ASTÉRIX LE GAULOIS & LES GOTHS IN DÉCINES-CHARPIEU

Today, Claire Fontaine and The Grandma are travelling to Lyon to see the Northern Star, who has an important match near this beautiful city. They have decided to travel by train to enjoy the views. It is an interesting trip that crosses Catalonia, Occitania and Auvergne-Rhône-Alpes. During the trip, they have been reading a new adventure of the most popular gaulois, Astérix the Gaul, an amazing adventure with the Goths.

Astérix and the Goths, in French Astérix et les Goths, is a French comic story, written by René Goscinny and illustrated by Albert Uderzo. 

It is the third story in the Astérix comic book series, and was originally published by Dargaud as a serial for Pilote magazine in 1962, before being later released as a comic album in 1963.

The story focuses on Astérix and Obélix travelling into the lands of the Goths in Germania in order to rescue their druid from his kidnappers, who seek his power to conquer the Gauls and the Romans.

Following its publication, Uderzo regretted the Germanophobic tone of the story, which led to him and Goscinny changing how German characters appeared in the series in later stories. While several translations were made, including an English version in 1974, one translation for West Germany later drew criticism from the creators for including political propaganda and had to be reprinted as a result.

Astérix and Obélix travel with their druid Getafix, as he heads from the Gaulish village in Armorica to attend the annual druids' conference in the Forest of the Carnutes. During their journey, the pair meet with Getafix's British friend Valueaddedtax, a fellow druid, before encountering a Roman patrol who warn them that a band of Goths have recently crossed the border into Gaul. Whilst Astérix and Obélix are forced to wait outside the forest, as the conference does not allow non-druids to attend, Getafix wins first prize in a contest regarding druidic inventions by impressing the others with his magic potion that gives superhuman strength.

As he leaves the conference to reunite with his friends, Getafix is kidnapped by the Goths, led by Choleric, who had been spying on the druids with the intention of finding a powerful druid amongst them who could help the Goths conquer both Gaul and Rome. When Astérix and Obélix learn Getafix is missing, they join Valueaddedtax to search around where he was heading, and discover a Visigoth helmet. Realizing his predicament, the pair set off in pursuit, only to encounter a Roman patrol in the process who mistakenly believe they are Goths. To avoid capture, the Gauls knock out two Roman soldiers and steal their uniforms, which soon sows confusion amongst the Romans, all while failing to stop the real Goths from escaping.

Forced to cross the border between Gaul and Germania, the pair knock out a pair of Goths and steal their clothing to disguise themselves once again. Tracking down Getafix to a Gothic garrison, the pair accidentally get imprisoned after angering the garrison commander, but find themselves thrown into a cell with a Goth named Rhetoric -a translator who was helping the Goth's chief, Metric, convince Getafix to use his powers for him, but had to falsify his translations when Getafix refused in Gaulish (despite being able to speak in Gothic). After breaking out of the garrison, the pair discover Rhetoric speaks Gaulish and force him to lead them to their druid.

After allowing themselves to be captured, the pair are imprisoned with Getafix, who in turn exposes Rhetoric for lying to Metric, leading the translator to be thrown in with them. Discussing their situation, Getafix reveals what the Goths are planning to do, and decides they must prevent a major war breaking out by forcing the Goths to fight amongst themselves. After enduring attempts to torture them, the Gauls trick Rhetoric and Metric into fighting each other for leading as chief, giving them magic potion to do so, and then trick other Goths that they should be chief. 

The resulting chaos this causes prompts the Goths to abandon their plans of invasion and creates a civil war amongst them. Satisfied with this, Astérix and his friends return home to their village, where everyone delights in their safe return and host a banquet in celebration.

Key Lessons From Astérix and the Goths

-Cultural Differences. One of the key lessons in Astérix and the Goths is the exploration of cultural differences and the importance of embracing diversity. The book humorously portrays the contrasting lifestyles and customs of the Gauls and the Goths, highlighting the need for understanding and acceptance between different communities.

 

-Courage and Determination. Another key lesson from the book is the significance of courage and determination in overcoming challenges. Astérix, Obélix, and their fellow Gauls exhibit unwavering determination in their quest to rescue their bard, Cacofonix, showcasing the importance of perseverance in the face of adversity.

 

-Unity and Teamwork. Astérix and the Goths emphasizes the power of unity and teamwork. Through their collective efforts, the Gauls are able to thwart the Goths' invasion and save their village. The book teaches the reader that working together can lead to greater accomplishments than individual efforts.

 

-Friendship and Loyalty. Friendship and loyalty are recurring themes in Asterix and the Goths. Astérix, Obélix, and their friends demonstrate unwavering loyalty towards each other, constantly supporting and helping one another. This highlights the significance of strong bonds in overcoming challenges and achieving common goals.

 

-Importance of Education. The book also underscores the value of education and learning. The Goths, initially portrayed as ignorant and uneducated, are shown to appreciate the Gauls' advanced knowledge and educational system. This encourages readers to appreciate the benefits of education and its impact on personal growth and development.

Download Astérix and the Goths by R. Goscinny & A. Uderzo

 Nothing they'll all be in the same boat. 
Being more or less equal. 
They'll go on fighting each other for centuries... 
and they won't stop to think about invading their neighbours.

Panoramix

VLADIMIR VOINOVICH, THE FIRST SOVIET COMIC WRITER

Today, The Grandma has been reading comics, one of her favourite hobbies. She has chosen The Life and Extraordinary Adventures of Private Ivan Chonkin, written by Vladimir Voinovich, the Tajik author who was born on a day like today in 1932.

Vladimir Nikolayevich Voinovich, in Russian Влади́мир Никола́евич Войно́вич, (26 September 1932-27 July 2018) was a Russian writer and former Soviet dissident, and the first genuine comic writer produced by the Soviet system.

Among his most well-known works are the satirical epic The Life and Extraordinary Adventures of Private Ivan Chonkin and the dystopian Moscow 2042. 

He was forced into exile and stripped of his citizenship by Soviet authorities in 1980 but later rehabilitated and moved back to Moscow in 1990. After the fall of the Soviet Union, he continued to be an outspoken critic of Russian politics under the rule of Vladimir Putin.

Voinovich was born in Stalinabad (now Dushanbe), Tajik SSR, Soviet Union. According to himself, his father was of Serbian descent and a translator of Serbian literature, and his mother was of Jewish descent.

Vladimir Voinovich claimed that his father belonged to the Serbian Vojnović noble family, although this is solely based on his surname and the book by the Yugoslavian writer Vidak Vujnovic Vojinovici i Vujinovici od srednjeg veka do danas (1985) which he received as a gift from the author during his stay in Germany.

In 1936 Voinovich's father was arrested on the allegation of anti-Soviet agitation and spent five years in labor camps.

Voinovich began his studies in Moscow and tried to enter the Maxim Gorky Literature Institute. After a failed attempt he entered the Moscow Krupskaya Pedagogical Institute, the faculty of history. According to his autobiography, he spent some time in Kazakhstan, seeking inspiration, and on his return to Moscow started working on his first novel.

His earliest published books were We Live Here and I Want To Be Honest. In 1969 he published the first part of The Life and Extraordinary Adventures of Private Ivan Chonkin, a satirical novel about a Russian soldier during World War II. A second part was published in 1971. At the outset of the Brezhnev stagnation period, Voinovich's writings stopped being published in the USSR, but continued publishing in samizdat, hand-written copies and in the West. 

In 1974, the authorities began a systematic harassment of Voinovich due to his writing and his political attitude. Voinovich was excluded from the Soviet Writers' Union the same year. According to Voinovich, in 1975 an attempt to poison him was made by the KGB.

His telephone line was cut off in 1976. He and his family were forced to emigrate in 1980, being stripped of his citizenship. He settled in Munich, West Germany after being invited by the Academy of Fine Arts in Munich. For a while he worked for Radio Liberty.

Voinovich helped publish Vasily Grossman's famous novel Life and Fate by smuggling photo films secretly taken by Andrei Sakharov. 

In 1987, he published the second of his arguably most well-known works, Moscow 2042. Mikhail Gorbachev restored his Soviet citizenship in 1990 and he subsequently moved back to Russia.

His literary agent was American attorney Leonard W. Schroeter.

Voinovich continued to voice his political convictions also after the fall of the Soviet Union.

The first and second parts of his epic magnum opus The Life and Extraordinary Adventures of Private Ivan Chonkin (Жизнь и необычайные приключения солдата Ивана Чонкина) are set in the Red Army during World War II, satirically exposing the daily absurdities of the totalitarian regime. Chonkin is now a widely known figure in Russian popular culture. The book was also made into a film by the Czech director Jiří Menzel. Many have pointed out the similarities between the story about Chonkin and The Good Soldier Švejk.

The third part of the novel was published in 2007. Not as well known so far as the previous two parts, it portrays the post-War life of the characters until the present, including Chonkin's involuntary emigration to the USA. Much attention is also paid to the figures of Lavrentiy Beria and Joseph Stalin, the latter being mockingly depicted as a son of Nikolai Przhevalsky and a Przewalski's horse. According to the author, the writing of the whole novel took him almost fifty years. The novel has been described as a Soviet Catch-22.

In 1986 he wrote a dystopian novel, Moscow 2042 (published in 1987). In this novel, Voinovich portrayed a Russia ruled by the Communist Party of State Security combining the KGB, the Russian Orthodox Church and the Communist Party. This party is led by a KGB general Bukashev (the name means the bug) who meets the main character of the novel in Germany. Voinovich uses the motif of Coprophagia to criticize the failure of communist food policies. A Slavophile, Sim Karnavalov (apparently inspired by Aleksandr Solzhenitsyn), eventually overthrows the Party and enters Moscow on a white horse. The similarities between the plot of the book and the actual political developments in Russia following the fall of the Soviet Union have been noted by several observers.

Voinovich's other novels have also won acclaim. The Fur Hat is a satire alluding to Gogol's Overcoat. His Monumental Propaganda is a stinging critique of post-Communist Russia, a story that shows the author's opinion that Russians haven't changed much since the days of Joseph Stalin. Monumental Propaganda has been described as an illuminating comment on the persistence of false idols and historical delusions.

His darkly humorous memoir The Ivankiad tells the true story of his attempt to get an upgraded apartment in the bureaucratic clog of the Soviet system.

In 2002 he published a controversial book of memoirs A Portrait Against the Background of a Myth, highly critical of Aleksandr Solzhenitsyn. Voinovich accused him of creating a cult around himself, of poor writing skills and his alleged antisemitism, among other things. The book received a mixed reaction. Yuri Semenov supported the point regarding Solzhenitsyn's continuous degradation as a writer, but also criticized Voinovich for simultaneously glorifying himself and his books.

Liza Novikova of Kommersant compared the book to performance art, suggesting that the author only helps creating the very same myth by trying to prove that Solzhenitsyn doesn't match the rank of a great writer. The book was widely seen as a reaction to Solzhenitsyn's two-volume historical work Two Hundred Years Together that was published in 2001-2002 and dedicated to the history of Jews in Russia and frequently regarded as antisemitic. Voinovich, however, said that he had started the work on his book before Two Hundred Years Together was even published and that he didn't have the patience to read it to the end.

More information: CATO Institute

 

The freedoms we have in Russia are just leftovers. 
Freedom of travel, which was completely nonexistent  

in the Soviet Union; 

artistic freedom -so far, that's doing fine too, 

virtually everything can be published. 
Although with some books that are too edgy politically, 
or are especially undesirable, 

the authors are already running into difficulties. 
Theaters that produce provocative plays, 
or clubs that host undesirable events often find themselves 

on the receiving end of fire safety inspections and fines.

Vladimir Voinovich

THE POET & THE PAINTER FAR BEHIND HIS RIGHTFUL TIME

Far between sundown's finish an' midnight's broken toll
We ducked inside the doorway as thunder went crashing
As majestic bells of bolts struck shadows in the sounds
Seeming to be the chimes of freedom flashing
Flashing for the warriors whose strength is not to fight
Flashing for the refugees on the unarmed road of flight
An' for each an' ev'ry underdog soldier in the night
An' we gazed upon the chimes of freedom flashing.

In the city's melted furnace, unexpectedly we watched
With faces hidden as the walls were tightening
As the echo of the wedding bells before the blowin' rain
Dissolved into the bells of the lightning
Tolling for the rebel, tolling for the rake
Tolling for the luckless, the abandoned an' forsaked
Tolling for the outcast, burnin' constantly at stake
An’ we gazed upon the chimes of freedom flashing.

Through the mad mystic hammering of the wild ripping hail
The sky cracked its poems in naked wonder
That the clinging of the church bells blew far into the breeze
Leaving only bells of lightning and its thunder
Striking for the gentle, striking for the kind
Striking for the guardians and protectors of the mind
An' the poet an' the painter far behind his rightful time
An' we gazed upon the chimes of freedom flashing.

In the wild cathedral evening the rain unraveled tales
For the disrobed faceless forms of no position
Tolling for the tongues with no place to bring their thoughts
All down in taken-for granted situations
Tolling for the deaf an' blind, tolling for the mute
For the mistreated, mateless mother, the mistitled prostitute
For the misdemeanor outlaw, chased an' cheated by pursuit
An' we gazed upon the chimes of freedom flashing.

Even though a cloud's white curtain in a far-off corner flared
An' the hypnotic splattered mist was slowly lifting
Electric light still struck like arrows, fired but for the ones
Condemned to drift or else be kept from drifting
Tolling for the searching ones on their speechless, seeking trail
For the lonesome-hearted lovers with too personal a tale
An' for each unharmful, gentle soul misplaced inside a jail
An' we gazed upon the chimes of freedom flashing.

Starry-eyed an' laughing as I recall when we were caught
Trapped by no track of hours for they hang suspended
As we listened one last time an' we watched with one last look
Spellbound an' swallowed 'til the tolling ended
Tolling for the aching whose wounds cannot be nursed
For the countless confused, accused, misused, strung-out ones an' worse
An' for every hung-up person in the whole wide universe
An' we gazed upon the chimes of freedom flashing.

The best music is essentially there 
to provide you something to face the world with.

Bruce Springsteen

MERCÈ RODOREDA & EL PREGÓ DE LES FESTES DE LA MERCÈ

Today is a special day in Barcelona. The city celebrates one of its three patron saints, La Mercè.

The city is not having its best moments and we, Barcelonans, miss the cultured, creative, innovative, cheerful, full of life, clean, and safe Barcelona, the city that was proud of being the Catalan capital. 

The city is still under the shadows of the dark power. That is why today, The Grandma has remembered one of the best readings ever made in the city, the one made in 1980 by Mercè Rodoreda, the most universal Catalan writer.

 

Barcelonines, barcelonins

Si em trobo aquí, en aquest històric Saló de Cent, per pronunciar el pregó de les Festes de la Mercè, és perquè el senyor batlle i tot el seu consistori m'ho van demanar. I van demanar-m'ho amb tanta elegància, que hauria estat una gran descortesia per part meva no acceptar. De moment vaig creure que jo no era la persona més indicada, d'altres podrien sortir-se'n més airosament que jo; però, reflexionant, vaig pensar que potser sí. I per tres raons: pel fet de ser barcelonina, per dir-me Mercè i per dur Catalunya dintre meu.

Us puc assegurar que, durant anys, l'allunyament del meu país va aprofundir el meu amor per Barcelona, per la Barcelona catalana de la meva joventut. Amb els seus carrers, amb les seves places, amb la seva càrrega d'història, amb la seva bona gent. El meu barri de Sant Gervasi, tocant a la vila de Gràcia, amb el carrer Elisa, amb la plaça de la Bonanova, amb els Josepets i amb tants camps de flors. La Barcelona d'una determinada claror en una determinada tarda a la Plaça de Catalunya amb el cel ratllat per tropes i tropes d'estornells cridaners; amb una determinada claror a la falda verda del Tibidabo, Passeig de Gràcia amunt, en un acabament de dies amb una determinada claror d'un matí de març amb el sol entaforat a dintre d'una branca a dalt de tot d'una paret. Les petites torres del meu Sant Gervasi, polides i netes, amb els seus jardins assolellats, ventejats i florits.

Lluny del meu país no em feia mal l'enyorament. Em feia mal la tristesa pel destí tan dur dels catalans. Quan havíem aconseguit que la nostra identitat fos acceptada i reconeguda, ens ho van fer tot a miques, ens ho van prendre tot. Vam haver d'enterrar la il·lusió de ser simplement un poble que treballa i viu en català i per Catalunya.

Ha estat llarg el temps de ser tinguts com a ciutadans d'ínfima categoria, amb la nostra llengua prohibida i escarnida. Humiliats. Però enmig de l'enfonsament, no vam cedir. No podíem deixar-nos vèncer per l'adversitat. Ofegats, escampats, vam continuar pensant en el nostre país, treballant pel nostre país. Tant els de dintre com els de fora. Som catalans i jo diria que la tenacitat és la nostra divisa. I l'espera ens ha valgut un miracle. Jo crec en miracles, i el miracle ha començat: tenim un govern de patriotes, de gent profundament catalana i tenaç, amb unes arrels catalanes que ningú ni res no ha pogut arrencar. Tenim, tots, una tasca a emprendre, una tasca difícil i per això apassionant: ajudar. Tots hem desitjat en un moment o altre de la nostra vida una ciutat ideal, una pàtria ideal: la més alta i la més bella. Com diu patriòticament un dels nostres poetes: "Salut a la pàtria en segles de saba crescuda, salut a la Pàtria encara no nascuda com l'hem somniada els seus fills". Aquesta pàtria ideal nosaltres l'hem de fer! Tots els que vindran darrere de nosaltres, generació darrera generació, lligats tots pel mateix desig. De cara, avui, a una nova renaixença.

De vós, Mare de Déu de la Mercè, daurada i reposada a dintre de la vostra església amb l'Infant Jesús a la falda, jo n'havia tingut la imatge, de petita i de jove, en el meu dormitori, a dintre d'una vitrina, tota vestida de setí brodat d'or i de perles, de pedres tallades lluents de color de gra de magrana, coronada d'argent. Als vostres peus, agenollats un a cada banda, hi havia dos captius: un amb l'armilla morada i pantalons bombats verd fosc, l'altre amb pantalons bombats morats i armilla verd oliva. Tots dos amb camisa blanca, tots dos amb les mans encadenades, i els ulls alçats cap a Vós implorant la vostra protecció. Mare de Déu de la Mercè, feu que els catalans no hàgim de sentir-nos mai més captius, que la nostra aspiració tan justa i tan humana de néixer i de morir catalans ens sigui reconeguda per sempre de sempre. Depèn de vós i depèn de nosaltres, sobretot d'aquesta joventut treballadora i estudiosa, d'aquestes dones catalanes, valentes i fortes, conscients que una de les coses més nobles del món és pujar una família, que han ensenyat i ensenyen als seus fills a estimar Catalunya, sense estridències, quietament, eficaçment. Catalunya, "terra dels pins iguals, de l'alzinar planyent vessant amunt fins a carena viva", serà el que voldrem que sigui; la força de tantes voluntats pot abatre muralles. El temps no compta. Hem après a esperar. Hem de pensar que tots, cadascú en el seu lloc, som necessaris, som importants. Tan important és una pintura d’Antoni Tàpies o de Joan Miró o una escultura de Subirachs, com un càntir de Breda ben fet o un gerro de la Bisbal ben acabat; tan important és un artista com un obrer, un pescador com un pagès. Gent de totes les nostres comarques, unida per formar un sol poble, Catalunya ens necessita.

Voldria, en aquest dia tan assenyalat, comunicar la meva fe en la meva terra, en la força indestructible de la paciència dels catalans. En la Catalunya que "treballa, pensa, lluita i que creu, espera i ora". Tenim a la porta la Festa Major de la ciutat organitzada pel nostre batlle, pel nostre Ajuntament. Tot nostre. Voldria demanar als barcelonins que celebrin la Festa Major d'aquest any amb esperança, amb el cor content, amb banderes als balcons, amb cobles per places i carrers, amb tot l'esclat de les nostres flors a les Rambles, amb el mar ben blau en aquest mes de setembre dolç de raïms.

A totes les nostres autoritats, ara, per fi, ben legítimes, a totes les barcelonines i barcelonins, a totes les catalanes i catalans, vagi la meva salutació més cordial; i a la Santíssima Verge, en la seva advocació de la Mercè, la meva pregària per mi, per tots nosaltres, per la nostra ciutat i per la nostra pàtria.

Barcelonines, barcelonins, queden obertes les Festes de la Mercè de l'any 1980.

More information: Fundació Mercè Rodoreda

 La vida, perquè sigui vida, s'ha de viure a poc a poc...

Life, for it to be life, must be lived little by little...

Mercè Rodoreda

REMUS LUPIN & HOW TO CONJURE A PATRONUS CHARM

Today, The Grandma has had breakfast with Remus Lupin, an old friend and a half-blood wizard. They have been talking about effort, sacrifice, struggle and friendship, some of the most important things that a person must have got if he/she wants to be a good wizard.

 

Remus is considered the best Defence Against the Dark Arts teacher and he taught Harry Potter how to conjure a corporeal Patronus.

 

The Patronus Charm (Expecto Patronum) was the most famous and one of the most powerful defensive charms known to wizardkind. 

 

It was an immensely complicated and extremely difficult spell that channelled the caster's positive emotions into a powerful protection. When cast properly, it evoked a partially-tangible positive energy force known as a Patronus or spirit guardian.  

 

It was the primary protection against Dementors and Lethifolds, against which there were no other defences.

There were two types of Patronuses: the incorporeal variant, which took the form of a shapeless wave of mist, and the corporeal variant, which had a definite shape, taking on the form of the animal that the caster had the greatest affinity for. 

 

The incorporeal Patronus was weaker than its corporeal counterpart, but the corporeal Patronus was more advanced and difficult.

 

The goat is one of the oldest domesticated species of animal and closely related to sheep. A dom was the gallbladder of a goat, used in the wizarding game of Aingingein. It was a possible corporeal form of the Patronus Charm. Aberforth's Patronus took the form of a goat. 

More information: Harry Potter

 

Professor Remus John Lupin, also known as Moony, is a half-blood wizard and the only son of Lyall and Hope Lupin.

He was afflicted with lycanthropy during his childhood, as a result of Fenrir Greyback's revenge against Lyall.

He attended Hogwarts School of Witchcraft and Wizardry and was Sorted into Gryffindor House. During his school years he was one of the Marauders, best friends with Sirius Black, James Potter, and Peter Pettigrew. Together they created the Marauder's Map.

After Hogwarts, Remus and his friends joined the original Order of the Phoenix and fought in the First Wizarding War. However, Pettigrew betrayed James and Lily Potter to Lord Voldemort a week after he was made the couples' Secret Keeper. Thus Remus had lost all of his closest friends in various ways by the end of the First Wizarding War. The loss of his friends devastated him, though he and Sirius Black later rekindled their friendship.

Remus taught at Hogwarts School of Witchcraft and Wizardry as Professor of Defence Against the Dark Arts.

Remus was regarded by students to be the best Defence teacher they have had thus far. He was also a professor of Harry Potter whom he taught how to conjure a corporeal Patronus, but resigned after Severus Snape revealed to the public that Remus was a werewolf.

He fought against Death Eaters once more in the Second Wizarding War, during which he lost his friend Sirius.

Remus married fellow Order member Nymphadora Tonks and had a son, Edward Remus Lupin, of whom he named Harry the godfather.

Remus fought at the Battle of Hogwarts.

Remus briefly appeared again through the Resurrection Stone for Harry, along with James Potter, Lily Potter, and Sirius Black. After his death his son was raised by Andromeda Tonks and Harry Potter.

Remus was born to Lyall and Hope Lupin. His father worked at the Ministry of Magic and encountered the werewolf Fenrir Greyback, who was on trial for killing two children. Lyall was the only one at court to realise that Greyback was a werewolf, as Greyback pretended to be a Muggle tramp.

Outraged when Greyback was released, he voiced the opinion that Greyback deserved nothing but death. This opinion cost the Lupin family dearly, as Greyback decided to revenge himself upon Lyall by targeting his son. As the nearly five-year-old Remus slept peacefully in his bed, Greyback forced his way in through the window.

More information: Wizarding World I & II

Though Lyall was able to get there in time to drive Greyback off with powerful spells, he was unable to prevent him from completing his evil goal. Remus became infected with lycanthropy and he became a werewolf himself.

His parents took him to various healers and tried their best to make him a normal boy, but there was no cure for his condition. But Headmaster Albus Dumbledore made special accommodations allowing Remus to attend Hogwarts School of Witchcraft and Wizardry.

Remus attended Hogwarts and was Sorted into Gryffindor House. To secure his safety, as well as that of his peers, Remus would be brought to the Shrieking Shack once a month for his transformations in order to prevent him from attacking other students.

However, this isolation caused him to attack himself out of frustration. This, and the painful monthly transformations, made the villagers of Hogsmeade mistake his screams for that of violent ghosts.

Albus Dumbledore, wanting to keep the truth of these noises a secret, encouraged these rumours. Thus, the building was dubbed the Shrieking Shack, which held the reputation for being the most haunted building in Britain.

Remus became the very best of friends with fellow Gryffindors Sirius Black, James Potter, and Peter Pettigrew. He kept his status as a werewolf a secret from all of the students at Hogwarts, including Sirius, James, and Peter, his fellow Marauders and future Order members. He made up stories to explain his monthly disappearances, such as that his mother was ill and he needed to go home to visit her. He was terrified that they would desert him once they found out what he truly was.

However, Sirius, James, and Peter worked out the truth during their second year, and due to their acceptance of who Remus was, and their unusually strong friendship with him, they decided to learn how to become Animagi in order to keep Remus company during his transformations, as a werewolf is only a danger to humans.

By their fifth year, Sirius was able to become a dog, and James was able to become a stag, animals large enough to keep the wolfish Remus in check. Peter, meanwhile, was able to become a rat.

Once a month during the full moon, Sirius, James and Peter would sneak out of the castle under James' Invisibility Cloak, transform, get into the Whomping Willow, walk down the tunnel and meet up with Remus in the Shrieking Shack. Under their influence, Lupin became tame; his body was still a wolf's, but his mind became less so when he was among them.

More information: Wizarding World I & II

The four of them soon left the Whomping Willow and would roam among the school grounds and Hogsmeade by night. Eventually, this group of friends came to call themselves the Marauders, and Remus' friends nicknamed him Moony because of his transformations during every full moon.

Remus was a good student, but also a prankster. He and Peter Pettigrew would sometimes join Sirius and James in detention for mischief-making, though they did not get into as much trouble as their other friends.

It's unlikely that any other Hogwarts students ever found out as much about the Hogwarts grounds and Hogsmeade as they did and Sirius, James, Remus and Peter used their knowledge of it to write the Marauder's Map and signed it with their nicknames. Unfortunately, it somehow ended up being confiscated by Argus Filch, but was eventually recovered by Fred Weasley and George Weasley.

Albus Dumbledore tracked Lupin down, and offered him the post of Defence Against the Dark Arts Professor at Hogwarts, replacing the permanently amnesiac Gilderoy Lockhart.

Lupin only accepted Dumbledore's proposal when he explained there would be a limitless supply of Wolfsbane Potion, courtesy of Severus Snape, now the Potions Master at the school.

Remus gave Harry private lessons in producing a Patronus as a means to repel Dementors, when it became apparent that he was especially vulnerable to them because, according to Lupin, Harry had true horrors in his past that were especially appealing to the Dementors.

When Lord Voldemort returned, Remus rejoined the Order of the Phoenix.

He was a member of the Advance Guard that escorted Harry Potter from 4 Privet Drive to 12 Grimmauld Place. Lupin lived for some time at Sirius' house, but he was not around very often as he was usually sent on many missions for the Order.

Remus Lupin and Nymphadora Tonks married in the north of Scotland with only witnesses from the local tavern.

More information: Wizarding World

Remus was described as having a pale face with premature lines, and light brown hair that, as he progressed through his thirties, became more and more grey. The lines on his face and his greying hair were the results of the great deal of stress his body underwent with each full moon. His clothing is consistently shabby and patched, presumably because of his inability to find a decently-paid job due to his status as a werewolf.

Remus was compassionate, intelligent, tolerant, levelheaded, peaceful, selfless, brave, kind, and good-natured. Despite having suffered a great deal of prejudice in his life due to his lycanthropy, he managed to retain an ability to see the good in almost everybody and was extremely forgiving. Remus also had an excellent sense of humour.

True to being a Gryffindor, Lupin was quite courageous. Nonetheless, he suffered deep-seated feelings of shame and fear of rejection which, in certain situations, led him to consider backing down. His greatest weakness was that, in his desperate longing to belong and be liked, he was neither as brave or honest as he should have been at times. His Boggart was a full moon, reflecting on his terror of transforming into his werewolf form near humans. It also showed his immense hatred and shame over his condition.

The name Remus comes from the brothers Romulus and Remus, the legendary brothers who fought to the death over the control of Rome, having been raised by a mother wolf whose cubs had died. Because of this, some fans speculated that Remus had a brother, but Romulus is merely the code name used by Lupin for Potterwatch. Remus' intense rivalry with Romulus indicates Lupin's ongoing struggle with his other side, the werewolf.

Lupin is derived from lupinus, Latin for wolf-like; lupus, or wolf, being the basic word. Canis l​upus is the scientific name for the wolf, to be described as lupine means to resemble a wolf.

Lupin is also the name of an plant with edible seeds. The surname may also be derived from the character of Arsène Lupin, a fictional gentleman thief and master of disguise, who was created by French writer Maurice Leblanc in 1905. In Leblanc's novels, Arsène Lupin is often a force for good, while operating on the wrong side of the law. Leblanc's Lupin was said to have later inspired the character of the Lone Wolf, a jewel thief-turned-private detective in a series of novels written by Louis Joseph Vance, beginning in 1914.

More information: Screen Rant

 

 

Fear makes people do terrible things.

Remus Lupin

PRIMIDI VENDÉMIAIRE & FRENCH REPUBLICAN CALENDAR

Today, The Grandma has been reading about Vendémiaire, the first month of the French Republican calendar that was established on a day like today in 1792.

What do Provence, Occitania and the Catalan Countries have in common? They are Mediterranean lands and as such, wine is an inseparable part of their culture and gastronomy.

We are in the months of harvest and thanks to the thousands of farmers who work the grapes and cultivate them, we can enjoy excellent wines throughout the year that remind us of our history and our bond with the land where we live.

Vendémiaire was the first month in the French Republican calendar. The month was named after the Occitan word vendemiaire, grape harvester.

Vendémiaire was the first month of the autumn quarter (mois d'automne). It started on the day of the autumnal equinox, which fell between 22 September and 24 September, inclusive. It thus ended between 21 October and 23 October, and was the season of the vintage in the wine districts of northern France. It follows the Sansculottides of the past year and precedes Brumaire.

Like all FRC months Vendémiaire lasted 30 days and was divided into three 10-day weeks, called décades (decades). In accordance with the suggestion of Fabre d'Églantine, each of the days of the republican year was consecrated to some useful object. Thus every day in Vendémiaire had the name of an agricultural or ornamental plant, except the 5th (Quintidi) and 10th day (Decadi) of every decade, which had the name of a domestic animal (Quintidi) or an agricultural tool (Decadi).

The harvesting of wine grapes (vintage) is one of the most crucial steps in the process of wine-making. 

The time of harvest is determined primarily by the ripeness of the grape as measured by sugar, acid and tannin levels with winemakers basing their decision to pick based on the style of wine they wish to produce. The weather can also shape the timetable of harvesting with the threat of heat, rain, hail, and frost which can damage the grapes and bring about various vine diseases. In addition to determining the time of the harvest, winemakers and vineyard owners must also determine whether to use hand pickers or mechanical harvesters.

The harvest season typically falls between August & October in the Northern Hemisphere and February & April in the Southern Hemisphere. 

With various climate conditions, grape varieties, and wine styles the harvesting of grapes could happen in every month of the calendar year somewhere in the world.

The majority of the world's wine producing regions lie between the temperate latitudes of 30° and 50° in both hemispheres with regions lying closer to the equator typically harvesting earlier due to their warmer climates. In the Northern Hemisphere, vineyards in Cyprus begin harvesting as early as July.

In California some sparkling wine grapes are harvested in late July to early August at a slightly unripe point to help maintain acidity in the wine. The majority of Northern Hemisphere harvesting occurs in late August to early October with some late harvest wine grapes being harvested throughout the autumn.

In Germany, Austria, the United States and Canada, ice wine grapes can be harvested as late as January. In the Southern Hemisphere harvest can begin as early as January 1 in some of the warmer climate sites in New South Wales, Australia.  

The majority of Southern Hemisphere harvesting occurs between the months of February and April with some cool climate sites like Central Otago, New Zealand picking late harvest wine grapes in June.

The question of using mechanical harvesting versus traditional hand picking is a source of contention in the wine industry. Mechanical harvesting of grapes has been one of the major changes in many vineyards in the last third of a century. First introduced commercially in the 1960s, it has been adopted in different wine regions for various economic, labor and winemaking reasons.

In Australia, the reduced work force in the wine industry has made the use of mechanized labour almost a necessity.

A mechanical grape harvester works by beating the vine with rubber sticks to get the vine to drop its fruit onto a conveyor belt that brings the fruit to a holding bin. As technology improves mechanical harvesters have become more sophisticated in distinguishing grape clusters from mud, leaves and other particles. Despite the improvement many harvesters still have difficulties in distinguishing between ripe, healthy grapes and unripe or rotted bunches which must then be sorted out at the winemaking facility. Another disadvantage is the potential of damaging the grape skins which can cause maceration and colouring of the juice that is undesirable in the production of white and sparkling wine. The broken skins also bring the risk of oxidation and a loss of some of the aromatic qualities in the wine.

One of the benefits of mechanical harvesting is the relatively low cost. A harvester is able to run 24 hours a day and pick 80-200 tons of grapes, compared to the 1-2 tons that an experienced human picker could harvest. In hot climates, where picking quickly or in the cool of night is a priority, mechanical harvesting can accomplish these goals very well.

Despite the costs, some wineries prefer the use of human workers to hand-pick grapes. The main advantage is the knowledge and discernment of the worker to pick only healthy bunches and the gentler handling of the grapes. The production of some dessert wine like Sauternes and Trockenbeerenauslese require that individual berries are picked from the botrytized bunches which can only be done by hand. In areas of steep terrain, like in the Mosel, it would be virtually impossible to run a mechanical harvester through the vineyard. 

In many wine regions, migrant workers are a sizable composition of the harvest time work force as well as local student and itinerant workers.

More information: France Today

Before the reward there must be labour. 
You plant before you harvest. 
You sow in tears before you reap joy.

Ralph Ransom

SAINT-ÉTIENNE, LA VILLE DU DESIGN ET DE LA CRÉATIVITÉ

Today, Joseph de Cath Lon, Claire Fontaine and The Grandma return to Basel and Barcelona, their cities. It has been a short but intense trip, and they have been able to see the Northern Star again, who shines with her own light over these Gallic lands. 

They haven't had enough time to visit Saint-Étienne, so during the return trip they are reading a little about this city that is known as the city of design. 

Saint-Étienne, in Franco-Provençal Sant-Etiève, also written St. Etienne, is a city and the prefecture of the Loire département, in eastern-central France, in the Massif Central, 60 km southwest of Lyon, in the Auvergne-Rhône-Alpes region.

Saint-Étienne is the thirteenth most populated commune in France and the second most populated commune in Auvergne-Rhône-Alpes. Its metropolis, Saint-Étienne Métropole, is the second most populous regional metropolis after Lyon. Its inhabitants are known as Stéphanois (masculine) and Stéphanoises (feminine).

Long known as the French city of the weapon, cycle and ribbon and a major coal mining centre, Saint-Étienne is currently engaged in a vast urban renewal program aimed at leading the transition from the industrial city inherited from the 19th century to the design capital of the 21st century. This approach was recognised with the entry of Saint-Étienne into the UNESCO Creative Cities network in 2010. The city is currently undergoing renewal, with the installation of the Châteaucreux business district, the Steel retail complex and the manufacturing creative district.

The city is known for its men football club AS Saint-Étienne, which has won the Ligue 1 title ten times.

Named after Saint Stephen, the city first appears in the historical record in the Middle Ages as Saint-Étienne de Furan (after the River Furan, a tributary of the Loire). In the 13th century, it was a small borough around the church dedicated to Saint Stephen. On the upper reaches of the Furan, near the Way of St. James, the Abbey of Valbenoîte had been founded by the Cistercians in 1222. In the late 15th century, it was a fortified village defended by walls built around the original nucleus.

From the 16th century, Saint-Étienne developed an arms manufacturing industry and became a market town. It was this which accounted for the town's importance, although it also became a centre for the manufacture of ribbons and passementerie starting in the 17th century.

Later, it became a mining centre of the Loire coal mining basin. The Hôtel de Ville (City Hall) was completed in 1830.

In the first half of the 19th century, it was only a chief town of an arrondissement in the département of the Loire, with a population of 33,064 in 1832. The concentration of industry prompted these numbers to rise rapidly to 110,000 by about 1880. It was this growing importance of Saint-Étienne that led to its being made seat of the prefecture and the departmental administration on 25 July 1855, when it became the chief town in the département and seat of the prefect, replacing Montbrison, which was reduced to the status of chief town of an arrondissement. Saint-Étienne absorbed the commune of Valbenoîte and several other neighbouring localities on 31 March 1855.

During the repression of January and February 1894, the police conducted raids targeting the anarchists living there, without much success.

Saint-Étienne became a popular stop for automobile travelers in the early 20th century.

In 1998, Saint-Étienne set up a design biennale, the largest of its kind in France. It lasts around two weeks. A landmark in the history of the importance ascribed to design in Saint-Étienne was the inauguration of La Cité du design on the site of the former arms factory in 2009.

The city also launched the Massenet Festivals, (the composer Jules Massenet hailed from the area) devoted mainly to perform Massenet's operas. In 2000, the city was named one of the French Towns and Lands of Art and History.

On 22 November 2010, it was nominated as City of Design as part of UNESCO's Creative Cities Network.

Saint-Étienne has four museums:

-The Musée d'Art Moderne has one of the largest collections of modern and contemporary art in France

-Musée de la Mine

-Musée d'Art et d'Industrie

-Musée du vieux Saint-Étienne

Saint-Étienne has 38 Monuments historiques, 6 buildings labeled Architecture contemporaine remarquable (Remarkable Contemporary Architecture), 2 sites classés (Classified sites) and 5 sites patrimoniaux remarquables (Remarkable heritage sites).

The city's football club AS Saint-Étienne has won the Ligue 1 title a joint-record ten times, achieving most of their success in the 1970s. The British indie-dance band Saint Etienne named themselves after the club. The city also has the women football club AS Saint-Étienne.

Saint-Étienne has many sports stadiums, the largest being Stade Geoffroy-Guichard used for football and Stade Henri-Lux for athletics. 

St. Étienne was the capital of the French bicycle industry. The bicycle wheel manufacturer Mavic is based in the city and frame manufacturers Motobécane and Vitus are also based here. The city often hosts a stage of the Tour de France.

Saint-Étienne resident Thierry Gueorgiou is a world champion in orienteering. The local rugby union team is CA Saint-Étienne Loire Sud Rugby.

More information: Saint-Étienne

We cannot both preach and administer

financial matters.

Saint Stephen