Today, The Grandma has continued her visit to the Terres de l'Ebre, enjoying one of the most spectacular places one can visit: the Parc Natural dels Ports de Tortosa-Beseit -a natural area of breathtaking beauty where wild flora and fauna coexist in perfect harmony.
Ports de Tortosa-Beseit,also known as Ports de Beseit, or simply as ElsPorts or Lo Port by locals, is a limestone mountain massif located at the north-eastern end of the Iberian System, a complex system of mountain ranges and massifs in the centre of the Iberian Peninsula. Its highest point is Mont Caro, 1,441m. Rivers such as the Matarranya and the Sènia have their source in these mountains.
At the 1350m high Tossal dels Tres Reis, where the borders of the ancient Kingdoms of Valencia, Catalonia and Aragon meet, there is a cairn marking the meeting point of the ancient three kingdoms of the Crown of Aragon.
It is mostly a limestone massif, with many steep cliffs, jagged peaks, deep valleys, shafts and caves. The area is mostly uninhabited except for small villages. These mountains were one of the last redoubts of the Maquis in the 1940s and 50s.
One of the largest colonies of griffon vultures in Europe, as well as Iberian Ibex, Roe Deer, Wild Boar, European badgers, common genets, greywagtails, among others, have their habitat in these lonely mountains.
Among the aquatic animals there are trout in some of the rivers and amphibians such as the Marbled newt in many of the ponds of the range.
The vegetation of the Ports is rich and varied. Besides the Mediterranean species, there are also species belonging to Alpine flora and colder temperate regions at high altitudes and in protected valleys.
The Ports Massif comprises several mountain ranges, like the Muntanyes de Benifassà, Serra de les Falconeres, Serra del Àguila, Serra de Rastell, Los Curullons, Moles de Raudorar, Serra de la Fortalesa, Serra de Caro, Serra de la Puca, Serra de Rafalgari, Serra de Paüls, Serra de les Deveres, Serra de l'Escaleta, Serra d'Encanader, Serra del Pedregal, Serra del Coc and Serra de l'Espina. The latter, located at its northern end, connects with the Catalan Pre-Coastal Range.
Some of the main peaks of the massif are: Mont Caro (1441 m), the highest point, Castell de l'Airosa, Tossal d'en Cervera, Mola del Boix, Mola del Boixet, el Castellar, la Portella del Pinell, Curullons, el Negrell, Punta de l'Àliga, Farrubio, Penyaflor, Mola de Catí, Tossal dels Tres Reis, Tossa Blanca, Roques de Benet, Penyagalera, Mola de Lli, Tossal de Tall Nou, Tossal de l'Espada, la Ballestera, Mola de la Paridera, Muntanyola, La Tossa, Mola Castellona, Tossal de Joan Gran, Tossal de la Forca, Tossal d'en Grillo, Muntanya de Santa Bàrbara, L'Espina and La Moleta d'Alfara.
There are two natural parks in the massif; there is no protected area on the Aragonese side:
-Parc Natural dels Ports on the Catalan side
-Parc Natural de la Tinença de Benifassà on the Valencian side
Today, The Grandma has received the wonderful visit of Joseph of Ca'th Lon,who has left his beloved Switzerland to spend a few weeks with her. A major eclipse is scheduled for August 12th, and Joseph and The Grandma are preparing for the occasion.
As they waited for that day to arrive, while having breakfast and listening only to the sound of waves crashing against the rocks, the two friends have been talking about Eileen Collins, the American astronaut who became the first female space shuttle commander on this day in 1999.
When people think of the pioneers of space exploration, names like Neil Armstrong, Yuri Gagarin or John Glenn usually come to mind. Their achievements transformed humanity's understanding of what was possible beyond Earth. Yet the history of spaceflight is also shaped by individuals who broke barriers that were not technological, but social.
Among those pioneers stands Eileen Collins, a woman whose determination, skill and leadership changed the history of NASA forever. She became the first woman to pilot a Space Shuttle, the first woman to command one, and later led one of the most important missions in the agency's history: the return of the Shuttle fleet to flight after the tragic loss of Columbia.
Her career is about much more than collecting firsts. It is the story of someone who pursued excellence in one of the world's most demanding professions,proving that talent and perseverance matter far more than gender.
Today, every woman who flies military aircraft, commands spacecraft or dreams of exploring Mars walks through a door that pioneers like Eileen Collins helped to open.
Eileen Marie Collins was born on November 19, 1956, in Elmira, NewYork, a city with a rich aviation history. From an early age she became fascinated by airplanes and by the possibility of flying.
Unlike many astronauts of previous generations, Collins did not grow up during an era when women were encouraged to become pilots. Commercial aviation, military aviation and the astronaut corps were almost entirely male professions.
At that time, NASA had never selected a female astronaut. Many people would have accepted those limitations as reality. Collins did not.
Instead of allowing society's expectations to define her future, she focused on preparing herself. She studied mathematics and economics before continuing her education in operations research and space systems management. Every decision she made moved her one step closer to the cockpit.
She once explained that she never expected success to come easily. She simply believed that if she became good enough, opportunities would eventually appear. History proved her right.
The United States Air Force became one of the most important chapters of Collins' career. Military aviation demands exceptional discipline, precision and emotional control. Pilots must make life-changing decisions within seconds while operating extraordinarily complex aircraft.
For decades, women had been largely excluded from these opportunities. Collins entered military pilot training at a time when female pilots were still extremely rare. Rather than asking for special treatment, she focused on mastering every aspect of flying. Her professionalism earned the respect of fellow pilots and instructors alike. Eventually she accumulated thousands of flight hours across numerous aircraft and later became a respected flight instructor and test pilot. These experiences were crucial.
NASA's Space Shuttle was often described as one of the most complicated vehicles ever built. Flying it safely required exactly the kind of technical expertise and calm decision-making that Collins had spent years developing.
Everything changed in 1990. NASA selected Eileen Collins as an astronaut. Only twelve years earlier, in 1978, NASA had chosen its first class of female astronauts, including Sally Ride, Judith Resnik, Anna Fisher and Kathryn Sullivan.
Collins belonged to the generation that transformed those first breakthroughs into normal professional achievement. After years of demanding training, she qualified as a Shuttle pilot. Even then, another barrier remained. No woman had ever piloted the Shuttle. That would soon change.
In February 1995, Space Shuttle Discovery lifted off on mission STS-63. For Collins, it represented a personal milestone. She became the first woman ever to pilot a Space Shuttle. But the mission itself carried an even deeper historical significance. STS-63 marked the first close rendezvous between a Space Shuttle and the Russian space station Mir.
Only a few years earlier, such cooperation would have seemed unimaginable. During the Cold War, the United States and the Soviet Union had competed fiercely in the Space Race. The launch of Sputnik. Yuri Gagarin's first orbital flight. Apollo. The Moon landings. Each achievement symbolized national prestige. After the collapse of the Soviet Union, however, space exploration became an opportunity for cooperation rather than competition.
The Shuttle-Mir Program represented a remarkable political and scientific transformation. Instead of racing against one another, American astronauts and Russian cosmonauts began working together. STS-63 approached Mir to within only a few metres, rehearsing techniques that would later become essential for docking operations. Those experiences directly contributed to the construction of the International Space Station (ISS), one of the greatest examples of peaceful international cooperation ever achieved. Collins therefore became part of two historic moments simultaneously: the first woman to pilot a Shuttle, and one of the astronauts helping transform former Cold War rivals into scientific partners.
Her second mission, STS-84 in 1997, continued NASA's cooperation with Mir. The Shuttle docked successfully with the station, delivering supplies, scientific equipment and exchanging crew members. These missions taught NASA valuable lessons about long-duration human spaceflight. Engineers studied how astronauts adapted to months in orbit. Scientists investigated the effects of microgravity on the human body. Operational teams refined the procedures that would later become routine aboard the International Space Station. Every successful Shuttle-Mir mission became another building block toward humanity's permanent presence in space.
In July 1999, Collins made history again. She became the first woman ever to command a Space Shuttle during mission STS-93. Commanding a Shuttle was an enormous responsibility. The commander was responsible not only for flying the spacecraft but also for leading the crew and making critical decisions throughout the mission.
NASA entrusted Collins with launching the Chandra X-ray Observatory, one of the most powerful space telescopes ever built. Unlike optical telescopes such as Hubble, Chandra observes the universe through X-rays, allowing astronomers to study black holes, exploding stars, neutron stars and the hottest regions of the cosmos. Although the launch experienced unexpected technical problems shortly after liftoff, Collins remained calm. The mission continued successfully.
Chandra reached orbit and remains one of NASA's greatest scientific observatories, continuing to produce discoveries more than two decades later. Her leadership during STS-93 demonstrated exactly why NASA had chosen her. She was not simply making history because she was a woman. She was leading because she was exceptionally capable.
On February 1, 2003, Space Shuttle Columbia disintegrated during re-entry, killing all seven astronauts aboard. The accident shocked the world. NASA grounded the Shuttle fleet while engineers investigated every aspect of the disaster. The investigation concluded that damage caused by insulating foam striking the Shuttle's wing during launch had allowed superheated gases to enter during re-entry. The tragedy forced NASA to rethink its safety culture. Procedures changed. Inspection techniques improved. Repair methods were developed. Every future mission would face unprecedented scrutiny. When the agency finally prepared to fly again, the choice of commander became enormously important. NASA selected Eileen Collins.
Mission STS-114, launched in July 2005, carried enormous expectations. Its objective extended far beyond scientific research. The mission needed to restore confidence in the Shuttle program itself. Collins led a crew responsible for testing new inspection procedures, evaluating repair techniques and delivering supplies to the International Space Station. Every stage of the mission was watched by millions around the world. The crew performed detailed inspections of the Shuttle while in orbit using new imaging technologies. For the first time, NASA carefully examined the spacecraft in space to identify any damage before returning home. STS-114 succeeded. The mission demonstrated that NASA had learned valuable lessons from Columbia. Although later missions continued improving safety procedures, Collins' flight marked the beginning of the Shuttle program's final successful decade. Few astronauts have carried greater responsibility.
People often describe Collins through the milestones she achieved. First female pilot. First female commander. Yet those achievements tell only part of the story. Her greatest contribution may have been her leadership style. Colleagues consistently described her as calm, prepared and deeply committed to teamwork. She believed that successful space missions depended on trust rather than individual heroics. Her example challenged outdated stereotypes without ever making confrontation her primary message. Instead, she allowed excellence to speak for itself. That approach earned respect throughout NASA.
Today, women serve as fighter pilots, airline captains, astronauts and commanders across the world. NASA's Artemis programme aims to land the first woman on the Moon. Female astronauts regularly command missions aboard the International Space Station. This progress did not happen automatically. Every generation has depended upon pioneers willing to enter environments where few people looked like them. Collins belongs among those pioneers. Her career demonstrated that leadership is defined by competence, preparation and integrity -not by gender. Young girls visiting air shows today can see women flying military aircraft. Students interested in engineering can imagine themselves designing spacecraft. Future astronauts no longer need to wonder whether women belong in space. That question has already been answered.
Space exploration has always represented humanity's desire to go further than previous generations believed possible. Sometimes those frontiers are physical. Sometimes they are social. Eileen Collins crossed both. She flew beyond Earth's atmosphere while simultaneously helping society move beyond outdated assumptions about who could lead the most complex missions ever attempted. The significance of her achievements extends well beyond NASA. They remind us that progress often depends on individuals willing to prepare for opportunities that do not yet exist.
When Collins began dreaming of becoming a pilot, there was no female Space Shuttle commander. When she entered military flight training, few believed women would one day command spacecraft. When she joined NASA, many barriers still remained. She overcame them all. Not through slogans. Not through publicity. But through discipline, professionalism and exceptional ability. Her story is ultimately not only about women in space. It is about human potential. It reminds us that history changes when talent is allowed to flourish, regardless of background.
As humanity prepares for new journeys -to the Moon, to Mars and beyond- the example of Eileen Collins continues to inspire a simple but powerful idea: The future belongs to those who dare to imagine themselves where no one like them has gone before.
We want to explore. We're curious people. Look back over history, people have put their lives at stake to go out and explore... We believe in what we're doing. Now it's time to go.
Today, The Grandma hasreceived a wonderful visit from Claire Fontaine and Joseph de Ca'th Lon, her dear friends who have been spending a few days in Germany.
The three share many things -including a love for painting- so visiting cities like Leipzig or Dresden inevitably leads to a discussion about Caspar DavidFriedrich, the 19th-century Romantic landscape painter considered the most important German artist of his generation.
Joseph de Ca'th Lon, ClaireFontaine, The Grandma, and CasparDavid Friedrich share an affection for a city that, despite not being Swiss, Quebecer, Catalan, or German, has played a significant role in all four of their lives: Copenhagen.
Joseph and Claire have given The Grandma one of her favourite games -a memory game- this time featuring the paintings of that fascinating German artist. They have been playing and reminiscing about these Romantic paintings that are part of world art.
Among the great artists of European Romanticism, few have left as profound and lasting an impression as Caspar David Friedrich. His paintings are instantly recognizable: solitary figures standing before immense landscapes, ruined abbeys emerging through mist, frozen seas, ancient forests, moonlit skies, and silent mountains stretching toward infinity. Yet Friedrich was never interested in painting nature merely for its beauty. For him, every tree, cloud, rock, and ray of light carried a deeper meaning. His landscapes were not simply places -they were reflections of the human soul.
Born on September 5, 1774, in the Baltic port town of Greifswald, then part of Swedish Pomerania, Friedrich became the leading figure of German Romantic landscape painting.
His works transformed traditional landscape art into a vehicle for philosophy, spirituality, and emotion. During his lifetime he enjoyed considerable recognition, later fell almost completely into obscurity, and was rediscovered only in the twentieth century. Today, he is celebrated as one of the greatest painters in European art history.
Caspar David Friedrich grew up in a deeply religious Lutheran family. His father, Adolf Gottlieb Friedrich, was a candle maker whose strict beliefs shaped the atmosphere of the household. Although financially stable, the family experienced repeated tragedies that profoundly influenced the young artist.
Several of Friedrich's siblings died during his childhood. The most traumatic event occurred when he was thirteen years old. While skating on frozen water, Caspar fell through the ice. His older brother Johann Christoffer rushed to save him but drowned in the attempt.
The incident haunted Friedrich throughout his life. Historians have often connected the themes of solitude, death, mourning, and spiritual reflection found in his paintings to this devastating childhood experience. Whether consciously or not, the memory of personal loss became part of the emotional landscape that would define his artistic vision.
Friedrich began his artistic education at the University of Greifswald before moving in 1794 to Copenhagen, where he entered the Royal Danish Academy of Fine Arts. The Academy emphasized careful observation of nature and precise drawing, providing him with a strong technical foundation.
Rather than immediately embracing dramatic Romanticism, Friedrich first learned the discipline of classical draftsmanship. He produced numerous studies of plants, trees, architecture, and landscapes, gradually developing the remarkable attention to natural detail that would characterize his mature works.
In 1798, he settled permanently in Dresden, one of the most important cultural centres of German-speaking Europe. There he became acquainted with poets, philosophers, scientists, and fellow artists who were helping shape the Romantic movement.
The Romantic movement emerged partly as a response against the rational ideals of the Enlightenment. While eighteenth-century thinkers emphasized reason, order, and scientific progress, Romantic artists sought mystery, imagination, emotion, and the sublime.
Friedrich embodied these ideals more completely than perhaps any other painter. For him, nature was not simply a collection of physical objects. It was a sacred space where human beings could encounter the infinite. Mountains suggested eternity. Forests represented mystery. Ruined churches spoke of history and mortality. The sea symbolized both freedom and uncertainty. Rather than depicting historical events or mythological heroes, Friedrich invited viewers to contemplate silence itself.
One of Friedrich's most original ideas was that landscape painting could express religious feeling without illustrating scenes directly from the Bible. Instead of painting miracles or saints, he suggested the presence of God through light, atmosphere, and nature. Sunrise often represented hope and renewal. Sunset suggested the passing of earthly life. Winter symbolized death, while spring represented resurrection. Bare trees, crosses on mountaintops, distant churches, and lonely paths all carried symbolic meanings. Every element within his compositions contributed to an emotional or spiritual narrative. As Friedrich himself famously observed: The artist should paint not only what he has before him, but also what he sees within him. This sentence has become one of the defining statements of Romantic art.
One of Friedrich's greatest innovations was his frequent use of the Rückenfigur-a figure shown from behind, looking toward the landscape. Rather than revealing facial expressions, these anonymous individuals invite viewers to occupy their place. Standing behind them, we experience the same scene and are encouraged to reflect upon our own thoughts and emotions. This simple compositional device transformed the relationship between painting and spectator. Instead of observing a landscape from outside, viewers become participants in the experience. Many later artists, photographers, and filmmakers would adopt this technique, making it one of Friedrich's most enduring contributions to visual culture.
No painting better represents Friedrich's artistic philosophy than Wandererabove the Sea of Fog, completed around 1818. The image shows a lone traveler standing atop a rocky summit while an ocean of mist hides the landscape below. Mountains emerge through the clouds, while distant peaks disappear into the horizon. The identity of the wanderer remains unknown. Is he contemplating nature? Celebrating a difficult journey? Reflecting upon his own existence? Searching for God? Friedrich deliberately leaves these questions unanswered. The painting has become one of the defining images of European Romanticism precisely because every generation discovers new meanings within it.
Equally revolutionary was The Monk by the Sea. At first glance, the composition appears almost empty. A tiny monk stands before an immense sea beneath an enormous sky. Traditional landscape painting generally filled the canvas with details and decorative elements. Friedrich did the opposite. He removed almost everything. The overwhelming emptiness creates a feeling of isolation rarely experienced in earlier European art. When the painting was first exhibited in 1810, audiences found it deeply unsettling. Today it is regarded as one of the earliest masterpieces of modern landscape painting.
Displayed alongside The Monk by the Sea, Abbey in the Oakwood explores themes of death and spiritual hope. A funeral procession moves through the ruins of a Gothic abbey surrounded by ancient oak trees stripped of their leaves. The setting sun fades behind the horizon. Although the subject concerns mortality, the painting does not inspire despair. Instead, it suggests that earthly life passes while spiritual existence continues. The ruined architecture reflects Friedrich'sfascination with medieval Germany and the passage of time.
Among Friedrich's boldest works is The Sea of Ice, painted during the 1820s. Instead of presenting nature as peaceful or comforting, the painting depicts gigantic slabs of broken ice crushing the remains of a ship. The composition conveys extraordinary power. Nature appears indifferent to human ambition. Unlike heroic paintings celebrating exploration, The Sea of Ice reminds viewers that humanity remains fragile before the forces of the natural world. Many art historians consider it one of the first truly modern environmental images.
Late in his career Friedrich painted The Stages of Life, one of his most personal works. Five figures stand beside the sea while ships sail toward the horizon. Each person represents a different stage of human existence, from childhood to old age. The vessels mirror this symbolism: some are just beginning their journey, while others approach distant waters. Painted after years of declining health, the work reflects Friedrich's quiet acceptance of the passage of time.
One reason Friedrich's paintings continue to fascinate viewers is their extraordinary symbolic richness. A simple tree may represent endurance. A ruined church can symbolize the passing of civilizations. Mist conceals certainty. Mountains suggest spiritual ascent. The moon often evokes eternity. Even silence becomes meaningful. Unlike artists who explained every symbol explicitly, Friedrich preferred ambiguity. He trusted viewers to complete the emotional journey themselves.
By the 1810s and early 1820s Friedrich had become one of Germany's most admired painters. Collectors, aristocrats, and members of the Prussian royal family purchased his works. However, artistic tastes gradually changed. Realism became increasingly popular, while Friedrich's deeply symbolic landscapes came to be regarded by many critics as old-fashioned. His health also deteriorated. A stroke suffered in 1835 limited his ability to paint in oils, forcing him to concentrate increasingly on drawings and watercolors. Financial difficulties followed, and public interest declined. When Friedrich died in Dresden on May 7, 1840, he was respected by a small circle of admirers but largely forgotten by the broader artistic world.
During the late nineteenth century Friedrich remained relatively obscure. Everything changed during the twentieth century. Art historians recognized how remarkably modern his compositions had been. His emphasis on mood, psychological experience, and symbolic landscapes anticipated later artistic movements, including Symbolism, Expressionism, and even aspects of Surrealism.
Today his paintings occupy places of honour in major museums across Europe. His influence extends far beyond painting. Photographers have adopted his compositions. Film directors have borrowed his dramatic use of landscape. Contemporary artists continue to reinterpret his imagery. Even advertising, album covers, and digital art frequently echo his visual language.
Caspar David Friedrich fundamentally transformed landscape painting.Before him, landscapes often served as backgrounds for historical or religious narratives. After him, the landscape itself became the story. His greatest achievement was demonstrating that mountains, forests, oceans, and skies could express human emotions as powerfully as portraits or historical scenes. More than two centuries later, his paintings continue to invite quiet contemplation in an increasingly noisy world. Standing before one of Friedrich's canvases, viewers often experience something difficult to describe. There is no dramatic action, no heroic battle, no elaborate narrative. Instead, there is silence. That silence becomes a space where each viewer encounters their own memories, hopes, fears, and dreams. Perhaps that explains why Friedrich remains so relevant today. He reminds us that nature is not merely something we observe. It is something we feel. His paintings ask us to slow down, to embrace solitude rather than fear it, and to recognize that the greatest landscapes are not only those that surround us, but also those that exist within us.
In the end, Caspar David Friedrich did far more than paint mountains wrapped in mist or lonely travelers gazing toward distant horizons. He transformed landscapes into mirrors of the human spirit, creating images that continue to inspire reflection, wonder, and emotional depth across generations. His canvases invite us to pause before the vastness of the world and, in doing so, discover something equally vast within ourselves.
The painter should paint not only what he has in front of him, but also what he sees inside himself. If he sees nothing within, then he should stop painting what is in front of him.
Today is the birthday of Cyndi Lauper, one of the most important artists on the contemporary music scene.
Next Saturday, TheGrandma will join Josephde Ca'th Lon and ClaraFontaine who are spending a few days in Portuguese lands, and will enjoy Cyndi'sperformance in Lisbon, a city that for them will always be linked to another great artist, Mísia.
To pay tribute to Cyndi, nothing better than one of her great songs, Time after time, which is not the most festive or the most iconic in terms of popular culture, but it is the one that has best withstood the test of time. It has a very special sensitivity, a beautiful melody and lyrics about loyalty and mutual support that continue to move decades later. In addition, it reflects a facet of Cyndi that goes beyond the extravagant aesthetics of the eighties: her ability as a composer and performer.
Congratulations, Cyndi!
Lying in my bed, I hear the clock tick and think of you Caught up in circles Confusion is nothing new Flashback, warm nights Almost left behind Suitcase of memories Time after
Sometimes you picture me I'm walking too far ahead You're calling to me, I can't hear What you've said Then you say, "go slow" And I fall behind The second hand unwinds
If you're lost you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I will be waiting Time after time
After my picture fades and darkness has Turned to gray Watching through windows You're wondering if I'm okay Secrets stolen from deep inside (deep inside) And the drum beats out of time
If you're lost you can look and you will find me Time after time If you fall I will catch you, I'll be waiting Time after time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I will be waiting Time after time Time after time
I've got a suitcase of memories that I almost left behind Time after time Time, time, time But you say to go slow but I fall behind Time after time after time (after time, oh)
One of the most mystical experiences you can have in Mallorca is to climb Puig deRanda at night and contemplate the stars with the same gaze as RamonLlull did it more than seven centuries ago.
Knowing Llull's works, reading them, analyzing them, delving into his thoughts is to delve into the most elementary of the human condition: asking ourselves where we come from, what we are doing here and what will become of us.
In her last days in Mallorca, TheGrandma, who always used to have Josephde Ca'th Lon as her astronomical advisor, wanted to enjoy this mystical experience of contemplating the sky, which she often did years ago from the Costitx observatory, now dismantled.
On the summit of Puig de Randa, Ramon Llull did not merely contemplate the landscape of Mallorca; he contemplated the hidden order of the universe. Nature became a mirror of the divine attributes, and the cosmos a language leading toward God.
Around 1274, after a profound spiritual conversion, Ramon Llull withdrew to Puigde Randa, in Mallorca, seeking silence, prayer, and contemplation. According to the Lullian tradition, it was there that he received the inspiration that would give rise to his Ars Magna, the intellectual system that would shape the rest of his life.
For Llull, the universe was not simply a collection of physical objects, but a harmonious and interconnected reality reflecting the qualities of its Creator. The cosmos revealed the divine attributes -goodness, greatness, wisdom, power, truth, and glory- which were present throughout creation in different degrees.
From the heights of Randa, Llull perceived nature as a living book written by God. Every creature, every element, and every relationship within the world pointed beyond itself toward a deeper spiritual reality. Humanity occupied a unique place within this cosmic order, standing between the material and the spiritual realms.
Symbolically, the mountain itself became a bridge between earth and heaven. Through contemplation of the visible world, one could ascend toward understanding the invisible. In this sense, Puig de Randa was not merely a geographical location, but a place of revelation where the unity of God,humanity, and the cosmos became profoundly apparent.
More than seven centuries later, Llull's vision continues to inspire. His contemplative experience reminds us that the universe is not only something to be observed, but also something to be understood as a web of meaning, connection, and wonder.
At Puig de Randa, Ramon Llull discovered that the cosmos was more than a physical reality -it was a sacred language through which creation spoke of its Creator.
One of the challenges when studying Ramon Llull is that he never wrote a single treatise devoted exclusively to cosmology. Instead, his vision of the cosmos is woven throughout many of his works. For Llull, the universe, humanity, and God form an intelligible unity that must be understood as a whole.
Llibre de contemplació en Déu (1273–1274) is perhaps the work that best reflects the contemplative spirit of Llull's period at Puig de Randa. Here, Llull contemplates the world as a manifestation of God. The stars, the elements, plants, animals, and human beings become objects of contemplation because they reveal the divine order. His central idea is that creatures are signs that lead to the knowledge of the Creator. The cosmos appears as an immense symbolic book that can be read spiritually.
Ars Magna is developed from the inspiration Llull received at Randa, this work presents a more abstract cosmology. Rather than simply asking What is the cosmos?, Llull proposes that all realities within the universe are connected through universal principles derived from the divine attributes. It is an extraordinarily relational vision of reality, centuries ahead of its time. It is a matter to explain how all things are related to one another
Llibre de meravelles (1287-1289) includes the famous Llibre de les Bèsties, but the entire text is structured as a journey of discovery. Its protagonist, Fèlix,travels through the world in wonder at creation. The contemplatio n of nature becomes both a philosophical and a spiritual path. The cosmos is presented as an ordered reality whose beauty and harmony inspire awe and lead to wisdom.
Arbre de ciència (1295-1296) organizes all knowledge through a series of interconnected trees:
-The Elemental Tree
-The Vegetal Tree
-The Sensual Tree
-The Human Tree
-The Celestial Tree
-The Angelic Tree
-The Divine Tree
This structure reveals a hierarchical yet interconnected universe in which every level of reality is linked to every other. The work represents Llull's grand intellectual map of the cosmos. For Ramon Llull, the universe is a living network of relationships that reflects the divine perfections and enables human beings to ascend from the visible world toward the knowledge of God.
This insight emerges directly from his contemplative experience at Puig de Randa. For Ramon Llull, contemplation of nature was not an escape from the world, but a way of discovering its deepest order and meaning because for him, contemplating the world was learning to read the language with which God had written the universe.
If understanding followed no rule at all, there would be no good in the understanding nor in the matter understood, and to remain in ignorance would be the greatest good.
After an intense week between Lyon, Paris and Fleury-Mérogis, where winter has gone and spring has arrived, today, TheGrandma says goodbye to her friends and takes a flight to Barcelona wheretomorrow a new training begins that will keep her busy for almost three months.
One of the advantages of online training is that it allows you to do your work from anywhere and gives you great freedom of movement, but this new training is face-to-face, so, during the working days, TheGrandma will have to be present in Sant Boi de Llobregat, where from Monday she will share her ideas with some new colleagues with the ultimate goal of improving their knowledge and skills to be able to find a job.
It is for this reason that this blog will now become the communication tool for the Morgans, this new family with whom The Grandma will share fictional stories with the aim not only of them learning but also of them disconnecting from reality to be able to first recover as a person, before preparing themselves formatively to return to the world of work as soon as possible with confidence and real possibilities of stabilization.
Occupational training has as its first objective to recover the person and then to offer them a personal training itinerary that helps them in the search for a new job, which is why it is so linked to mental health, because in many cases the loss of a job is such a great emotional shock that it affects the deepest part of the person.
So, starting next Monday, The Grandma's blog will go from being personal and telling her real adventures to being professional and telling the fictional adventures with the Morgans, and for this, it will be necessary to use a lot of digital tools, to create a parallel and imaginary world that helps the Morgans escape their real problems and let themselves be carried away by the world of training from imagination, creativity, solidarity, empathy and daily work.
So, this early morning, The Grandma will fly back to Barcelona while Joseph de Ca'th Lon and Claire Fontaine will fly to Hannover from where they will drive to Wolfsburg where on Tuesday the Northern Star has a very special match that the two friends do not want to miss.
They have had an intense few days
where they have been able to attend in Lyon and Paris one of the best musical shows of the
moment (Lux); they have visited Paris, a beautiful city that they know
well, but where they always do the same rituals (visiting the Louvre,
the Eiffel Tower, sailing the Seine and getting lost in the city while
savouring the local cuisine); they have seen the Northern Star shine
again in Fleury-Mérogis, and they have met up with friends
they haven't seen in a while, because this is always the most
fascinating thing about travelling:meeting up with the people you
love.
Before taking the plane, The Grandma has made an interesting cheese supply, because being in Gaul means being able to enjoy the pleasure of eating great cheeses (with permission from the Swiss and Norwegians). If there are no delays, she will arrive in enough time to go to the Camp Nou, where there is an interesting match against Rayo Vallecano.
No one sings Paris better than Edith Piaf, and although times change and we have new sounds and rhythms, the essence, the word, the message, the spirit,thesoul... remains the same.
Sous le ciel de Paris S'envole une chanson Elle est née d'aujourd'hui Dans le coeur d'un garçon Sous le ciel de Paris Marchent des amoureux Leur bonheur se construit Sur une air fait pour eux
Sous le pont de Bercy Un philosophe assis Deux musiciens, quelques badauds Puis des gens par milliers
Sous le ciel de Paris Jusqu'au soir vont chanter L'hymne d'un peuple épris De sa vieille cité Prés de Notre-Dame Parfois couve un drame Oui, mais à Paname Tout peut s'arranger Quelques rayons du ciel d'été L'accordéon d'un marinier L'espoir fleurit Au ciel de Paris
Sous le ciel de Paris Coule un fleuve joyeux Il endort dans la nuit Les clochards et les gueux Sous le ciel de Paris Les oiseaux du bon Dieu Viennent du monde entier Pour bavarder entre eux Et le ciel de Paris A son secret pour lui Depuis vingt siècles il est épris De notre île Saint Louis
Quand elle lui sourit Il met son habit bleu Quand il pleut sur Paris C'est qu'il est malheureux Quand il est trop jaloux De ses millions d'amants Il fait gronder sur eux Son tonnerre éclatant Mais le ciel de Paris n'est pas longtemps cruel Pour se faire pardonner, il offre un arc-en-ciel
Under the Paris sky A song takes flight It was born today In the heart of a boy
Under the Paris sky Lovers walk Their happiness is built On a tune made for them
Under Bercy bridge A philosopher sits Two musicians, some onlookers Then thousands of people
Under the Paris sky They'll sing until dusk The hymn of people in love With this old city
Near Notre Dame Sometimes drama broods But at Paname Everything comes together
Rays from the summer sky A sailor's accordion Hope blooms In Paris' sky
And the Paris sky Has a secret of its own For twenty year's he's been in love With our Saint Louis island When she smiles at him He dresses in blue
When it rains on Paris It's because he's unhappy When he grows jealous Of her millions of lovers
He comes down on us With his flashing thunder But the Paris sky Isn't cruel for long
The Grandma is enjoying her last days off before starting a new formation of almost three months in Sant Boi de Llobregat.
Last Monday, she enjoyed with ClaireFontaine and Joseph de Ca'th Lon the start of the Lux tour at the LDLC Arena in Décines-Charpieu, a place they know well and visit often because it is a few metres from the Groupama Stadium.
On Wednesday, all three friends flew to Paris where they saw the Catalan artist again, this time at the Accor Arena, in a first concert and yesterday, Friday, in a second one. They have been three wonderful concerts, although the three friends are still waiting to hear Memória live, because they are lovers of fado and it reminds them a lot of the much-loved Mísia, the Catalan-Portuguese artist, whom they followed throughout her career.
And because they are still in Paris today, they have bought some Fleury 91-OL tickets this morning and they will drive to Fleury-Mérogis, a city located 30 km south of the French capital to attend an interesting match of the Northern Star'steam. They are not very sure that she will play the match because next week she has a very important European commitment, but it is 30 km and it is worth going there.
They have brought their faithful travel companion when they are in Gaul, Astérix,this time with his adventure in Switzerland,to read it during the short trip.
Astérix chez les Helvètes, in English Astérix in Switzerland, is the sixteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It was originally serialized in Pilote magazine issues 557-578 in 1970 and translated into English in 1973.
Following the protests of May 1968, Goscinny started introducing more adult themes such as the opening orgy scene which parodies Federico Fellini's debauched Roman film, Fellini Satyricon. The painted faces, feeling of ennui, mechanical gorging of elaborate food, and sado-masochistic punishments are balanced (in Helvetia) by the fastidiousness of the Swiss servants who keep cleaning up messes and washing whips.
The idea to send Astérix and Obélix to Switzerland was proposed by future French president Georges Pompidou. A handwritten note from Pompidou, when he was prime minister, urging the authors to write about Astérix among the Helvetians, was displayed in an Asterix exhibition at the National Library of France in 2013.
This album features a rare dark overtone in that the plot involves a victim of attempted murder. The added element of potential death offers a startling but refreshing moment of drama in the otherwise whimsical series. Other stories that share a dramatic turn include Astérix and Son (where the village is destroyed) and Astérix and the Magic Carpet.
The comic contains several puns on typical Swiss features, such as the confidentiality and high level of security of Swiss banks, fondue, Swiss clocks (especially cuckoo clocks), the Helvetians' insistence on neutrality, yodeling, punctuality, alphorns (as an alternative form of carnyx), and -in one notable scene- the Swiss Federal Assembly.
The comic suggests that modern mountain climbing was introduced when Astérix has the idea of him, Obélix and their Helvetian aides securing themselves with ropes, and sledding when Astérix accidentally rides Obélix down the mountainside.
One scene with Astérix shooting a bow while a boy with an apple on his head fixes a target is a nod to the Swiss folk hero William Tell.
In one panel, avalanches in the Alps are satirized when the Roman legionaire hanging on to Obélix cautions, Stop shouting, you could easily start something off.
Like always, this issue concludes with the celebrational village feast with Cacophonix being tied to the tree. However in this case he's not gagged. Nothing prevents his awful singing during the affair.
Bibendum (the Michelin logo) makes a brief guest appearance as the chariot wheel dealer in the original English translation; whereas the original French version used the Gaulish-warrior-like mascot of the French service station company Antar. The 2004 English re-print from Orion Books uses the French illustrations, thus rendering Obélix's joke about Bibendum's weight in the next panel nonsensical. Call me fat! Did you see his spare tire?
The book's storyline is rife with clever wordplay, delightful caricatures, and hilarious situations as Astérix and Obélix find themselves embroiled in comical confrontations with the Romans while showcasing the determination and perseverance of the Swiss people. The authors skillfully blend history, satire, and humor throughout the narrative, making Astérix in Switzerland an entertaining and educational read for all ages.
As with all Astérix books, the illustrations by Albert Uderzo are a visual feast, capturing the charm and whimsy of the Gaulish village, the grandeur of the Swiss landscape, and the amusing antics of the characters. Uderzo's dynamic artwork, vibrant colors, and attention to detail bring the story to life, making it a visual treat for readers.
Astérix in Switzerland not only entertains readers with its engaging story and delightful illustrations but also serves as a commentary on the themes of resistance, cultural identity, and the strength of community. The book showcases the power of unity, determination, and the ability to overcome adversity, echoing timeless values that continue to resonate with readers today.
In conclusion, Astérix in Switzerland is a captivating addition to the Astérix series, offering a delightful blend of history, satire, adventure, and humor. With its lovable characters, clever wordplay, and beautiful artwork, this book is sure to charm readers of all ages, transporting them on a grand escapade through the enchanting world of Astérix and Obélix.
Key Lessons From Astérix In Switzerland
-Unity is strength. One of the central themes of the book is the power of unity. The Gauls, led by Astérix and Obélix, join forces with the Swiss to not only protect their village from the Roman invaders but also to help the Swiss regain their independence. The book demonstrates that when people come together and work towards a common goal, they can achieve great things.
-The importance of cultural identity. Astérix in Switzerland celebrates the unique cultural identity of the Swiss. The Swiss characters are portrayed as having their own distinct language, traditions, and values. The book emphasizes the importance of preserving one's cultural heritage and not succumbing to external influences. It teaches the readers to appreciate and embrace their own cultural identity.
-Cultural stereotypes. The book playfully highlights various cultural stereotypes associated with both the Swiss and the Gauls. It shows the Swiss as being disciplined, precise, and punctual, while the Gauls are depicted as unconventionally brave and fiercely loyal. However, the book also challenges these stereotypes by showing that individuals from both cultures can defy expectations and exhibit traits not typically associated with them.
-Satire and humor. Astérix in Switzerland uses satire and humor to comment on various aspects of society. It humorously pokes fun at bureaucracy and politics, specifically in the scene where the Swiss decide on their new leader through a contest of yodeling. The puns and wordplay throughout the book add to the light-hearted and comedic tone.
-Loyalty and friendship. The book emphasizes the importance of loyalty and friendship through the relationship between Astérix and Obélix. Despite their differences, the two characters demonstrate unwavering loyalty and support for each other. The book also highlights the theme of loyalty to one's homeland, as both the Gauls and the Swiss are willing to fight for their respective countries and protect their way of life.
Today is The Grandma'sbirthday and the weather has wanted to give her a lovely rainy day, perhaps because it knows that The Grandma really likes these rainy and introspective days, fantastic for a good read and good company.
She will have the best company this afternoon when Claire Fontaine and Josephde Ca'th Lon, who is some days in Barcelona, come to see her and all together enjoy the French football cup final, a very important match for the Northern Star, and she will have a good read before and after accompanied by Corto Maltese and his Celtic adventures.
Celtic Tales (or The Celts) is a volume of comics that brings together six adventures of Corto Maltese, a Maltese sailor. These stories were written and drawn by the Italian comic book creator Hugo Pratt, and published for the first time between 1971 and 1972 in the French comic magazine Pif Gadget. They take place in Europe, during World War I, between 1917 and 1918. The stories are:
-The Angel in the Window to the Orient
-Under the Flag of Gold
-Concerto in O Minor for Harp and Nitroglycerin
-A Midwinter Morning’s Dream -Côtes de Nuit and Picardy Roses
-Burlesque Between Zuydcoote and Bray-Dunes
Hugo Pratt has produced numerous additional drawings of the characters and places relating to the stories in this album, as he did with other episodes of the series. Here, for example, he drew different places in Ireland and historical or legendary characters.
Among the many covers existing for Celtic Tales, one of them shows a poem in which Corto Maltese thanks different characters, mostly from Celtic legends:
-Merlin, the enchanter or wizard featured in Arthurian legend (like the followings three characters);
-Morgan le Fay and Viviane the Lady of the Lake;
-King Arthur;
-Oberon (king of the fairies) and Puck;
-The Irish leprechauns;
-The Cornish Pixies;
-The Scottish boggles;
-The Breton Korrigans;
-The Welsh miners, Wales being renowned for its coal industry;
-The French elves;
-The Druids of Folle Pensée (name of a locality in the Paimpont forest);
-The little folk of the forest of Brocéliande;
-The royal ravens of Stonehenge;
-W. B. Yeats, the Irish poet;
-And the harp of the wind somewhere to the north.
Hugo Pratt won the Prix Saint-Michel, for "Best Realistic Writing" in 1977, for the story A Midwinter Morning's Dream.
Twenty years after the death of Hugo Pratt, his ex-assistant Lele Vianello, another Italian comic book creator, gave him a tribute album. Entitled Twenty after... Homage to Hugo Pratt, it includes drawings inspired by the story A Midwinter Morning’s Dream, where Corto and characters from Celtic legends await Pratt on the day of his death to welcome him into their world.
The Grandma has had a few days of introspection and reflection. These days she never lacks the company of her beloved Corto Maltese to whom she turns in search of peace, tranquility and spirituality.
Joseph de Ca'th Lon sent her a fantastic Panini collection entitled CortoMaltese: Diario di Viaggioand she has been reading it, sticking the stickers and placing the cards until she has had the complete collection. Then, she has reread TheBallad of the Salty Sea, the first episode of the adventures of Corto Maltese, her admired adventurer.
As she always turns to Corto, it has been a great pleasure to share these days with him, to recharge and to get up again to continue forward, because we really have to continue forward on this beautiful but complicated journey that is life.
Una ballata del mare salato, in English The Ballad of the Salty Sea, is a graphic novel, the first episode of the adventures of Corto Maltese, aMaltese sailor.
This story was written and drawn by the Italian comic book creator HugoPratt.
It was published for the first time between 1967 and 1969, in the magazine Il Sergente Kirk. It takes place in Melanesia (Western Oceania), shortly before World War I, between 1913 and 1915. It introduces many future important characters from the series, such as the romantic Corto, the crazy Russian sailor Rasputin, and the young cousins Pandora and Cain.
Although the story introduces a new comic book character destined to become famous, Corto Maltese is not the main character. According to Pratt, Pandora Groovesnore is the central character. He explains that everyone is in love with her, and that she is a kind and beautiful girl who becomes an adult. Corto is just a secondary character, like so many others in this story. The cartoonist did not suspect that he would reuse the Corto Maltese character for a whole series.
To pretend that this story is true, Pratt published, in addition, a fake letter from Cain's nephew, Obregan Carrenza, which he had to give to the cartoonist himself. This process is also often used in adventure novels. This document, dating from the middle of the 20th century évokes Corto's old age and his sadness following the death of his friend Tarao. This letter is missing from many editions of this story, probably because some publishers refuse to let the reader imagine the aging hero.
Hugo Pratt will reuse Corto Maltese for news adventures taking place in America, published for the first time in 1970 and collected in the volume Under the Sign of Capricorn. This is the start of his Corto Maltese series, comprising twelve episodes. One of which takes place eight years before the first episode, in 1905 in Manchuria (China), relating the meeting between Corto and Rasputin:Corto Maltese: The Early Years. After Pratt's death, the series was resumed by Ruben Pellejero and Juan Diaz Canales. They have currently made three additional episodes. In the last one, they imagined a prequel to The Ballad of the Salty Sea, All Saints Day, to explain why Corto was attached to the raft and how he worked for the Monk.
Escondida is a fictional island located in Western Oceania, the scene of an important part of this story. Its coordinates are 169° west longitude, 19° south latitude. Which corresponds to the location of the Tanna Island, in Vanuatu, near New Caledonia. However, Pratt claimed that his model was Abaiang (Gilbert Islands, Kiribati).
The story abounds in literary references. For example, at the start, Rasputin is reading Voyage autour du monde, Louis Antoine de Bougainville's travel diary. This French explorer indeed sailed in the same zone where he was at that time. Cain, on several occasions, spreads his culture through various allusions. Thus, when he failed on a beach with Tarao, he compares themself to Robinson Crusoe and Friday (characters created by Daniel Defoe). Then, when they escape from the cannibals with the others, he tells him about Moby Dick (from the novel Moby-Dick by Herman Melville). Later, in Slütter's submarine, he is reading The Rime of the Ancient Mariner, the long poem by Samuel Taylor Coleridge. Finally, when he leaves Escondida with Pandora, he evokes the ship Argo and the character Jason, from Greek mythology.
Twenty years after the creation of this story, Pratt slipped a dedication into it. It pays homage to the Irish writer Henry De Vere Stacpoole, who piqued Pratt'sinterest in the South Seas.
Hugo Pratt discreetly slides into his story various allusions to cultural elements of the different Oceanian peoples encountered, whether through their songs or their conversations. They allude for example to gods, creatures or illustrious people, like Kanaloa, Tāne, Tū, Rongo, Tangaroa, Māui, Kupe, Tamatea (explorer), Pehee Nuee Nuee. They also speak of mythical places like Hawaiki. Finally, they evoke several of the many Pacific islands: Mangareva, Hawaii, Tahiti, Heragi (Māori name for Pitcairn Island, in Pitcairn Islands), Aotearoa (Māori name for New Zealand), Tubuai. The decor of the comic is punctuated by various Oceanian masks. Several of them are thus visible on the house where Cain is a prisoner. These items resemble those made by Baining people, they live in Papua New Guinea.
Despite this realism, Pratt allows himself touches of fantasy, sometimes making his Oceanian characters speak in Venetian language (an element that translators leave as is).
The album won the award for the best foreign realistic work at the 1976 Angoulême Festival.
This story was classified in 2012 at the 3rd place of the classification of 50 essential BD established by the French magazine Lire.
Umberto Eco, Italian novelist and literary critic, wrote a preface to this story (found in the 1989 edition) on the geographic and cultural references of this story.
Today, Claire Fontaine and Joseph de Ca'th Lon have arrived in Décines-Charpieu, Lyon where this afternoon they will go to see the NorthernStar, who has a very important match today. During the trip from Milan to Lyon they have been reading a new Astérix adventure, in this case, Astérix and the Roman Agent.
Astérix and the Roman Agent, in French LaZizanie, is the fifteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It first appeared as a serial in Pilote magazine issues 531–552 in 1970 and was translated into English in 1972.
The original French title of this story was La Zizanie (The Ill-feeling or The Dissension). The inspiration was the dissension at Pilote magazine, a year before, during the May 1968 events in Paris, a time of civil unrest, when Goscinny, then also editor of Pilote, was almost evicted from the post, and remained bitter from the affair.
In the English version Caesar keeps making the famous Et tu Brute remark to Brutus who reacts in silent annoyance at this patronising attitude. In the original French version, Caesar keeps saying Et toi, mon fils (French for And you, my son), a possible reference to the suggestion by some historians that Brutus was actually fathered by Caesar, though some think it unlikely due to the mere 17-year age difference between the two men. It may also be a reference to the Greek phrase which the historian Suetonius reports Caesar did say to Brutus, καὶ σὺ τέκνον (Kai su, teknon?), literally, in English, You too, my child?
Brutus denies ever serving Caesar's enemy Pompey, whereas he actually did so in real life. It is a curious remark to make in a series which, although largely fictional, is based on extensive research into the history and background of the time and the habits of populations both old and new.
Centurion Felix Platypus is a caricature of the actor Lino Ventura, well-known for playing the parts of tough policemen.
The incident of the Pirates fighting between themselves and sinking their own ship is referred to in the next adventure Astérix in Switzerland.
When Impedimenta screams at Vitalstatistix about idiots (words used in the original French edition) who might one day have the absurd idea of writing the history of the village, Goscinny and Uderzo are clearly referring to themselves.
This is the first appearance of several female villagers -Impedimenta's inner circle of prominent wives. In particular, the wives of Geriatrix and Fulliautomatix and an obese lady whose husband is not mentioned, but who appears in many crowd and background scenes in later albums, are first seen here.
In the scenes where people have been deceived into arguing, the speech bubbles are painted in increasingly dark green. In contrast, in the final banquet panel, Vitalstatistix makes his moving birthday speech in pink.
Stradivarius. The old senator's voice is compared to the sound of a Stradivarius violin, highlighting its rich and resonant quality.
Magnumopus (Fr. Savancosinus). The French name of the Roman legionary Magnumpous is Savancosinus. This is a clever play on the word cosine,referencing the comic character Savant Cosinus.
The Battle of the Four Camps. For the first time, all four Roman camps surrounding the Gaulish village -Aquarium, Totorum, Laudanum, and Compendium- unite in a coordinated attack, increasing the stakes for the indomitable Gauls. In the American English release, the camps are named;Aquarium, Opprobrium, Nohappimedium and Delirium.
It is a very special adventure from which great vital ideas are extracted.
Despite Convolvulus's best efforts, the Gauls ultimately overcome the challenges he presents. By recognizing the dangers of manipulation and reaffirming their unity, they successfully thwart the Roman's plans and expose Convolvulus's treachery.
Astérix and the Roman Agent is a testament to the enduring brilliance of Goscinny and Uderzo. This thought-provoking adventure explores themes of trust, betrayal, and the importance of maintaining unity within a community, making it a timeless classic that continues to entertain and enlighten readers today.
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