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Casa Cueva in Mexico City, Mexico

Jul. 21st, 2025 05:00 pm
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Outside Casa Cueva, now a private music school.

Casa Cueva, or “Cave House,” was designed by the Mexican architect Juan O’Gorman as his family home, built on a lava bed in the Jardines del Pedregal neighborhood of Mexico City.

In 1969, it was acquired and transformed by the artist Helen Escobedo, who demolished parts of it to build her residence, sparking a longstanding controversy that remains a subject of heated discourse in local architectural and artistic circles.

The building is now a music school without public access, but parts of the original structure remain, including a rocky facade with O’Gorman's original multicolored mosaics.

Banyan Drive in Hilo, Hawaii

Jul. 21st, 2025 04:00 pm
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Cecil B. de Mille's Tree on Banyan Drive, among others

In the early 1930's, tourism was still new to Hawaii and local leaders on all of the islands were seeking ways to make their locations stand out. In 1933, the city fathers of Hilo decided to invite famous visitors to plant banyan saplings along a circular drive on Waiakea Peninsula, near Hilo International Airport. This campaign began with American director Cecil B. DeMille in 1933. Later that year, after the World Series, baseball star Babe Ruth visited Hawaii for some exhibition games and also planted a tree in front of what is now the Hilo Hawaiian hotel.  At the time, "The Babe" was perhaps the most famous person in America.

Over time, the area disappeared from the tourists' radars as the drier Kona coast took most of the Big Island's vacationers.  Plans for more hotels were never completed.  One of the attractions in the area, Uncle Billy’s Hilo Bay Hotel, was closed, condemned, and left vacant, attracting drugs and illegal activity to the area. Today, the Hawaii state government is attempting to restore the area to something approaching its former glory.

More than two trees were planted in the 1930's — there are some which were planted by Amelia Earhart, Franklin D. Roosevelt, Richard Nixon, and several notable actors.  Though not all banyans survived the tsunamis that hit Hilo in 1946, 1960 and 1964, those that did are now past 90 years old and far grander than saplings!

The Lost Song of Wade.

Jul. 21st, 2025 08:03 pm
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Posted by languagehat

Seb Falk and James Wade (no relation) have published an open-access paper in the Review of English Studies, The Lost Song of Wade: Peterhouse 255 Revisited, that is usefully summarized in Stephen Castle’s NY Times article (archived):

Geoffrey Chaucer, often regarded as the first great poet in English, drops references at two points in his works to an older poem or story, the Tale of Wade, that seems to have needed no explanation in his own time but has since all but disappeared. The one surviving fragment — a few lines of verse quoted in a 12th-century sermon and rediscovered in the 1890s — only left scholars more puzzled.

Now, two Cambridge University academics, James Wade (whose family name is coincidentally shared with the tale) and Seb Falk, believe they may have unlocked the riddle by correcting a mishap that remains familiar to publishers almost a millennium later. Call it a medieval typo. The fragment seemed to refer to a man alone among elves and other eerie creatures — something from the story of a mythological giant, or of a heroic character like Beowulf who battled supernatural monsters. […]

The new research, published on Wednesday in Britain in “The Review of English Studies,” suggests that the “elves” sprang from a linguistic error by a scribe, who miscopied a word that should have meant “wolves,” and that Wade in fact belonged to a chivalric world of knights and courtly love — much more relevant to Chaucerian verse. […]

Richard North, a professor of English language and literature at University College London, said the authors’ analysis of the 12th-century verse made a good case about the nature of Wade. “I think they are right that he must be a knight from a lost romance rather than a giant from English folklore,” he said.

Others were more circumspect about the implications of the study. Stephanie Trigg, a professor of English literature at the University of Melbourne, Australia, said she was “persuaded by the reading of wolves (not elves)” and said the analysis contained “lots and lots of fascinating details and contexts,” but said: “I’d be cautious about claiming this is a revolutionary way of understanding Chaucer.”

The verses were discovered in 1896 by M. R. James, author of “Oh, Whistle, and I’ll Come to You My Lad” (see this LH post, wherein I report my discovery of the word ontography); he put elves and adders into the translated version, but:

The new study concludes that the sermon’s scribe confused a runic letter that was still found in Middle English, and pronounced ‘w,’ with the letter ‘y.’ That, it says, turned “wlves” into “ylves.” The scholars also argue that the word formerly translated as sprites, “nikeres,” refers to sea snakes. Drawing on the Latin text around it, they suggest the passage concerns beastly human behavior, translating it as follows:

Some are wolves and some are adders; some are sea snakes that dwell by the water. There is no man at all but Hildebrand.

“Here were three lines apparently talking about elves and sea monsters which exactly puts you in this world of Beowulf and other Teutonic legends,” said Dr. Wade. “What we realized is that there are no elves in this passage, there are no sea monsters and, in the study of the handwriting, everyone has gotten it wrong until now.”

(We discussed nicors/nixies back in 2014.) Not earthshaking, but I can’t help feeling pleasure at getting rid of the bloody elves.

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Facade of Basilica Sant a Maria Collemaggio

A symbol of the of town of L’Aquila, the Basilica Santa Maria di Collemaggio is located just outside the town walls. It was built in 1288 on the spot in which Pietro da Morrone, founder of the now extinct Celestine congregation, dreamed that the Virgin Mary asked him to build a church in her name. When da Morrone, who lived as a hermit in a cavern in the Maiella mountain, was later elected Pope Celestine V, he chose to be crowned in L’Aquila instead of Rome because the capital of the Holy Roman Empire was experiencing religious and political unrest at that time.

To encourage harmony and peace among local populations in his realm, Celestine V instituted the Bull of Forgiveness in 1294, granting Plenary Indulgence to whomever passed through the Holy Door on the left side of the Basilica. This forerunner Jubilee anticipated by 6 years the first formal Catholic event of full remission of temporal punishment for sins, which was proclaimed in 1300 by his successor Pope Boniface VIII in Rome and was to be celebrated every 25 years. Instead, in L’Aquila, the Forgiveness Walk, 0r la festa della Perdonanza, is commemorated between the evenings of August 28 and August 29 and has been celebrated every year of the last seven centuries. During the celebration, the Holy Door is opened and thousands of citizens from the 23 villages involved, dressed in traditional costumes, take part to the Celestine Forgiveness procession. This traditional ritual of the “Perdonanza” is recognized by UNESCO as a Cultural Heritage of Humanity.

The Holy Door is also the starting point of the Celestino pathway, or Cammino di Celestino, the 56 mile (90km.) pilgrimage route that follows the trail the old hermit followed on the back of a mule to reach L’Aquila from his cave to be crowned Pope in the Basilica di Collemaggio. The approximately 4-day journey will take you through striking villages beautifully restored from earthquake damage, along with breathtaking wilderness. The Cammino di Celestino crosses other walking trails in the Abruzzi such as Cammino Classico, and Cammino di San Tommaso. 

One-Eyed Jack in Scottsdale, Arizona

Jul. 21st, 2025 02:00 pm
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While Odessa, Texas, claims to have the world’s largest jackrabbit statue at eight feet, they have more recently been dwarfed several times over by an abstract steel statue in Scottsdale, Arizona.

Standing 26 feet tall and clocking in at 10 tons, One-Eyed Jack’s name refers not only to its singular eye but an old nickname for the Jack playing card. This is rather appropriate, considering that the jackrabbit itself has been a common sight in the Southwestern United States since time immemorial.

One-Eyed Jack was created by the artist John Randall Nelson to invite passersby into Old Town Scottsdale, which prides itself on its Western heritage (although the corner on which it stands was not developed until the 1950s.)

However, the statue also tries to be forward-looking in its minimalistic design, inspired by the many innovative art galleries located in the neighborhood. An entirely different view of the sculpture can be seen at night, when it is lit up in bright colors.

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The house

Gavrilo Princip (1894-1918) was the assassin of Archduke Franz Ferdinand, the heir to the Habsburg throne, and his wife Sofia Chotek in Sarajevo on June 28th, 1914. One month later, in response to this act, Austria declared war on Serbia, and the 1st World War began.

Gavrilo's home is in Obljaj, a little village in the Municipality of Bosansko Grahovo, Bosnia and Herzegovina, near the Croatian border. It's a small, 2-floor house, demolished several times over the years: first by Austro-Hungarians, then Croatian fascists in the 40s (the Princips were a Bosnian-Serbian family), and again during the Yugoslavian war. It was rebuilt each time... I hope now it will last for a long while!

On the second floor, you can see the ambience of the Princip family household: the fireplace, tools for working in the garden, some furniture — the small things of a poor family (Gavrilo's father was a postman, his mother was a housewife). On the ground floor, a little museum that reminds visitors of the Sarajevo attack: photos from the time, the historical image of Gavrilo after the arrest, images of the trial, the guns of the killer and his accomplices, Gavrilo as a kid with his parents...

It's a little piece of history, and a place that deserves to be seen if you pass by — whatever your position on what Gavrilo Princip did. Visitation is free. You can leave a tip, if you want!

Druid Stone in Dorset, England

Jul. 21st, 2025 12:00 pm
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Although this sarsen stone sitting by the novelist Thomas Hardy’s former lawn may seem inauspicious, it is actually part of a ditch enclosure similar to the one at Stonehenge. Even more impressively, this one may be hundreds of years older than Stonehenge, reshaping our understanding of prehistoric Britain.

The stone was first discovered underground in 1891, surrounded by half-charred bones and ashes. Thomas Hardy was impressed enough by the stone to erect it in his garden and even write a poem about it.

The real significance of the stone was not realized until the 1980s, when an archaeological survey was being done for a highway passing by Hardy’s Max Gate. Archaeologists found human remains and cremations in a ditch enclosure, similar to the one surrounding Stonehenge. Some were under sarsen stones similar to the one discovered earlier. 

More recent datings have determined most of the remains and earthworks to be from the fourth millennium BCE, around two hundred years older than Stonehenge. That means that a similar structure may have stood at Max Gate before the more famous one in Wiltshire! The findings here have become invaluable in showcasing the neolithic transition between long barrow cremation and burials in circular ditch enclosures.

Caru' cu Bere in Bucharest, Romania

Jul. 21st, 2025 11:00 am
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Dating to the 19th century, this German-style restaurant and beer hall is a marvel of carved woodwork and stained glass. During tourist season they have folk shows on the first level, but the best music is by the taraf (traditional folk band) playing in the beer cellar.

The lead violin player is excellent, as is the cimbalom player. They play “continental favorites” during the first set, but, after a break, come back for muzică lăutărească, the real urban folk music of Romania.

On some nights, folks will get up and dance. It is located in a beautiful and lively pedestrian area in Old Bucharest, across from the Stavropoleos church.

Fantast Castle in Bečej, Serbia

Jul. 21st, 2025 09:00 am
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The Serbian wine-making province of Vojvodina has been home to many wealthy people, who have built magnificent palaces and estates. Over 100 years ago, on his vast estate of over 2,600 acres, one such man created a world of his own — a fairytale realm known as Fantast Castle or Dunđerski Palace.

An avid horse collector, Bogdan Dunđerski named the castle after Fantast, the stunning horse of a Belgrade doctor. Having never married nor had any children, Dunđerski was a renowned Bohemian his whole life, and his great passions were horsemanship, being among beautiful women, and fine wine. Fantast Castle features a stud farm for racehorses that is still active today, as well as a neo-Byzantine Serbian Orthodox Church and chapel.

Dunđerski first began building his dream castle at the age of 57, inspired by his travels across Europe, where he studied many European grand castles, particularly pseudo-Romantic “fantasy castles” he had seen in Vienna and Budapest. For him, mystery was not just a theme, but a guiding principle in the building process. He followed this vision so closely that no original architectural plans for the castle have ever been found. Some say he built the Disney-like castle out of spite, to prove that he had not gone bankrupt.

To protect the secrets of his masterpiece, Dunđerski did not hire local workers, and instead sourced skilled craftsmen from Czechia. Their limited connection to the region ensured that evidence of the Fantast Castle remained untraceable. Once the complex was completed, the craftsmen returned home, taking the knowledge with them. Whispers of massive shipments of high-quality Slavonian oak arriving and vanishing overnight were the gossip of town. It is believed that the wood was used to line secret passageways connecting the castle to the stables. As for hidden chambers, at least two are said to exist within the estate.

Adjacent to the castle, a chapel was constructed in the neo-Byzantine style, dedicated to St. George. Its iconostasis was painted by Uroš Predić, one of Serbia’s most celebrated artists and a close friend of Dunđerski. Predić also created three mosaics on the portal, and a depiction of the Last Supper, completing them over two years. At Dunđerski’s request, the Virgin Mary in one of the paintings was modeled after a woman named Mara Dinjaški Đalinac, the wife of the estate's blacksmith and an object of Dunđerski’s affections.

The chapel, where Dunđerski is buried, is steeped in the same mystique that shrouds the rest of the estate. Visitors who come on the Feast of the Transfiguration often report a palpable sense of the otherworldly. One particularly curious feature is the icon of Stefan the First-Crowned, which bears a silver imprint of lips in its lower right corner. According to local myth, this mark mysteriously appears and fades, and is most visible at midnight on Transfiguration Day, when Dunđerski’s spirit is said to rise and roam his beloved Fantast Castle. 

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Frontside of the house

Paul Revere's house, located in the North End of Boston, Massachusetts, is the oldest remaining structure in the city's downtown area and one of the few remaining from the colonial era. Built around 1680, the house is a fine example of early American colonial architecture, featuring a steep gabled roof and a distinctive facade made of wooden clapboards.

Originally constructed for merchant Robert Howard in 1680, the building became home to Paul Revere during the American Revolution. Revere purchased the house in 1770 when he was 35 years old, and it was from here that he left for his famous midnight ride in 1775. The house has two main stories with large, symmetrically placed windows and wooden shutters. The interior features several rooms, including a kitchen with a large hearth, a living room, and bedrooms, all restored and furnished in the styles typical of both the late 17th and early 18th centuries.

Today, Paul Revere's house serves as a museum operated by the Paul Revere Memorial Association. It showcases various historical artifacts, including items owned by the Revere family, providing visitors with a glimpse into daily life during the period in which Paul Revere played a crucial role in American history.

Arizona’s Declining Groundwater

Jul. 21st, 2025 12:00 am
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Posted by NASA Earth Observatory

Arizona’s Declining Groundwater
Decades of satellite observations show that the aquifers in the southern part of the state are ailing.

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Posted by languagehat

I love translation comparisons, and Erik McDonald’s XIX век has another one (cf. last year’s Translation Comparison: Fathers and Sons), confronting the three English translations of Bulgakov’s Белая гвардия (The White Guard): those by Michael Glenny (1971), Marian Schwartz (2008), and Roger Cockrell (2012). He breaks his post into sections titled Medieval Kyivan allusions, How Nai-Turs and Talberg speak, Ukrainian speech in the Russian text, Characters trying to Ukrainianize themselves, Things doing things, Dividing the novel into parts, and Shattering the City; most of them are self-explanatory, but the fourth one focuses on the “whale” (кит/кіт) passage I mention at the end of my own post on the novel, and the last is about allusions to the Book of Revelation — he links to “Is Apocalyptic Kiev Still Apocalyptic Kiev in English Translations of Mikhail Bulgakov’s Novel The White Guard?” (Sic 10.2 [April 2020], open access) by Petra Žagar-Šoštarić and Natalia Kaloh Vid, which I found extremely interesting:

Our analysis of allusions in The White Guard is based on allusions to the apocalyptic prophecy as presented in the Book of Revelation[7] and, more precisely, to the parts relating to the depiction of New Jerusalem and Babylon. In what follows, we will examine thematic key-phrase allusions to the Book of Revelation[8] that contextualize the City and discuss how and if these allusions have been rendered in the translations. We will also consider whether the preferred strategy makes it possible for readers to identify the connotations of the allusions. The first question that naturally arises is that it is debatable how familiar the Book of Revelation is to present-day readers. Presumably, cultural products (e.g. films, songs, and paintings) embedded certain key elements such as the Whore of Babylon, Apocalyptic Beast, The Day of Judgement, or Apocalyptic Horses in the public consciousness, and these are hence often used allusively. However, we assume that there are less familiar textual elements such as details of New Jerusalem. It is impossible to speculate about how familiar English readers are with the Book of Revelation or to what extent the translators recognized apocalyptic allusions in the text. Hence, we suppose that some key-phrase allusions, such as the reference to the number of the apocalyptic beast, the Red star, sharp sword, gardens, and Judgement day are more familiar and evoke immediate association in the translators and readers, while others, such as precious stones, pearls, light, glass, and other features of New Jerusalem may be less obvious. In our opinion, the latter group of allusions would pose more problems for translators.

Erik singles out a passage that I too found striking:

Bulgakov tends to give the reader a sharp delineation between the City as an oasis of peace and beauty, a domestic zone that represents safety and is associated with the pre-revolutionary lifestyle and values, and the alien zone of the City’s outskirts and countryside, the steppe, as the embodiment of barbarianism, violence, and danger. What should be clear from this short passage is that the City is in danger, surrounded by purely demonizing forces. On the other hand, Bulgakov introduces the City as a beautiful, fragile, crystal-like place, establishing a key link with New Jerusalem. With the verb разбить/to break, combined with осколки/shards, the author employs an allusion to New Jerusalem, which is depicted as being made of glass […].

The comparison to glass is crucial for the successful recognition of this allusion. All three translators used different verbs, employing the strategy of reduced meaning, to render the original verb разбить, which means “to shatter/to break,” and in Russian is used primarily when referring to smashing glass or ice. Cockrell’s option “to destroy” is perhaps less successful, as it does not transfer the original’s connotation of breaking glass. The noun осколки (shards) intensifies the image of the City as vulnerable and fragile – as easily broken as glass. It is interesting that none of the translators opted for the strategy of literal translation with the word ‘shards’. The alternative translations with reduced meaning seem to fail in conveying the right connotations based on comparing the City to crystal and glass as in the Book of Revelation. Schwartz’s option “shreds” would be more appropriate for referring to paper or paper-like material and maybe thin fabric, while “remnants” are usually garments, fabric and sometimes flesh but never glass. Cockrell’s “rubble” also does not transfer the original meaning as it is commonly used for concrete, blocks, bricks, and stone. Another significant omission in Cockrell’s translation is the noun покой/peace, which was rendered by other translators as “tranquillity” and “peace.” Schwartz’s choice of “tranquillity” also implies serenity, an important connotation attached to the Russian original, while “peaceful,” though correct, is further from the original meaning.

If those samples intrigue you, I urge you to read both the post (a more general account) and the article (focusing on the biblical allusions); me, I think I was too hard on the novel when I read it a few years ago and I should really give it another go.

Italy’s Majestic Mount Etna

Jul. 20th, 2025 12:00 am
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Posted by NASA Earth Observatory

Italy’s Majestic Mount Etna
The volcano’s long history of eruptions has influenced eastern Sicily’s physical topography as well as how people interact with the land.

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Under the X, the Y.

Jul. 19th, 2025 08:05 pm
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Posted by languagehat

I was reading Daniella Shreir’s LRB Diary: What happens at Cannes (10 Jul 2025; archived) when I was struck by a turn of French phrase in this passage:

Some form of disruption looms over the festival every year. Unionised electricity workers, reacting to Macron’s proposed pension reforms, threatened to cut power to venues in 2023, and last year festival workers, organising under the banner of Sous les écrans la dèche (Broke behind the Screens), threatened to withhold their labour until they were given the same rights as other culture workers.

“Sous les écrans la dèche” literally means ‘Under the screens, poverty’ (dèche ‘being broke’ is apparently a clipping of déchéance ‘decay,’ from the same Latin word as decadence), but to me it irresistibly called to mind the famous 1968 slogan « Sous les pavés, la plage ! » ‘Under the paving stones, the beach!’ (Although I learn from the French Wikipedia article that that phrase has a complicated and disputed history which depresses me too much to try to disentangle.) What I want to know is this: is that relationship a product of my particular intellectual formation, or would any Frenchperson make the connection? Is it a template, or just a similarly constructed phrase?

Incidentally, it’s always a shock to be reminded that the inaugural Festival de Cannes was supposed to happen in 1939, but it “was cancelled after only one screening (William Dieterle’s Hunchback of Notre Dame): Hitler had just invaded Poland.”

Rare Snowfall in the Atacama Desert

Jul. 19th, 2025 12:00 am
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Posted by NASA Earth Observatory

Rare Snowfall in the Atacama Desert
Snow infrequently falls in the high plains of northern Chile. And when it does, it doesn’t last for long.

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