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"Women's script or women's writing may refer to: * Nüshu script, a syllabic script used to write the Chinese language Xiangnan Tuhua * Hiragana, a Japanese syllabary sometimes called , "women's writing" * The Korean alphabet, sometimes pejoratively called amgeul () or amkeul (), "women's script" See also *Women's writing (disambiguation) "
"Jean-Baptiste Cerlogne (6 March 1826 – 7 October 1910) was a poet-priest and scholar of the Valdôtain dialect of Franco-Provençal. He is celebrated as a pioneer of Franco-Provençal grammar and lexicography, identifying a vocabulary for a set of dialects that had hitherto very largely been transmitted only orally. He is also considered the principal poet of the Aosta Valley, where he lived for most of his life, being a Savoyard in his youth before becoming an Italian. Life Cerlogne was born in the hamlet with which he shared his surname, in the comune of Saint-Nicolas, a mountain village several kilometers west of Aosta. His father, Jean-Michel Cerlogne, was a veteran of the Napoleonic Wars who worked as the village school master. While still a child, Cerlogne had to leave the family home to support himself as a shepherd. This was normal for boys of his age, as was his moving away from home to find work, becoming a chimney sweep in Marseilles. He returned briefly to the Aosta Valley in 1841, and this time when he went back to Marseilles he obtained a job at the "Hôtel des Princes" where he worked as a scullion in the kitchens. A few years later, he had risen to the rank of kitchen assistant, which meant that when he next returned to his home valley, in 1845, he had a "trade". Still only 19, he now resumed his attendance at the local school for a couple of years. On 4 January 1847 he left the valley again, this time to enlist as a soldier for King Charles Albert. He participated in the First Italian War of Independence, taking part in the Battles of Goito and Santa Lucia. He was captured by the Austrians and briefly held as a prisoner of war, before being released on 7 September 1848. In his autobiography he later took care to stress the humanity with which, as a prisoner, he was treated by the Austrian army. After the Battle of Novara (23 March 1849) the war spluttered to an end, and he was sent on indefinite leave: he returned to Saint-Nicolas where, despite his age, he resumed his habit of attending the village school as a pupil, alongside the children. It turned out that word had got out concerning his experience in the hotel kitchens in Marseilles. He was effectively head- hunted to take on the catering at the principal seminary in Aosta, where he started work in September 1851. It was while working at the seminary that, encouraged by a senior seminarian, Canon Édouard Bérard, he composed his first poems (in French). Initially he continued to live at home in Saint-Nicolas, but in August 1854, following the death of the seminary superintendent, he became concerned that he might be about to lose his job, and took the opportunity to move into the seminary. After the death of his mother the following year he temporarily returned to Saint-Nicolas, but in August 1855 he was invited to return and resume his culinary duties at the seminary. In 1855, possibly as a test, Bérard invited Cerlogne to compose a poem in the Valdôtain patois on the subject of the Prodigal Son. He duly set about writing, in two weeks, L'Infan prodeuggo; the first known poem written in the dialect. The poem was read out in the presence of the Bishop of Aosta, André Jourdain. The same year, before Christmas, Cerlogne wrote a second poem, entitled La maènda à Tsésalet ('Dinner at Chesallet'); the bishop declared that Cerlogne's abilities were wasted in the kitchen ('Ce garçon-là devrait avoir du talent pour autre chose que pour faire la cuisine. Il faut le faire étudier.') and committed to fund his further study personally. On 16 August 1856, Cerlogne left his job in the seminary kitchen and started to study with Father Basile Guichardaz, the priest at Saint-Nicolas, even though it quickly became apparent that Cerlogne's interest in poetry did not readily extend to an interest in the Latin grammar which was a required topic. He nevertheless returned to the seminary on 15 October 1859, but now, aged 33, he entered not as the cook but as a seminarian (trainee priest). In 1861, he composed the best known of his Valdôtain poems, 'La Pastorala', published in 1884, and still the Christmas song of choice in the Aosta Valley. In 1862, he also produced a French version, 'La Pastorale'. Soon after becoming a seminarian, he became aware of his vocation and, after some years of preparation, he became a country priest. Cerlogne celebrated his first mass at Saint-Nicolas on 22 December 1864. This was the start of a new life, during which he served in a succession of parishes. On 1 February 1865, he was appointed deacon at Valgrisenche, where he would recall wryly that the holy water in the church remained frozen for five months, and where he translated the papal bull "Ineffabilis Deus" (on the Immaculate Conception) into patois. Towards the end of September 1866, he was transferred to Pontboset, where he was awarded a medal of civil merit in recognition of the help he gave the people during the cholera epidemic of 1867. In a single month, he delivered help to 150 sick parishioners and buried 63 dead ones. The next year he composed the 'hymn', 'Les petits chinois' ('The Little Chinamen'), to be set to the melody of a regionally well-known folk tune. On 19 November 1870 he was given charge of his own parish, sent to take on Champdepraz, a small agricultural mountain parish in the eastern part of the Aosta Valley region. He now sought to clear the plot he had purchased to try his hand at viticulture. Neighbours subsequently followed his example, as a result of which, during the closing decades of the nineteenth century, vineyards came to dominate the hills of the comune. In October 1879, by now somewhat fatigued by nine years of parish responsibilities and viticulture, Cerlogne an invitation to live in the priory-rectory at Ayas. For the next four years he was able to use "the solitude of his room for scholarship". He used the opportunity to prepare material for his Dictionary and Grammar Book of the Valdôtain patois. In 1883 he returned to his parish at Champdepraz, where during the next few years he returned to poetry, producing "Lo Tsemin de Fer" ("The Railway" 1886), "Le s-ou et le dove comére" ("The Eggs and the Two Gossips"), "A do dzovenno epaou" ("To a Young Couple") and "la Pastorala di Rèi" (Pastorale of the Three Kings 1888). In 1889 he took on another parish, at Gressoney-Saint-Jean, and in 1891 he moved again, this time to the parish at Barbania, in the region of Piedmont (and therefore just outside the Aosta Valley), where the winters were less severe. Here he published two volume of a "village almanac" ("L'Armanaque di Velladzo"), which in its 1893 edition included his "Tsanson de Carnaval" ("Carnival Song"). It was also on 1893 that he published his "Petite grammaire du dialecte valdôtain", the work on Valdôtain grammar which had occupied him for many years. He was transferred again on 30 October 1894, this time to the parish of Pessinetto, where in January 1896 he published a new version of his "Tsanson de Carnaval" ("Carnival Song"), inspired as before – but more obviously – by social injustice and the gulf between rich and poor. The antepenultimate stanza also touches on the theme of economic emigration in search of work, a long running theme in much of Italy during the nineteenth and twentieth centuries. In July 1896 he was moved to Cantoira for eight months before moving on again to Corio, where in 1898 he wrote " Cinquantiémo anniverséro de 48", celebrating the fiftieth anniversary of 1848. On 12 March 1899 he arrived back in Champdepraz in the Aosta Valley. Although he expressed his joy at being back in the land of his birth, one more posting in Piedmont ensued, when he was transferred on 26 August 1899 to Canale d’Alba, where he remained till 12 May 1901 (or 1900). After this he was able to live out his years in the Aosta Valley, taking charge at the parish of Vieyes, a hamlet at Aymavilles in the western part of the Aosta Valley where he composed several poems to celebrate the inauguration on 22 July 1901 at Courmayeur of the "Abbé Henry" Botanical Garden. On 10 September 1902 the king appointed him a knight of the Order of Saints Maurice and Lazarus. The award was not unexpected. Cerlogne's writings had long reflected a deep respect for the kings of Italy, to whom several of his works had been dedicated, such as his 1890 poem "To her Majesty, the Queen of Italy" ("À Sa Majesté la Reine d'Italie"), dedicated to Queen Margherita, for which he revisited his memories from his time serving in the army of King Charles Albert during the First Italian War of Independence. He was back in Piedmont in 1903, this time as a patient at the Ophthalmic Hospital in Turin for the removal of cataracts – a more protracted operation then than subsequently. The operation was a success and he was directed by the doctor responsible to wear glasses to protect his vision for the future. He did this, but not for very long, and his vision deteriorated again. Commenting on his resulting predicament Cerlogne later commented that his friend, the Abbé Henry, "loaned him his eyes" for the publication (in 1907) of his Valdôtain dictionary. Later that year, on 30 November 1903, he moved into the Saint-Jacquême priory, a retirement home in Saint-Pierre for Val d'Aostan priests. He continued to work, authoring "Le patois valdôtain" which included "La fenna consolaye", a song which, according to Cerlogne, the oldest people in the local villages had already learned long ago from their grandmothers. On 6 March 1908 he quit the priory and went to live at the home of the poet Marius Thomasset at Villeneuve, working almost to the end on the linguistic development of the Valdôtain patois. Towards the end he moved on again, now to the presbytery at Saint-Nicolas. Here, on 7 October 1910, he died. Heritage Each year an event called "Concours Cerlogne", during which all Aostan primary schools, together with other schools coming from all over Franco- provençal area, gather and participate with theatre plays or songs in patois, is organized in a different municipality of the Aosta Valley. External links * The Concours Cerlogne References Category:People from Aosta Valley Category:Writers from Aosta Category:Franco-Provençal-language poets Category:Italian Roman Catholic priests Category:Italian abbots Category:1826 births Category:1910 deaths "
"Izaías Almada is a Brazilian novelist, playwright, and screenwriter. In 1963 he moved to the city of São Paulo where he worked in theater, journalism, TV advertising, and script writing. Between the years of 1969 and 1971, he was a political prisoner of the military coup in Brazil that took place in 1964. Early life He was born on April 16, 1942, in the city of Belo Horizonte, Minas Gerais, Brazil. Between 1960 and 1962 he finished high school in the Colégio Estadual de Minas Gerais (The High School of Minas Gerais State) and took the acting course at the Teatro Universitário de Minas Gerais (University Theatre of Minas Gerais). While attending University, he studied the Stanislavsky method with American acting instructor James Colby. He also studied Elizabethan theater with professor Francisco de Paula Lima and theater acting with professor Haydée Bittencourt. Also, he studied at the Escola de Arte Dramática de São Paulo (São Paulo's Schools of Dramatic Arts) with other instructors such as Sábato Magaldi, Alfredo Mesquita, Paulo Mendonça, Leila Khoury, Augusto Boal, and others. He was admitted into the University of São Paulo as a student in the faculty of Philosophy and Social Sciences and took classes with Fernando Novais, Gioconda Mussolini, and Otávio Ianni, among other teachers. Career "A Metade Arrancada de Min" was his first published novel in Brazil and it was originally written as a movie script. It won an award of the Secretary of Culture of the State of São Paulo in 1987. As an actor, he worked in the plays Arena Conta Zumbi by Augusto Boal and Gianfrancesco Guarnieri, The Inspector General by Gogol, directed by Augusto Boal, and Candide by Voltaire, with theater adaptation by Carlos Alberto Sofreie for the Studio São Pedro, directed by Myriam Muniz. He also adapted part of the work of the Portuguese poet Fernando Pessoa into a theater piece, together with Jandira Martini and Luiz Raul Machado. He worked at the Companhia de Teatro Paulo Autran (Paulo Autran's Theatre Company), where he was part of the performances of Cosi E Si Vi Pari by Pirandello, directed by Flávio Rangel, and Les Femmes Savantes by Molière, directed by Silney Siqueira. He also participated in the musical O Homem de la Mancha by Dale Wassermann, directed by Flávio Rangel. Furthermore, he went to Portugal with the Companhia de Ruth Escobar (Ruth Escobar Theatre Company) and played a role in Cemitério de Automòveis by Fernando Arrabal, directed by Victor Garcia. In 1974, he directed a theater piece about Fernando Pessoa for Teatro Opinião, with Cláudio Cavalcante and Maria Cláudia in the main roles. Between 1975 and 1990 he worked in advertising as a TV director at Movie&Art;, which he co- founded with the current CEO Paulo Dantas. He sold his share of the company just before moving to Portugal in 1991. During these 15 years, he directed more than five hundred TV ads in Brazil and abroad, and was awarded several times in Brazilian festivals and international festivals. In 1984 he received the Cannes Lion for the category "Perfumes". Bibliography *A Metade Arrancada de Mim – novel – Ed. Estação Liberdade/SP, 1989 * O Medo Por Trás das Janelas – novel – Ed. Estação Liberdade/SP, 1991 * Florão da América – novel – Ed. Estação Liberdade/SP, 1994 * Memórias Emotivas – narratives – Ed. Mania de Livro/SP, 1996 * O Vidente da Rua 46 – erotic narratives – E. Mania de Livro/SP, 2001 * Teatro de Arena: uma estética de resistência – memories – Ed.Boitempo/SP, 2004 * Venezuela Povo e Forças Armadas – non-fiction documentary – Ed. Caros Amigos/SP, 2007 * Sucursal do Inferno – novel – Ed. Prumo, 2012 As co-author * With Alípio Freire and J. Adolfo de Granville Ponce: Tiradentes: um Presídio da Ditatura – Ed. Scipione/SP, 1997 * With Bernadette Figueiredo: Rutch Rachou – biography – Ed. Caros Amigos/SP, 2008 *Fear behind the Windows, originally O Medo por Detras de Jamelas has been translated into English by Isabel de Sena the daughter of the Portuguese writer Jorge de Sena. However, the book has not yet been published. Awards Izaías also received the following awards: *Literary Revelation by the APCA of São Paulo (1989) for the book “A Metade Arrancada de Mim”. *The Vladimir Herzog award of Human Rights in the category of theatre (1995), with the play UMA QUESTÃO DE IMAGEM, award given by the Sindicato dos Jornalistas Profissionais de São Paulo (The Professional Journalists Union of São Paulo) *Award for Dramaturgy Stimulus of the Secretaria de Estado da cultura de São Paulo for writing the play “NÃO PEÇAM AO MEU CORAÇÃO PARA ESQUECER”. As a script writer of feature films and TV Series: * He co-wrote with the Portuguese film maker, Luís Filipe Rocha, the movie scripts for Amore E Dedinhos de Pê (1990) and Sinais de Fogo adapted from the book with the same title by Jorge de Sena (1992), filmed in co-productions with Spain and France. * Homeward for MGN Filmes of Portugal, with support from the Euroscript Fund. * Africa Banzo for the caboverdean film maker Leão Lopes . * Together with Pedro Vicente he wrote O Poeta da Vila film about the life of Noel Rosa * For Costa do Castelo Filmes, Lda, Portugal, adapts the novel A Selva by Ferreira de Castro for the Film Director Leonel Vieira, a co-production of Portugal, Brasil, Spain and Hungary, filmed in 2001, location the Amazon, and released in Brasil in 2005. * One of the authors of the TV series Segredo for Stopline Filmes of Portugal, aired in 2005 by RTP1. * O Julgamento for Stopline Filmes de Lisboa, directed by Leonel Vieira in Portugal, also a TV series with four episodes. Released in Lisbon in 2007. * Worked as a Script Doctor for 2 Coelhos, Afonso Poyart's first feature film, of Blackmaria Produções em São Paulo. * Writes the first version of the script CARLOS GOMES: A FORÇA DO DESTINO. As a dramatic advisor: * For the International Theatre Festival in Lisbon (1993) he directed the play As Vedetas by Lucien Lambert, very well received by Portuguese critics. * Co-author of the play Lembrar é Resistir, staged in São Paulo and Rio de Janeiro, part of the celebrations of 20 years of Amnesty in Brasil. * Wrote the play PAI, about missing political prisoners, presented in the Dramaturgy Cycle of Teatro Agora in São Paulo. PAI opened in the Teatro Sérgio Cardoso( Sergio Cardoso Theatre) and also in the Centro Cultural São Paulo ( Cultural Centre of São Paulo). * Staged his own play Uma Questão de Imagem at the Teatro Studio 184 in São Paulo. He was invited by the Municipal Secretary of Culture, Celso Frateschi, to be part of the Judging Committee of the program of theatre incentive to the city of São Paulo. His project Boal: Embaixador do Teatro Brasileiro – research in scenic arts - is approved by ProAc da Sec. De Cultura do Estado de São Paulo. He was a teacher of the Acting Program of SENAC, Scipião/Lapa unity in São Paulo. In Cabo Verde he produced a Seminar for Script Writing, sponsored by the Instituto Caboverdeano de Cinema. (Caboverdean Cinema Institute) Coordinator of the seminar A Palavra e o cinema (The Word and the Cinema) about the fundamentals of script writing at the Casa Mário de Andrade in São Paulo, organized by Secretaria de Estado da Cultura. He was one of the speakers in an event about the book The Necessity of Art by Ernst Fischer in the Teatro Studio Heleny Guariba. A collaborator of articles about culture in the magazine Caros Amigos and the magazine Bravo. Family life He had three children: André Almada, Ana Luísa Almada, and Vinícius Almada. ReferencesExternal links * Category:1942 births Category:Living people Category:20th-century Brazilian dramatists and playwrights Category:20th-century Brazilian novelists Category:20th-century Brazilian short story writers Category:20th-century Brazilian male writers Category:21st-century Brazilian dramatists and playwrights Category:21st-century Brazilian novelists Category:21st-century Brazilian short story writers Category:21st-century Brazilian male writers Category:Brazilian male dramatists and playwrights Category:Brazilian male novelists "