Torquato Tasso, who died in Rome on 25 April 1595, desperately wanted to write a classic. The son of a successful court poet who had been brought up on the Latin classics, he had a lifelong ambition to write the epic poem which would do for counter-reformation Italy what Virgil’s Aeneid had done for imperial Rome. From his teenage years on, he worked on drafts of a poem on the first crusade which had ‘liberated’ Jerusalem from its Muslim rulers in 1099, a subject which he deemed appropriate for a Christian epic. His ambition reflected the climate in which he grew up: his formative years (he was born in 1544) saw a newly assertive orthodoxy both in literary theory (dominated by Aristotle’s Poetics, published in a Latin translation in 1536) and in religion (the Council of Trent, convened to meet the challenge of Luther’s revolt, was in session intermittently between 1545 and 1563).… Lês fierder

Tongersdei 24 april ferskynde yn de LC-rubryk ‘Te gast’ in bydrage fan ús ponghâlder Jan Ybema oer de nije oplieding ‘Minorities and Multilingualism/Frysk’. Oant 1 maaie kinne minsken har noch ynskriuwe foar de stúdzje en wy hoopje dat benammen noch mear minsken út Fryslân dat dwaan sille!

Lês fierder by Skanomodu… Lês fierder

Kazimir Malevich, real name Kazimir Severinovich Malevich (b. Kiev/Ukraine 1878 – d. Leningrad/St. Petersburg 1935) was fundamental as a painter and writer to the Russian avant-garde, and also on the international scene. He began his work in futurism with his contribution to the sets and costumes of the opera Victory over the Sun (tracks 4, 5, 6 and 7), later creating his own movement in 1915, called Suprematism, defining this as art “absolutely without object”, or as a “new plastic realism”; his Black Square (1915) being the minimum (and maximum) synthesis of his pictorial proposals. In the post-revolutionary period, he created the UNOVIS school-workshop (“the Affirmers of the New Art”) where education was combined with artistic investigation by means of workshops, and its practical application in society with the execution of public commissions.… Lês fierder

Lodde, Koate, Dwatte, Poatse, Kjille, Mertsje en Akseltsje: in eigenaardige lúshâlding, dy ‘t wennet op in hûn, dy ‘t se ‘de wrâld’ neame. Op dy wrâld groeie beammen (hier), de ein fan ‘e wrâld (sturt) is gefaarlik en kin sa skodzje, dat de lúskes derôf falle. It stjerrestelsel dêr ‘t se yn lúsmanje is it hûs fan de Baas. Alle oare wrâlden binne gefaarlik. Der kinne oare folken wenje. Motten, flieën en tiken, bygelyks. En dy binne net om ‘e nocht!
Geart Tigchelaar (1987) is in jonge Fryske skriuwer, dy ‘t mei Lúshâlding (oktober 2011) syn earste folsleine boek ôflevere. In boek yn in droech-humoristyske styl wêryn ‘t niisneamde lúskes de haadrol spylje.… Lês fierder

Het valt niet te ontkennen: de Russische beer en de Hollandse kikker verschillen enorm van elkaar. Toch zijn de overeenkomsten, ook op het gebied van de menselijke emoties, ongetwijfeld groter dan de verschillen: er is veel meer dat ons bindt dan dat ons scheidt. Dat zie je bijvoorbeeld in de romantische schilderkunst van de negentiende eeuw.

Lês en sjoch fierder by Historiek… Lês fierder

Op it koar fan de St. Vitustsjerke fan Tersoal stiet in krús mei in wynfaantsje. De blêdgouden wynwizer hat de foarm fan in wapenskyld mei in liuw. Lêsten haw ik him ris in kear goed op de foto set:

Sjoch en lês fierder by André Looijenga… Lês fierder

,,Tijdens zijn rondreis door het Groninger wierdenlandschap ontmoette Liudger de blinde zanger Bernlef. Deze was erg geliefd onder de bevolking en had een prachtige stem, maar zong heidense liederen. Toen Liudger met hem sprak over bekering zei Bernlef: ,,Als die God van jou echt zo machtig is, toon mij een teken.” Liudger legde vervolgens zijn handen op de ogen van Bernlef en sprak een gebed uit.

Lês fierder by Joep van Ruiten… Lês fierder