Slogans For Landscaping

La Belle Angeles

LA BELLE ANGÈLE .

Type: three-masted lugger , lugger.

Rigging: wooden poles in a single party, the main mast and the mast tapecul to have a strong looking back. Only the main mast may carry a topsail. Ends outside front and rear hinged for easy maneuvering in port. The yards are high in normal use and sails carguent cons yards and masts.

Materials: hull, deck and spars of wood.

Date and place of launch: 1991 in Pont-Aven, built by the carpenters of the construction Guip the Ile aux Moines (Morbihan), from the plans of Francois Vivier, made from photos of The Helpful (built at Redon).
Other Names: No, but model called useful.
Initial Operation: yacht cruising and day trips (reply)
The Helpful was borneur (the boundary is cabotage very short steps ) and a lugger.
Last known nationality: French .
Last known port: Pont-Aven (Finistère south), but the boat is usually based in Concarneau.

last known use: sailboat cruising and walking.

Meaning of the name La Belle Angele is the name of a famous painting by Paul Gauguin (1848 - 1903), painted in Pont-Aven in 1889. The painting is part of the collection of the Musee d'Orsay in Paris. The model, posing in Breton costume, and was named Angela Canevet hotel, her husband, Frederic Satre, was later mayor of Pont-Aven. The two spouses have also not appreciated the portrait. Paul Gauguin is probably the most famous personality who lived in Pont-Aven, and the boat is named in his honor. A street in Pont-Aven has the same name.
The name is more poetic as the lugger was taken as a model for replication, The Helpful .

Overall Length : 24.5 m
Hull length: 14.5 m
Waterline length: m.
Breadth: 4.6 m
Draught max: 2 m
Draught air: m
Displacement: 35 t .
Surface max wing: 195 sqm.

State: regularly maintained.

Front: Bow slightly inclined. Long bowsprit horizontal lift

Back : Arch + table painted white, bearing the name of the boat and the initials of the maritime district of registration: CC Concarneau); tiller.

Co that: Black strake white, green bulwark rail.

Superstructures: Panels and descents. The deckhouse between the rear mast and boom tapecul is not higher than the shield and is not visible in profile.

La Belle Angele was built by the association "La Belle Angele, which remains the owner and holds a party around the boat every year (late August), at Bridge-port Aven. She has participated after its launch in 1992, the festival of Brest and the competition "boats off the coast of France."
is a replica lugger of Aven, the Helpful launched in 1870 to Redon (Ile et Vilaine), who belonged to an owner of Pont-Aven Satre Leon. This type of boat used to transport sardines during the fishing season: he went for the fish on the fishing boat (which could well continue its activity) and reported in the cannery as soon as possible: he needed a boat capable of good performance. Outside of this seasonal activity, the ship provided a more traditional role borneur along the Atlantic coast and the supply of the islands. An important feature is the shallow draft, which allowed the rise of the rias to Pont-Aven, Quimper or Hennebont, and access to small ports like Doëlan.
By far and cons-day, one can easily confuse La Belle Angele and Corey (who is a bit bigger). The brown sails of La Belle Angele, so are the best distinguishing criteria. Note also that the lugger of Aven has no deckhouse between the two poles, unlike the lugger Quimper.
The association has five other boats, many smaller (some restoration). The lugger practice coastal shipping, especially in southern Finistère and Morbihan. He attended many gatherings of traditional sailing ships and was even at the Rouen Armada in 2003.

Like other traditional sailing ships, the ship is managed by the company Gouelia (from Goueliad Breton, which means sailing) Quimper, comprises the various boat owners associations and receives applications from individuals and groups wishing to embark.
The crew of two sailors, the boat can carry up to 10 people on a cruise (8 adults and 2 children), 23 in the day and walk 40 people can sit on board receptions.

Best Red Dot For Money

Great trip! Chronic

To allow me more freedom, I decided to migrate this blog. I wanted to have a more flexible platform allowing me to integrate such photographs. This explains the radio silence the last few weeks. You will find the revamped version, there .

Be lenient, I still have some work to do!

Honey Honey Drops Raw

City

Chronic City, Jonathan Lethem, is not a novel of September 11, 2001. While the novel is set in a New York of the new millennium, and his characters explore the city, from the Upper East Side to Lower Manhattan's Town Hall. At no when the author mentions that day, nor even its salient features: no fire, no plane, no tower are discussed in this novel. Yet there is something going on in the literature of 11 September with Chronic City. Maybe this is the result of reader who seeks in the New York novel traces the 2001 attacks. Already, with Let the Great World Spin , Colum McCann explored the figure of the tightrope walker Philippe Petit, famously walked between the two rounds in 1974, directing the gaze towards the towers building on the nostalgia of an era over, one where the talk does not amount to talk about their destruction. Chronic City becomes a novel about him specifically by the September 11 detours it takes not to name September 11, to circumvent the figures.

Forget the main character, Chase Insteadman, whose name (Man instead of ...) the place from the outset in the strange transitional space that is his life surrounded by marijuana smoke and the real almost alternating built by the character of Perkus Tooth. Which, in Lethem's work evokes September 11, these are indications of a threat and the underground days of gray fog.

The New York Chronic City is grappling with a monster, described as an animal such as the legendary yeti, whose alleged apparitions are surprised by witnesses hallucinating. Because we must name the enemy, journalists and witnesses they decide is a tiger, bringing the ongoing destruction of an enemy known. "[...] Biller INSTEAD logged on to the City's Tiger Watch Web Site. The last monster HAD Been seen Two days ago, we Sixty-Eighth Street by a couple of undergraduates Hunter, Beneath rustling year Opened metal grating at a work site. There HAD Been No Casualties or damage, & the site ranked Risk Of An attack tonight as Yellow, or Low-to-Moderate " (P. 226).
The tiger is actually a machine that was digging a new subway line and that has apparently packed, developing its own "intelligence" and exceeding the levels of its operators. A kind of Frankenstein, in short, that strikes at any time (but especially at night) and, especially, causes evacuation (and conviction) of apartment buildings. Coming from below, the threat that is the tiger eventually make its own revitalization. But two features of this threat are interesting. On the one hand, it is, like terrorism, unpredictable: the machine does not hit in a logical, linear. It is surprising, moving, processing power. As the great figure of the post-September 11, Osama bin Laden, the tiger is watched, you imagine seeing the stalk, and its appearances change the alert level. On the other hand, machine, mythologized, driven both by witnesses as journalists, forced to accept changes that, in fact, is not so much coincidence that political considerations and planning. If there Lethem in a reflection on September 11, she may find here in a critical discourse of fear and security which led a majority of Americans not only accept restrictions in their freedom and individual rights but to wish for. The transformation of a machine of "mass destruction" in tiger gives a face "acceptable", is a process of infantilization witnesses: you do not see what you see, you see what we tell you that you see ... Chronic

If City does not mention September 11, or even the World Trade Center, the novel is built, however, according to a geometry with two poles: on the one hand, the fascination and fear of the tiger, the other, mist that floated over the city over a hole. Mentioned several times, This hole, located only vaguely as belonging to the "lower part of the Island" (p. 173), is associated with a gray mist ("gray fog") and a vague threat but constant. The hole, never named, never otherwise determined by the fog, is a sort of No Man's Land, dangerous dirt: "I Realized I Had not Been So Far Since The downtown gray fog's onset" (p. 233). Both the machine is, by its association with a tiger, custom designed, as the fog appears as an event without a date, without beginning, without end, but without apparent cause. The towers are not in Chronic City, destroyed. They are only from the fog, invisible, "Philippe Petit crossing impossible That distance of sky Between the towers, now unseen for months So Many behind-the gray fog" (p. 430), as if, should the lifting of the fog, they resurface. As with

Let the Great World Spin where the figure of Philippe Petit is used to mark the distance between the two towers, between the glorious past of their construction and their sudden absence, days of fog in the novel Lethem make visible a break in the life of the city between the before and after. But Lethem goes beyond mere temporal break. As le fait en mettant en scène le tigre, Lethem utilise le brouillard pour critiquer l’après-11 septembre : « Something happened, Chase, there was some rupture in this city. Since then, time’s been fragmented. Might have to do with the gray fog, that or some other disaster. Whatever the cause, ever since we’ve been living in a place that’s a replica of itself, a fragile simulacrum, full of gasps and glitches. A theme park, really! Meant to halt time’s encroachment. Of course such a thing is destined always to fail, time has a way of getting its bills paid. » (p. 389) La critique de Lethem ne se porte pas sur l’avant-11 septembre. Certes, un changement a eu lieu, dit le personnage, Perkus Tooth, but since September 11 that "we live in a world that is a simulacrum, a replica of himself. A theme park for fun, to put people to sleep, to prevent them from seeing what is really happening, the changes under way, impossible to counter. If Lethem has in this passage, a pessimistic view, it is not so much because he fears the return of terrorism, but because you can tweak endlessly with reality, it always ends up catching us up and ask her due. Perkus Tooth kind of seeing hallucinations (drugged and immersed in his own fog, that of marijuana), thus becomes a Cassandra, announcing the end of fear is not that we believe that, disguised, camouflaged supposedly for our protection, it will do no less and will be worse than the first disaster this "break in the city."

As surely, therefore, that Lynne Sharon Schwartz and Don DeLillo, attacking head-on attacks, wrote novels that are part of the literature on 11 September, Lethem is another vision of this new literature is accessed: the event has more to be named, it is in the background, and flat over the town, as the smell of chocolate, sweet, reminiscent of the smell of corpses floating in the city for weeks after the attacks. In rusant with the figures of the event, using them as leverage tacit Lethem built a critique of the mythologizing of September 11 and its aftermath. There would thus be a memory of Sept. 11, sponsored New York may be the best custodians.

How To Obtain Spirit Wolf?

Fiction truth, truth from fiction

I invite you to read on the site of Salon Double reflection that launched the Words Written in Dust.

Here's a short excerpt:
men and women went to work. That is the point departure. The moment before everything changed. That is where part or expected from the narrative. Perhaps a name: Paul, John, Jane, Leah. The color of their full or their tailor. The weight of the briefcase. The control of coffee in the little bistro at the subway exit. The casual conversations around the lunch, or silence. Everyday actions, shaving cream, deodorant, shirt, socks. The closed face changer in the subway, his story. But writing these details, that would be something appropriate. The difficulty of telling, however, prefers not to name, did not specify. Perhaps because, from when it comes to telling it these events, it is inevitable to encounter this feeling: no matter what I write, basically. No matter how I say, with what word, I will describe how these lives, these moments, these moments. My reader will know, without my saying that my characters, if that is really are doomed. He will know that if I say that the sun shines, it will be to mark the contrast with what is coming.

To read the full article, click here .