la terre


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Eps 1113: la terre

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Badeuil, Madame Laure - wife of Charles, was the youngest daughter of Joseph Casimir Fouan.
When her father's estate was divided, she got no land, but received an indemnity in money instead.
Like his sister Gervaise, he ran off soon after the death of his mother (see La Fortune des Rougon ).

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Carter Sutton

Carter Sutton

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La Terre Earth is a novel by Emile Zola published in 1887 and the first in a series of novels of the same name in French.
The action takes place in La Terre, which is described as "a small village in the south-west of France, just over a kilometre from the coast." The novel is linked to other series by Jean Macquart, whose childhood in the South of France is told in "La Fortune Rougon" and who will later play a prominent role in a novel, La Debacle, as well as in other works by Zola and others.
Jean Macquart, a migrant farm labourer, came to the small village of La Beauce, where he works as a day labourer. He begins courting a local girl, Francoise Mouche, who lives in the village with her sister Lise. Buteau, a young man from another village, is attracted to her and she is interested in him, but he starts courting her.
In a convincingly well-acted role by Guillaume Canet, Land plays a man from the terroir who takes over a farm from a cruel and unrelenting father, Jacques Rufus. Instead of letting his son inherit the property, he forces him to buy it off with a bank loan. It is the owner's son, Edouard, a proud Paysan who is said to have spent decades fighting to keep the business alive, and paid a heavy price for it.
He is an idle drinker who, when he leaves the army after serving in Africa, tramples on the fields, refuses to do a regular job, and lives in a trembling nation of Bedouins who are still being looted. In the following years Pierre bleeds to death, trying to make ends meet and pay off the growing debts, while expanding the business to make more profits so as not to be swallowed up by a conglomerate like all the others in the area.
Born in 1766, he is one of a long line of small farmers who have owned land in varying amounts in the neighbourhood of Rognes for centuries. When the revolution of 1789 came, he was a fouan from the days of Joseph Kazimir and he acquired land, although when it was declared national property in 1793 and when the rest of his property was sold at auction, he was not too timid about his purchase and had no qualms about selling La Borderie for a fifth of its value to Isidore Hourdequin, a citizen of Chateaudun.
Buteaus refused to pay Jean back the family home, which was now rightly in the hands of Francoise and her immediate relatives, but was rightly her home.
Horrified by the suspicion that his wife Fouan had died, Jean left the region for good and returned to his hike, shocked by the discovery of the freshly dug barrow in the forest, leaving his house and family behind.
The itinerant carpenter Jean Macquart also appears in two other Zola novels, and two books lure us. Au large consists of the writings of Jean-Hubert Martin, which were published in his own name at the beginning of the 20th century. The other work is a second one, which deals with the history of the exhibition, entitled "Making Art Global," and dedicated exclusively to the Magiciens de la terre.
Before 1989, it was US artists and a handful of Germans who exhibited at international exhibitions, but Paris was probably ready to take on the task of stealing the torch of modern art, as was the case in New York during World War II. So Paris decided to invest in an ambitious exhibition that is divided into two parts, one for the US and one for Germany, with a particular focus on art from the United States.
Lucy Steeds tells us that the exhibition is funded by the French Academy of Arts and Sciences and that one of its main sponsors is the Canal television channel. The methods Jean-Hubert Martin used in selecting the artists brought him much harsh criticism, just at the moment when postmodern and postcolonial theory was developing, which aims to overcome the barriers between the things we see in our everyday lives and the real world of art and art history.
In his career, he has continuously pushed the boundaries of the contemporary art world and questioned its limits and categories. He had an influence on the prevailing tastes and showed a penchant for emotion, sensitivity and even miracles. When asked about the criticism he faced during his time at Magiciens de terre, he replied: "In my career, I would constantly question and push boundaries in the world of contemporary art, beyond the boundaries of any category.
In his artistic career spanning more than six decades, the artist has understood and manipulated color in such a way that it achieves truly unique goals. What I have to say will always be critical and challenging because of the nature of his work and his unique style.