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Total bekloppt! Wer sie nicht versteht oder verstehen will: Fuck off and die! Das alles erstaunlicherweise manchmal sogar innerhalb eines Songs.

Bekannterweise ist das mit Reunions ja immer so eine Sache. Aber warum ich mich so aufrege? Eine makellose Scheibe, auf der in jeweils zwei Minuten alles gesagt wird, was zu sagen ist.

Punk braucht keine Opern und Konzeptalben. Sonst noch was? Ach so, man kann das ganze Album alternativ auch kostenlos auf eurer Homepage herunterladen?

Ey, haut doch ab, ihr Streber. Und die Vergleiche sind meiner Meinung nach immer noch genauso falsch und dumm. Die musikalische Bandbreite aus Oi!

Warum es dennoch so gut funktioniert? Dann: Du bist einen Moment unachtsam. Drehst dich um und Und genau in dem Moment deines letzten Augenaufschlages, als du denkst, dass du mit dem Teer verschmilzt, genau da kommt die rettende Hand und holt dich raus und gibt dir neue Hoffnung.

Denn auch die neuen Songs sind so unglaublich hart, gehen nach vorne, schneiden Glas und sind trotzdem nicht nur schnell und brachial, sondern auch schleppend, moshend, rollend und vor allem sowohl lyrisch als auch musikalisch weiter super emotional.

Was gleich bleibt, ist diese typische dreckige, rauhe Produktion und die teilweise deutschsprachigen Textpassagen.

Abgerundet wird das Ganze von einem HammerLayout und Linernotes. Absoluter Volltreffer. Up The Irons CD myspace.

Bei Michael Carpenter aus Sydney sieht es anders aus. Alter, das wird dir noch verdammt leid tun.

Trash ptrashrecords. Dennoch sollte man die Band im Blick behalten. Unter der Katalognummer SUR dreistellig, man hat sich also was vorgenommen!

Vielmehr spielen die vier Berliner einen saugeilen, sauangepissten Thrashcore. Das klingt hier so herzerfrischend und authentisch nach , man glaubt es kaum.

Tut sie leider nicht. Aber eben sehr, sehr dilettantisch gespielt und aufgenommen. Langweilig geht auf jeden Fall anders.

Sechs kleine Perlen, sehr gut, sicher sehr schnell weg und morgen schon so gesucht wie ein Hocker aus dem Bernsteinzimmer.

Vielleicht sollte es mir peinlich sein, die Band jedes Mal neu abzufeiern, aber ich kann nicht anders. Hardcore, so wie er sein muss!

Und bei dem ersten der insgesamt sieben Songs geben sie auch gut Gas: Hardcore, cool. Doch viel zu oft geht danach der Biss verloren, manches klingt eher wie eine aus dem Ruder gelaufenen Proberaumsession.

Von denen muss ich mir mal was besorgen. Auch ist trotz viel Melodie kein richtiger Mitsing-Faktor erkennbar, was ich bei Bands, die nicht krachen, jedoch als zwingend notwendig empfinde.

Zugutehalten muss man der Band allerdings, dass sie einen sehr eigenen Stil hat. Sicher, Produzent Steve Albini! Ein Duo?

Offenbar ist aber in Bulgarien die Zeit stehen geblieben, etwa in den Neunzigern, als Emo noch kein Schimpfwort war. Sicher eine der bemerkenswertesten Platten der letzten Monate.

Ich kannte die bisher nicht, was schade ist. Im Vergleich zu diversen Hochglanzpublikationen auf diesem Gebiet klingen die Kalifornier erneut wunderbar rotzig und angenehm unangepasst.

Genau da liegt meiner Meinung aber auch der Knackpunkt des Albums. Aber vielleicht ist sich die Band dessen selbst auch ein wenig bewusst.

Schnell ist man versucht, ein weiteres Mal die Postrock-Schublade aufzumachen, was jedoch nicht ganz passt. Vielmehr handelt es sich hier um eine Kombination aus psychedelischen Stoner-Riffs und einem Schuss Progressive-Rock, von der Band wirklich hochklassig vorgetragen.

Jungs, macht das nie wieder! Ansonsten durchaus gelungen. Die Lieder sind wie gehabt trashig und dilettantisch, doch nicht ansatzweise mehr so genial.

Immer noch schrammeliger 60s Garage mit 80er Hardcore, immer noch gut, aber eben nicht mehr sehr gut. Tape: ultrageil!

Single: ganz gut. Auf limitiert, also schnell zugreifen. Die beiden anderen Songs bieten konventionellen, aber hochklassigen Pop-Punk, also auch gut.

Gute Sache. Ich bin gespannt aufs Album. Positiv auffallend sind bei beiden Songs vor allem der gemischte Gesang, unterlegt mit minimalistisch angehauchten Antipopmelodien.

Tolle Bands, gute Songs, sehr liebevoll gestaltetes Artwork. Frontfrau Gabrielle Sutton quiekt sich mit derselben Lebensfreude und Leichtigkeit durch die Songs, wie Wanda Jackson es tat und immer noch tut.

Wehe, wenn das schon wieder alles war, ich will ein Album! Die meisten von ihnen sind ziemlich schlecht.

Auch ganz wichtig: Niemals ernst nehmen, das! Wer jetzt die Ohren spitzt, dem ist eh nicht mehr zu helfen.

Das ist einfach von allem zu viel. Zu viel Gitarrengegniedel, zu viel Geschreie und zu viel Synthesizer, ich sehe da kein wirkliches Klangkonzept.

CD Nicotine nicotinerecords. Da hatte die Bluesrock-Coverband, die damals im Nachbarraum probte, mehr Drive.

Genauer gesagt, Elektro-Screamo-Japaner. Kurzweiliges Gameplay, verbesserte Deckungssysteme, serientypischer Sarkasmus und Mehrspielermodi motivieren zu mehrfachem Einlegen, denn nach dem ersten Durchgang hat man erst einige Ecken des zu Pferd, Wagen und Kanu erkundbaren und sogar im scherenfreundlichen Deutschland ungeschnittenen Shooters gesehen.

Geschrieben von den Serienerfindern Aykroyd und Harold Ramis, erlebt man im Version Ubisoft ubi. Das Ganze mag zwar knuddelig aussehen, ein Kinderspiel ist es aber nicht.

Mit anderen Worten: diese Band kann was. Respekt vor so viel Mut, aber diese CD braucht kein Mensch. Sollte man im Auge behalten. Und wie.

Eindeutige Kaufempfehlung. Weil sie es in der Vergangenheit fast immer geschafft haben. Muss man da nicht auch immer Meister werden?

Oder doch? Mich haut das nicht mehr vom Hocker. Solide Sache Woran liegt das? Crachouillis CD Postillons et Crachouillis myspace.

Doch auch wenn sie auf Englisch singen, schlagen sie sich vergleichsweise gut. Einzig die grafische Gestaltung der Platte irritiert mit ihren Illustrationen, die an die ersten Malversuche von Kindern in der Vorschule erinnern.

Artwork by Duniel duniel. Uramerikanische Volksmusik jenseits kommerziellen Kitsches. Hessen Nord!

Und sonst? Dort entsteht der Film im Kopf. Und der handelt von einer Odyssee durch das Lebenslabyrinth. Der Soundtrack zum gepflegten Umtrunk also.

Du machst ein Label, du spielst in einer Band, und willst wissen, wie du auf einen Schlag eine ganze Menge Leute im In- und Ausland auf deine Musik aufmerksam machst?

Ganz einfach mit der Ox-Compilation! Transparentes Vinyl hinter einer bedruckten klaren Plastikscheibe. Jahren kraftvoller und besser als nahezu alle anderen.

Alles in allem ist das zwar nichts Neues, ihre Sache machen die Belgier aber trotzdem gut. Stattdessen fragt man sich nach der ersten Minute, warum das Schlagzeug so penetrant in den Vordergrund gemischt wurde.

Das zieht sich durch alle 13 Songs und bessert auch bei derzeitiger Wetterlage die Laune ganz erheblich.

So klingt also Folk heute. Auch bei MR. Dass mit eigenem Label das Ganze noch in Eigenregie und wirklich klasse produziertem Sound gemacht ist, rundet das Gesamtwerk ab.

Wenn besagte TopActs keine neuen Platten machen, dann werden eben die guten, alten wieder aufgefrischt und noch mal verkauft. Immerhin wurde zur remasterten Version mit einem Bonus-Track noch eine Live-Version des Albums vom Konzert in Bochum in einem insgesamt sehr schicken Digipack beigelegt.

Von daher: Taugliches Einstiegsmaterial. Zudem gibt es ein komplett neues Artwork auf dem Gatefoldcover, das Album als CD-Version sowie eine DVD, auf der sich eine umfangreiche und liebevoll aufgearbeitete Dokumentation der bisherigen Touren der Bands befindet.

Der Mann ist mehr Punk als so vieles, was einem unter diesem Etikett angeboten wird, und sein kreativer Output nach wie vor ungebrochen.

Ein lohnenswertes Package! Die Musiker aus Tschechien entwerfen einen ziemlich raffinierten Soundteppich, der wunderbar durch das an John Garcia erinnernde Geknurre zusammengehalten wird.

Wirklich selten, dass solcher Schnickschnack den Gesamteindruck aufwertet. Recht ambitioniert gehen die werten Coreknaben hier zu werke, versinken aber recht schnell im kreativen Chaos und vergessen dabei, ihrem mathematischen Geschrubbe eine pragmatische Formel zu verleihen.

Kann man mal auschecken! Auch die Thematik der Seefahrt setzt positive, eigene Markten. Auch das Geschrei bietet nicht viel Variation.

Ein einzelner Song funktioniert an sich super, im Kontext von insgesamt zehn anderen wirkt alles sehr anstrengend.

Elf Tracks, die live eingespielt wurden und demnach authentischer und roher klingen als einzelne Tonspuren, die nacheinander zusammengebastelt werden.

Ein absolut gelungenes Gesamtpaket. Hier wird Wert auf pumpenden Midtempo-Hardcore mit leichter Metalkante gelegt, was dann im Endeffekt auch klingt wie ein Mix aus oben genannten Bands.

Das Album zeigt jedenfalls, wo die Zeit geblieben ist, die Band hat gewissenhaft gearbeitet. Solche Empfindungen herzuzaubern schafft auch nicht jede Band.

Klingt sehr weltoffen und angenehm multipopkopflastig. Wirkt ambitioniert. Zu Recht. Ich bitte darum, mir das zu verzeihen.

Mal sehen, ob ich drumherum komme Der Stil ist, abgesehen von den treibenden Hooklines, typisch englischer Punkrock mit schnelleren Hardcore-Parts, rauhen Vocals und fettem Gitarrensound.

Sehr empfehlenswerter Release! Auch wenn die Kohle andere gemacht haben, wurden die neuen Standards durch Perry Farrell, Eric Avery, Dave Navarro und Stephen Perkins gesetzt, wenn hier echt nicht auf platt getretenen Pfaden gewandelt wird.

Verpackt wurde dies in elf Brecher irgendwo zwischen brachial-modernem Hardcore und ultraschleppendem Noise der Marke Obacht!

CD Burnside burnside. Weiter so. Ich bin hin und weg! The Best Of Viel Erfolg bei dem ehrgeizigen Unterfangen, meinen Segen haben die Jungs jedenfalls Eine Berliner Band mit Zukunft.

Der Gesang wandelt zwischen Sprechen, ein bisschen Schreien, Singen, langsam, betont, fast gezogen, dann wieder schneller, ein bisschen schlagerlastig sogar, gerne schmutzig.

Diese operierten damals aber aus der Hardcore-Perspektive, intendierten eine Erneuerung der angestaubten Klischees des Genres und standen damit zu Recht ziemlich einzigartig dar.

Die Songs sind solide arrangiert, entweder rein instrumental oder mit deutschen Texten angereichert. Das ist halt eine Frage Geschmacks.

Nach einigen Besetzungswechseln scheint Frontmann Holger nun in Kati und Steffen wieder ein festes Line-up gefunden zu haben.

Und das funktioniert hervorragend. Neben altbekannten Melodic-Punkrock-Songs scheut man sich auch nicht, das Gaspedal durchzutreten und ab und an fast schon in Hardcore-Gefilde abzudriften.

Da erkennt man dann die jahrelange Songwriter-Erfahrung von Holger Schacht. So geht das. Solider, klassischer Rockabilly! CD Mad Butcher madbutcher.

Ob man sich und uns damit einen Gefallen getan hat, bleibt abzuwarten. Gut, das Ganze ist ein Best Of-Album, was so viel bedeutet, dass man die Songs eigentlich eh schon alle kennt.

Ist das kitschig? Tja, das ist wohl der Fluch, der auf Bands lastet, die sich selbst die Messlatte so hoch gelegt haben.

Ein echtes Unikat. Wenn das kein Grund zum Feiern ist. Ein essentieller Release. Ob das wohl Absicht war?

Neo-Folk oder LoFi-Pop dieser Art ist letztendlich nicht wirklich mein Fall und auch der auch auf den zweiten Blick etwas jaulige Gesang macht es nicht unbedingt besser, wenn ich mir auch dessen bewusst bin, dass diese sperrige, unfertige Machart schon auch so gedacht ist und hier sicher keine Dilettanten am Werk sind.

Da bin ich wirklich auf das aktuelle Album gespannt. Sie beherrschen den Rock, gestalten den Sound mit treibendem Beat immer sehr dynamisch und streuen hier und da auch mal coole Orgelsounds ein.

Runde Sache! Ich werde hier jetzt keine Majorlabel-Diskussion anfangen, behalte mir aber vor, die Platte nicht zu bewerten. Wenn Molina hier nicht sogar seine bisher traurigste Platte aufgenommen hat, schon alleine bedingt durch den Umstand, dass das Ganze eine Art Tribut an seinen Ende verstorbenen Bassisten Evan Farrell darstellen soll.

So wurden in den letzten Monaten diverse alte Aufnahmen wieder aufgelegt, und siehe da, jetzt gibt es auch noch eine neue Platte. A special collection with bands not only from the poppunk scene!

LOs twanG! Drei weitere gab es bisher nur auf Vinyl und sogar ein Vocal-Track ist mit dabei. Insgesamt 80 Minuten Surf Musik vom feinsten.

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Yes, bestechen hat dieser seinem Wieso hat, wie ihnen. Sistemi lotto. Brother and sister handled letters in the same manner.

Distance could impoverish the baggage of mutual experiences. And even a different way of handling what was written could damage the solidity of an epistolary bond.

Showing a confidential writing, like betraying a secret, was considered a grave offence. On 1st January , for example, Francesca Piccolomini asked Sigismondo not to show the letter that she had sent him; a week later she insisted with the same request, giving as a reason the low literary level of her compositions, but a more likely reason was to be able to dialogue more freely with her son.

Regular correspondence was, in this case too, conceived as an obligation. It is clear, although, that the exchange of correspondence was less intense in its content, just as the density of the relationships that intertwined in that area of kinship was less intense.

In a few months the matrimony transformed her from a convent girl to the centre of a vast epistolary network that embraced Naples, Milan and the Farnese court of Parma, where her aunts lived.

Steadfast writing was an obligation from which the young woman, like every other aristocrat, could not evade. Per iscritto.

Antropologia delle scritture quotidiane, Lecce , pp. The tone was ceremonious, not unbecoming to an Aldobrandini woman, but quite different to what was used in the Chigi household, at least between Sigismondo and his sisters.

In such cases the letter became precious as a handwritten gift, to exhibit in witness of a bond that could be traced back only by the name and coat of arms.

When compared to those written to Sigismondo, the intimacy and density of relationships between siblings can immediately be seen.

Pulcheria had no qualms about asking her brother for money, even insistently. Money seems to me to be a revealing detail in understanding the confidence and intimacy that there could be between sender and addressee, as can be seen in the two examples that follow, where Olimpia Maidalchini and Olimpia Aldobrandini broached the subject in their letters.

In mid December , Olimpia Maidalchini made a comment to her mother about some expenses made by her brother, Andrea, on the occasion of his marriage.

Between Olimpia and her mother, during the twenties of the seventeenth century, a heavy, confidential epistolary dialogue developed.

The topic of the letter could make this area of kinship more dense. When the wedding had already taken place, Olimpia bitterly scolded her mother for the money wasted on the celebration.

In fact, gold palls had been bought, by then out of fashion. Neither aunts nor niece would have ever dared criticise expenses for clothes or carriages, as Olimpia Maidalchini did.

It is difficult to establish whether this lack could be attributed to scarce intimacy between aunts and niece, or to a total lack of information about the true value of things.

Both possibilities seem likely. Olimpia saw little of the other Aldobrandini women. The sums mentioned in the various letters were different: Sister Maria Pulcheria wanted a small amount for her personal needs, on the other hand Francesca asked about the lifestyle she would lead after the departure of her sons for Rome.

Some conclusions Study of the correspondence, the careful analysis of the expressive forms and the placing of the epistolary gesture in the time of the family and its internal 23 Ibid.

From this point of view, I believe I can identify the more popular channels of transmission of news, affective bonds, exchange of goods and services.

One is certainly that between sister and brother, and I think I can add between sistersand brothers-in-law and at times between sons- and daughters-in-law.

The members of this family used to create intimacy with some of their parents and these dense areas influenced decisions and strategies of the whole family group.

The letters that both wrote are evidence of this work together. Correspondence and therefore dialogue and not only the manner of address 24 Ibid.

Alongside this, I feel that interesting ideas can be obtained from the study of houses and of division of space inside them, from the circulation of knowledge, the consumption of family goods and from devotion.

Ende des Jahrhundert nicht mehr anerkannt. Jahrhundert etwa fl. Karl F. Allerdings war keineswegs sicher, ob derjenige, an den diese Berichte gerichtet waren, der Kaiser, sie jemals zu Gesicht bekam.

Die einzige Antwort, die die Antragsteller zu erwarten hatten und gleichzeitig die einzige, an der sie interessiert waren, war ein positiver Bescheid und letztlich die kaiserliche Verleihung.

Denn vom formalen Gesichtspunkt aus betrachtet handelt es sich eindeutig um Briefe und nicht etwa um Antragsformulare.

Die vor allem im In den bisher eingesehenen Akten lassen sich grob zwei Grundtypen unterscheiden, die sich beide von auch heute noch angewandten rhetorischen Strategien nicht wesentlich zu unterscheiden scheinen.

Daher erschien es notwendig zu sein, nicht nur von den Leistungen, die eine Nobilitierung rechtfertigten, zu berichten, sondern den Kaiser bzw.

Jahrhundert weitgehend fremd. Supplikanten des Obwohl erst zu Beginn des Jahrhunderts, insbesondere von Unternehmern, gemacht wurde.

The letter, which represents a letter of friendship, aimed explicitly at strengthening the ties existing between the two courts.

Komplimentierkunst und Gesellschaftsrituale im altdeutschen Sprachraum, Stuttgart The paying of compliments was appropriate on many specific and special occasions, for instance, on the birth of a prince or a princess, marriages, the new year or for giving condolences.

Over several centuries, they served as indicators of the quality of the diplomatic relationship between courts.

Juni , Stuttgart , pp. Altman, Letter Manual, p. Apart from the use of French in the court sphere, further elements of distinction are, for example, the self-discipline which was required for maintaining correspondences over a long period of time and which even becomes obvious in the specific posture that was needed for the writing of letters.

Steinhausen, Brief, vol. Correspondingly, also contemporaries regarded letter writing as the prerogative of a leisured class.

Furthermore, the maintenance of intensive correspondences, especially when held with famous personalities, contributed to the social prestige of a person.

Similarly, even dynastic plans were very dependent on epistolary knowledge, or, to put it in other words, given the arranging of marriages through letters, even the social reproduction of aristocracy was closely tied to such skills.

The teaching of princely children in epistolary When Prince Friedrich of Baden-Durlach wrote his first letter he was six years old; the first still existing letter which his brother, Karl Ludwig, sent to his father, was written when he aged seven.

But whereas Fouquet does not distinguish these letters from pure ceremonial letters, in my opinion a clear differentiation is possible, as the ceremonial letter cited below will demonstrate.

Steinhausen, Brief, p. The ability to write a letter, especially a ceremonial letter, therefore served to mark social boundaries.

To guarantee such an advantage in time, formal instruction necessarily had to begin at an early age.

Unfortunately, there exists no time table for the instruction of the Princes of Baden-Durlach for the time before the oldest prince then was 9 years old, and his younger brother Friedrich was eight.

Nevertheless the time-table points to the great importance which was attributed to the ability of writing letters at court. As part of her instruction, she had 7 For this term cf.

Pierre Bourdieu, La distinction. Critique sociale du jugement, Paris , pp. This distinctive advantage in time was ensured by certain rules of decorum, cf.

The letters cited in the following all refer to the family archive of the Markgrafen resp. These letters, written by French native speakers, were probably regarded as exemplary.

Whereas for her father, the hereditary Prince of Hessen-Darmstadt, Karoline Luise explicitly noted that she should not use more than six lines, the greeting for her grandfather, the ruling Landgraf, was supposed to stretch over seven lines.

For the role of memoria within noble culture cf. Jahrhunderts, Frankfurt a. Abhandlung vom guten Geschmacke in Briefen, published in In any case the abolition of ceremonial letters demanded by Gellert apparently did not have a great effect on court etiquette, at least not earlier than the very last decades of the century.

Wiedau, Kindheit, p. Altman, Letter Manual, pp. These manuals originally followed courtly style.

As to Weise cf. Ein Beitrag zu C. Some extracts of his letter manuals next to commentaries are published in: Angelika Ebrecht [et al.

Texte, Kommentare, Essays, Stuttgart , pp. Letters of compliment by princely children As letters of compliment did not so much aim at communicating concrete information as at expressing oneself in a most artificial, stilted way, such letters demanded special epistolary skills.

I and her letter to Friedrich dating from 6 June , no. See 5, Corresp. Of the letters written by the sons to their mother, hardly any have been handed down with the exception of some letters written by Karl Ludwig among which three letters of compliment can be found, in 5A, Corresp.

Charles Louis de Bade. The ceremonial letters written by the young princess Karoline Luise to her father and grandfather use even a more sophisticated and eloquent language, in 5A, Corresp.

Both point to her outstanding social position and her role as ruling princess. Thus the perspective of the outside world regarding his own mother is inculcated and internalised by the young prince.

In fact, occasional letters of princely children can be compared to letters of homage, by which the familiarly dependencies were renewed yearly, exactly as was the case with the dependencies on a political, juridical level.

In other letters, the children explicitly thank their parents for their fatherly or motherly care. Whereas Beetz thinks that these expressions of submission in letters between children and parents were only used until the first third of the 18th century, those here presented provide a different picture.

Another example for addressing the parents as ruling prince and princess ca be found in the ceremonial letter written by Karl Ludwig to his father on his name-day, dated the 28 January Therefore, by instructing princely children in writing letters to their parents, a certain kind of behaviour is aimed at, which goes beyond the written sphere, penetrating all levels of human relationships.

Correspondingly, letters can be regarded not only as the written expression of relationships but, at the same time, as the means of constructing them.

At the ages of eleven and twelve years, the princes Karl Ludwig and Friedrich wrote their first letters of compliment to their father, which they composed themselves.

Ein Katalog, Marburg , pp. Here, the prince perceives himself objectively in the role of the son who must deserve the love of his mother and be worthy of it.

By learning to subordinate oneself rhetorically, instruction in letter writing also satisfied one of the 33 Cf.

Nickisch, Brief, p. Beetz provides detailed information about the linguistic arrangement of letters, cf.

For the Spatium in particular see also Sperber: Sprachgeschichte, p. The greetings sent to the children by relatives or members of the own court in the letters of their parents and the replies of the children to these greetings helped to successively integrate the princes within court society, even at a very early age.

See the letter from Karoline Luise of 19 July , no. On another occasion the hereditary prince himself mediates the greetings from the administrative personnel to his father, see his letter of 24 October , in 5, Corresp.

The hereditary prince had apparently been asked by his father to report him regularly about the foreign visitors at court,41 and it can be assumed that this request also sharpened his attention for court matters.

So it is for instance striking that the Markgraf, his father, writes to him far more often than to his other sons.

Such is the case whenever he informs his father about the health of his brothers and mother and when he points out that his younger brother will also not neglect to write to him.

In this context it is interesting to see that also in contemporary pedagogic literature it was recommended that children should write letters to their parents as this would allow for greater control over the children.

Aus der Geschichte der Disziplinierung, Reinbek bei Hamburg , p. See e. The remembrance of these days, connected with the adoration of the own parents, were used as instruments to develop an awareness of the grandeur of the own dynasty.

Decembre II, Wien , Vol. II, p. XVIII, ad vocem. Edizione eseguita su quella del Tramater di Napoli con giunte e correzioni per cura di Antonio Enrico Mortara, prof.

Bernardo Bellini, prof. Don Gaetano Codogni, Antonio Mainardi ecc. Campi, Gius. IV, ad vocem. XIX, Bologna, Zanichelli, pp. Ancora poco studiati in Italia, i segretari hanno ricevuto maggior attenzione in Francia; cfr.

Chartier ed. Craddock and Charla Hay, Collegues Press, pp. Ad esempio, le Lettere moderne colle loro risposte di Dionigi di Villecomte presentavano un mondo tutto francese di gentiluomini, dame, cavalieri, signori di corte, contesse e marchese.

Molti fra questi forniscono modelli bilingui per il commercio in francese, tedesco o inglese: Il Segretario di banco o lettere mercantili francesi ed italiane.

Con diverse osservazioni da praticarsi per ben comporle, uscito a Livorno nel ; Il segretario de negozianti francese ed italiano secondo lo stile moderno, uscito a Nizza per Floterons nel ; Il segretario di banco per tutti i negozianti, o lettere mercantili in francese ed in italiano, uscito ad Amsterdam per i Reycends nel Famoso Il segretario di banco ovvero lettere di corrispondenza mercantile, spiegato con molte e bellissime Lettere di Negozio in ogni genere di Traffico, di Matthias Kramer, autore di manuali di grammatica e di un vocabolario tedesco-italiano, ripubblicato con numerose edizioni lungo tutto il secolo.

Formigari, Bologna, , pp. Gioia, Nuovo galateo, Milano, Pirotta e Maspero, Nei segretari di primo Ottocento prendono la penna le classi medio-basse: cameriere e padrone, negozianti e commercianti, contadini, affittuari e i rispettivi padroni, sartine, maestre, tutori e pupilli; ma anche funzionari, avvocati e professionisti.

Ad uso dei soldati del R. Esercito, Milano, Colombo, Il nuovo segretario italiano o sia modelli di lettere sopra ogni sorta di argomenti colle loro risposte, Milano, Silvestri, , p.

Modelli di suppliche, biglietti d'ordine e lettere di cambio e un vocabolario di voci dubbie ed avvertimenti grammaticali preceduti da una breve Istruzione sul cerimoniale epistolare e da alcune regole di ortografia appositamente compilate per questa V ed.

Lo scambio epistolare tra servo e padrone, 20 Segretario privato, Milano, Sonzogno, ; Jacopo Gelli, Come devo scrivere le mie lettere?

Esempi di lettere e di scritture private per tutte le circostanze della vita. Con prefazione di Giuseppe Fumagalli, Milano, Hoepli, Introduzione di Umberto Galimberti, Milano, Che Dio le conceda lunga vita, tranquilla e con salute!

Il porsi in modo contrattuale rispetto al padrone, la certificazione burocratica dei bisogni piuttosto argomenti con aggiunta di nozioni sull'ortografia, istruzioni sul cerimoniale epistolare, e sulle diverse specie di componimenti; modelli di biglietti, lettere di commercio, lettere di cambio, obbligazioni, certificati, ricevute, contratti, suppliche, istanze ec.

Tuttavia, nei manuali epistolari a scrivere sono gli uomini, mentre le donne sono destinatarie passive di messaggi concepiti da altri.

Ciononostante, la maggior 24 Augusta Molinari, Le lettere al padrone. Come il linguaggio dei fiori, anche le lettere, specie quelle amorose, sono presentate come modo per gestire i rapporti sociali a proprio vantaggio, in chiave strumentale e utilitaristica.

E sono aperte a tutti: come recita il suo titolo, Il nuovo segretario galante per ambo i sessi e adatto ad ogni ceto non fa distinzioni tra uomini e donne, ricchi o poveri quanto a giochi amorosi.

Ambrogio Cogliati, Il nuovo segretario galante per ambo i sessi e adatto ad ogni ceto, Milano, Lovati, It made sense to examine her published, carefully edited letters.

In the end I found both Luise and the production of a myth. Along with their sisters Therese and Friederike, he was one of the most important recipients of the letters Luise wrote between and , the year of her death.

The next circle of correspondents encompassed servants, ladies of the court, advisers, tutors and the occasional female friend.

A few central letters went to important rulers, among them Tsar Alexander and Napoleon Bonaparte.

The princesses Luise and Friederike of Mecklenburg-Strelitz, who were passing through Frankfurt with their grandmother, were presented to him on 13 March.

On 14 March the sisters met the two princes and after four days of seeing each other at parties hosted by Frankfurt families Friedrich Wilhelm settled upon Luise.

On 19 March the crown prince proposed to Luise, five days after setting eyes upon her for the first time, and she agreed to marry him.

From there Luise wrote her first letter to the prince, who was staying at the headquarters of the Prussian troops near Oppenheim, in reply to the letter with which Friedrich Wilhelm had initiated the correspondence.

I would like to begin with the first letter, since it anticipates key elements of the future correspondence. In the first part of the letter, Luise addresses her betrothed as 4 5 Ibid.

Do not be surprised at this; Papa and Grandmama wanted me to show them my letter to you, and the latter particularly advised me not to write too affectionately.

What luck that thoughts and sentiments need not pass through customs, so that no etiquette need be applied.

Do you know, dear prince, that I was very pleased to be called friend, and dear Luise; call me what you will, always; never in my wildest dreams would it occur to me to disapprove; quite the contrary, it pleases me.

On the contrary, I am not indifferent to you, and you know my feelings for you, so that I need not repeat that I am welldisposed towards you.

Please always be the same towards me. I promise you, my heart cannot change. If you were still in Trebur I would look forward to many days like the 24th, which was one of the loveliest in my life.

For my part I declare that I owed it to you to tell you the truth. Never cease to love your Luise. Should you receive this letter in company, I implore 8 you not to open it there, otherwise people could think me foolish.

Her grandmother and father represented and guaranteed courtly rules, according to which the letters of royal brides were checked and censored, and writing affectionately was not considered seemly.

By making Friedrich Wilhelm her accomplice in secretly exchanged notes, Luise turns writing into a tender gesture, an exclusive and intimate private matter for two lovers.

For her, naturalness also meant refusing to practice correct and perfectly spelled writing in a notebook: she portrays herself as not having been industrious as a child, as still under the thumb of her grandmother being able to express the feelings in her heart only imperfectly, and spontaneously, as she wrote.

For the topoi of naturalness, simplicity and liveliness in French and by the Enlightenment influenced letter-writing see on 18th century manuals of correspondence John W.

Publications du Centre Universitaire de Luxembourg, 1, , pp. In a later letter she explained to the prince how she had spun a mendacious plan.

Yet I am an angel, as people sometimes assure me, do me a favour and find some order or sense in that. In all my life I have never yet been false.

The language of courtly correspondence was French. The loyal, loving friend and the fool: she is foolish. For only under these conditions could the other Luise, the foolish one, exist in high spirits and laughter.

Thousand pardons. For little acts of cheekiness? In fact, the prince sent the complete version of the cat song in his reply letter.

This becomes clear in the first sentence of the last letter she wrote before setting out for Berlin to be married. Adieu, I love you.

The letter is now a substitute for conversations, it permits the resumption of intimacy in another form. It might appear as if Luise had put into practice all of the typical elements that had characterised eighteenth-century epistolary culture since Rousseau and Gellert.

She had adopted the cult of friendship, which also marked her letters to her siblings at this period, the ideals of naturalness, authenticity and openness, of spontaneity that came not from the head but from the heart.

Perhaps she had already mastered some of the scenes that the bourgeois stage prepared for her? While she 30 Ibid. Luise had a French governess, and perhaps Rousseau had also been included in her education.

A comparison with the letters to her beloved father and her grandmother, however, also shows that Luise was perfectly capable of deploying the strict set-phrases of submission and extreme courtesy that were apparently still expected of her, and could express her strong feelings towards them in different, older forms.

In these letters, too, though, the little fool occasionally dances across the page and perhaps this was the shape in which Luise sought to escape the one and the other system of rules, or even to turn it on its head?

Translated by Pamela Selwyn 34 Ibid. Efron, Defenders of the Race. Per un magistrale casestudy del processo di trasformazione di un discorso sugli ebrei in discorso politico ebraico cf.

Beller, Vienna and the Jews. Frankel and S. Zipperstein eds. Landucci, Darwinismo a Firenze. Tra scienza e ideologia , Olschki, Firenze , pp.

Vivanti ed. Annali 4. Intellettuali e potere, Einaudi, Torino , p. Govoni, Un pubblico per la scienza. Mantegazza, Il secolo nevrosico , Studio Tesi, Pordenone , p.

Facilissimo, tuttavia, sarebbe stato passare dalla separazione alla distinzione. Toscano ed. Ascoli a P. Cavaglion, Felice Momigliano Una biografia, Il Mulino, Bologna , p.

Casella e G. Lucchini eds. In altri termini, una debita trasformazione delle 12 R. Taradel e B. Raggi, La segregazione amichevole. Usigli a P.

Gli ebrei in Italia, Einaudi, Torino , pp. Guetta Sadun e A. Di Bello, S. Guetta Sadun, A. Memorie storiche, biografiche, statistiche dal al , Foa, Torino , pp.

Sul legame fra statistiche ebraiche e politica sociale comunitaria e inter-comunitaria nella Francia degli anni settanta cf. Mantegazza a G.

September Da rilevare, infine, che Ascoli, almeno nominalmente, non intervenne nel dibattito pubblico.

Negli anni novanta, visioni del 21 U. Passigli, La donna ebrea, Morterra, Trieste , Agli ebrei suoi contemporanei, Passigli 25 B.

Mattioli ed. Passigli], Della circoncisione sotto il punto di vista profilattico e terapeutico, Annunzio, Firenze , pp. Resta da dire delle risposte mantegazziane al discorso del discepolo.

Vale a dire, in questo case-study, le lettere sono state strumento indispensabile per accedere al livello della negoziazione da cui avrebbe potuto prendere vita un discorso ebraico.

Questioni personali si intrecciano qui indissolubilmente con domande politiche e con speranze sul futuro della propria nazione.

La sua diventa una doppia fuga dal dominio brutale del nazi-fascismo. Anzi, addirittura lo negavo, con una veemenza piena di rancore e di odio.

Mi rifiutavo di ponderarne con calma le cause. In una parola: negavo in pieno il problema. La propria storia passata viene misurata sui cambiamenti in corso e sulle aspettative per il futuro.

I pensieri maggiori andavano dunque al loro futuro. Orrori della guerra e sofferenze personali Aspetti esistenziali e insieme politici sono rinvenibili con forza nelle missive inviate da Amelia, soprattutto a due amiche: Gina Lombroso e Laura Orvieto Calloni b.

Due o tre settimane fa si credette veramente che ci si avviasse verso la fine di tanti guai. Addio cara Gina. Perdonami se ho lasciato passare tanto tempo senza scriverti Ma queste enormi lentezze postali mi scoraggiano tanto!

Ti abbraccio.. Nessuna parola, nessuna Mia cara Gina, addio. Voi sentite come e quanto ho pensato a voi in questi giorni.

E quanto si era parlato di voi con Guglielmo nella speranza, nella fiducia che Guglielmo aveva grandissima di un prossimo ritorno.

Uguale a quello che tortura anche me pensando a Carlo e Nello Addio cara, volevo soltanto dirti quanto penso anche a te, e come ti voglio bene.

Con la liberazione di Firenze il 4 agosto e la fine della guerra in Italia il 25 aprile , vengono dunque ristabilite le comunicazioni fra i fuoriusciti e coloro che erano rimasti in Italia o che avevano preso parte alla Resistenza.

Terminato il conflitto, riprendono i contatti anche postali. Voglio che impari a conoscerti prima di conoscerti.

Nota la differenza dei due piani della conoscenza. Bagnoli, in: Il Vieusseaux, anno IV, n. Amelia Rosselli , Un inedito sui Rosselli.

Lettere del e , a cura di C. Del Vivo, in: Il Portolano, n. Ciufoletti, vol. Marina Calloni e Lorella Cedroni a cura di , Politica e affetti familiari.

Lettere dei Rosselli ai Ferrero , Milano: Feltrinelli. Amelia Rosselli , Memorie, a cura di Marina Calloni. Bologna: il Mulino.

Borghi e C. Communication via letters is and has been a delayed mode of communication based on specific forms of transmission between a sender of a letter and one or more addressees.

Communication via letter bridges not only spaces but also time. Letter writing as a cultural practice must be historized and contextualized.

Thus, questions immediately arise: Why did people write letters? What were their motives and reasons? What did people make of this mode of communication under the given technological and cultural circumstances?

Another question that only rarely has been examined concerns the impact of writing letters on the fabrication of the self of both the sender and the addressee.

Braudel the sender of a letter is not necessarily the writer. In the late Middle Ages and still in the early modern period, nuns, for instance, dictated their letters but did not write them.

The publication of these spiritual letters was managed by men, whose aim was a "pedagogy of holiness".

Historians have always appreciated letters as valuable sources, literary historians have investigated their literary quality.

In this volume, scholars consider letter writing as an important sociocultural praxis, explore letters as an important means of communication, and accept the challenge of this rather complex category of historical sources.

The volume focuses as did the workshop mainly on letters written in the German-speaking territories of Europe and in Italy and includes the study of a letter collection in Latin of a Portuguese abbot resident in Florence.

The papers presented at the workshop and collected here cover the development of letter writing from the 15th century to the early 20th century, from the early modern monastic world, and early modern court culture up to bourgeois society.

Contributions have been placed in chronological order so as to make continuities and historical changes visible. La scrittura epistolare femminile tra archivio e tipografia, Rome ; Adriana Chemello ed.

Teorie e pratiche epistolari dai greci al Novecento, Milan ; Roger Chartier ed. Nevertheless, numerous analogies and related questions were to be found between chronologically distant cases.

Moreover, it should always be kept in mind that this specific practice moves between the dimensions of the individual and of the social.

In addition, they consider how letters may establish a relation to an Other superior, equal or subordinate. No scholar can ignore the themes and contents contained in the letters, the social and cultural references they include.

Learning how to write a letter correctly was part of a specific civility, disseminated first through handwritten collections, then through published correspondences.

That writing models were essential for the epistolary experience is also considered by other 2 See Daniel-Odon Hurel ed.

Studien zum Wandel des literarischen Geschichtsbewusstseins. Sohn, La correspondance, p. However, Beatrix Bastl questions the claim that norms were always put into action and traces the use of oral expressions in letters written by aristocratic women in Austria 16thth centuries.

From the second half of the 17th century onwards the French model was particularly strong and its application marked social distinction: Kollbach and Luisa Tasca analyse its influence for the German and Italian case respectively.

In the context of normative behaviour, it should not be forgotten that in different historical periods, moralistic, catholic voices were warning against reading letters Tippelskirch, Tasca.

Using letters as historical sources permits us to reconstruct social relationships and family structures and ways of establishing them: letters exchanged between parents and their children and between siblings appear in the contributions of Arenfeldt, Borello, Kollbach familial letters rather than private letters.

Benedetta Borello uses letters as a means of reconstructing material interests and affection characterizing the relationships between members of the Chigi-family in Siena and Rome 17th century.

Love letters and the construction of a relationship are discussed in the papers by Schulte and Tippelskirch, and Marina Calloni takes a close look at letters exchanged between friends.

Another realm of social interaction is touched on by Gomes, Gabriella Zarri and also by Borello who show how important epistolary communication proved to be for monastic circuits.

Zarri highlights in her paper the importance letter writing could achieve for nuns. Letters could be associated with politics and could serve as important means of "distinction" Bourdieu.

They could also be sent secretly - as reflections of intimacy. The study of different letters shows examples of the transmission of the allowed, forbidden and secret; it presupposes trust and challenges the very notion of trust Gomes.

Margreiter and Tasca show in different ways, how letters can be used to help construct social history.

Using letters as historical sources today raises a further set of questions including that of how and why the letters are conserved already touched upon by Arenfeldt, Zarri, Gomes and Kollbach.

A very important issue is the reception, i. In this context, several papers allude to the important role in early modern letter culture of the messenger, the intermediary or go-between Gomes, Zarri, Arenfeldt, Tippelskirch.

The role of the messenger would need to be reconstructed from other sources, and might explain some of the blanks contained in letters.

Different branches of historical research are touched upon through the study of letter culture: the history of writing and reading, the history of religion and the history of ideas, biography, literary studies, as well as cultural, political and social history.

As this collection of articles shows in a very exemplary way, the genre entails very different methodological challenges and as a consequence different methodological instruments applicable to analyses texts within this particular category were suggested.

However, they all concur in showing that the meaningful study of letters necessitates a good knowledge of the context, of the epistolary codes and of the historically different modes of self-representation.

We owe thanks to Sergio Amadei who provided secretarial and administrative support for the workshop and to Brigitte Schwab for help with the publication of the Working Paper.

We are grateful to Giulia Calvi and Barbara Hahn for inspiring contributions to the discussion. After due recommendation let it be known that I wrote to you some days ago, asking to have the epistles of Coluccio.

So I supplicate and ask of you, as a most singular grace, that you make all efforts so that I can have those letters, and let them be as many as it is possible, and please let me know the cost so that I can send you the money to pay for them.

And please let me have them in paper, for that will be sufficient for me. The sooner you will provide for this, the more I will be indebted to you.

May God all mighty make your honour grow and give you a long life at His service. Written in Rome 8 days of May of Each of these characters suggests a different angle for the analysis of the practice of writing letters in past societies.

Biblioteca MediceaLaurenziana, Ashburnam , Vol. I, Fasc. The problems of authorship and readership or, if you want, of letter-writing as a cultural practice in many aspects quite different from the one of our world today are evoked by a well-known Portuguese author such as king Duarte.

Finally, with the figure of Salutati we face the general problem of change in epistolary models against the background of fifteenth-century humanism.

It is not so much a discussion of the documentary value this particular letter could have for an interpretation of Portuguese or Iberian humanism, however, which will be made in this occasion.

I will rather follow a different path, building upon more general remarks about letters as distinctive communicative devices in past societies.

A more lengthy explanation would be required of why it does not seem sufficient to prove that a specific author, such as Salutati, was admired and imitated in certain intellectual and professional circles of early fifteenth century Portugal, in order to discuss available historical interpretations of Portuguese humanism.

Letters sent and letters received Abbot Gomes, the addressee of this letter, was a Portuguese living in Italy since He was the head of the Benedictine monastery of Santa Maria of Florence from to Lowe ed.

The same task of compilation was done for Castile in the s counting a total of published letters dating from the fifteenth century, and there are still a much greater number of unpublished originals kept at several Spanish archives.

Such an abundance is absolutely expected, if we think of the great number of functions that the letter came to perform in late medieval society.

Gomes was a personal name used in several languages of the Iberian Peninsula since the tenth century, not a family name as in modern Portuguese.

Eanes was a patronymic. Abbot Gomes did not use a family name and rarely used his patronymic. He was not of noble origin, as many Italian authors have claimed attributing also hypothetical family names to him.

As several letters of his collection show, the relatives of Abbot Gomes were merchants and bureaucrats of Lisbon and Oporto.

In the hands of the notaries, the letter acquired, by means of a rigid formal structure, a generic function of validation and register of juridical acts.

But throughout the medieval period as a whole, the letter served also as a vehicle to communicate all forms of thought and to give shape to individual reflection.

Many medieval writers had found, both in Christian thought as well as in the classical heritage, an abundant reserve of textual traditions related to the epistolary genre, perceived and received in many different ways.

As Stowers reminds us, 21 of the 24 different writings that constitute the New Testament take the form of letters and both the Acts of the Apostles as well as the Apocalypse contain them.

So the letter is at the crossroad of many specialized disciplines of medieval studies, with particular relevance to diplomatics, palaeography, and the study of manuscript textual transmission.

The letter is also a common object to history and to literature, and all this results in a rich methodological field with many interesting sets of questions.

For available bibliographies: James J. Murphy, Medieval Rhetoric: a select bibliography, Toronto , pp.

The complexity of the communication process referred to or described, for instance, by medieval treatises and by the epistolary texts themselves can be schematically represented this way It was a text which could be read by the messenger, or simply used as a reminder for an oral presentation, and it was eventually given to the addressee, together with the credential.

Medieval rhetoric was very conscious that the letter, although it might be considered a replacement of oral discourse, did not function at all like a replica of speech.

The epistolary message was changed in a definitive way by the passage from orality to writing, which not only introduced a proper distance but also required specific forms of composition.

Statements like those of Conrad de Mure should not be taken too literally, since there were clear limits to the analogy. As suggested in our schematic picture, we should consider a more complex notion of parallel and sometimes converging but distinct channels of communication accompanying the current notion of a substitution of speech by epistle.

The same caution must be exercised as to the common definition, which I also quoted earlier, of the letter as a replacement for dialogue or even as a form of 13 See for instance A.

Dias Dinis ed. To sum up our argument so far, late medieval epistolary practice was different from that of today largely because written and oral forms of communication also interacted differently.

A concatenation of actions was required, in which the letter could be replaced or completed by verbal speech with some advantage, in the condition of course that one could be represented by a true messenger, that is, someone competent enough to communicate what one wanted to say.

The influence of the theories of Demetrius, for instance, on Poliziano, is also mentioned by John M. On the contrary, the letter could on other occasions be seen as having merely an ancillary function to speech, to be almost like a propitiatory element or a form of validation in the establishment of verbal channels of communication.

While considering letters as historical sources, we should see them as sources in the basic and first place for the study of thousands of such complex communicative acts, in which the roles of the intervenients can be configured, and also analysed, in dyadic ways: the author and the scribe, the addressee and the messenger, the author and the messenger, and so on.

Those roles can coincide in the same individual: the role of scribe and author often did coincide, more rarely did the ones of scribe and messenger although medieval texts often refer to the similitude of the trust deposited in both intervenients, and to the dreaded betrayal of the forgerer scribe or of the unfaithful messenger.

The letter, however, always subsists by itself, as a fragment marked in a definitive and irretrievable way, in its very nature, by the absence which originated its writing.

How could these fragments be transmitted to us? The collection of Abbot Gomes is made of original letters and related documents, and it can be considered of a casual or archivistic nature comparable to other famous examples of the fifteenth century, for instance the collection of the English family of the Pastons.

As Petrarca himself considered his letters, which he successively rewrote and refashioned, to be animi mei effigies as well as ingenii simulacrum.

On the other hand, collections were also made for didactic purposes, and were sometimes designated summae dictandi when they were transmitted together with manuals, taking the form of anthologies of examples chosen by their stylistic value and deemed suitable for copy and study.

We should also mention the epistolary collections from Antiquity which in the central and late middle ages were read and imitated, such as the letters of Seneca to Lucilius23, as were other sets of epistles from the early medieval period like those of Sidonius Apollinaris or Braulius of Zaragossa c.

The two aspects of the experience work together: the objectivity of the events spills over into the subjectivity of the records, perceptions, feelings and observations.

See also Gillian R. A Semantic and Structural Analysis, London Who was this man? An ecclesiastic, we know that he obtained several benefices in the diocese of Lisbon in the first decade of the 15th century.

Proctors were a vital component of the papal court, especially in these times where permanent diplomatic representation was not yet practiced.

Besides, not only kings had proctors, but also bishops, cities, certain rich monastic communities had them. Theirs was a professional service, remunerated, which consisted mainly in preparing dossiers, as we would say today, for obtaining decisions and related documents from the curia.

Tavani eds. He returned to his home country in , where he can be traced in that decade as collector of the apostolic chamber. I shall not be long in reminding some basic notions about the evolution of the ars dictaminis, even at the risk of some over-simplification.

Some decades ago it was thought generally that the dictamen was a sudden invention of the eleventh century, specifically connected to the scholarly centres of Bologna and to the abbey of Monte Cassino.

But more recent investigations have explored, in a less peremptorious view of things, the connection between learning how to write letters and learning Latin, that is, an equally important long-term undercurrent linking the dictamen to grammar.

That older connection probably originated the 30 Robert Brentano, Two Churches: England and Italy in the thirteenth century, Princeton , p.

Sousa Costa, Braga , vol 4, pp. Afonso V, livro 4, fol. We should stress in the first place the importance of the salutation or variation in the forms of address.

Several compilations of these salutation formulas were made by royal secretaries in fifteenth century Portugal, either officially or in manuscripts kept for their own use.

The salutation was indeed a fundamental choice for the writer because it determined much of the further content of the composition.

Another distinction clarified by the precepts of the manuals opposes the exordium to the narration, referring to a possible tension between contents that were vague and general, set against a sort of universal and atemporal horizon, and specific times and circumstances necessary to the narration.

Duarte, ed. Oliveira Marques, Lisbon , pp. Afonso V, in: Abade Correia da Serra ed. Salgado, Lisbon , pp.

In the early precepts, the constant reiteration of the ideal of brevity made the narration almost secondary to the exordium and especially to the salutations.

But in the central period of the Middle Ages, the letter was becoming an admirable instrument of persuasion and doctrine, precisely by developing the narration together with the exordium.

This main textual nucleus could be kept in and by itself. An ordered sequence of such epistolary exchanges could approximate the development of a controversy, or the telling of a story, in a sort of narrative or argumentative palimpsest.

Persuasion and Politics in the early thirteenth century, New York , pp. Resulting from the application of legal categories and methods to a typology of letters, the manuals for notaries were often kept with the formularies proper, their diffusion coinciding in Italy with important changes in cursive writing.

However, the art of writing letters was to become in late medieval times, in many contexts, solely an introduction to literacy or to basic writing skills.

See also G. Literacy and Learning, , Baltimore , specifically pp. His book was very diffused in late medieval Iberia, with 13 manuscripts in Castilian, 3 in Catalan, one in Aragonese and we might add, one in Portuguese : J.

Holloway, Brunetto Latini. An Analytic Bibliography, London See for example the Castilian version, Libro del Tesoro. Epistolary writing is at the centre of the debate about the origins of humanism since the pioneering works of Kristeller, Wieruzowski, and a few others, as the rejection of the dictamen first of all, it seems, by Petrarca in its newly perceived rigidity and lack of stylistic souplesse is seen as a determinant factor for cultural and literary innovation.

A cultivated monarch, Duarte had been associated to the government by his father since the decade of , although he ascended to the throne only in He was the author of two treatises, on moral education and the art of horse-riding, and was also a collector and reader of a notable number of books.

Exhortatory letters were a common production, such as the one sent in by the Portuguese monarch to his nephew the king of Aragon, urging him to join 46 For a discussion of the first humanism, see Ronald G.

On letters and letter-collections of the humanists: Cecil H. Epistles written in vulgar Portuguese also represented a means of political intervention and debate in the times of king Duarte and all through the fifteenth century.

Sometimes they took the form of diatribes, that is, of a formulation of adverse arguments and their ordered refutation. Some of them have been transmitted in truncated form by the chronicles of the age, but they also circulated separately keeping distinctive elements of the epistolary format, such as the initial salutations or the final formulas.

The first letter mentioned dates from August Monumenta Henricina, vol 4, pp. The second from September Monumenta Henricina, vol 3, pp.

Pedro, ed. Occasionally providing doctrinal developments and examples but staying close to the specific political circumstances of the day, such epistles written in vulgar included mostly long narrations presenting ordered reasonings and refutations of contrary opinions, and they flourished until the last decades of the century.

Writing practices were thus articulated with certain social spaces or human figurations, and with characteristic roles associated directly or indirectly with the world of the court.

The traditional interpretation of the authorship of such texts, based on a quest for an exclusive individual attribution, plays down the perception of the dyadic relation hypothetically involved in their composition, which naturally demands a more careful study of the figure of the secretaries than has been made so far in the Portuguese context.

So the figure of the fifteenth 54 See the brief remarks of A. As we shall see in our final remarks, the central problem to be raised there, as well as in many other social contexts, was the problem of trust.

Letters and the generation of trust We recalled earlier that the awareness of writing models is central to the epistolary experience, being the main reason for the interest of the Portuguese royal secretary in possessing a copy of the stylistically sophisticated and much admired epistles of Salutati.

That awareness ultimately explains the success of manuals for writing letters and these still have many interesting things to tell us about the epistolary form, its social use and purpose, specifically when models are confronted with remaining texts and these are considered as sources for the study of specific communicative events.

If we take, for instance, the definition of Guido Faba used on the onset of our talk, letters should assure both authenticity and secrecy of the messages conveyed.

Authenticity seems to be a fundamental aspect of the epistolary form which is not only inseparable from the dialogic nature of these texts, but is also related to material characteristics such as the use of a variety of validation signals, of which the signature is a relatively late example.

Recent attempts at an history of the signature as a social practice show that its emergence is connected to the gradual disappearance of the practice of the subscription, since the twelfth century.

The legal value of autograph signatures, for instance, seems to be well established in most European contexts by the sixteenth century.

In the late medieval period, the generalisation of the signature in missives is clearly a condition for authenticity of epistolary messages, as we can see in the letters of Abbot Gomes collection.

Secrecy is not a characteristic solely internal to the epistolary message itself, a fact which many treatises of didactic literature for princes and secular lords often referred.

On the contrary, it rests equally on directness and transparency in the processes of writing and of transmission of letters.

Due to the plurality of the intervenients, the ways people were related in the epistolary process were, therefore, a main point of concern.

We should, however, amplify our view of this fundamental relation between the epistolary form and trust, reflecting more generally on how trust could be generated and maintained in the societies of the past, arguably less integrated and differentiated than modern ones.

We would like to suggest, as a concluding contribution of this paper, that there is indeed some structural, internal element in letters which facilitates and generates interpersonal trust.

This common present horizon enables the emergence of trust. More precisely, trust requires an anticipation of the future, being an orientation of behaviour that reduces a whole spectrum of possibilities for future action based in present states of a relationship.

And the letter, in the societies of the past, helped bring that present state into existence for both author and addressee.

This connection is clearer precisely in the cases in which no new content nor apparent exchange of information can be traced in medieval and early modern letters, the texts functioning more as previous commitments or formal requisites for certain actions to be performed, or certain relationships established.

As Raymond de Roover has established, this specific type of missives came to replace the more formal and legally established instrumentum ex causa cambii or the contract of change, which was a notarial act.

This replacement, occurring in Genoa or Florence towards the middle of the thirteenth century, not only eliminated the formality and the slower process of the notarial instrument, but allowed also for a rational utilization of the fundamental differentiation of places that always exists between author and addressee of a missive.

Merchants used this specific element of the epistolary form in order to circumvent the religious prohibition of credit and banking operations, by making them coincide with an operation of change between different locations.

But I would also underline another aspect of the use of missives for such material purposes as change and credit operations, and that is the rather immaterial factor that they presuppose: trust.

In a contract, the validity of the transaction was not depending on who, if anybody, had actually trusted. While as in a missive, as we suggested, trust was a result or by-product of the communication process itself.

Both these two typologies of letters the letter of friendship and the letter of change , in conclusion, point to an important historical reality.

Epistolarity as a textual form as well as a mechanism of communication was a widely spread device for the generation and maintenance of trust in late medieval and early modern European societies.

Hale ed. Goitein, Letters of Medieval Jewish traders, Princeton In the study of medieval and contemporary history, the letter has also become one of the main sources of interest for the new disciplines that study the history of writing, literacy, gender and female socialization.

Socio-anthropological factors, as well as others of a more scientific and cultural nature, are the reasons why today it is worthwhile reflecting on this vast inheritance of books and manuscripts from the past when seeking answers to issues of both a theoretical and practical nature.

As has already been pointed out in the introduction to this Workshop, ours is an appropriate time to look into the changes that the traditional epistolary means of communication has undergone and introduced during periods of history that witnessed a profound cultural transformation brought about by technological and ideological factors, changes which also make us curious to investigate the social and literary meaning of letter writing.

Before moving on to the specifics of the issue I will deal with, I would like to draw your attention to two recent Italian books which, together with those mentioned in the prospectus to the Seminar and the Introduction, may be considered a good starting point for further study.

These few words describe the letter as a conversation, viz. Finally, there is the space which separates the friends who are conversing and the means used 1 Adriana Chemello ed.

Teorie e pratiche epistolari dai Greci al Novecento, Milan La scrittura epistolare femminile tra archivio e tipografia, Rome Per lettera, on the other hand, looks into uses and functions of letter writing with special attention focused on the specificity of the genre of female writing.

Roger Chartier ed. The book Per Lettera focuses its attention on the social practice of correspondence and the transformation it underwent during the 16th and 17th Centuries.

Events of undoubted economical and cultural importance, such as the discovery of America, and of an institutional nature, as was the centralization of State power and the move towards permanent diplomacy, favoured the organization of the Post, an extremely efficient system for the delivery of correspondence which was strengthened in the first half of the 16th Century in Europe under the German Empire.

Even though the Post never fully took the place of the brevi manu delivery system of letters, in particular those that had to be more carefully looked after for political or doctrinal reasons, the new distribution system for correspondence brought about an increase in letter writing, not to mention a perfection in compiling them, as witness the several Formulari and the increase in those whose job it was to write letters, such as the Secretaries, making editing and conservation of epistolary writings easier.

Among the first women to take up letter writing in Medieval times were nuns. They were literate first and foremost as readers, able, that is, to recognise the letters written in their breviary and other prayer books.

Often they were writers too, able to inscribe on parchment and 7 Cf. Karen Cherewatuk and Ulrike Wiethaus eds.

Medieval Women and the Epistolary Genre, Philadelphia Generally speaking, they possessed a two-fold knowledge which, in the past had been described as knowledge of the alphabet, used above all to indicate the ability to read and write.

Many of the nuns studied and understood Latin too. In Florence, for example, the convent of the Murate was renowned for its scriptorium.

Writing was however a strictly regulated activity and all orders had rules prohibiting the nuns from writing letters.

No monastic rule, however was eluded more than that which forbad the writing and receiving of letters. Letters both spiritual and official, letters begging for alms and patronage, letters to the ecclesiastical authorities and family members, forbidden notes to family and friends came and went incessantly through convent doors even convents with a reputation for strict discipline.

There is even a pious convent of Poor Clares founded in Bologna in famed for the culture and holiness of its founder, that still keeps a handwritten formulary of letters in its archives which dates back to the 15th Century.

Salvatore Battaglia, vol. VIII, Turin , Suffice it for all to cite the example of the Dominican Corpus Domini order of Venice, reformed towards the end of the 14th Century by Giovanni Dominici, whose spiritual teaching conveyed by letter was studied recently by Daniel Bornstein.

It must be pointed out that convent archives contain letters sent to nuns rather than those sent by them; they often hold collections or copies of letters written by nuns only concerning events significant to the convent or linked to nuns of an especially holy reputation.

Letters of a spiritual content were often copied and circulated within the religious order. On the basis of well-documented examples and research conducted personally, I shall draw a broad outline for one type of monastic letter.

Preaching within monasteries was a task for the father confessor, members of the religious order or for preachers from outside who were invited to prepare cycles of sermons or 10 Giovanni Dominici, Lettere spirituali, ed.

Brown and Robert C. Davis eds. Some set the nuns down a path to greater spirituality and, after leaving the convent, continued their teaching by letter.

Like Giovanni Dominici, the Dominican we mentioned previously, Domenico Benivieni, a lay priest of the early 16th Century too, very close to Savonarola, continued to give instructions by letter to the Florentine nuns of the Murate as well as to the Benedictines of San Michele di Pescia.

The letters he wrote, copied along with those other religious personages sent to those same nuns, are conserved in a codex of the Riccardiana Library.

This is shown, as in the case already mentioned, by the letters being copied into a codex which then circulated among many convents, or the originals being conserved, bound in book form.

The oral and familiar aspects of teaching are much easier to convey in a letter than in a book; the absence of the friend and master is lightened by the material presence of what he himself wrote.

The Savonarolan Movement in Florence. Dipinti del secondo Cinquecento per un monastero femminile a Bologna. Catalogo della mostra, Bologna Not infrequently, letters were sent to sisters of other convents in order to promote or launch reformation processes.

This is the case, for example, of the Poor Clare Camilla Battista Varano da Camerino 13 The National Library of Turin houses an ancient collection of thirty letters commissioned by Margherita di Savoia in the early 15th Century.

La domenicana genovese Tommasina Fieschi e i suoi scritti ca. Patronage e reti di relazione nella storia delle donne, Turin , pp.

This same nun Camilla Battista was the author of an Istruzione al discepolo [Instruction for the disciple] in letter form, a clear reversal of role between master and disciple.

I, pp. In the Renaissance period and the early 16th Century, spiritual correspondence reflected a condition of relative openness on the part of convents to preaching by religious people from outside, as well as to spiritual instruction of lay people.

During the Counter-reformation, however, a more stringent control of seclusion and writing was enforced. There were, however, instances in which writing was not forbidden but, on the contrary, made obligatory.

This happened with the visionary nuns, or those considered saintly who were asked not to speak of their charismas or inspirations but to write down what they deemed to have been divinely inspired and submit it to the examination of their confessor.

This spawned a wealth of female writing, conserved in the convents or the tribunals of the Holy Office. They have the colloquial form and external referee of the letter and the daily periodicity of the diary.

The letter can, however, only convey information on licit relationships. For information on the illicit, one must turn to trial 18 Many examples are to be seen in Adriano Prosperi, Tribunali della coscienza.

Maria Duranti ed. To better illustrate the multifarious networks of relationships that nuns kept with lay and ecclesiastical people, I shall take the example of the Murate convent of Florence, and on whose correspondence a pupil of mine is writing a thesis.

The convent was set up in the 14th Century by a small group of women who had themselves walled up in a cell on a bridge over the river Arno.

They subsequently founded a convent and took the Benedictine Order and seclusion. Renowned for its observance, the Institute came under the jus patronatus of the Medici family in the 15th Century who renovated and extended it.

Its fame and the patronage it enjoyed by the dominating family enabled the number of professed nuns to exceed two hundred, all from aristocratic families.

Recent studies by Francis Kent, Kate Lowe and Judith Brown show how some facets of convent community life20 can be shed light on by examining letters conserved in their archives.

These are many in number, some hundreds collected and classified from the last decade of the 15th Century to the 18th. It is interesting to note that the spiritual letters to the sisters sent by Domenico Benivieni already mentioned are not conserved.

These reached us by the codex of the Riccardiana Library we already discussed. The confidentiality, however, is justified by the condition of patronage extended by the family.

Atti del Convegno internazionale, Torino , pp. Some were kept as relating to issues of dowries. The relationship with princes was indicative of a type of reciprocity which, within the Catholic Church, is the basis which justifies giving alms.

These relationships are not at all affected by distance: indeed a lively correspondence was kept up between and between the Murate and the Kings of Portugal, the latter also emerging later as among the most generous benefactors of the convent with a yearly inheritance from Queen Eleonora.

The letters of the Medici appear from Granduca Cosimo I onwards, a sign that there was a very close relationship between the nuns and the dominating family with no need for it to be documented in writing.

Suffice it to recall that Catherine, the future Queen of France, was sent to the Murate to be educated and, as Guicciardini testified, Pope Leo X, fearing incarceration by the French, in sent his triple crown to the Murate for safekeeping.

The convent was under the authority of the Bishop of Florence and received no orders or pastoral visits on the part of Benedictine abbots.

His attention was turned in particular to the implementation of the terms of the Council of Trent in the convent, and his wish that the community conserve the strictness and fame of sanctity for which the nuns had been hitherto renowned.

Relations between the convent and princes and cardinals and the nobility of Florence or elsewhere was also fed by small gifts for which the nuns worked assiduously.

Often, religious people took it upon themselves to deliver letters and unwritten messages too, as the letters we have mentioned of Eleonor of Aragon state openly.

The well-known preacher, Mariano da Firenze, who was often called to the Estense court was one of the most assiduous messengers of the Dukes of Ferrara.

The role of go-between to the Kings of Portugal was again played by religious pilgrims or agents of the convent itself.

Giovanni Ansaldo , Genoa As so often happens, however, the archive of an institution is conceived with the idea of conveying collective recollections and reflecting the honour of the institution.

Translated by Donald A. From the time of the wedding until the death of her parents in the mids, communication between Elisabeth and her parents was largely limited to that which could be expressed in letters and in oral messages conveyed by messengers.

They only met three times in person during the fifteen years between and In this paper, I will argue that the provenance of the letters which Elisabeth sent to her mother, Anna of Saxony, deserves to be considered as a source in its own right.

In the last part of the paper, the findings of this brief investigation are related to more general discussions regarding the strength of social structures in an early modern reality.

This is done to assess the possibilities and limitations of employing provenance as a source in a study of dynastic figurations.

Before the letters from Elisabeth to Anna are introduced, a working definition of provenance should be established.

The place of origin, derivation, or earliest known history, esp. The material discussed here are letters, and the place of origin is generally stated in the dateline of the individual letters.

Hence, provenance here refers to the original order of this letter collection, i. The letters exchanged between Elisabeth and Anna are preserved in the vast correspondence that survives from Anna of Saxony.

Between six and eight thousand letters sent by her and c. The letters cover the period between and , but the large majority of letters were written between the mids and These contain an average of c.

XII, p. See also Kop. The parallel letter-books have identical titles and no systematic differences in their content can be detected.

Most of the later volumes are equipped with accurate alphabetical indexes penned by the same writers who drafted the letters for Anna.

The letters received by Anna are collected in 70 volumes of c. The majority of these are organised according to senders or to territories of senders.

In each volume the letters are bound in a rough chronological order. Ein Lebens- und Sittenbild aus dem sechzehnten Jahrhundert, Leipzig, The second volume is comprised of letters, and in addition to Elisabeth and Johann Casimir, Anna and August, thirteen other correspondents are represented.

This second volume does not appear to have been bound while Anna was alive: the last letter was received in Dresden on 14 September , only c.

Even so, the original order of the letters appears to have survived. The drafts for these letters are bound together with the received letters.

The titles of the two volumes of received letters also point to the common practice of binding the letters from a married couple together.

The concordance between the sequence in which Anna prepared the outgoing letters and the transmitted order of her received correspondence provide further evidence in support of it.

All four letters were 10 Johann Casimir to Anna, 26 Dec. Gemahl Frau Anna, gebohr. These three letters are bound together among the received letters.

The five letters are all dated 18 or 19 March and penned on consecutive pages folio in her letter-book. The reconstruction is based exclusively on the order in which the letters appear in the bound volumes, but can be confirmed by the content of several of the letters.

Anna refers to this letter in her reply in Kop. However, because of the intact provenance of the letters sent from Elisabeth, Johann Casimir and his parents to Anna, it is frequently possible to reconstruct at least the approximate date of a lost letter.

Roughly half of these were sent from Elisabeth to Anna. In comparison, drafts for c. It may seem unsound to employ the numbers of letters as an indication of social relations.

Not only is it clear that an unknown number of letters have been lost, but the quantities also do not reveal anything about the content of letters.

It is unlikely that Anna replied to her daughter and not to the other correspondents. Hence, Anna had sent letters to them between late-February and midMarch, but these are not preserved.

This gives reason to believe that development outlined below reflects more than the result of coincidental transmission of the material.

Year Number of letters Number of letters Number of letters Number of letters from Anna Elisabeth to from Elisabeth to from Anna Anna Johann Casimir to from Johann Casimir to Anna 7 6 4 5 9 17 5 14 7 5 4 6 10 12 7 9 7 10 2 2 8 19 2 7 16 20 1 1 14 16 0 1 12 11 3 9 10 16 0 1 10 13 0 0 9 12 0 1 8 5 0 0 7 10 0 0 12 10 2 2 6 8 0 0 Total 30 58 From the fifteen years investigated in this paper, letters exchanged between Anna and Elisabeth survive, but only 88 exchanged between Johann Casimir and Anna can be located.

Generally, more letters sent to Anna than sent by her have survived, possibly because not all of her letters were entered in the letter-books.

During the first years of the marriage, Elisabeth and Johann Casimir sent almost the same number of letters to Anna, and this suggests that the later 23 For only the letters written after 1 June i.

The communication between Anna and Elisabeth reached a quantitative peak between and between 23 and 36 letters survive from each of these years , and the lowest number is found in 12 letters.

Johann Casimir and Anna exchanged the highest number of letters in 19 letters , and with the exception of , they almost ceased to communicate from Most frequently these sets consist of letters from Johann Casimir and Elisabeth to August and Anna, hence, four letters sent together.

Only five of these bear a date on which Elisabeth did not write to her mother. From October until Christmas, Elisabeth was in Saxony, and when Johann Casimir sent a letter to her it seems that he also included one for Anna.

In these he repeatedly addressed when he wanted Elisabeth to be back in the Palatinate, see for examples Loc. Frequently, correspondences are conceptualised or even published as isolated exchanges between two people.

The provenance of the letters Elisabeth sent to Anna suggests that this imagination of easily definable exchanges between two individuals, which lie behind this practice, should be dismissed.

Even if each letter has only one sender and one addressee, several participants have to be granted access into the exchanges.

In the description above, it has been demonstrated how the letters from a married couple were bound together, and the overview points to a direct interrelation between the contact which took place between Elisabeth and Johann Casimir, respectively, and Anna.

But the inclusion of participants into an exchange should be taken further than to spouse: among the c. Johann Casimir and Elisabeth to August, both 26 Jan.

The individuals who only are represented in the copies of these letters are not included in this count. See for example the letters from Amalie, Electress Palatine, Loc.

The letters sent by Anna von Hohenlohe and Margaretha von Schleinitz, the two noble widows who recurrently spent longer periods by Elisabeth can be found in Loc.

Heller et al. Until Elisabeth and Johann Casimir had sent most of their letters to Anna together, but at this point Johann Casimir and Anna almost stopped corresponding.

These are the changing patterns of the correspondence, from which I will depart in order to examine what the content of the letters reveal about the nature and possible causes of the changes.

One of the last instances in which Johann Casimir and Elisabeth sent letters to her parents together was at the beginning of February He expressed gratitude for the offer of their portraits, and he thanked August for his financial help to secure Elisabeth through the acquisition of the estate Friedelheim.

Finally, he wished them a happy new year. She then proceeded with an account of the answer Johann Casimir had given to her numerous requests for permission to visit her parents.

He had told her that a Diet soon would be proclaimed to take place in the vicinity of Saxony, and that she there would have a chance to see her parents.

Only if this did not happen or her parents could not attend the Diet, would she be allowed to visit them in Saxony. His reluctance to grant her permission for the trip was explained by financial concerns.

The content of the second letter stands in stark contrast to the first. Here Elisabeth thanked her mother for an autograph letter and for the consolation Anna sought to provide her daughter because God had given her such a difficult cross to bear.

The next passage regards the money Johann Casimir had received from August. Elisabeth explained that she did not know about it nor about the conditions on which August had given the gift until the most recent letters from her parents had arrived.

The large sum was given on the condition that Johann Casimir deed the estate Friedelheim to Elisabeth. No answer had arrived yet, but she promised to disclose to her mother whatever else she found out about it.

She depicted his deep subjugation to his father, which transferred some of the blame to Friedrich III, but it also weakened Johann Casimir in relation to his parents-in-law.

And in keeping with the secrecy, Anna made no references to any of the information it contained in her replies. The information she so urgently needed to send to her mother regarded the christening of the child she was expecting.

This initiated a series of changes. On 2 September , she again penned two letters to Anna; a short letter, which Johann Casimir is likely to have read and approved, and a much longer and bleaker account of the obstacles she faced with regard to communications with her mother.

She explained that she usually had no problems securing messengers, but when Johann Casimir knew that she was preparing letters for her parents, no messenger would be made available.

The last letter from Anna to Amalie is dated 4 June The secret correspondence, which thus far had been sporadic, could now be carried out at regular intervals.

The provenance of her letters thus help to emphasise the interdependence between the various relationships between both groups and individuals within a dynastic figuration.

I consciously employ the terms figuration and interdependence and this requires a mention of the work of Norbert Elias. The same danger is present if provenance is overestimated as a source.

A consequent application of the approach advocated by Elias can even result in a disregard for notions of beginnings and ends, in part because his work regards long-term developments but also because of his insistence on change as a process.

The second point I wish to make regards the dichotomy of autonomy and dependency. Sociogenetic and Psychogenetic Investigations, Oxford, first German edition, , especially pp.

However, the tension, which Martin resolves through a distinction between conviction and appearance, bears resemblance to the questionable dichotomy of autonomy and dependency.

By the 16th century, people were reflecting on communication via letters, as the following example shows.

For the present article, see in particular: Roger Chartier dir. La scrittura epistolare femminile tra archivio e tipografia, Roma, Viella, I am grateful to Jeff Shapiro and Pernille Arenfeldt for careful proofreading.

But the episode reveals much more. Letters are here situated in the context of a noble culture, the importance of literacy is pointed out, as is the importance of the delivering and receiving of a letter which can fulfill its purpose only once it has been read by the person to whom it is addressed.

Indeed, Bernardino Pino himself suggests in his treatise a clear distinction between the letter that is being written and the one being received.

I will then proceed to interpret this, in my opinion, emblematic case, focusing mainly on one side of the communication that took place via letters: the reception, that is the act of receiving letters and the significance that was attached to this act.

Bernardino Pino da Cagli. Michele Peretti suo sposo e consorte [hereafter: Lettere diverse].

I developed this interest in a much broader context in my PhD thesis Sotto controllo. Though well aware of the different typology of the examples I will report on I will deal with published and unpublished letters, written by writers from different social backgrounds , I intend to show their corresponding and contradictory elements in the following paper.

The main purpose of this paper is thus to demonstrate some of the difficulties associated with the interpretation of early modern letters and to challenge their clear-cut categorization as fictional or non-fictional texts.

How shall we contextualize this specific case in which we read texts written by a Roman noblewoman, describing her grief over the absence of the beloved, underlining with remarkable selfconfidence that she is suffering more than he is?

Scholars such as Ago, Casanova, Fosi, Visceglia and Borello have pointed out that the simple existence of a letter may be evidence of effective networking.

Michele Peretti, grandnephew of Sixtus V, had urged Francesco, his only son from his first marriage, to get married to ensure the perpetuation of the family.

When, shortly after the death of his first wife, he first went to meet his future daughter-in-law whom Francesco had chosen, Michele himself fell in love with Anna Maria.

Was there indeed an intense love affair behind the letters, almost untouched by strategic consideration of an alliance between two Roman noble families, or are we overly eager to accept the 19th century idea of romantic love re- presented by Litta?

The relationship that we read about in the letters is mainly confined to the writing and especially the reading of letters.

One of the main themes is reflections on reading and writing. And of course, a precondition for the production of love-letters is literacy, that is access to reading skills also for 7 Cf.

Le politiche matrimoniali della famiglia Spada secc. Rivista di storia delle donne, 21 3 , , pp. Lowe eds. At the beginning of the 17th century, published letter-writing guides so-called libri di lettere were widely distributed in Italy.

In his remarkable study of Le carte messaggiere 16th century letter-writering guides , Amedeo Quondam drew a distinction between other types of letter and the genre of the love letter, the lettera amorosa.

Reinhard M. Nickisch, Die Stilprinzipien in den deutschen Briefstellern des They were all reprinted several times despite censorship, as I will discuss later.

In one popular collection of published letters, the Roman noblewoman Celia withdraws to her room in order to read her letters in private.

It was however rather unusual that letters were read in solitude. In questa seconda Impressione rivedute, et accresciute.

The letters substitute the presence of the beloved. Petrarca, Canzoniere, a cura di P. Cudini, Milano Garzanti , p.

I giorni son longhissimi, et i tempi assai cattivi, et V. He concluded that to while I am reading them over and over.

Opereta amorosa, p. The days are terribly long, times are quite hard, and your lordship promised me to come soon, that helps me a bit, tomorrow is Thursday.

Above all he underlined that words needed the consent of the beloved, because she could be looked at without permission, but if she listened to his words or read them, she had to be in agreement.

Verdi , p. Then, since that sex is tender hearted and easily moved to pity, we shall strive to be as supplicating as possible. We shall extol her merits and belittle our own, or at any rate mention them with great modesty.

We shall demonstrate intense love joined to deep despair. We shall try by turns moaning, flattery, and despair; at other times we shall make skilful use of selfpraise and promises; we shall employ precedents of famous and honourable women who showed favour to a pure, unfeigned love and to the devotion of youths far beneath them in social condition.

We shall attempt to show of humility we shall beg that if she can in no way deign to give her love in return, she will at least resign herself to being loved without prejudice to herself; we shall add that if this request is not granted, we are resolved to cut short a cruel life by whatever means 31 possible.

Flattery and gifts were also useful, great promises could be used as well, because every woman is ultimately seducible, as Boncompagno shows by refererence to the successful seductions of nuns.

In most pedagogical treatises and advice books on behaviour of the second half of the 16th century, we find allusions to the danger attributed to letters.

Literary and Educational Writings 3. Kelly Sowards, translated by Charles Fantazzi, Toronto , p. Nevertheless in Venice in Mambre had no reservations about having his wife read his correspondence.

Inquisitionis, b. The letters were too powerful against the weekness of a female heart, that is easily impressed. De Bujanda , Quebec seg.

ILI , vol. IX, p. ILI, IX, p. The prohibitions, therefore, functioned only partially. Her familiarity with literary texts certainly influenced her writing, but she appropriated the words for her own use.

Celia warned against the possible misuse of letters with the following words. Tale confesso essere di me avenuto.

In any case, the copying from letter books was widespread. Uffizio, b. Lizzari, Cassandra Ruggiero mentions her case, without talking about the love letter.

Guido Ruggiero, Binding Passions. ASV, S. The collection presented a series of ready-made sentences for all occasions arranged in alphabetical order.

Among the aphorisms, we are told how to express joy upon receiving a letter. By the beginning of 17th century, women and men move between standard expressions in their letters, a highly codified genre.

The writing of letters must always be seen in connection with the various ways in which the same letters might be read. Epistolary communication cannot be thought of without considering the moral framework in which the letters were written.

What must be reconstructed are the circumstances of receiving letters, the role of the inbetweens, the specific tactique De Certeau of appropriating texts, and the meaning the exchange of love letters could have.

The correspondents were quite conscious of their use of readymade phrases. It seems worthwhile to investigate in detail how the letter writers tried to overcome the dilemma of expressing themselves forced to use inevitable standard expressions.

Barthes recognizes behind this dilemma a semantic standard feature. Raccolti da lui per scrivere familiarmente, Roma Vincenzo Valgrisi Das Ganze mag zwar knuddelig aussehen, ein Kinderspiel ist es aber nicht.

Mit anderen Worten: diese Band kann was. Respekt vor so viel Mut, aber diese CD braucht kein Mensch. Sollte man im Auge behalten. Und wie.

Eindeutige Kaufempfehlung. Weil sie es in der Vergangenheit fast immer geschafft haben. Muss man da nicht auch immer Meister werden? Oder doch?

Mich haut das nicht mehr vom Hocker. Solide Sache Woran liegt das? Crachouillis CD Postillons et Crachouillis myspace. Doch auch wenn sie auf Englisch singen, schlagen sie sich vergleichsweise gut.

Einzig die grafische Gestaltung der Platte irritiert mit ihren Illustrationen, die an die ersten Malversuche von Kindern in der Vorschule erinnern.

Artwork by Duniel duniel. Uramerikanische Volksmusik jenseits kommerziellen Kitsches. Hessen Nord! Und sonst? Dort entsteht der Film im Kopf.

Und der handelt von einer Odyssee durch das Lebenslabyrinth. Der Soundtrack zum gepflegten Umtrunk also. Du machst ein Label, du spielst in einer Band, und willst wissen, wie du auf einen Schlag eine ganze Menge Leute im In- und Ausland auf deine Musik aufmerksam machst?

Ganz einfach mit der Ox-Compilation! Transparentes Vinyl hinter einer bedruckten klaren Plastikscheibe. Jahren kraftvoller und besser als nahezu alle anderen.

Alles in allem ist das zwar nichts Neues, ihre Sache machen die Belgier aber trotzdem gut. Stattdessen fragt man sich nach der ersten Minute, warum das Schlagzeug so penetrant in den Vordergrund gemischt wurde.

Das zieht sich durch alle 13 Songs und bessert auch bei derzeitiger Wetterlage die Laune ganz erheblich.

So klingt also Folk heute. Auch bei MR. Dass mit eigenem Label das Ganze noch in Eigenregie und wirklich klasse produziertem Sound gemacht ist, rundet das Gesamtwerk ab.

Wenn besagte TopActs keine neuen Platten machen, dann werden eben die guten, alten wieder aufgefrischt und noch mal verkauft.

Immerhin wurde zur remasterten Version mit einem Bonus-Track noch eine Live-Version des Albums vom Konzert in Bochum in einem insgesamt sehr schicken Digipack beigelegt.

Von daher: Taugliches Einstiegsmaterial. Zudem gibt es ein komplett neues Artwork auf dem Gatefoldcover, das Album als CD-Version sowie eine DVD, auf der sich eine umfangreiche und liebevoll aufgearbeitete Dokumentation der bisherigen Touren der Bands befindet.

Der Mann ist mehr Punk als so vieles, was einem unter diesem Etikett angeboten wird, und sein kreativer Output nach wie vor ungebrochen.

Ein lohnenswertes Package! Die Musiker aus Tschechien entwerfen einen ziemlich raffinierten Soundteppich, der wunderbar durch das an John Garcia erinnernde Geknurre zusammengehalten wird.

Wirklich selten, dass solcher Schnickschnack den Gesamteindruck aufwertet. Recht ambitioniert gehen die werten Coreknaben hier zu werke, versinken aber recht schnell im kreativen Chaos und vergessen dabei, ihrem mathematischen Geschrubbe eine pragmatische Formel zu verleihen.

Kann man mal auschecken! Auch die Thematik der Seefahrt setzt positive, eigene Markten. Auch das Geschrei bietet nicht viel Variation.

Ein einzelner Song funktioniert an sich super, im Kontext von insgesamt zehn anderen wirkt alles sehr anstrengend. Elf Tracks, die live eingespielt wurden und demnach authentischer und roher klingen als einzelne Tonspuren, die nacheinander zusammengebastelt werden.

Ein absolut gelungenes Gesamtpaket. Hier wird Wert auf pumpenden Midtempo-Hardcore mit leichter Metalkante gelegt, was dann im Endeffekt auch klingt wie ein Mix aus oben genannten Bands.

Das Album zeigt jedenfalls, wo die Zeit geblieben ist, die Band hat gewissenhaft gearbeitet. Solche Empfindungen herzuzaubern schafft auch nicht jede Band.

Klingt sehr weltoffen und angenehm multipopkopflastig. Wirkt ambitioniert. Zu Recht. Ich bitte darum, mir das zu verzeihen.

Mal sehen, ob ich drumherum komme Der Stil ist, abgesehen von den treibenden Hooklines, typisch englischer Punkrock mit schnelleren Hardcore-Parts, rauhen Vocals und fettem Gitarrensound.

Sehr empfehlenswerter Release! Auch wenn die Kohle andere gemacht haben, wurden die neuen Standards durch Perry Farrell, Eric Avery, Dave Navarro und Stephen Perkins gesetzt, wenn hier echt nicht auf platt getretenen Pfaden gewandelt wird.

Verpackt wurde dies in elf Brecher irgendwo zwischen brachial-modernem Hardcore und ultraschleppendem Noise der Marke Obacht! CD Burnside burnside.

Weiter so. Ich bin hin und weg! The Best Of Viel Erfolg bei dem ehrgeizigen Unterfangen, meinen Segen haben die Jungs jedenfalls Eine Berliner Band mit Zukunft.

Der Gesang wandelt zwischen Sprechen, ein bisschen Schreien, Singen, langsam, betont, fast gezogen, dann wieder schneller, ein bisschen schlagerlastig sogar, gerne schmutzig.

Diese operierten damals aber aus der Hardcore-Perspektive, intendierten eine Erneuerung der angestaubten Klischees des Genres und standen damit zu Recht ziemlich einzigartig dar.

Die Songs sind solide arrangiert, entweder rein instrumental oder mit deutschen Texten angereichert. Das ist halt eine Frage Geschmacks.

Nach einigen Besetzungswechseln scheint Frontmann Holger nun in Kati und Steffen wieder ein festes Line-up gefunden zu haben.

Und das funktioniert hervorragend. Neben altbekannten Melodic-Punkrock-Songs scheut man sich auch nicht, das Gaspedal durchzutreten und ab und an fast schon in Hardcore-Gefilde abzudriften.

Da erkennt man dann die jahrelange Songwriter-Erfahrung von Holger Schacht. So geht das. Solider, klassischer Rockabilly!

CD Mad Butcher madbutcher. Ob man sich und uns damit einen Gefallen getan hat, bleibt abzuwarten. Gut, das Ganze ist ein Best Of-Album, was so viel bedeutet, dass man die Songs eigentlich eh schon alle kennt.

Ist das kitschig? Tja, das ist wohl der Fluch, der auf Bands lastet, die sich selbst die Messlatte so hoch gelegt haben.

Ein echtes Unikat. Wenn das kein Grund zum Feiern ist. Ein essentieller Release. Ob das wohl Absicht war? Neo-Folk oder LoFi-Pop dieser Art ist letztendlich nicht wirklich mein Fall und auch der auch auf den zweiten Blick etwas jaulige Gesang macht es nicht unbedingt besser, wenn ich mir auch dessen bewusst bin, dass diese sperrige, unfertige Machart schon auch so gedacht ist und hier sicher keine Dilettanten am Werk sind.

Da bin ich wirklich auf das aktuelle Album gespannt. Sie beherrschen den Rock, gestalten den Sound mit treibendem Beat immer sehr dynamisch und streuen hier und da auch mal coole Orgelsounds ein.

Runde Sache! Ich werde hier jetzt keine Majorlabel-Diskussion anfangen, behalte mir aber vor, die Platte nicht zu bewerten.

Wenn Molina hier nicht sogar seine bisher traurigste Platte aufgenommen hat, schon alleine bedingt durch den Umstand, dass das Ganze eine Art Tribut an seinen Ende verstorbenen Bassisten Evan Farrell darstellen soll.

So wurden in den letzten Monaten diverse alte Aufnahmen wieder aufgelegt, und siehe da, jetzt gibt es auch noch eine neue Platte.

A special collection with bands not only from the poppunk scene! LOs twanG! Drei weitere gab es bisher nur auf Vinyl und sogar ein Vocal-Track ist mit dabei.

Insgesamt 80 Minuten Surf Musik vom feinsten. This debut album offers a varied collection of mid-tempo songs and faster ass-kick tunes.

A must have! Was das anbelangt, bin ich ganz optimistisch. Wahnsinn, was dieses Duo an Druck entwickelt. Nachdem M. Diesmal mit einer Discoplatte.

Es gibt vier Songs plus einen Hidden Track in Italienisch, der aber gerade deshalb besser funktioniert als der Rest. Warum nicht mehr Mut und alles in der Muttersprache singen?

Tragischerweise verstarb kurz darauf Konrad Kittner, so dass an eine Reunion definitiv nicht mehr zu denken ist. Mehr geht nun wirklich nicht.

Gut, dass es dokumentiert ist, sowas glaubt einem sonst keiner! Borda, einer psychiatrischen Anstalt in Buenos Aires.

Dennoch ist der Film nicht umsonst als Meisterwerk des lateinamerikanischen Films beschrieben worden. The Party. Besucher, Helfer und Macher kommen zu Wort und werden im Festivalalltag begleitet.

Alles richtig gemacht, Jungs, weiter so! Der zwischen D. Ultrageil, wie hier die Achtziger wieder aufleben. Da bekommt man sofort Lust, die alte Kutte aus dem Schrank zu holen und den alten Zeiten Tribut zu zollen.

Gekleidet in ein Soundgewand, welches zwar modern, aber irgendwie dann doch wieder retro ist, bleibt zu diesem Album nur eins zu sagen: Killer!

Das Alleinstellungsmerkmal sind bei den drei Hamburgern nicht einmal irgendwelche High-end-Sperenzien sic!

Das macht Sinn. Wer also Echtes, Frisches in deutscher Sprache sucht, darf hier beide Ohren riskieren.

Und das ist verdammt gut so! Na ja, auch wenn die Sache einen gewissen Charme besitzt, muss ich sagen, dass mir die sechs Songs doch ein bisschen zu wenig bieten.

Kann man testen, muss man aber nicht unbedingt. CD Drag City dragcity. Herrlich dreckiger 70s-Stromgitarren-Rock wird hier bis zur Ekstase zelebriert und nicht nur auf diesem Album rocken sie wie Schwein, bei ihren Konzerten musizieren die drei auch mal ganze Locations kurz und klein.

Zieht sie euch rein! Kleine Kinder sitzen auf einem Kissen und lesen und singen Suren aus dem Koran. Wenn das mal nicht ein erster Schritt ist.

Meine Sommerplatte ! Melancholie und Relaxen kann so dicht beieinander liegen. Rauher und reifer denn je! Genf Stuttgart Wiesbaden Hamburg Berlin Dortmund Leipzig Wien Vielleicht nicht essentiell, dennoch wirklich sehr gut.

Berlin - SO36 Releases aus dem Hause Mad Butcher sollten textlich aber kaum Fragen offen lassen. Manch einer sagt, dass es offensichtlich eine Verbindung zwischen Michigan und Florida geben muss.

Angesichts einer solchen Platte bin ich gewillt, das zu glauben. Gute Platte! Das hat er sich nun aber auch redlich verdient.

Wer eine solch lange musikalische Vita vorzuweisen hat, darf auch mal der Herr im Hause sein. Gut, die alten Punkrock-Attacken bleiben im Schrank.

Allerdings nur marginal. Im Gegenteil. Sowohl eben musikalisch als auch textlich. Damit liegt man gar nicht mal so falsch.

Der hat sich seine Sporen mehr als einmal verdient. Hinter jedem Break, nach jedem Wirbel wartet man darauf, dass es jetzt mal so richtig los geht.

Ein stimmiger Ansatz, aber etwas unausgereift. Ja, richtig gelesen! Um das hier abzuspielen, braucht ihr keinen CD-Player oder beschissenen iPod.

Nein, ihr braucht einen Kassettenrekorder! Dreckig ist hier ein gutes Stichwort. Das Resultat ist umwerfend! Generell wirkt das ganze Album ziemlich zusammenhanglos, hier finden zu viele Elemente zu keiner Einheit zusammen.

Vielmehr reduzieren O. Mehr davon! Eine Reunion? Nein, nur verlesen. Und trotz penetranter Dauerabnudelung bei diversen Radiosendern ist der Song ja wirklich ein augenzwinkerndes Modestatement eines alten Mods und Soul-Fans, der als DJ zwischen aktuellem Indiepop und obskuren Sixties-Singles hinter den Turntables und dem Mischpult zu Hause ist.

Is Skyscraper CD Matador matadorrecords. Das Quintett ist seit aktiv und produziert wirres, krankes Zeug.

Dagegen wirken die L. Crustpunks united, wenngleich die Tschechen hier den besseren Eindruck bei mir hinterlassen. So weit, so gut. Die Geschichtsstudentin im mir findet die Idee zwar, wie gesagt, recht cool, aber der Musikfan in mir ist von so viel Politik und Geschichte auf einem Album einfach erschlagen.

Das ist die Wahrheit. Dort haben sie nun eine wunderbare Gelegenheit, auch den Rest der Welt auf ihre Seite zu ziehen.

Das haben wir ein paar Alben lang durchexerziert und sind durch damit. Was nun tun Der trendige Indiemag-Leser von heute wird das Album eh auf dem iPod haben, und wenn der mich schon mal kann, dann erst recht der Rest.

Jake Bannon beweist also ein weiteres Mal Geschmackssicherheit, was die Auswahl seines Labelnachwuchses betrifft. Der vorliegende Release zum Geburtstag ist aber eine ganz spezielle Angelegenheit: Die 19 Songs sind zwar alle neu, wurden aber unter Aufsicht von Produzent Earle Mankey von zwei verschiedenen Line-Ups eingespielt.

Es scheint fast so. Der ist trotz Punk-Vergangenheit des Frontmanns eine eher klassische Angelegenheit, hat nichts mit modischem Horror-Punkabilly am Hut und ist dennoch keine Retro-Veranstaltung.

Irgendwelche Hintergrundinfos? Deshalb: Geheimtip! Sonst aber keiner. Frick V. Jahren so einige Bands kommen und gehen sehen.

Oder wie, oder was? Joachim Hiller V. Um genau zu sein, ist es ein Stadt-Sampler, da alle Combos aus Perth stammen.

Bernd Fischer V. Diese Frage beantwortet der neue Eastblok-Sampler, der wie schon oft zuvor den Blick auf eine Musikrichtung wirft, die hier in Deutschland meist noch unbekannt ist: Polnischen Reggae und Dub.

Es lohnt sich. Hauptsache, dem rechten Mob eins auf die Fresse. Jahrhunderts sind. Mit einem fetten Booklet versehen, wird aus dieser beeindrucken Zusammenstellung mit viel Swing, Ragtime, Jazz und Jive schon fast ein kleines Buch.

Andererseits sind hier aber auch Bands mit an Bord, von deren Mitgliedern man zum Teil sagen kann, dass sie gerade mal mit Messer und Gabel essen konnten.

Vielleicht auch eine Chance, die alten Pfade endlich zu verlassen?! Dieses Jahr leider mehr Emo als alles andere.

Guter Mix, wie immer! In vielerlei Hinsicht beides hoffnungsvolle Bands, nach denen man in Zukunft Ausschau halten sollte.

Vielleicht macht Tex Morton als neuer Gitarrist doch das fehlende letzte Quentchen aus. Geboten wird kraftvoller Postcore mit Screamo-Anleihen und dem einen oder anderen Blinzeln in Richtung wuchtiger Metalcore.

Und wieder lautet das Urteil: Mission accomplished! So, letzter Akkord der Platte, letzter Buchstabe meiner Rezension.

Disques pafdisques. Insgesamt nichts Neues also, aber trotzdem gut. Erster Eindruck? Anyway, ein Anfang ist gemacht und Steigerungspotenzial definitiv vorhanden.

Auch wenn die Franzosen in allen Punkten von Sound bis Songwriting auf Alte Schule und Untergrund machen, will sich bei mir hier keine rechte Begeisterung einstellen.

Keine Katastrophe, aber ohne Alleinstellungsmerkmal. Tolle Band, tolle Platte. Schon immer verstand es die Band, wie auch nun in neuer Besetzung, Lieder aufzubauen und langsam in sich zu verschachteln.

Kein Ausfall, nur Hits! Chando aus Spanien. Sechs Songs, sechs absolute Hits. Well done! Das ist wie bei Pizza.

Die Platte rockt! Und das sowas von arschgeburtengeil! Interessiert keinen? Ihr denkt, peinlicher kann es nicht mehr kommen? Leitmotive tauchen immer wieder auf.

Melodiefetzen in der Ferne. Sie spielen so lange sie wollen und sie spielen alles live. Wo und wann auch immer. Keine Nachbearbeitung.

Kein vorgegebenes Konzept. Keine Kompromisse. Die absolute musikalische Freiheit. Keine Richtung. Keine Vorgaben. Ein netter und bunter Gemischtwarenladen der modernen Elektrotechnik ist dabei herausgekommen.

Als wenn das nicht schon eine ganze Menge Verantwortung und Arbeit ist? Das kennen die Leute und ein paar Sachen werden wir davon schon irgendwie verkaufen.

Wie welcher Klang erzeugt oder bearbeitet wurde, ist nicht mehr nachvollziehbar. Verschwommen ist auch ein gutes Stichwort, um die Grundstimmung dieses Albums einzufangen.

Dabei wird vollkommen auf Rhythmusspuren verzichtet. Gleichzeitig hat sich Hr. Hier tobt im wahrsten Sinne das Leben. Die eigentlich sich gegeneinander abgrenzenden Musikarten werden hier konsequent analysiert, zusammengesetzt und vollkommen gleichberechtigt und unvoreingenommen auf eine neue Stufe erhoben.

Zehn Songs wobei der Bonussong nur mittels Aufstehen und Nadel platzieren zu erreichen ist machen vor allem Lust auf ein weiteres Konzert mit der Band.

Und angesichts der Unmengen an Nebenreleases und Seitenprojekten, die abseits der Albenreleases etwa auf dem eigenen Label erschienen, hat man von einer Kujonierumg der Band auch nichts mitbekommen.

Mit Sommersonne verbindet der eine oder andere wahrscheinlich eher California-Melodycore, ich bevorzuge im Moment die englische Variante.

Eine wirklich ordentliche Pop-Punk-Scheibe! Es ist der Soundtrack zu der gleichnamigen D. So nah am Original wie dieses Duo war bisher kaum einer.

H erinnern. Sehr seltsam wirken auch die Coverfotos: Auf dem Frontcover reitet eine Schau- fensterpuppe ohne Arme auf einem aus Pappmaschee und Schrottteilen gebauten Flugsaurier und auf dem Backcover sitzt eine winkende Schaufensterpuppe in einem rostigen Schaukelstuhl auf einem Schrottplatz.

Was hat dies zu bedeuten? Will sie uns warnen oder soll sie anlocken? Unterhaltung besteunterhaltung. Ein wenig wirkt das Album wie ein Soundtrack, mit ein bisschen Tarantino-Feeling und immer wieder gut laufenden Orgel- und Gitarreneinlagen.

Die schnellen, teilweise zu opulenten Soundwalls anwachsenden Arrangements bewegen sich irgendwo zwischen progressiv-psychedelischer Surfmusik und psychedelischem Rock mit Tendenz zum Bombastischen.

Ein Kracheralbum, gut durchkomponiert und zusammengestellt. Party, sagst du. Das wird echt mehr als! Ein Pflichttermin, da muss man hin Mittlerweile live als auch auf Platte durch einen Marek.

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