Steun de actie:

Help Fred aan een stenen pet!

Waarom deze actie?

Ruim vier jaar geleden hebben we onze dierbare barman Fred Zandvliet van Caf Chris begraven. Een slepende en slopende ziekte werd hem fataal. Fred was een icoon in de moderne geschiedenis van de o.v. Lysias. Jong en oud draagt hem nog altijd in het hart.
Het is daarom pijnlijk te moeten zien dat Fred begraven ligt onder een veredelde plantensteker, met opschrift: Klasse 3 N 128.

Dit kan niet.
Fred verdient een respectvolle plek.

Dat vinden wij, enkele renisten van Lysias. En daar gaan wij wat aan doen. Daarom deze actie: Help Fred aan een stenen pet.

U kunt ook helpen!
Door uw bijdrage te storten op Giro 45 89 563 (t.n.v. Goote) o.v.v. Stenen Pet.
Natuurlijk houden we u op de hoogte van alle vorderingen.

Laat a.u.b. een reactie achter in het gastenboek.

Bedankt en tot genoegen!

Daan Goote ('90) &
Arttu Sesselaar ('99).
Neem contact met ons op

Deze site is gemaakt door
Tim Molendijk ('01).

Giro 45 89 563
(t.n.v. Goote)
o.v.v. Stenen Pet

Let op: het gironummer is gewijzigd! Bovenstaand nummer is correct.

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All these ingredients, including the subversion, drive our own forms of escapism, too. Last year, eight film adverts centred on an unshaven male figure holding fast to his heroic code as a world of danger and violence swirled round him. This is the essence of Gawain. When the Green Knight finally takes a swing at Gawain, "The edge cut to the muscle through the pale flesh/ So the bright blood spurted from his shoulders to the earth."
The following Christmas, Gawain sets off to find the chapel. By chance he overnights at a castle very close to it. His host is a keen huntsman vivienne westwood brooches, out all day. His hostess, lovelier than Guenevere, is highly attractive. At the urging of his host vivienne westwood cufflinks, he sleeps late, resting from his long search. What happens next is a blend of magic, morality, adventure and the heart of chivalry's moral maze: how to be properly polite to beautiful, amorous women while honouring obligations to your host.
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What has changed, that we so embrace Gawain today? Why are our leading poets (Seamus Heaney's Beowulf won the Whitbread Prize) turning to medieval epics? Poets are recharging their batteries, refreshing the new by bathing in the old, while publishers as well as filmmakers are searching for gold by looking back to the past.
New Year's Day at Camelot, and a giant green knight canters into Arthur's hall and challenges any knight to hit him with his enormous axe on condition that he will return the blow the following year. Everyone blenches, but the king's nephew Gawain obliges by chopping off his head. The knight remounts, tucks his head under his arm and tells Gawain to meet him vivienne westwood bracelets, next New Year, at the Green Chapel.
Tolkien should now be celebrating in the grave. After Harrison Birtwhistle's 1991 opera, Gawain, with a libretto by the prize-winning poet David Harsent, here comes a beautifully readable, graphic and elegant translation by another prize-winning poet, Bernard O'Donoghue. A third is due early next year from Simon Armitage.
Sir Gawain and the Green Knight was written in Middle English in about 1380. The anonymous poet seems to have set it near Leek, in Derbyshire, and he wrote it in a completely different tone from the poems of his London-based contemporary, Chaucer. J R R Tolkien thought it much "nobler". Introducing his 1975 translation, he complained that everyone read Chaucer but Gawain was "practically unintelligible to modern readers".
Perhaps it is more than looking back. The historian Barbara Tuchman has called the 14th century - with its plagues, wars, endless religious and political violence, and fall-out from the crusades - a "distant mirror" of the 20th century. We might now take it to mirror the 21st, down to our desire to shrug off the horrors around us by decorative escapism. His introduction points out that Gawain keeps subverting romantic expectations, while enjoying much of what's central to that tradition: mystery, the romance of landscape, beautiful people flirting and drinking, and the testing of heroic masculinity in the face of confusion, horror and sexual temptation.
This delightful translation, with its directness, graceful subversiveness and beautiful descriptions, offers a whole new stained-glass window into the world of 14th-century northern England. As international violence comes more and more to resemble that of the Middle Ages, so we are recognising, apparently, that our own forms of escapism are medieval, too.

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