Latin epigraphy. His collected papers have appeared in two volumes of "Roman questions".
Bibliography |
197_1 | Books
Państwo a kolegia ze studiów nad historią rzymskich stowarzyszeń u schyłku republiki. Kraków : Nakładem Universytetu Jagiellońskiego (1961).
Rzymskie zgromadzenie wyborcze od Sulli do Ceza. Wrocław : Zakład Narodowy im. Ossolińskich ; Wydawn. Polskiej Akademii Nauk (1966).
Roman Questions: Selected Papers. (Steiner, 1995). . (Reviews: BMCR 97.2.9)
ed. Imperium sine fine. T. Robert S. Broughton and the Roman Republic. (Stuttgart: Steiner, 1996) X, 234 S., Abb. Taf., ed. Linderski, J., (Historia, Einzelschriften, 105). . (Reviews: BMCR 98.4.10)
[Festschrift] C.F. Konrad ed. Augusto augurio: Rerum humanarum et divinarum commentationes in honorem Jerzy Linderski. (Steiner, 2004). (Includes papers by former students, including Frances Hickson-Hahn, Timothy J. Moore, Christopher McDonough, Hans-Friedrich Mueller, Matthew Panciera, Michael Johnson, Jonathan Perry, Daniel Gargola, Tadeusz Mazurek, and C.F. Konrad). . (Reviews: BMCR 2005.07.25) |
197_2 | Roman Questions II: Selected Papers. (Steiner, [October 2007]). . (Reviews: BMCR 2008.09.15)
Updated edition of Lily Ross Taylor Voting Districts of the Roman Republic, with new and expanded information. University of Michigan Press, 2012. . (Reviews: BMCR 2013.10.47) |
197_3 | Articles
"Notes on CIL I³ 364". PP 13 (1958) 47-50.
"Świadectwo Askoniusza o położeniu prawnym kolegiów u schyłku republiki." (Poln.) ['Germ. Ein Zeugnis des Asconius zur Rechtslage der Collegien am Ende der Republik.] Eos 50 (1959–60) 133-141.
"Zum Namen Competalis." Glotta 39 (1960) 145-149.
"Ciceros Rede "Pro Caelio" und die Ambitus- und Vereinsgesetzgebung der ausgehenden Republik." Hermes 89 (1961) 106-119.
"Two speeches of Q. Hortensius. A contribution to the corpus oratorum of the Roman republic." PP 16 (1961) 304-311.
"Etruskische Etymologien, zilaθ and purθ." Glotta 40 (1962) 150-159.
"Suetons Bericht ueber die Vereinsgesetzgebung unter Caesar und Augustus." ZSS-Roem. Abt. 79 (1962) 396-402.
"Cicero and Sallust on Vargunteius." Historia 12 (1963) 511-512.
"Alfred the Great and the Tradition of Ancient Geography." Speculum 39 (1964) 434-439.
"Constitutional Aspects of the consular elections in 59 B.C." Historia 14 (1965) 423-442. |
197_4 | "The Surnames and the alleged affinity of C. Caelius Rufus." Eos 56 (1966) 146-150.
"Were Pompey and Crassus elected in absence to their first consulship?" In Mélanges offerts à Kazimierz Michałowski. (Warszawa 1966) 523-526.
"Der Senat und die Vereine." In Gesellschaft und Recht im griechisch-römischen Altertum. (Berlin 1968) 94-95.
"Three trials in 54 B.C. Sufenas, Cato, Procilius and Cicero, Ad Atticum 4, 15, 4." In Studi in onore di Edoardo Volterra, 2. (Milano 1971) 281-302.
"Roemischer Staat und die Goetterzeichen: zum Problem der obnuntiatio." Jahrbuch der Universitaet Düsseldorf 1969-1970 [1971] 309-322.
"The aedileship of Favonius, Curio the Younger and Cicero's election to the augurate." HSCP 76 (1972) 181-200.
Kaminska-Linderski, A.: "A. Gabinius A. f. Capito and the first vote in the legislative comitia tributa". ZPE 12 (1973) 247-252.
"The Mother of Livia Augusta and the Aufidii Lurcones of the Republic." Historia 23 (1974) 463-480. |
197_5 | "The Quaestorship of Marcus Antonius." Phoenix 28 (1974) 213-223.
"Libiis or Libens? A note on a new dedication to Liber Pater from Dacia." Latomus 34 (1975) 209-211.
"Two Quaestorships." CP 70 (1975) 35-38.
"Legibus praefecti mittebantur (Mommsen and Festus 262, 5, 13 L)." Historia 28 (1979) 247-250.
"Amianus." ZPE 30 (1978) 158.
"A Non-Misunderstood Text Concerning Tages." PP 33, fasc. 180 (1978) 195-196.
"De villa Appio Pulchro falso attributa." PP 34, fasc. 193 (1980 [1981]) 272-273.
"Exta and Aves: An Emendation in Rufinus, Origenis in Numeros Homilia 17.2." HSCP 85 (1981) 213-215.
"Patientia fregit. M. Octavius and Ti. Gracchus (Cicero, Brutus 95)." Athenaeum 60 (1982) 244-247.
"Auspicia et Auguria Romana...Summo Labore Collecta: A Note on Minucius Felix, Octavius 26.1." CP 77 (1982) 148-150.
"Natalis Patavii." ZPE 50 (1983) 227-232.
"A Witticism of Appuleius Saturninus." Rivista di Filologia 111 (1983 [1984]) 452-459. |
197_6 | "Rome, Aphrodisias and the Res gestae". The genera militiae and the status of Octavian." JRS 74 (1984) 74-80.
"Usu, farre, coemptione. Bemerkungen zur Ueberlieferung eines Rechtsatzes." ZSS-Roem. Abt. 101 (1984) 301-311.
"Si vis pacem, para bellum. Concepts of defensive imperialism." In The imperialism of Mid-Republican Rome. The proceedings of a conference held at the American Academy in Rome, November 5–6, 1982. (Rome 1984) 133-164.
"Buying the vote. Electoral corruption in the late republic." AncWorld 11 (1985) 87-94.
"The dramatic date of Varro, De re rustica, book III and the elections in 54." Historia 34 (1985) 248-254.
"The Libri Reconditi." HSCP 89 (1985) 207-234.
"The Augural Law." ANRW II 16.3:2146-2312 (1986).
"Religious aspects of the conflict of the orders. The case of "confarreatio". - in: Social struggles in archaic Rome. New perspectives on the conflict of the orders. (Berkeley 1986) 244-261.
"The aediles and the didascaliae." AncHistB 1 (1987) 83-88. |
197_7 | "Fumum vendere and fumo necare." Glotta 65 (1987) 137-146.
"Fumo necare: An Addendum." Glotta 65 (1987) 250-251.
"Sannio and Remus." Mnemosyne 42 (1989) 90-93.
"Vergil and Dionysius." Vergilius 38 (1992) 3-11.
"Two Cruces in Seneca, De vita beata 25.2." AJP 103 (1982) 89-95.
"A Missing Ponticus." AJAH 12 (1987)[1995] 148-166.
"Partus ancillae. A vetus quaestio in the light of a new inscription." Labeo 33 (1987) 192-198.
"Julia in Regium." ZPE 72 (1988) 181-200.
"Garden parlors. Nobles and birds". - in: Studia Pompeiana et classica in honor of Wilhelmina F. Jashemski, 2. Classica. (New Rochelle 1989) 105-127.
"Heliogabalus, Alexander Severus and the Ius confarreationis. A note on the "Historia Augusta"". - in: Historia testis. Mélanges d'épigraphie, d'histoire ancienne et de philologie offerts à Tadeusz Zawadzki. (Fribourg 1989) 207-215. |
197_8 | "The auspices and the struggle of the orders. - in: Staat und Staatlichkeit in der frühen römischen Republik. Akten eines Symposiums, 12. - 15. Juli 1988, Freie Universität Berlin. (Stuttgart 1990) 34-48.
"Certis calendis." - Epigraphica 52 (1990) 85-96.
"The death of Pontia." - RhM 133 (1990) 86-93.
"Mommsen and Syme. Law and power in the principate of Augustus." - in: Between republic and empire. Interpretations of Augustus and his principate. (Berkeley 1990) 42-53.
"Roman officers in the year of Pydna. - AJPh 111 (1990) 53-71.
"The surname of M. Antonius Creticus and the cognomina ex victis gentibus." - ZPE 80 (1990) 157-164.
"Aes olet. Petronius 50, 7 and Martial 9, 59, 11." HSCP 94 (1992) 349-353.
"Games in Patavium. - Ktema 17 (1992)[1996] 55-76.
"Ambassadors go to Rome". - in: Les relations internationales. Actes du colloque de Strasbourg, 15 - 17 juin 1993. (Paris 1995) 453-478.
"Thomas Robert Shannon Broughton." Gnomon 67 (1995) 91-93. |
197_9 | "Roman Religion in Livy." Livius. Aspekte seines Werkes (Ed. Wolfgang Schuller [Konstanz, 1993]) 53-70.
"Cato maior in Aetolia." In Transitions to empire. Essays in Greco-Roman history, 360 - 146 B.C., in honor of E. Badian. (Norman Okla. 1996) 376-408.
"Q. Scipio imperator." In Imperium sine fine. T. Robert S. Broughton and the Roman republic. (Stuttgart 1996) 145-185.
"Agnes Kirsopp Michels and the religio." CJ 92 (1996–97) 323-345, Taf.
"Finis porcelli". RCulClMedioev 39 (1997) 105-107.
"Transitus. Official travel under the sign of "obelus". Philologus 143 (1999) 288-299.
"Banqueting." Arctos 34 (2000) 101-107.
"Iuppiter Dolichenus, Hercules and Volcanus in Balaclava." Historia 49 (2000) 128-129.
"Imago hortorum. Pliny the Elder and the gardens of the urban poor." ClPhil 96 (2001) 305-308.
"Silver and gold of valor. The award of "armillae" and "torques"." Latomus 60 (2001) 3-15.
"Isto vilius, immo carum". Anecdotes about king Romulus. AJPh 123 (2002) 587-599. |
197_10 | "De Tito templum Veneris Paphiae visente, sive de hostiis vovendis et deligendis." Hermes 130 (2002) 507-510.
"Caelum arsit" and "osidione liberare". Latin idiom and the exploits of the Eighth Augustan Legion at the time of Commodus." ZPE 142 (2003) 241-255.
"The Menander Inscription from Pompeii and the Expression primus scripsit." ZPE 159 (2007) 45-55.
"Ink and Blood: Ernst Badian, Rome and the Art of History." in The Legacy Of Ernst Badian, edited by Carol Thomas. Association of Ancient Historians (2013). . |
197_11 | Reviews
Reden und Schweigen: roemische Religion bei Plinius Maior." CP 70 (1975) 284-289.
"L'ordre equestre a l' epoque republicaine (312-43 av. J.-C.). Tome 2: Prosopographie des chevaliers romains." CP 72 (1977) 55-60.
"Two Studies in Roman Nomenclature." Phoenix 31 (1977 [1978]) 372-375.
"Cicero Imperator. Studies in Cicero's Correspondence 51-47 B.C." Gnomon 52 (1980) 782-785.
"Iscrizioni lapidarie latine del Museo nazionale concordiese di Portogruaro, I secolo a.C. - III secolo d.C." ANews 10 (1981) 99-100.
"Cicero and Roman divination." - PP 37 (1982) 12-38.
"The Roman Republic." CP 77 (1982) 174-178.
"Cicero, The Ascending Years." CJ77 (1982) 275-277.
"Le delit religieux dans la cite antique." CP 79 (1984) 174-177.
"La gladiature en Occident des origines à la mort de Domitien." ClPhil 80 (1985) 189-192.
"Philosophe et augure. Recherches sur la théorie cicéronienne de la divination." ClPhil 81 (1986) 330-340.
"Templum." ClPhil 81 (1986) 330-340. |
197_12 | "Untersuchungen zur Religion und zur Religionspolitik des Kaisers Elagabal." JRS 80 (1990) 235.
"Les cultes orientaux dans le monde romain." JRS 80 (1990) 235-236.
"The bronze liver of Piacenza. Analysis of a polytheistic structure." ClPhil 85 (1990) 67-71, Abb.
"Fratres Arvales. Storia di un collegio sacerdotale romano." CP 86 (1991) 84-87.
"Jews and god-fearers at Aphrodisias. Greek inscriptions with commentary." Gnomon 63 (1991) 559-561.
"Lucio Giunio Bruto. Ricerche di storia, religione e diritto sulle origini della repubblica romana." AJPh 112 (1991) 407-409.
"Iscrizioni lapidarie latine del Museo nazionale concordiese di Portogruaro, I secolo a.C. - III secolo d.C." ANews 16 (1991) 108-109.
"Römische Geburtsriten." AJPh 113 (1992) 303-304.
"Prophecy and History in the Crisis of the Roman Empire: A Historical Commentary on the Thirteenth Sibylline Oracle." CP 88 (1993) 180-183. |
197_13 | "Roman marriage. Iusti coniuges from the time of Cicero to the time of Ulpian." AJPh 116 (1995) 154-156.
"Volcanus. Recherches comparatistes sur les origines du culte de Vulcain." AJPh 118 (1997) 644-647.
"Supplementa Italica. Nuova serie, 4." JRA 11 (1998) 459-470.
"Supplementa Italica. Nuova serie, 5." JRA 11 (1998) 470-474.
"Religions of Rome." JRA 13 (2000) 453-463.
"Per la storia romana della provincia di Pesaro e Urbino." JRA 15 (2002) 577-581.
"Fonti letterarie ed epigrafiche per la storia romana della provincia di Pesaro e Urbino." JRA 15 (2002) 577-581.
"L'Etruria dei Romani. Opere pubbliche e donazioni private in età imperiale." JRA 16 (2003) 495-499.
"Theodori Mommseni epistulae ad familiares Italicos." Review of M. Buonocore, Theodor Mommsen e gli studi sul mondo antico. Dalle sue lettere. JRA 19 (2006) 739-745.
"Indo-European Sacred Space: Vedic and Roman Cult." AJPh 129.1 (2008) 125-128. |
197_14 | "The Regional Diversification of Latin: 200 BC-AD 600." AJPh 130.3 (2009) 468-73.
"Les Prénoms de l'Italie antique. Journée d'études, Lyon, 26 janvier 2004" The Classical Review (New Series) 60 (2010) 108-110.
"Natale Rampazzo: Quasi praetor non fuerit. Studi sulle elezioni magistratuali in Roma repubblicana tra regola ed eccezione." Gnomon 83.6 (2011) 512-515. |
197_15 | Students |
197_16 | Ph.D. students
Konrad, Christoph Frederick. 1985. A HISTORICAL COMMENTARY ON PLUTARCH'S LIFE OF SERTORIUS. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Hickson, Frances Vincent. 1986. VOCES PRECATIONUM: THE LANGUAGE OF PRAYER IN THE "HISTORY" OF LIVY AND THE "AENEID" OF VERGIL. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Moore, Timothy Joseph. 1986. Roman Virtues in Livy. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Royden, Halsey Lawrence. 1986. The Magistrates of the Roman Professional Collegia in Italy from the first to the third century A.D. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing. |
197_17 | Nicholson, John Harman. 1991. Cicero's 'Actio gratiarum': The orations "Post reditum in senatu" and "Ad quirites". Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Thurmond, David Lawrence. 1992. Felicitas: Public rites of human fecundity in ancient Rome. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Lorsch, Robin Stacey. 1993. Omina imperii: The omens of power received by the Roman emperors from Augustus to Domitian, their religious interpretation and political influence. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Mueller, Hans-Friedrich Otto. 1994. Exempla tuenda: Religion, virtue, and politics in Valerius Maximus. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing. |
197_18 | Seavey, William D. 1994. Ius belli: Roman ideology and the rights of war. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
McDonough, Christopher Michael. 1996. Liminal animals in Roman religion and folklore. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Abbot, James C, Jr. 1997. Roman deceit: Dolus in Latin literature and Roman society. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Mazurek, Tadeusz R. 1997. Legal terminology in Horace's "Satires". Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Bernardo, Yvonne Lindjo. 2000. Severitas: A study of a Roman virtue in Cicero. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing. |
197_19 | Clapp, Douglas C. 2000. The image of the tribunate in Livy. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Holland, Lora Louise. 2002. Worshiping Diana: The cult of a Roman goddess in Republican Italy. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Clark, Jonathan Kenneth. 2003. Pagan religions in the works of Jerome. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Muse, Kevin Brian. 2003. Worthless wastrels: Prodigals and prodigality in classical antiquity. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing.
Fiscelli, Kathryn Ann. 2004. Plants of life and death: An examination of three plants associated with the cult of the dead. Ph.D. Diss. The University of North Carolina at Chapel Hill, ProQuest, UMI Dissertations Publishing. |
197_20 | M.A. Students
Oaks, Laura S. 1981. Some Aspects of Caesarian Composition: A Computer-Assisted Survey of Style. M.A. thesis, The University of North Carolina at Chapel Hill.
Hahn, Frances Vincent Hickson. 1982. Augusti reditus. M.A. thesis, The University of North Carolina at Chapel Hill.
Rauk, John Neil. 1982. Cicero on the Site of Rome, De re publica 2. 3-11. M.A. thesis, The University of North Carolina at Chapel Hill.
Frauenfelder, David William. 1988. Fides Italica: Livy's View of Italian Allies in the Third Decade of the Ab urbe condita. M.A. thesis, The University of North Carolina at Chapel Hill.
Walker, Andrew David. 1988. Oratio censoria in Republican Rome. M.A. thesis, The University of North Carolina at Chapel Hill.
McDonough, Christopher Michael. 1990. Hercules of the Ara Maxima: A Study in Roman Religion and Cult. M.A. thesis, The University of North Carolina at Chapel Hill. |
197_21 | Bernardo, Yvonne L. 1992. Et careant loliis occulos vitiantibus agri. M.A. thesis, The University of North Carolina at Chapel Hill.
Lund, Brian Zachary. 1995. Women and Inheritance in Pliny's Epistulae. M.A. thesis, The University of North Carolina at Chapel Hill.
Roudenbush, Jeffrey A. 1995. Servilia and Roman Politics Through 44 BC. M.A. thesis, The University of North Carolina at Chapel Hill.
Coulam, Andrew Craig. 1997. Male Pudicitia: Conceptions of Sexual Virtue for Men in Roman Republican Literature. M.A. thesis, The University of North Carolina at Chapel Hill.
Buszard, Brad B. 1998. Vota and the Methods of Livy. M.A. thesis, The University of North Carolina at Chapel Hill.
Muse, Kevin Brian. 2000. The prodigal in Roman law. M.A. thesis, The University of North Carolina at Chapel Hill.
Johnson, Michael Joseph. 2002. The negative connotation of miscere in Latin prose''. M.A. thesis, The University of North Carolina at Chapel Hill. |
197_22 | References
Polish classical scholars
Polish historians
Polish male non-fiction writers
Jagiellonian University alumni
University of Oregon faculty
University of North Carolina at Chapel Hill faculty
1934 births
Living people
Latin epigraphers
Classical scholars of the University of North Carolina at Chapel Hill |
198_0 | Silvia Tro Santafé is a Spanish lyric-coloratura mezzo-soprano. In her early career she was best known for her interpretations of Handel and became notable for her performances of Rossini, Bellini, Donizetti, and in recent years Verdi.
Early life and education
Born in Valencia (Spain) in 1970, Tro Santafé graduated at the Conservatorio Superior de Música Joaquín Rodrigo in 1992. She won first prize for "Voice" at the International Jeneusse Musicales competition in 1989, and continued her studies at the Juilliard School in New York in 1992-93, winning the Opera Index Prize in 1992. Tro Santafé continued her studies over the next two years with Carlo Bergonzi at the Accademia Chigiana, and was awarded a scholarship by La Scala Amici de Loggione to study with Magda Olivero. She holds an MA in Arts Policy and Management from University of London Birkbeck College since 2015.
Career |
198_1 | 1992–2002 |
198_2 | Having studied at the Accademia Rossiniana "Alberto Zedda" in Pesaro during the summer of 1991, Tro Santafé made her international professional debut at the age of 21 in the Rossini Opera Festival during the 1992 season with the role of Lucilla in Rossini's La scala di seta conducted by Maurizio Benini, appearing alongside Plácido Domingo during the Gala de Reyes concert televised for TVE in 1994. In 1995 she made her role debut with the title role of Rossini’s La Cenerentola at the Edmonton Opera (Alberta, Canada), quickly followed by her role debut as Cherubino in Mozart’s Le Nozze di Figaro at the Santa Fe Opera in the USA, before singing Zerlina in Mozart’s Don Giovanni at the Teatro Verdi di Sassari (Italy) in the same year. During the season 1996-1997, Tro Santafé returned to Canada for La Cenerentola at the Manitoba Opera (Winnipeg) and sang at the Festival Internacional de Música y Danza de Granada in the role of Caleo of Manuel de Falla’s Atlantida produced by La Fura dels |
198_3 | Baus. She also made her UK debut appearing in Mozart’s Cosí fan tutte (Despina) at Garsington Opera. Season 1997-98 saw her home country opera debut during the reopening season of the Teatro Real in Madrid in The Cunning Little Vixen and during the summer of 1999 Tro Santafé returned to Garsington Opera for the title role, Isabella, in Rossini’s L'italiana in Algeri. She returned to Italy later in the year for Rossini’s La Cenerentola with the Teatri Lombardi as well as her role debut in Massenet’s Werther (Charlotte) at the Teatro Sociale di Como and the Teatro Verdi in Pisa. She then made her debut at the Dutch National Opera in Amsterdam in a new production by Andreas Homoki of Bizet’s Carmen (Mercedes) conducted by Edo de Waart. |
198_4 | Highlights of season 2000-01 include Tro Santafé's debut at L’Opéra National de Paris in Handel’s Ariodante directed by Marc Minkowski, staged by Jorge Lavelli, which was then taken to the Salzburg Festspielhaus and the Semperoper Dresden. This was followed by Handel’s Giulio Cesare (Tolomeo) at the Dutch National Opera in a new production staged by Ursel and Karl-Ernst Herrmann. Later that year, she made her role debut in Rossini’s Il barbiere di Siviglia (Rosina) at the Teatro Comunale di Bologna. Season 2001 - 2002 saw Tro Santafé’s career taking new heights with her debut at the Staatsoper Unter den Linden Berlin, in Haydn’s Il mondo della luna (Lisetta), a new production conducted by René Jacobs, staged by Caroline Gruber which also showed at the Innsbrucker Festwoche der Alten Music. She made her house and role debut opposite Ruggero Raimondi in the Teatro dell'Opera di Roma in a new production of Les contes d’Hoffmann (Nicklausse) directed by Giancarlo del Monaco. That season |
198_5 | Tro Santafé returned to the Rossini Opera Festival in Pesaro for a new production of Rossini’s L'equivoco stravagante in the main role of Ernestina, a new production directed by Emilio Sagi and conducted by Donato Renzetti. |
198_6 | 2002–2012
During the season of 2002 – 2003 Tro Santafé sang Rosina at the Théâtre du Capitol de Toulouse in Rossini’s Il barbiere di Siviglia, which was followed by her debut at the Wiener Staatsoper also starring as Rosina alongside Juan Diego Flórez, a role she then went on to sing more performances of than any other artist in that house. Important role debuts followed including the title role in Handel’s Rinaldo in the Staatsoper Unter den Linden in Berlin with René Jacobs in a new production by Nigel Lowery and a new production of Handel’s Giulio Cesare (Tolomeo) in the Teatro Comunale di Bologna staged by Luca Ronconi. In that season Tro Santafé also returned to the Staatsoper Unter den Linden to sing Rosina and to the Rossini Opera Festival for a Belcanto solo recital accompanied on piano by Julian Reynolds at the Teatro Rossini di Pesaro. |
198_7 | During the season of 2003 – 2004 Tro Santafé made her debut at the Théâtre des Champs-Élysées in Paris in a new production of Handel’s Serse (Bradamante) together with Anne Sophie von Otter, staged by Gilbert Deflo and conducted by Willian Christie, which was recorded. She also made her title role debut at the Gran Teatre del Liceu in Barcelona in the Jorge Lavelli’s production of Ravel’s L'enfant et les sortilèges, which was followed by the title role of Cavalli’s Eliogabalo at the Théâtre Royal de la Monnaie in Brussels conducted by René Jacobs. Tro Santafé then made her debut at Oper Frankfurt with Rossini’s Il viaggio a Reims (Contessa Melibea) and at the Deutsche Oper Berlin in Rossini’s L'equivoco stravagante (Ernestina) conducted by Alberto Zedda. This was followed by singing the title role in Gluck’s Orfeo ed Euridice at the Teatro Piccinni in Bari. |
198_8 | In the season of 2004 – 2005, Tro Santafé made her debut at the Teatro La Fenice in Venice in Mozart’s La finta semplice (Giacinta). She also returned to the Staatsoper Unter den Linden in Berlin for a new production of Rossini’s L’italiana in Algeri (Isabella) staged by Nigel Lowery, and to the Wiener Staatsoper for performances of Rosina. Tro Santafé also made her debut at the Zurich Opera House as Angelina in Rossini’s La Cenerentola and to The Dutch National Opera in Amsterdam to sing Handel’s Alcina (Ruggiero) conducted by Christophe Rousset. She appeared in the Théâtre du Chatelet de Paris for a concert performance of the same opera. Tro Santafé also sang Alcina (Ruggiero) at the Ópera de Oviedo in Asturias (Spain) and made her debut in Rossini’s La Donna del Lago (Malcolm) at the Teatro Nacional de São Carlos in Lisbon opposite Rockwell Blake. The season finished with more performances in the Innsbruck Festwochen of Cavalli’s Eliogabalo. |
198_9 | Season of 2005 – 2006 saw Tro Santafé singing again Rosina at the Dutch National Opera in Amsterdam and at the Grand Théâtre de Luxembourg in the Dario Fo production conducted by Julian Reynolds. She went back to the Wiener Staatsoper and the Zurich Opera House for more Rosinas and sang the title role in Handel’s Ariodante in Barcelona at the Gran Teatre del Liceu. |
198_10 | During 2006 – 2007 Tro Santafé made her debut at the Bayerische Staatsoper München with Rossini’s La Cenerentola and at the Staatsoper Hamburg, followed by Bellini’s Norma (Adalgisa) with Edita Gruberová in the title role before returning to the Wiener Staatsoper and the Zurich Opera House for more performances of Rosina. She also debuted at the Theater an der Wien for a new production staged by Laurent Pelly of Mozart’s La finta semplice (Giacinta). Tro Santafé was invited for the first time to sing in her hometown at the recently inaugurated Palau de les Arts Reina Sofía for a recital during the cycle of Valencian voices. She returned to Zurich Opera House that season for her house debut of Rossini’s Italiana together with performances of La Cenerentola and returned to the Wiener Staatsoper for further performances of Rosina, and to the Staatsoper Hamburg playing Adalgisa in Norma with the Hamburg Philharmoniker conducted by Stefan Anton Reck. |
198_11 | 2007 – 2008 season began with Tro Santafé in the Wiener Staatsoper in Il Barbiere, followed by a new production of La Cenerentola at the Grand Teatre del Liceu in Barcelona staged by Joan Font. She then also appeared in the Staatsoper Unter den Linden in Berlin as Rosina and joined Edita Gruberova at the Berliner Philharmonie in a concert version of Bellini’s Norma (Adalgisa). A string of performances included L’Italiana at the Semperoper Dresden, Il barbiere di Siviglia (Rosina) at the Hamburg Staatsoper, appearing at the Wiener Staatsoper in La Cenerentola and L’italiana at the Zurich Opera. Tro Santafé returned to the Palau de les Arts Reina Sofia in Valencia for Handel’s Orlando (Medoro) in a new staging by Francisco Negrin. The 2008-2009 season saw Tro Santafé appearing in a new production of La Cenerentola at Théâtre Royal de la Monnaie staged by Joan Font, conducted by Mark Minkowski singing opposite Javier Camarena. Tro Santafé returned to the Wiener Staatsoper and then to |
198_12 | the Ópera de Oviedo as Rosina in a new production staged by Mariame Clément. |
198_13 | In 2009 Signum Classics released SPANISH HEROINES, her first solo album of arias from operas conducted by Julian Reynolds with Orquesta Sinfónica de Navarra. She also returned for a recital at her hometown concert hall Palau de la Música de València. before returning to the Teatro Comunale di Bologna for a new production of Rossini’s La Gazza ladra (Pippo) staged by Damiano Michieletto, conducted by Michele Mariotti. That was followed by her L’Italiana in Algeri debut in the Wiener Staatsoper (Isabella) in the classic Jean Pierre Ponnelle production again with Juan Diego Flórez and Ferruccio Furlanetto. The same year Tro Santafé also appeared in La Cenerentola at the Semperoper Dresden, performed at the Klangvocal Festival in Dortmund with a role debut of Giovanna Seymour in Donizetti’s Anna Bolena opposite Mariella Devia, and returned to Hamburg Staatsoper for Rossini’s Il barbiere di Siviglia. |
198_14 | During the season of 2009 – 2010 Tro Santafé made important debuts including the Washington National Opera in her signature role of Rosina, with Lawrence Brownlee conducted by Michele Mariotti. After her successful debut in Washington, DC, Tro Santafé went to Madrid for her title role debut at the Teatro Real with l’Italiana in Algeri conducted by Jesús López Cobos and finished 2009 with L’Italiana at the Associación Amics de s’ópera de Maó in Menorca. Signum Classics also released her second solo album ROSSINI MEZZO. 2010 saw Tro Santafé returning to the Zurich Opera house for performances of La Cenerentola, to the Semperoper Dresden and to the Bayerische Staatsoper München for Rosina and a concert performance of Bellini’s Norma (Adalgisa) in Duisburg with Edita Gruberova which followed her success in Berlin two years before. They again performed Norma together at the Théâtre Royal de la Monnaie in Brussels conducted by Julian Reynolds. Tro Santafé then remained in Brussels for a |
198_15 | new production of Massenet’s Don Quichotte (Dulcinée) staged by Laurent Pelly, conducted by Mark Minkowski, with José van Dam singing the title role. She finished the season with performances of Isabella at the Wiener Staatsoper, followed by concert performances of Donizetti’s Lucrezia Borgia (Orsini) at the Semperoper in Dresden, Köln Konzerthalle and Klangvocal Musikfestival Dortmund with Edita Gruberova, which was recorded (Nightingale). |
198_16 | Season 2010 – 11 began with Tro Santafé’s debut at the Grand Théâtre de Genève as Rosina in a new production by Damiano Micheletto of Il barbiere di Siviglia counducted by Alberto Zedda. She then appeared at the Royal Festival Hall, London for a concert performance and recording (Opera Rara) of Rossini’s Aureliano in Palmira (Arsace) with the London Philharmonic Orchestra conducted by Maurizio Benini, with further performances of Rosina at the Wiener Staatsoper. 2011 started with a new production of Mozart’s Così fan tutte (Dorabella) staged by Philipp Himmelmann and conducted by Teodor Currentzis in the Festspielhaus Baden-Baden, and Mozart’s Requiem in the same venue with the Balthsar-Neumann-Chor and Ensamble. This was followed by a gala performance of Isabella at Staatsoper Hannover before returning to the Bayerische Staatsoper München to debut Donizetti’s Lucrezia Borgia (Orsini) in performances of the Christof Loy production opposite Gruberova and Charles Castronovo and her |
198_17 | debut at the La Scala in Milan with Isabella in Rossini’s L’italiana in Algeri conducted by Antonello Allemandi. Santafé finished the season with more performances of Orsini opposite Gruveroba and Pavol Breslik conducted by Paolo Arrivabeni during the Munich Opera Festival. |
198_18 | During the season of 2011- 2012 Tro Santafé made her role debut as Arsace at the Teatro di San Carlo in Naples with a new production of Rossini’s Semiramide staged by Luca Ronconi and conducted by Gabriele Ferro. She went on to sing La Cenerentola in Beijing at the National Centre for the Performing Arts followed by a new production of Donizetti’s Linda di Chamounix (Pippo) staged by Emilio Sagi, conducted by Marco Armiliato singing with Diana Damrau and Juan Diego Flórez in Barcelona. This was followed a concert performance of Rossini’s La Donna del Lago (Malcom) in Moscow at the Tchaikovsky Concert Hall. Tro Santafé returned to the Dutch National Opera for a new production of Handel’s last opera Deidamia (Ulisse) produced by David Alden and conducted by Ivor Bolton, recorded for DVD and made her debut with the San Diego Opera in a production of Il barbiere di Siviglia. |
198_19 | 2012–present |
198_20 | The next decade began with Tro Santafé’s return to the Grand Théâtre de Genève for a revival of the 2010 Il barbiere di Siviglia production, followed by a concert in Moscow of Rossini’s Petite Messe Solennelle conducted by Alberto Zedda, and Falla’s Sombrero de tres picos with the Oslo Philharmonic conducted by Enrique Mazzola. Tro Santafé also returned to the Deutsche Oper Berlin for Il Barbiere di Siviglia followed by a new production of Donizetti’s Lucrezia Borgia (Orsini) at the Théâtre Royal de la Monnaie in Brussels, staged by Guy Joosten and conducted by Julian Reynolds. She sang a Gala performance of Il Barbiere di Siviglia at the National Theater Manheim and made her debut in Verdi’s Requiem at the Laeiszhalle in Hamburg conducted by Simone Young. She finished the season with a new production of Mozart’s Lucio Silla (Cecilio) staged by Claus Guth at the Gran teatre del Liceu in Barcelona. The 2013-2014 season started with Tro Santafé's debut at the Teatro Massimo di Palermo |
198_21 | in a production of Il barbiere di Siviglia conducted by Stefano Montanari, which was followed by further Rosinas at the Deutsche Oper in Berlin, Rossini’s L’italiana at the Opéra Grand Avignon, and also at the Palau de les Arts Reina Sofia in Valencia. She returned to Moscow for Bellini’s La Straniera (Isoletta) in a concert performance at the Tchaikovski Concert Hall in Moscow conducted by Julian Reynolds, singing with Patrizia Ciofi. Tro Santafé then made her role debut in Bellini’s I Capuleti e i Montecchi (Romeo) at the Bayerische Staatsoper conducted by Riccardo Frizza which was followed by more Rosinas at the Semperoper Dresden, finishing the season with further performances of Lucrezia Borgia in the Munich Opera Festival. |
198_22 | The season 2014 – 2015 started with her role debut as Elisabetta I in Donizetti’s Maria Stuarda in a new production staged by Moshe Leiser and Patrice Caurier counducted by Maurizio Benini, appearing with Javier Camarena and Joyce DiDonato at Gran Teatre del Liceu in Barcelona followed by Rossini’s Stabat Mater with the Royal Liverpool Philharmonic. The 2015 – 2016 season saw Tro Santafé appearing for the first time in Donizetti’s Roberto Devereux (Sara Nottingham) in a new production at the Teatro Real de Madrid conducted by Bruno Campanella with Mariella Devia, followed by her debut for the ABAO in Bilbao again singing Sara in Donizetti’s Devereux. Tro Santafé returned to the Bayerische Staatsoper for Orsini in Lucrezia Borgia and to the Gran Teatre del Liceu in Barcelona for Romeo in Capuleti e i Montecchi. |
198_23 | In the season of 2016 – 2017 Tro Santafé was seen as Arsace in Rossini’s Semiramide at the Maggio Musicale Fiorentino, followed by Donizetti’s Maria Stuarda (Elisabetta) at the Opéra de Marseille and in a new production of Lucrezia Borgia at the Palau de les Arts staged by Emilio Sagi with Mariella Devia. She also returned to the Bayerische Staatsoper to sing Roberto Devereux (Sara Nottingham) with Edita Gruberova then made her debut at the Teatro Carlo Felice di Genova to sing Elisabetta I in Maria Stuarda. She finished the season with Werther (Charlotte) at the Ópera de las Palmas. |
198_24 | Season 2017 – 2018 started with Tro Santafé’s return to the Teatro Real in Madrid to sing Cecilio in the Claus Guth production of Mozart’s Lucio Silla conducted by Ivor Bolton followed by Gluck’s Le Cinesi at the Palau de les Arts Reina Sofia in Valencia conducted by Fabio Biondi. She also sang Elisabetta in Maria Stuarda at the Deutshe Oper am Rhein, followed by her return to Bilbao for performances of Norma (Adalgisa). She finished the season with a role debut as Marguerite in Berlioz’s La Damnation de Faust in a new production staged by Damiano Micheletto, conducted by Roberto Abbado at the Palau de les arts Reina Sofia in Valencia. Season 2018 -2019 began with her role debut as Laura Adorno in Ponchielli’s La Gioconda in a new production by Oliver Py conducted by Paolo Carignani at the Théâtre Royal de la Monnaie in Brussels, where Tro Santafé also gave a recital of Spanish art song with Julian Reynolds. She then returned to the Bayerische Staatsoper for performances as Sara in |
198_25 | Roberto Devereux followed by her title role debut with the Washington Concert Opera of Rossini’s Zelmira singing with Lawrence Brownlee and conducted by Antony Walker. |
198_26 | 2019 – 2020 - 2021 highlights included Tro Santafé’s debut as Principessa Eboli in Verdi’s Don Carlo at the Teatro Real in Madrid conducted by Nicola Luisotti, followed by Norma (Adalgisa) at the Teatro San Carlos in Naples conducted by Francisco Ivan Ciampa. During the COVID-19 crisis, she was still able to perform in Anna Bolena (Giovanna Seymore) with the Abao in Bilbao, L’italiana at Opéra Marseille and make her role debut as La Principessa di Bouillon in Cilea’s Adriana Lecouvreur at Ópera Las Palmas. |
198_27 | Opera roles |
198_28 | Vincenzo BELLINI
Isoletta, La Straniera
Romeo, I Capuleti e i Montecchi
Adalgisa, Norma
Hector BERLIOZ
Marguerite, La Damnation de Faust
Francesco CILEA
Principessa di Bouillon, Adriana Lecouvreur
Gaetano DONIZETTI
Giovanna Seymour, Anna Bolena
Maffio Orsini, Lucrezia Borgia
Elisabetta I, Maria Stuarda
Sara, Roberto Devereux
Leonora, La Favorita
Pierotto, Linda di Chamonix
Georg F Handel
Rinaldo Rinaldo
Sesto and Tolomeo Giulio Cesare
Medoro Orlando
Ariodante and Polinesso Ariodante
Ruggiero Alcina
Amastre Serse
Ulisse Deidamia
Jules MASSENET
Charlotte Werther
Dulcinée Don Quichotte
Wolfgang A. MOZART
Giacinta La finta semplice
Farnace Mitridate, re di Ponto
Cecilio Lucio Silla
Cherubino Le nozze di Figaro
Zerlina Don Giovanni
Dorabella Così fan tutte
Alto Requiem in D minor
Amilcare PONCHIELLI
Laura Adorno La Gioconda
Gioachino ROSSINI
Ernestina L'equivoco stravagante
Lucilla La scala di seta
Isabella L'italiana in Algeri
Arsace Aureliano in Palmira |
198_29 | Rosina Il barbiere di Siviglia
Angelina La Cenerentola
Pippo La gazza ladra
Malcolm La donna del lago
Arsace Semiramide
Contessa Melibea Il viaggio a Reims
Zelmira Zelmira
Mezzosoprano Stabat Mater
Alto Petite Messe Solennelle
Giuseppe VERDI
Mezzosoprano Messa di Requiem
Principessa Eboli Don Carlo
Fenena Nabucco |
198_30 | Recordings
Operas
1994 - Bretón - La verbena de la Paloma; with Antoni Ros-Marbà conducting Orquesta Sinfónica de Madrid, Auvidis - V 4725
2004 - Handel - Serse as Amastre; with William Christie conducting Les Arts Florissants, Erato Records - 9029590062
2004 - Scarlatti - Griselda Op.114 as Ottone; with René Jacobs conducting Akademie für Alte Musik Berlin, Harmonia Mundi - HMM93180507
2012 - Rossini - Aureliano in Palmira as Arsace; with Maurizio Benini conducting London Philharmonic Orchestra, Opera Rara - ORC46
2012 - Donizetti – Lucrezia Borgia as Maffio Orsini; with Andriy Yurkevich conducting WDR Rundfunkorchester Köln, Nightingale Classics -NC000100-2 |
198_31 | Albums
2000 - Rossini: Soireé musicale, accompanist Julian Reynolds. Globe - GLO 6050
2001 - A Spanish Song Recital, accompanist Julian Reynolds, with songs composed by Fernando Obradors, Enrique Granados, Joaquín Turina, Joaquín Rodrigo, Jesús Guridi and Xavier Montsalvatge. Globe - GLO 5203
2008 - Spanish Heroines, with Orquesta Sinfonica de Navarra, conducted by Julian Reynolds, with songs composed by Rossini, Mozart, Donizetti, Verdi, Bizet and Massinet. Signum Classics - SIG 152
2009 - Rossini Mezzo - Scenes & Arias, with Orquesta Sinfonica de Navarra & Lluís Vich Vocalis, conducted by Julian Reynolds. Signum Classics - SIG 170
2010 - Massenet: Don Quichotte, with Orchestre et Choeurs de La Monnaie, conducted by Marc Minkowski. NAÏVE - DR2147
2012 - Handel: Deidamia, with Concerto Koln and De Nederlandse Opera, conducted by Ivor Bolton, directed by David Alden. Opus Arte - OABD7110D |
198_32 | 2016 - Donizetti: Roberto Devereux, with Teatro Real de Madrid, conducted by Bruno Campanella. Bel Air Classiques - BAC 130
2018 - ''Mozart: Lucio Silla, with Orchestra and Chorus of the Teatro Real de Madrid, conducted by Ivor Bolton, directed by Claus Guth. Bel Air Classiques - BAC 450 |
198_33 | Notes
References
Further reading
Bach Cantatas Website https://www.bach-cantatas.com/Bio/Tro-Santafe-Silvia.htm
External links
Official website
1970 births
Living people
Spanish operatic sopranos
Spanish women musicians
Alumni of Birkbeck, University of London
Operatic mezzo-sopranos
Women opera singers
Erato Records artists
Naïve Records artists |
199_0 | Pedro Segundo Mardones Lemebel (21 November 1952 – 23 January 2015) was an openly gay Chilean essayist, chronicler, and novelist. He was known for his cutting critique of authoritarianism and for his humorous depiction of Chilean popular culture, from a queer perspective. He was nominated for Chile's National Literature Prize in 2014. He died of cancer of the larynx on 23 January 2015 in Santiago, Chile.
Life |
199_1 | Early career
Lemebel was born in El Zanjón de la Aguada, a poor neighborhood in Santiago on the banks of Zanjón de la Aguada, an irrigation canal that flows into the Mapocho river; to the family of Pedro Mardones Paredes and Violeta Lemebel. In the late 1980s, he chose to be identified by his mother's surname, Lemebel, as his choice for surname instead of his father's (Mardones), as is the norm in most Latin American countries. He attended an industrial school of carpentry and metal forging at the Industrial de Hombres de La Legua High School and later studied plastic art at University of Chile's Art School. He subsequently became a high school art teacher but was let go based on the presumption of his homosexuality. |
199_2 | Lemebel attended writing workshops to hone his skills and network with other writers, his first writing recognition was in 1982, when he won an award for his short story, Porque el tiempo está cerca. In 1986, he published as his first major work, the book Incontables, a compilation of short stories under the feminist publication label, Ergo Sum. A year later, he co-founded a performance collective that used the tactics of intervention and disruption of events to raise public consciousness about the struggles of minorities in Chile. The disruption and performances of the collective brought Lemebel into public limelight in Chile. In 1986, he disrupted a meeting of Chile's left wing groups opposed to Augusto Pinochet's dictatorship. He entered the meeting in high heels and with makeup on his face depicting an hammer and sickle extending from his mouth to his left eyebrow. At the event, he spoke about his manifesto, ‘Manifest: I Speak for my Difference’ criticizing homophobia in left wing |
199_3 | politics. |
199_4 | Lemebel was widely known as a communist. Being distant from the Communist Party, he was a close friend of its leader, Gladys Marín, until her death in 2005.
Yeguas del Apocalipsis
In 1987, Lemebel co-founded a group with Francisco Casas, poet, artist and student of literature. The duo called the group "The Mares of the Apocalypse,"or "Yeguas del Apocalipsis," a reference to the biblical "Horsemen of the Apocalypse" that appear in the New Testament. This performing duo made appearances sabotaging book launches, art expositions and even political discussions. Their appearances were usually surprising, provocative and demonstrated an aspect of counter culture. |
199_5 | Around this time he decided to abandon his paternal last name, Mardones, and begin using that of his mother, Lemebel. In an interview the writer would explain his choice of name change as the following,
"Lemebel is a gesture of femininity, to engrave a maternal last name, to acknowledge my (washer) mother in light of the illegality of homosexual(s) and transvestite(s)."
The first intervention/performance of "The Mares of the Apocalypse" was the afternoon of October 22, 1988, during the second installment of the Pablo Neruda prize to poet Raúl Zurita in La Chascona. In the middle of the ceremony, Lemebel and Casas appeared offering Zurita a crown of thorns that the poet did not accept. |
199_6 | In 1989, both Lemebel and Casas recreated a series of vignettes under the direction of Mario Vivado. The portraits later became part of an exhibition at the D12 Gallery in Chile. Casas and Lemebel posed as Buster Keaton, Marilyn Monroe, the sisters from Garcia Lorca's La Casa de Bernarda Alba and other icons of the Chilean gay community. In the 1990s, Lemebel returned to writing and published a string of urban chronicles. |
199_7 | The next year they appeared in the Cariola theater during a meeting of intellectuals with presidential candidate Patricio Aylwin, whom the following year would be elected the first president of Chile after the restoration of democracy and the end of the dictatorship. Although uninvited, Lemebel and Casas arrived wearing heels and feathers bearing a sign that said "Homosexuals for change." In addition to that, Casas rushed over to, at the time candidate for senator and future Chilean president, Ricardo Lagos and kissed him on the mouth. A photograph of this event was included years later in his book Háblame de Amores(2012). |
199_8 | Both writers often turned into agents of their own text and created an interpretation from homosexual reality and an interruption of institutional discussions during the age of the dictator. Their work crossed over into performances, transvestism, photography, video and various art installations. With these they would advocate for a place for memory, human rights and sexuality in democratic talks. "Maybe the first experiment with plastic, the action of art...was decisive in the move from story to chronicle. It's possible that this corporal exposition in a religious frame was evaporating the generic form of the story...the timeless story to make for oneself and urgent chronicle..." explained Lemebel.
In 1994, Lemebel participated in the stonewall festival in New York, an LGBT pride festival. |
199_9 | In between 1987 and 1995, "The Mares of the Apocalypse" carried out at lease fifteen public interventions and in total no more than twenty. The majority of these events were in Santiago but some were also in Concepción, Chile. Some of their public demonstrations included dancing the Cueca on broken glass, dressing up as Frida Kahlo and they even dressed up as Lady Godiva and rode around naked on white horses for the art department at the university of Chile. |
199_10 | In 1995, Lemebel published (in addition to his first book titled La Esquina es mi corazón) his first collection of Chronicles some of which had their first appearances in newspapers and magazines titled "Página Abierta," "Punto Final," and "La Nación." In these chronicles Lemebel referenced the many marginalized setting of Santiago which he linked to themes of homosexuality, prostitution and poverty, some of which were taboo to talk about at the time. The following year he created the program "Cancionero" for the radio show "Radio Tierra." In this program he would read his chronicles accompanied by sounds or even music. That same year he published "Loco afán: Crónicas de si dario," his second book of chronicles that spoke about themes like AIDS and the marginalization of transvestites. |
199_11 | In 1997, in some of their final appearances "The Mares of the Apocalypse" were invited to Bienal de la Habana, in Habana Cuba. In 1998 he published his third book of chronicles titled "De Perlas y Cicatrizes" which was composed mostly of the stories he told on the radio program. After the arrest of Augusto Pinochet in a London hospital, he created "The Clinic" whose editor Patricio Ferrández he asked to leave everything in it uncensored.
Urban chronicles and other writings |
199_12 | Earlier in his career, Lemebel had attended workshops of the Society of Chilean Writers and gained the friendship of some feminist writers such as Pia Barros who later helped published his first book, Incontables. He returned to writing in the 1990s starting with series of urban chronicles that was published in Chilean newspapers, magazines and read on the radio. In 1995 and 1996, Lemebel wrote two books in a chronicle and hybrid literary style, a combination of reportage, memoir, public address, fiction and socio-political historical analysis. In 1995, he published La Esquina es mi corazón: Crónica urbana (The Corner is My Heart), writing about Chilean history from the perspectives of young adults raised in poor neighborhoods and those who are stigmatized socially. In 1996, he published El Loco Afán: Crónicas de Sidario (Mad Urge: AIDS Chronicles), a piece of 31 short texts and images that detailed the journey of a group of marginalized gay youths in Chile through the period of |
199_13 | dictatorship to the outbreak of AIDS. Lemebel was given a Guggenheim Foundation scholarship in 1999 for his literary accomplishments leading to increase appearances in forums and seminars in Chile and US. |
199_14 | He gained international recognition with his novel Tengo miedo torero which was the first book translated into English. In 2013, he was given the José Donoso Award. He died of laryngeal cancer in January 2015.
International Recognition
In 1999, thanks to the influences of his friend, Chilean writer Roberto Bolaño, who had immigrated to Europe from Mexico in 1977 and has since lived in Spain, his book Loco Afán: Crónicas de Sidario was published for the editorial "Barcelonesa Anagrama," becoming his first work in the foreigner. Since then, his written work began to attract the interest in various universities and international educational institutions.
That same year he also participated in Festival of Guadalajara, Mexico, in replacement of Bolaño who had rejected the offer, and accepted praise for his work of the famous write Carlos Monsiváis. |
199_15 | In 2001 he published his first novel Tengo Miedo Torero a difficult story of contextualized love during the attempt on the life of Augusto Pinochet (September 7, 1986). For the presentation of the book, Lemebel arrived in a red dress with a feathered headdress, at a ceremony with many people that was public with politicians, filmmakers, journalists and a few writers. The book would later gain international recognition after being translated into English by Katherine Silver, then French and Italian. |
199_16 | In 2003 he continued his work as a journalist, publishing his anthology of Chronicles Zanjón de la Aguada, that spoke of the gay community in neighborhoods of distinctive social classes in Santiago and where appeared some real people like the social leader and president of the Agrupación de Familiares de Detenidos Desaparecidos (AFDD) Sola Sierra. This work was followed a year later by Adios Mariquita Linda, another anthology of chronicles that maintained the same tendencies of his previous works.
In 2008 his sixth book of chronicles appeared, titled Serenata Carfiola.
On November 29, 2012, Lemebel participated in the "Feria del Libro de Guadalajara," publishing his new book of chronicles, titled Háblame de amores, showing a dramatization of his work "Susurrucucu Paloma."
On September 4, 2013, Lemebel was awarded the "Premio José Donoso," which he dedicated to his mother, the deceased Gladys Marín, and his readers belonging to the working class. |
199_17 | List of works
La esquina es mi corazón
Loco afán: Crónicas del sidario (chronicles). Santiago: LOM, 1996.
De perlas y cicatrices (chronicles). Santiago: LOM, 1998.
Tengo miedo, torero (novel). Santiago: Grupo Editorial Planeta, 2001. (translated as My Tender Matador by Katherine Silver, published by Grove in 2005)
La esquina es mi corazón (chronicles). Santiago: Seix Barral, 2001.
Zanjón de la Aguada. Santiago: Seix Barral, 2003.
Adiós, mariquita linda.
Serenata cafiola.
Háblame de amores.
Poco hombre.
Mi amiga Gladys.
Tengo miedo torero (script), 2015. (translated as My tender Matador for the film based on his homonymous novel)
Unedited Works and Posthumous Publications |
199_18 | In an interview in 2013, during the publication of the anthology Poco Hombre , Pedro Lemebel announced he was working on two literary projects that would soon see the light and then, after his death, they were truncated: one of them is Mi Amiga Gladys, a book of chronicles about Gladys Marín, leader and representative of the Communist Party of Chile and was deceased in 2005.
Josephina Alemparte, editor of Seal Planet, declared that the book was going to be presented in the book fair of Santiago but for health reasons this was postponed. Finally, the Planet editorial published the book the second of November in the year 2016. At the end of the same month they published Arder, a book that is compiled of images of the homonymous exposure and that extensively gathered his audio visual work. |
199_19 | Likewise he also announced the publication of a box set of all his books since La Esquina es mi corazón(1995) and until Háblame de Armores(2012) (possibly including Mi Amiga Gladys(2016) and a documentary addressed to Joanna Reposi, that contains seven years of records.
Another book that was found was titled El Éxtesis de Delinquir, that would be his second book since Tengo Miedo Torero (2001). This work centers in the history of Patricio Egaña, who provided drugs to Claudio Spiniak. Since the year 2011 he began to mention in interviews that he was writing a new novel intended for release in 2016 or 2017 to be published by the Planet editorial. |
199_20 | Awards and Prizes
1983: First Prize in the Contest of the Compensation Fund of Javier Carrera for "Porque el tiempo está cerca"
1999: Guggenheim Fellowship
2002: Nominated for the Altazor Award for "Tengo miedo torero"
2004: Nominated for the Altazor Award for "Zanjón de la Aguada"
2006: Nominated for the Altazor Award in Literary Essay for "Adiós, mariquita linda"
2006: Anna Seghers-Preis
2006: Nominated for the Altazor Award for the theatrical version of "Tengo miedo torero"
2013: Nominated for the Altazor Award in Essays and Memoirs for "Háblame de amores"
2013: :es:Premio José Donoso
2014: Nominated for the Altazor Award in Essays and Memoirs for "Poco hombre"
2014: Nominated for the Chilean National Prize for Literature |
199_21 | Style
In his works, Lemebel addresses Chilean Marginalization with some autobiographical references. With a poetic prose that is at the same time self-deprecating, consequential, refers to an "other", irreverent, over elaborate and corny, he mixes reality with fiction, which he uses to denounce the "silicone" parts of his works. His works are usually tragic-comedies and aggressive, in constant rejection of right wing politics and the Chilean upper class. |
199_22 | Mexican writer Carlos Monsiváis associates his aesthetic criticisms with those of Néstor Perlongher, Joaquín Hurtado and to a lesser extent with Reinaldo Arenas, Severo Sarduy and Manuel Puig; with the first three, for their "vindicating anger", with Sarduy for his "radical experimentation" and with Puig for his "witty incorporation and victory of proscribed sensitivity." For Monsiváis, Lemebel and all these authors, homosexuality is not an artistic identity so much as a literary attitude. Perlongher too shares a style of baroque or over elaborate writing, but Lemebel does not look to confuse anyone. In his related Chronicles about AIDS, he employs a modernist and postmodernist view that is similar to Julián del Casal, Amado Nervo and Enrique Gómez Carrillo. |
199_23 | Death
Pedro Lemebel died on January 23, 2015 in Santiago, Chile of laryngeal cancer. Once the news went around of his death, countless newspapers paid tribute and condolences. He was well-known and recognized for his extravagant personality and for referring to himself as a "queen." Hundreds of people from all walks of life attended his funeral service, from celebrities to politicians. His extensive efforts in breaking the norm through his unique self-expression in his written works and activism have left a lasting impact on society and are part of his legacy. His remains are buried in the Metropolitan Cemetery of Santiago.
Influence and legacy
Pedro Lemebel is well known for his influence in the fight for homosexual rights, his work as a writer, and his strong political side. Lemebel was much more than a writer; he was a free man, an artist, a political and popular icon, but more than anything a rebel and a voice for the homosexual community. |
199_24 | Lemebel was born as Pedro Mardones Lemebel, but when he decided to take the last name of his mother, was the first big political decision that reaffirmed his commitment towards his homosexual side, a side that was later incorporated into his literary works. Lemebel was able to envisage a hidden reality of homosexuals; he was able to unmask the violence of which homosexuals were victims in Chile. The importance of Pedro Lemebel is not only value for his talent as a writer, but also as a person full of defiance in a conservative and machista country. Óscar Contardo describes Lemebel as a “popular figure: a figure that is supposed to be disgusted in our society, which is the "loca" (queen), he managed to make that figure as the center, and then transform it into a popular icon." |
199_25 | Although Lemebel was never a formal militant, he was a follower of PC (partido comunista/Communist party). Until his death, Lemebel work in his book that revealed his friendship with the deceased Gladys Marin, titled "Mi querida Gladys." Daniel Alcaíno, friend of Lemebel, believes that beyond politics, Lemebel's legacy was other. “Beyond the left wing and politics, he was an institution. Pedro was heavily connected with the color red, but not with the red of the political party, but with the red of blood. Blood of the humble and simple people. That is what he is remember for.”
He was profiled in the 2019 documentary film Lemebel, by filmmaker Joanna Reposi Garibaldi.
Notes |
199_26 | Further reading
Farewell Sweet Ladybird: A Manifesto and Three Chronicles by Pedro Lemebel (1952–2015) Cordite Poetry Review
Henri Billard, "Amour et culture populaire: armes de lutte politique dans le roman Je tremble, Ô Matador de Pedro Lemebel". Entre jouissance et tabous, les représentations des relations amoureuses et des sexualités dans les Amériques, sous la direction de Mariannick Guennec, Rennes, Presses Universitaires de Rennes, 2015, pp. 125–132 ()
Henri Billard, "Y la mariquita le dijo al torero... Pedro Lemebel, figura de resistancia cultural", L'écriture de Pedro Lemebel, Nouvelles pratiques identitaires et scripturale, sous la direction de María A. Semilla Durán, Publications de l'université de Saint-Etienne, Saint-Etienne, 2012, pp. 15–25. |
199_27 | Henri Billard, "Las cicatrices del margen: resistencia cultural y lucha identitaria en las crónicas urbanas de Pedro Lemebel", Éste que ves, engaño colorido, Literarias, culturas y sujetos alternos en América Latina, sous la direction de Chiara Bolognese, Fernanda Bustamante, Mauricio Zabalgoitia, Icaria, Barcelona, 2012, pp. 311–318.
Henri Billard, "La pluma entre las plumas: La presencia de los pájaros en las crónicas urbanas de Pedro Lemebel", Confluencia - Revista Hispanica de Cultura y Literatura, Fall 2012, Volume 28, Number 1, University of Northern Colorado, Greeley, USA, 2012, p. 14-19
Henri Billard, "Los tajos del «cuerpo deseante» en Loco afán. Crónicas de sidario de Pedro Lemebel", Recherches, numéro 04, printemps 2010, pp. 39–48.
Fernando A. Blanco (ed.), Reinas de otro cielo: Modernidad y autoritarismo en la obra de Pedro Lemebel. Santiago de Chile: LOM, 2004. |
199_28 | Fernando A. Blanco y Juan Poblete (eds.) Desdén al Infortunio. Sujeto, narración y público en la narrativa de Pedro Lemebel. Santiago de Chile: Cuarto Propio, 2010.
Diana Palaversich, translated by Paul Allatson "The Wounded Body of Proletarian Homosexuality in Pedro Lemebel's Loco afan" Latin American Perspectives 29.2 (March 2002): 99-118.
Desdén al Infortunio. Sujeto, comunicación y público en la narrativa de Pedro Lemebel (Eds.) Blanco, Fernando A. y Poblete, Juan. 2010, Cuarto Propio: Santiago de Chile. |
199_29 | External links
Website devoted to Lemebel with biography etc.
1952 births
2015 deaths
LGBT rights activists from Chile
20th-century Chilean novelists
Chilean essayists
Chilean atheists
Gay writers
LGBT writers from Chile
Chilean communists
Deaths from laryngeal cancer
Deaths from cancer in Chile
Male essayists
21st-century Chilean novelists
Chilean male novelists
Writers from Santiago
20th-century essayists
20th-century Chilean male writers
21st-century Chilean male writers |
200_0 | Bonaparte Crossing the Alps (also called Napoleon Crossing the Alps, despite the existence of David's more well-known painting with that name) is an 1848–1850 oil-on-canvas portrait of Napoleon Bonaparte, by French artist Paul Delaroche. The painting depicts Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800, in an attempt to surprise the Austrian army in Italy.
The two main versions of this painting that exist are in the Louvre in Lens and the Walker Art Gallery in Liverpool, England. Queen Victoria also obtained a reduced version of it. |
200_1 | The work was inspired by Jacques-Louis David's series of five Napoleon Crossing the Alps paintings (1801–1805). David's works also show Napoleon's journey through the Great St. Bernard Pass, but there are significant stylistic differences between the two conceptions. Delaroche's Napoleon is cold and downcast, whereas David's wears a pristine uniform, and is idealized as a hero. Delaroche was commissioned to paint a realistic portrait; the style of which was emerging at the time.
While the painting largely represented—and was one of the pioneers of—an emerging style, the work was criticised by several authorities on the subject. The reasons for this varied from Delaroche's depiction of the scene to a general disapproval of Delaroche himself. Many of those who were in the latter state of mind felt that Delaroche was trying to match the genius of Napoleon in some way, and had failed miserably in doing so.
Background |
200_2 | Historical background
As part of his 1798 campaign during the French Revolutionary Wars, Napoleon prepared to invade and conquer Egypt, which was at the time a province of the Ottoman Empire. Such a military action promised numerous benefits, including securing French trade interests, and inhibiting British access to India. By 1 July 1798, Napoleon had landed on the shores of Egypt. After a lengthy chain of conflicts with heavy casualties, the campaign resulted in an Ottoman-British victory. Napoleon received news from France that Austrian forces had retaken Italy and he decided to return to Paris. |
200_3 | In order to regain the upper hand, he planned to launch a surprise assault on the Austrian army stationed in the Cisalpine Republic. Based on the assumption the Austrians would never expect Napoleon's large force to be able to traverse the Alps, he chose that as his route. He selected the shortest route through the Alps, the Great St Bernard Pass, which would enable him to reach his destination as quickly as possible.
On 15 May 1800, Napoleon and his army of 40,000—not including the field artillery and baggage trains—(35,000 light artillery and infantry, 5,000 cavalry) began the arduous journey through the mountains. During the five days spent traversing the pass, Napoleon's army consumed almost 22,000 bottles of wine, more than a tonne and a half of cheese, and around 800 kilograms of meat. |
200_4 | Following his crossing of the Alps, Napoleon commenced military operations against the Austrian army. Despite an inauspicious start to the campaign, the Austrian forces were driven back to Marengo after nearly a month. There, a large battle took place on 14 June, which resulted in the Austrian evacuation of Italy.
Delaroche
Delaroche's early works had been based on topics from the Bible's Old Testament, but gradually his interests switched to painting scenes from English and French history. He 'combined colouristic skill with an interest in detailed scenes from history'.Bonaparte Crossing the Alps, which was painted roughly eight years before Delaroche's death, exemplifies this phase in Delaroche's career. |
200_5 | The commissioning aside, Delaroche was inspired to create Bonaparte Crossing the Alps because he felt that he both looked like Napoleon, and that his achievements were comparable to Napoleon's. It is likely that Delaroche's painting is relatively historically accurate; details such as Napoleon's clothes appear to have been researched by Delaroche in an effort at authenticity.
Painting |
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