Norbert-Bertrand Barbe

Norbert-Bertrand Barbe, art historian, semiologist, philosopher, artist and poet French, was born in 1968.
In January 2009, a tribute is rendered by the Centro Nicaragüense de Escritores for all his work.
Biography
The work of Norbert-Bertrand Barbe key fields as diverse as visual arts, film, poetry, novel and short story, as well as art history, literary analysis, philosophy, film, or mythological Advertising.
1980s: from painting to writing
Although marked by the death of Jean-Paul Sartre in 1981, and his passionate Sartrean theater and critical description of society there is is, however, paint that he dedicates 1981 to 1986, according to a triple theme: naturalist (whose origins lie in the influence of Trakl or the song realistic Barbara), macabre (whose origin must be look in the vanity s Baroque and the expressionism of the early twentieth century - Munch Ensor Schiele), intimate and social (whose origin is in the interest of the author in psychoanalysis and realistic songs, in this case Jacques Brel). In the first production of Beard, the association between social concern and attention to the representation of nature refers to the importance of the figure of Maupassant. Thus, during these years, Norbert-Bertrand Barbe produces earth-toned paintings (influenced by Van Gogh) representing still lifes, landscapes, wild lonely, deserted streets or cul-de-sac, group portraits in which skeletons predominate and masks the Commedia dell'Arte.
In 1987 he will present his first solo exhibition at Sceaux.
He then abandoned the brushes to move towards a naturalistic poetry, originally dedicated to the moods Trakl, but with the project to create a visual poetry to render into words the prism of color. Therefore we find in him, in the collection The Arma Jane Doe (2001), poems in the form of moral tales, whose characters are animals of the wood, as in poe the owl.
The animal is recurring in the poetry of Norbert-Bertrand Barbe, as seen in the poems¿Para quien escribo?, Alleging(Un poco más de) of 20 poems odio y una canción desesperada(2003), orLa voz de los animal,published inAntología de poesía nicaragüense(edited by the Centro Nicaragüense de Escritores in 2009).
He also wrote long poems based on onomatopoeia which intend to represent the sounds of rain or insects, such asThe FarmorblackUnfinished V and poems expressing the concepts of painting, even in their title, like PROSEMSheet - print:
A series of short stories, written between 1986 and 1988, was subsequently published under the titleTales idiots . 189 (2004). The text opens the volume, entitledMr. Prudhomme or Hermit lives in society (Drama in a preface and two tables), is divided into a truth "Scene One: The Mother unworthy", where reference double in Theatre of the Absurd and Claudel, a woman without knowing why attached to a tree, arms crossed, waiting for a man who comes and devours the child she carries in her womb, a "two Table: The Ragamuffin," which recounts the adventures of a violent and heartless rascal, the tragic fate; a "Troisi Table: The Belhomme pension ", named after the famous executioner of the revolution, even where the dies in the preceding table the young scamp. The story tells how the board reaches a new steward, who, unable to ever meet the director of the institution, began to notice suspicious movements, following a shadow finally stabs him in the woods surrounding the area. The three "Tables" are preceded by the story of a bloody fox hunting, entitledThe Skin of misery(which is none other than the skin of the animal butchered).
1990s: the literary theoretical analysis and return to the pictorial
First Prize
In the early 1990s, Norbert-Bertrand Barbe wrote a short novel, the detective genre, entitledPoor Mister Snow(which won the contest Arts and Letters in France in 1995), which takes place in a paradigmatic London, whose main character, a repressed homosexual puritanical society, is falsely accused of several murders, unable to prove his innocence.
It is through the symbolism of the divine Hesiod Theogony that passes the implicit criticism of detective story, is used by Norbert-Bertrand Barbe as a specific kind of social criticism, an idea he later theorize Mythanalyse inthe hero in the crime fiction (Dupin, Lupin and Rouletabille to superhero comics and film)(2004). Here, the novel becomes a sequence of chapters XI, obviously symbolic figure of the non meeting just before 12, which, for example, as recalled Norbert-Bertrand Barbe Mythanalysethe hero is ..., the number of chapters in the novels of Anne Perry. Each bears the title the name of God, in order of their creation, starting withI - Atlas, the god hat or Nox (Night)and ending XI - Medusa or Chaos. The mythological and just superimposed on the story, to give a universal value, beyond the events narrated.
Theses
In 1991, Barbara obtained a Masters in History of Medieval Art, on the The Temptations of St. Anthony in the fourteenth-sixteenth centuries, and specializes in Low and Middle Ages ).
This work reveals the orientation already deeply panofskienne Norbert-Bertrand Barbe, who takes over the German art historian Erwin Panofsky study the principles of artistic events as indicative of the mentality of their time, and comparison between popular and scholarly material, and secular and religious. Thus, he examines here the images ofTemptation of St. Anthonyas a symbol of religious tensions between traditional and new orders mendicant orders, following the evolution ofTemptationin their progression over three centuries throughout Europe, evolution parallels the development of universities. The publication of the National Library of France addresses two specific cases of works that are preserved:Temptationfrom theBook of Hours of Louis de Laval,and the famous engraving of Schongauer. In the first case, Beard examines how the presence of St. Anthony in a fireplace facing a temptress is a reproduction of an episode ofFiorettiof St. Francis of Assisi, confirming in a given work, the ideological games between traditional and new orders. In the work of Schongauer, he sees the presence of the circle, symbol of God for the Pseudo-Dionysius the Areopagite and the German mystics of the late Middle Ages, which is located in the center, closest to God, and for this fearless , the saint, while waved and Intranquilles demons along the circle, ie farthest from the divine communion, the scratch by intolerance.
In 1992, Norbert-Bertrand Barbe obtained a DEA (Diploma of Advanced Studies) in comparative literature, this time orienting towards modernism, and the interaction between art and literature with a thesis entitled Themes of Raft of the Medusa of Théodore Géricault studied through their recurrence in the work of the painter, and art and literature of the 19th century.
In this work, the product of exposure Géricault in the same year, and critical response to it, Beard discusses the question of vision of the artwork. And inThe Trooper injured, leaving fire and praise from Theodore Gericault patriotic(2006), he opposed the formalist vision of art.
In 1996, Norbert-Bertrand Barbe presented his doctoral thesis on stateRoland Barthesand aesthetic theory, thesis dedicated to the aesthetic Barthes. This work is a critical aesthetics Barthes, who according to the author is based on the aesthetic tradition since Plato and Aristotle until Lessing Hegel and Adorno or Jung.
Thus the thesis of Norbert-Bertrand Barbe is divided into two: an "exoteric", which he compares the aesthetic positions of Barthes and those of the traditional aesthetic theory, and some "esoteric" in which Barthes is approached from of his texts.
This work was defended at the University of Orleans, under the old form of a doctoral thesis with the main (900 p.) and secondary thesis (800 p.), is presented as a meta-theoretical approach to the Barthes's work, which are facing the basics of traditional aesthetics and Barthes versus theory iconological panofskienne for a second time seeking the origin of the theses of Barthes (interest in cultural events in their diversity, the techniques of literary analysis) in the comparative of nineteenth century, which also depend on the iconology panofskienne, folklore, Freudianism and Marxism.
This work represents the entry in Beard's new to him several fields: first, the contemporanee, and the interaction between science and their study materials, then the "epistemological analysis of symbolic productions" it develops according to its practice of teaching philosophy at the National Autonomous University of Nicaragua (UNAN-Managua), and leading to another of his texts, a comprehensive study is seeking a major Argentine philosophers:Arturo Andres Roig y el problema epistemological.
Arriving in Nicaragua
The 1990s Beard allowed to open the main debates will be reflected in all his work. Thus, his thesis on Barthes will initiate a series of works that condense them into practice how researcher and theorist. Then these same years are those of his meeting with Nicaragua, which opened the possibility of developing an intercultural approach, both in its intellectual and artistic and literary production.
He discovers Nicaragua in 1993, and never leave. In the second half of 1990, is dedicated to the translation of great classics of Nicaragua, as well as young writers, a concern in distribution and openness, both on the endangered heritage as necessary assistance to promote the emergence of new artistic expressions.
The edition of Norbert-Bertrand Barbe of the poetic work of Carlos Martínez Rivas was the most complete between 1998, when the poet's death, and 2008, the date of publication of poetry by Pablo Centeno Gómez. <Br />
Similarly, the edition of the poetic work of Cortes, the main representative of postmodernism with Salomón de la Selva and Azariah H. Pallais, in which Beard has translated seven books of the mad poet, is still the most complete in 2009, the old anthology of thirty Poemas by Ernesto Cardenal of Cortez or the recent compilation of Jorge Eduardo Arellano only account in comparison, only a small part of his work.
As for Güegüence, The government of Nicaragua and the UNESCO made use of Myth and literary origins of contemporary thought XIX-XX centuries and, Translation of Güegüence in the reporting process of the work as world heritage
Sergio Ramírez has devoted a long passage from his book Tambor olvidado to the analysis of Norbert-Bertrand Barbe part of theater.
In 2008, Switzerland, a version of Güegüence was mounted for the first time in French, from this translation.
In all of these translations should be added that of the two poems in the collection of Horacio Peña
In 2009, Beard has reissued the first book of Salomón de la Selva:Tropical Town and Other Poems,written in English and originally published in New York by John Lane Co. in 1918.
Back to art
Between 1997 and 1999, Norbert-Bertrand Barbe created a weekly section in the main newspaper El Nuevo Diario Nicaragua on iconology film, titled Hablemos de Cine, which will be published 73 issues.
His interest in abstract art of Nicaragua led him to study the confluence of events, interaction and influence literature (again panofskienne perspective), the artists of Managua. Thus he expresses in his introduction to the writings on the abstract movement managua where he participated in his book of 2001, entitledEstudio de los artefactos, grupo de artistas abstractos Managua (artículos diarios of 1997-1999) ' '.
It fits from this moment, not only as a theoretician but as a visual artist, participating in numerous exhibitions:
1998: exhibitions: Papalote, Casa de los Mundos 3, Granada and Managua
1998: Individual exhibition: Muestra / o sobre vidrio, UNAN-Managua
Exhibitions: Barbara Garcia Ocón, ArteFactoría, Managua
Exposure para ciegos, ArteFactoría, Managua
Jóvenes artistas caraceños, Centro de Convenciones Jinotepe
2004 - Six works published in the 3rd number of the Mexican magazine and eleven published works in the 5th issue of the journal
2005: solo exhibition Up To UAñil Gallery, Managua
2006: group exhibition WalkerOtra para Granada, Macondo, Granada
Otra para Granada Walker,Rufino Garay, Managua
Fusióngroup exhibition, Casa de los Tres Mundos, Granada
2007: group exhibition Fusión,Casa de los Tres Mundos, Granada
2008: group exhibition Fusión, Granada
CuerposPintados con la del imagenería GüegüenceCasa de Cultura, Diriamba
2009: group exhibitionProyecto Gaia - Estrago ecológico2009, in three areas: Escuela de Danza "Espacio Abierto," Sala de Teatro Justino Rufino Garay, Proyecto Paso Pacífico, Managua
Its dimensional works may be mentioned that many are kept at the Central Bank of Nicaragua and the Museum of Fontenay-le-Comte in France.
The period of the 1990s has meant to Norbert-Bertrand Barbe abandoning the technique of oil painting and traditional appearance of objects on board mixing materials (wire, cigarettes, toys, glass. ..) and photomontages.
The most significant works of this period are the3Self-Portraits:
*Self-Portrait of the Artist as a Christ(beard and pubic hair, broken glass, weeds, organized to reproduce a modern version of Christ's Thistle Dürer);
*Como artista joven del Autorretato donante (as a tribute to the po Carlos Martínez Rivas, the work represents a face on the model of children's drawing: 0 + 0 = head Toto but here the circles of the eyes, nose and mouth formed by the mathematical symbols are replaced by forms of a male graffiti);
*The Art fate(an ear of Van Gogh on a pink background, the title plays on the phonetics of the well known Belgian painter: *ArtEnsor / The herring-saur / Art comes out).
Regionalism and the military: a sheet of cardboard on which is pasted as a scythe in a herbarium sheet of weed surrounded by wire. This work, preserved at the Central Bank of Nicaragua, is a reflection on the dominance of the Central American primitivist painting for tourists, representing the fauna and flora, as all countries have suffered war and dictatorship.
Interdisciplinarity
The 1990s therefore open to Norbert-Bertrand Barbe path to a strong interdisciplinarity , expressed several points of view concerning the location, time and discipline: first, by the perpetual dialogue that promotes between the arts and literature on one side, and the theory of another.
Then, the evolution of his Master to his Ph.D. in the history field of its competence, the late Middle Ages to modern times, making the link between the modern period. In this it will follow the model of one of his professors at the University of Paris X-Nanterre: Erick Darragon, Professor of Modern Art, who wrote a thesis on Contemporary Art Manet , who allowed him access at the Sorbonne. On the other hand, the influence panofskienne sets for Norbert-Bertrand Barbe the culmination of his research on the synchronic sense of cultural events, according to the teachings of the Master, who dedicated his work to the study of ancient times the influence in the modern world.
Besides the historical field which thus opens fully to Norbert-Bertrand Barbe, geographical scope, is one who, in his private and professional life, will work as a driver of his choice and ideological stances, such as author, artist and theorist. This, we said, the meeting with Nicaragua, which will be elaborated that its activity between France and Central America, and will also have its works, poems or theoretical texts, as written, in French and Spanish.
Finally, the interdisciplinary field, we have tackled, will initially parallel and systematic Norbert-Bertrand Barbe will study combined the artistic, cinematic, literary, and mythological. Thus the project outline in his PhD thesis on Barthes full of articles in various journals from 1992.
We see through this short list that not only are engaged learning materials themselves in their diversity, the interdisciplinary process outlined at the time by Norbert-Bertrand Barbe, if the periods.
Sections of art history at the time to dedicate low medieval and modern texts on literature primarily in XIX th century, and, of course, the movie is what brought the concerns of Norbert-Bertrand Barbe under the most extreme contemporaneity, since studies of the films that came out in the second half of 1980. Equally important, as once again reveal the titles, the emphasis of neo-panofskienne Norbert-Bertrand Barbe develop a comparison between the modern and contemporary and the antique, and between secular and religious.
Other texts of the period, he published in Volume Iconologia (2001), which went through several editions, and then finally re-published under the title Iconologiae.
These two texts published in Nicaragua, but on matters of art from the late Middle Ages pose explicitly the question of influence in the ancient medieval works. Norbert-Bertrand Barbe and analyzes the presence of the sun and moon in images clipeata in Crucifixions Romance, not only as a reference, obviously, the cosmic nature of the death of Christ , according to the Bible , but the resumption of iconography of sarcophagi of Rome late reminder syncretism of the ancient faith journey of souls.
The premises, visible in these publications in journals, the proposed systematic study of symbolic events according to a common comparative in its various forms (as he clearly posits Arturo Andres Roig y el problema epistemological ), will license and irreversible in the group of books which, to date, has formed the basis of teaching Norbert-Bertrand Barbe and has the largest circulation worldwide: It is a set of five books, including Roland Barthes and the aesthetic theory is the theoretical explanation and justification.
Each of the four other structures, developed in the late 1990s, represent the values of interdisciplinary and intercultural proposed by Norbert-Bertrand Barbe in its method.
Indeed, the four, all of the meetings of previous work, three have double coverage, and include some in French, in Spanish, but the seven texts that compose it, three are devoted to Latin American mythology.
The first, in its part in French, examines works from the late Middle Ages to the beginnings of abstract art, and by trying to show how can be studied using a single methodology works both figurative and abstract.
Supplemented by the party in Spanish dedicated to abstract art of the late XX th century in Nicaragua, sections of the party in the French approach modern and contemporary art from two complementary perspectives:
Firstly that artists are intellectuals, which is confirmed by Norbert-Bertrand Barbe by the fact that in Nicaragua, although there is no quality public library, the artists themselves, are great bibliophiles.
Second, the sources of modern and contemporary art, he found even in surrealism (see the work they publish on this movement in 2004) are the books of emblems, which will spread abundantly XVI th century ( Alciati ) at the end of the XVIII th century ( Cochin ) and XIX th century.
From there, Norbert-Bertrand Barbe intends to consider abstract art as a dialectic that he creates from his studies of Moholy-Nagy , of surrealism , Nicaraguan artists, and even the popular song of the years 1980-1990 (for a comparison between the works of Alain Bashung and Hubert-Felix Thiéfaine ).
This, he said, understand that figurative art works by recognizable themes. What makes them recognizable, what are their reasons, which comply with the association of a majority in a single table.
Abstract art loses the theme, but maintains the grounds. Thus the famous painting by Magritte : The son of man , a man in a bowler hat with an apple instead of face.
According to Norbert-Bertrand Barbe, motives, in so far as minimum units of meaning are indivisible , that is to say that, regardless of how the artist re-uses in his work, he is bound to at least One of the traditional symbolism of the design.
From there, Norbert-Bertrand Barbe creates another distinction, which allows him to address some of the problems th of abstract art, giving a breakdown.
He poses as a starting point division, and conceptual history (except perhaps the case of Turner ), between abstract art theme (Th e irreconnaissable is, but the reasons are clear, as in the work of the Surrealists: we will easily recognize a woman, a street, an object) and formal abstraction (it no longer recognizes any form, in the case of abstract expressionism).
Using The Interpretation of Dreams Freud , Norbert-Bertrand Barbe said that art abstract , like a dream , uses several methods, such as superposition and condensation. By referring to the Freudian method, Norbert-Bertrand Barbe confirms he says common methodological principles of comparative between the humanities.
Note that the prologue: The bare kings of Iconologia as several pieces of Los Artefactos, are a defense of theses Panofsky, employed by Norbert-Bertrand Barbe, against anti-panofskiennes theories, especially the EHESS
Literary origins discusses the development of new types and symbols, clean and contemporary life, such as police or horror genres, and facilities (in Poe, for example).
Thus, to Norbert-Bertrand Barbe, one of the most significant phenomena of contemporary thought, which would arise with the Faust of Goethe, is the criticism of religion, and gender change in the wonderful fantasy, the new genus, which developed in XIX th century, representing, according to Norbert-Bertrand Barbe, together with the detective novel and science fiction, one of the main forms of rationalization of the world from knowing.
Similarly, he sees the recurring figure of the orphan ( Oliver Twist , the two children of the Tour de France , Not Family , Heidi , Arsene Lupin , Rouletabille ) representation paradigm of bourgeois society, defined by personal merit as opposed to the ancien regime, where power is inherited.
Thus, the hero of the XIX th century represent: orphans at the end of their merits, are adopted by a wealthy family, or patriotic independence hero ( Robin Hood , Rob Roy , Till Eulenspiegel , William Tell ...).
Another element of literary origins is not only, as its title indicates, the idea that develops Norbert-Bertrand Barbe that the company implements its ideology through cultural celebrations, but also that they contain elements of permanence, as Norbert-Bertrand Barbe studied in the work of John Ray or Poe . At Ray Norbert-Bertrand Barbe sees permanence of divine reason (the tavern and the entrance to Hades, the figure of Prometheus in Malpertuis Lampernisse represented by original sin and Knowledge). Poe is in the Raven Norbert-Bertrand Barbe constantly studying the pattern of Hope, Poe replacing Cra Cra ( Tomorrow tomorrow ) Hope of classical culture, found for example in Alciati emblems, by also guturale Nevermore ( Never Again ). Norbert-Bertrand Barbe had studied the figure of Hope in his essay on Isis in the Middle Ages, inter alia with regard to the transformation of the Roman Capitoline triad Isis-Fortuna-Spes in the Christian-Spes Fides-Caritas.
The Spanish part of the book on Rubén Darío is a comprehensive study of each of the collections of the great Nicaraguan poet, in which Norbert-Bertrand Barbe will:
1.To show how in the nationalist discourse emerges Darío continentalist, from his earliest works, contrary to the contention of critics so far.
2.Identify symbolic figures of speech, and the intertextuality that exists between the work of Dario and his time, to illuminate the reasons thereof. Norbert-Bertrand Barbe and examines how the figure of the satyr in recurrent Darío is a symbol of the mestizo, his place of living (the continent's wild Symposium Centaurs ) an obvious reference to the image had the time of America , as seen in Atlantis Verdaguer. The Blue Darío would also be a reinterpretation continentalist romantic symbol of doomed artist, according to the reading proposed by Norbert-Bertrand Barbe of the first news of the arrival Azul compared to the Olympus of Marsyas in The Legend of centuries .
We can consider that the interests of meeting Norbert-Bertrand Barbe with Dario is the systematic recovery of ancient figures by the Nicaraguan poet.
Tests of iconology film in the French part, addresses the sustainability discourse on medieval mystical death in Angel Heart or Jacob's Ladder , or the ancient conception of Fate Terminator . He also studies the iconography of wholesale clips, songs and advertising according to the evolution of society, the Acedia medieval until XIX th century, when writers or photographed by Nadar women painted by Impressionists loved to teach their roundness and whiteness, the image of social ease, as opposed to the peasant and the worker, thin and scorched by the sun, and the XX th century, which means a tan in a company office, back from vacation, and the size, symbol of the evil capitalist, became the image of poverty, unable to keep fit.
Finally, the book concludes with a lengthy analysis of advertising discourse and its symbols: the family, the wife-mother, the child Christ, petrol according to Norbert-Bertrand Barbe dictatorial, since they are found in messages Stalinist or Vichy, and the identification between the totemic object or ingested the product purchased and the state changes or conditions that product to the customer (see advertising Coca-Cola ), and hence the appearance recurring in advertisements of FIG animal (usually a cat) symbol values that give positive force who uses or eats.
Part Spanish discusses movies that came out between 1997 and 1999, and Norbert-Bertrand Barbe student section in Hablemos de Cine of El Nuevo Diario . The claim, which he recalls in the introduction, was for him to scientifically test the method, beyond the imposition of a text, although short, every week.
Appear in this set of concepts that would later develop as the hero-monster (one who is chasing himself, as in Angel Heart , or who is both narrator and murderer, as in Murder of Roger Ackroyd ), that of the father figure linked to the banned sex in horror movies for teenagers (the pedestrian reversed, faceless and with a hook in the process of vengeance against the disobedient teenagers of I Know What You Did Last Summer ) or the offering matrimonial represented by a phallic object in romantic comedies ( The Wedding Planner ). Finally, the political representation of the leader, as in Air Force One or the dominant society and culture shock, as in Fools Rush In and Addicted to Love , or the appearance of contradictory figure of the homosexual friend of asexual heroines of romantic comedies from My Best Friend's Wedding .
The question of the permanence of ancient thought and modern is also th e underlying the entire section. Norbert-Bertrand Barbe alchemical studies the origin of the Cinque e element, the relationship of contact The Dream of Scipio, the patriotic symbolism and implicit memory Pythagorean in the question of vegetarianism in Ravenous, or finally intertextuality between novels Soviet Cold War and The English Patient.
The book is enriched by a long appendix in which Norbert-Bertrand Barbe analysis bases its comparative study of contemporary films from two methodological perspectives, it presents, respectively, through 218 and from 71 practical examples: the first matches (the same event, symbol or character appears in two films), the second explanation of such coincidences . Examples of the two parties are different, which further enrich the reader to the principle of collision and analysis which leads us with science and pedagogy Norbert-Bertrand Barbe.
2000s: new tests and experiments
Of interdisciplinary theoretical principle of the palimpsest in art
The turning point in the late 1990s and the entry in the 2000s marked the deepening of previous approaches in the work of Norbert-Bertrand Barbe .
First, it produces the book of poetry counterpoint to the ANPE and Tropical Interlude , which, in ironic reference to the many songs ,'s own poetic Darien, under Rubén Darío Viaje a Nicaragua e Intermezzo Tropical , addresses topic of television, politics, suicide, the social atmosphere of the time, in a tribute to Villon . The form of poems, rhymes and sometimes the words of the code themselves are resolutely traditional, while referring to contemporary situations. Poems like The Pits or tell me where, what country / Is Flora the beautiful Roman ... may be cited as examples.
In a distinctly classical and surrealist influence, evident by Diane Games (2001), the poetry of Barbara evolve to the lack of rhyme and the decomposition of po e conceptual games until the collection of Gibst vielleicht die Hand zum Wiwimacher ? GIEB nicht die Finger weissen zum Pferd - Arráncame corazón de tu, amor ... - The Areola of the Sinner - Blond PitBull for White Man In Hammersmith Palais (2004), where he worked alongside short poems, which appear in the collection as such, then united into long poems .
This is the case of po e Short Fire , which restructured, is reused in the po e long yellow dog .
The book, illustrated by the author himself, this process unfolds in the accompanying images, in which identical images alone (as a stained glass window pictured) become integral parts of large polyptics. This process of decomposition and recomposition give birth in 2008 Poema geométrico and geométrico Cuento , who aim to offer the reader a vision of the structure of the work .
The loss of the rhyme and the appearance of the palimpsest as a resource in the work of Norbert-Bertrand Barbe reflects a different reality: the transition from French to Spanish, although some of his poems in Spanish retain a structure Classic .
But this is the first step of the poet that will be remembered as one of the assumption of poems like those of Diane Games , directly inspired by the Miss of Mauritius Sceve . Clearly low-key medieval fatrasies .
Thinking of Norbert-Bertrand Barbe on psychoanalytic society becomes in the 2000s, and it is in the short film Pastorcilla 2003 proves that the best this duality. Pastorcilla is the first of two he made with the short film animation in aleta ruiseñor Y a mi dedo ... (2004).
Pastorcilla is divided into three stages. It begins with an improvisational actor's masks Marvin Corrales, who plays the character of La Mosca (The Fly: an old beggar), improvisation on th e of the " logo / Logos . " By the finger (which he defines as an apotropaic symbol), he proclaims el hombre-logo (man-logo, set of words with el hombre lobo- : the werewolf).
Follows an interlude in which The Fly, following its issue of Logos, questioned the figure of Saturn, whom he met in a newspaper.
In the third e party, The Fly, while eating a traditional caramel wrapped in dry leaves (which recalls the wicker basket of babies), recites a po e Gioconda Belli on chocolate, but the original meaning the text is modified here to represent either the dialectic of the original's sense of guilt associated with calories, if not the enjoyment associated with the transgression of the prohibition .

What is striking about all these works is the emphasis on the process of rewriting permanent, palimpsest. Same process that the artist began working in his electrographic (or photo-montages) in which integrate text and images, and present it for first time at the gallery Añil (Managua), in a solo exhibition that there will in 2005 under the title Up to U.
This is probably the same intention that brings Norbert-Bertrand Barbe first to illustrate the medieval farce Cuvier (2002), then make the text and illustrations in a children's book: The Strange Disappearance of the Hood Santa Claus (2004), which is less traditional yet it seems, since according to the artist would have three levels of understanding: first a formal level, as the illustrations, which employed a special technique of ARTC contemporary, are divided into two: traditional collages (made from newspaper cuttings and pictures with scissors) and digital photo-montage (in which images are processed and combined in particular games and transparency filters) and second level of interconnection between the adult and child, since, as in game seven errors, the characters mentioned in the text, all of which relate to the world of childlike imagination traditional (the Little Mouse, Puss in Boots, stork, etc..) must be searched in the images where they hide, and thirdly an adult level, as some images from the book or refer to sexual tensions in the world of post age -pubescent (Father Christmas and Mother Fouettard) or to images of violence and war (the Grinch).
Both the principle of collage as illustrate a work of classical repertoire seems to refer to the above principle of palimpsest.
Palimpsest or titles are well-intertexts counterpoint to the ANPE and Tropical Interlude , dialectics refers to securities of Darío ( Cantos de Vida y Esperanza and Viaje a Nicaragua e Intermezzo Tropical ) Me, Claude Blessed , reference and also double dialectic Me , Claudius, emperor , and Alexander the Blessed ; Caprichos nicaragüense the Caprices of the XVIII th century, first light and sex in art in general, the other black political and serious for Goya .
The long title of Gibst vielleicht die Hand zum Wiwimacher? GIEB nicht die Finger weissen zum Pferd - Arráncame corazón de tu, amor ... - The Areola of the Sinner - Blond PitBull for White Man in Hammersmith Palais , German, Spanish, French and English, presented the German phrase is a quote from Freud dealing with Little Hans in Five trials of psychoanalysis , French pun Clearly, in English and a diversion of a song title from the 1970s punk band The Clash.
The title of the short animated film: a Y in E ruiseñor aleta dedo ... is the last line of po e El espejo de agua by Vincente Huidobro. And the short film itself, which has a donut that crosses repeating a teapot, is the literal illustration of the metaphor of the love song of Nina Simone: I Want a Little Sugar in my bowl that serves as background music at film, which in fact lasts exactly 2mn32s of the song.
The poetic work of Norbert-Bertrand Barbe in the 2000s is also defined by the use of bonding or integration of apocryphal texts in the work of the author's (as in po e Por qué te amo (In Colaboración Postuma con Robert Browning ... the collection of Gibst vielleicht .. ).. The themes of power, coercion, the Oedipus , the relationship with death, sex, speech genres and free spaces are recurring elements the work of Norbert-Bertrand Barbe, since his paintings of young people (see Idiots 189 Tales . or table Adam and Eve / The Original Sin ) to his poetry of the 2000s.
It is therefore logical that these issues are at the center of his analysis as a theorist.
As mentioned, the meeting of Norbert-Bertrand Barbe with Nicaragua offered him the opportunity to explore issues of discourse of domination, he studied in particular hidden structure of international politics: If Ben Laden and Metalanguage and speech dominance in the postmodern culture and politics .
The principle of over-writing arises from his work in various ways:
1.First in intercultural relations (France-Nicaragua): Map overseas readers ( ANPE has countermelodies and Tropical Interlude )
2.In the historical setting and genetics (the study of the evolution of symbols and their permanence in time and space);
3.In the formal perspective (collage, photomontage);
4.In the critical theoretical work (which breaks down the forms for the study) and the deconstructive process of the artist (principle of composition-decomposition-reconstitution in the compilation of Gibst vielleicht ... in the poem and the New geometric or in the text-picture combination photo-montages).
The construction of the contemporary discourse and theme of the shadow
Regarding the analytic field, the concerns of Norbert-Bertrand Barbe will therefore move towards the construction problems of the contemporary mentality, especially its major symbols, as is the sense of patriotism.
He attacked several of his poems and studied very carefully in literary origins or Estudios darianos and Estudios latinoamericanos .
His field of study is moving, as regards the contemporary period, according to two axes: The identification of new types that appear (like crime, fantasy, etc..), As he studied in the Mythanalyse heroes in detective fiction ...
The analysis of the forms being adopted these new types to spread their message: the hero-monster, the shade (what he studies in literary origins , film analysis tests , interventions at different Conferences of Danse Macabre of Europe, in the section Cultura Logia or in the article "Monstruo ' .
It's in the second e section "Cultura Logia" (2005-2008, 60 issues) he created in the cultural supplement Nuevo Amanecer Cultural of El Nuevo Diario that he studied various forms of contemporary construction. On topics for this section, fully open to all forms of thought, were, among others : Contemporary Art of Nicaragua, the construction of contemporary Europe and America, through the public school, the Urban, modern ideology and contemporary arts ( Greuze , Friedrich ) and literature ( Shakespeare , Dario, Whitman ), the concept of artistic movement, I am romantic , etc. .
Parallel to the study of forms of coercion of the discourse of contemporary, Norbert-Bertrand Barbe was interested, first a methodological point of view, the question of emptiness and nothing . It is primarily through Barthes and the study of degree zero of meaning, that Norbert-Bertrand Barbe, unlike other Barthesian, considered not as an end but as a starting point, like the concept of négativibilité Karl Popper , then approach the theater of the absurd, Yves Klein and conceptual artists that vacuum is present in the work of Norbert-Bertrand Barbe.
He expresses it in the work Homenaje a Yves Klein (exposure Fusión , Granada Nicaragua, 2006), which, in fact, incorporates the principle of palimpsest that we saw. Indeed, the work on a white background, is a text in which the artist explains why the artist decided to present a work in white, like the impossibility of representation .
It is from this concern that Norbert-Bertrand Barbe has promoted several art events in the street, under the title Arte Calle (Art in the Street, pun Callarte : Te silence ), in the streets Managua (annual event since 2006, which was realized in 2007 in collaboration with the Ministry of Culture), as well as happening under the concept of invisibility, like Sex in 2007 (León and Managua) , and Performance No. Visible (2008):
Publications and Theory
The 2000s are for Norbert-Bertrand Barbe of intense activity and publications.
His poems are published in journals of many countries: Poets of the Nord-Pas de Calais (France), RegArt (Belgium) Letras Salvajes (Venezuela), Brian Club, Coffee Literario Al margen.com (Mexico), Zona de tolerancia (Colombia), Hispanic Culture Review (USA), Katharsis, La Botella Váci Ábaco (Spain), Arte Poetica (El Salvador), Pluma Libre (Costa Rica), and Nicaragua: ArteFacto, Estrago Ojo de Papel, La Tribuna, El Nuevo Diario, La Prensa Literaria, Papalotl, Voces Nocturnas . He participates as a poet invited to the International Poetry Festival of San Salvador (2006), La Habana (2007), Granada (2005, 2006, 2007) and Leon in Nicaragua (2007).
He spent his final time between France and Nicaragua.
He is co-founder:
1 - From Papalotl literary movement (1998-1999), with Porfirio García Romano, Carola Brantome, David Ocón and participation of Héctor Avellán ephemeral, all artists and poets won numerous awards.
2 - From the artistic movement Cualquier Number (1999-2004), with Oscar Rivas (twice winner of the Nicaraguan Biennale of Visual Arts), Marvin Corrales, José Ángel Solís.
It publishes multimedia CD (2004) Como Gato Patas Arriba , containing the work of 18 Latin American and French artists of course important, among which: Erick Aguirre, Carlos Barbarito, Norbert-Bertrand Barbe, Marvin Corrales, Leonidas Correa, Corinne Popow, Porfirio García Romano, Frank Mallet, Denis Nuñez, David Ocón, Roberto Quesada, Lucia Rios, Oscar Rivas, Rivas Karla Larios, Javier Rome, Yvan Silen, Jose Angel Solis, Alicia Zamora.
He founded the journal Gojon (2006-2009), which compiles the works of important artists of the moment, as Luis Morales Alonso, actual Minister of Culture of Nicaragua, Claudia Gordillo, one of the main photographers of Nicaragua, or Gabriel Restrepo one of the most renowned British sociologist. Also participate in the review of artists and writers like David Ocón, Francisco Ruiz, Eunice Shade or Rodrigo Peñalba.
As editor, he created Bes Publishing in 2001 . through which he creates two collections: The Great Classics of Literature Nicaraguan and Central American New Generation of Authors , and the collection The Originals , which he edited the works of major universal heritage, which currently has more than 70 books, among which stand a large number of complete works of classic and modern authors such as Homer, Pindar, Plato, Hesiod, Aeschylus, Aristophanes, Flavius Josephus, Diodorus Siculus, Vitruvius , Frontinus, Horace, Julius Caesar, St. Augustine, Boccaccio, Petrarch, Dante, Tasso, Vasari, Lorenzo the Magnificent, Ariosto, Galileo, Shakespeare, Marlowe, Shiller, Jane Austen, Dickens, Collodi, Marx and Engels, Lautreamont etc..
Collections in Great Classics of Literature Nicaraguan and Central American New Generation of Authors , he translates and edits most of the major Nicaraguan authors.
The 2000s were particularly productive and Norbert-Bertrand Barbe on the dissemination of his views as a lecturer and teacher, as an artist and as an editor and organizer of cultural events.
He frequently lectures and participates in numerous conferences with French universities (Sorbonne, Orleans, Limoges, Besançon, Perpignan), Costa Rica (Heredia), and Nicaragua (UNI, UNAN, UCA, Upol, UNICA, etc.). .
Drops from the 2006 event, Arte Calle, who was given several times a year in the streets of Managua, Granada and León.
He participated for two years (2001-2002) in the journal Critical Art Archives Art Criticism from the University of Rennes.
He continues his active collaboration with El Nuevo Diario Managua, as well as La Prensa , another major national newspaper of Nicaragua, and its cultural supplement La Prensa Literaria. It creates and develops four years the section Cultura Logia of Nuevo Amanecer Cultural , cultural supplement of El Nuevo Diario .
It systematized the analysis of the reception of Panofsky in the contemporary world, including the questioning of the anti-panofskianisme publications and theses of the Ecole des Hautes Etudes en Sciences Sociales, in articles and following work :
1 - - La Interpretación social como crítica , Decenio , No. 4, January-February 1998,, p. 5-8. 2 - Warburg y lo metavisual (1999), reprinted in Los Artefactos in Managua (2001), on the doctoral thesis of Stefania Caliandro On the use of images from art criticism , edited by Hubert Damisch y Jacques Fontanille .
3 - Kings Nudes , introduction to Iconologia (2001).
4-5 - Revista Literaria Katharsis , No. 4, January 2004 ,
Semiotica de los lampazos ;
Vía de las y los monos pictóricos Masks .
In 2003 he organizes the I st International Symposium on Panofsky, which publishes the proceedings the following year under the title: Proceedings of the I st International Symposium: Readings Panofsky today: Limits and scope of the method in iconological analysis of modern and contemporary art , 2004, 112 p.
It embodies the division between abstract art and abstract art theme formal, especially in the works:
1 - Stephane Mallarme's A Throw of the Dice Will Never Abolish Chance ..., 2006, 26 p.
2 - Surrealism , 2004, 54 p.
He organized what he called the methodology of analysis of symbolic production (that is to say all cultural events, whether myths, literature, visual arts, architecture, cinema, advertising) and precise in his work what he calls the methodological problems of analysis of symbolic productions.
Thereby addressing the problems of the relationship between mainstream culture and fringe culture, both in the field Franco-French (Study of the literary movement associated with said group of painters from Saint-Jean-de-Monts ...) than in the symbolic relationships intertextual representation in the works of Borges ,
The question of methodological approach works, he soon began studying his thesis on Barthes and his subsequent work on Roig, focuses on the contemporary moment as indicative of internal tension creator of new forms of expression and understanding World , which however always refer to the process of building larger. It discusses the subject extensively in other texts .
Laughter and the figures of Nicaraguan foklore bring him the basis for discussion, contrary to the views of Durkheim, laughter as a component of social cohesion and coercion.
Norbert-Bertrand Barbe, modern and contemporary periods are becoming a preferred field of study to understand the changes and continuity in the ideological mass movements.
He studied through the image of fat in the iconography of contemporary Two attempts to understand advertising today (2004). As in literary origins of contemporary thought and Mythanalyse the hero in crime fiction .
After working ten years (1996-2005) with the UNAN-Managua, and a brief stint by UNICA (2005-2006), it remains, from 2005 until the present, with the UNI (National University Engineering), where he began a series of investigations and works on the history and theory of modern architecture and contemporary
1.A Ensayo sobre una Historia Moderna of Arquitectura , 2005, 710 p.
2.Historia de la Arquitectura Contemporánea , 2006, 2 vols., t. I: 382 p.; t. II: 1038 p.
3.SIU Sistema de Información Urbana 2008 - Departamento de Carazo: Jinotepe Diriamba San Marcos , 2008, 720 p.
4.Ciudadanía, identidad y Patrimonio , 2008, 470 p.
5.Ingeniería Civil en Nicaragua , 2009, 3 vols., t: I: 1016 p.; t. II: 642 p.; t. III: 596 p.
Through which he develops a complex and complete interpretation of the movements of passage from modernity to contemporaneity, th e he had already sketched in literary origins, Mythanalyse of heroes in detective fiction and in his work on postmodernism, such metalanguage ... and Nicaragua: 3 poetas postmodernos.
The architectural hardware means to him the opportunity to address the specific evidence for symbolic: the architecture always having a utilitarian purpose. It represents an opportunity for Norbert-Bertrand Barbe demonstrate how the symbolic expression beyond the functional, even in works prior inauspicious first reading to encompass this.
It analyzed as follows ( A Ensayo sobre una Historia Arquitectura Moderna of ) how is the new bourgeois society that causes the transition from the medieval form of the castle (closed and protected from any contact with the outside) the palace of Renaissance (open and with large gardens). How this transition to a new form of representation reproduces the evolution of the Prince centripetal (assertion of sovereign power of the monarchs) and centrifugal (increase of territory by the new colonies) of the central authority. How the central form of religious and civil architecture of Barcelona represents the centralization of power. Similarly, it examines the question of naturalism, Gothic (XII th century) in neo-Gothic, which arises at the end of the XVIII th century and beginning of the XIX th century, as the expression of discussions related to the once mystical and profane, for a part of man with God, the latter from being out in nature to be part (in Spinoza ), and secondly to the man with his own body, the transition from theoretical to anthropocentrism, and the joint appearance of the new bourgeois interest for social recognition more than divine (appearance of Indulgences, Purgatory and Triumphs) and major pests that require the man to see the mirror of the skeletons of Danse Macabre, the Ars moriendi and later Vanities . The Rococo is the mark of this final stage of human self-oriented, and the pleasures of nature and evolution of ethnographic study of manners, they expressed by Norbert-Bertrand Barbe by FIG Women as a paradigm of erotic literature, which he supports by citing the many heroines of the genre in the XVIII th century .
It discusses the process of cluster emergence of architecture as a consequence of the time, so the appearance of the hospitals (the Crusades ), libraries and universities (for the encounter with the Greco-Roman retained by Arabs), Universities of Medicine (for large pests), barracks (for the growing power of the Prince), prisons (for bourgeois society and the appearance of highway robbers), etc.. regarding the modern era ( A ensayo sobre una Historia Moderna of Arquitectura ).
With regard to the contemporary era, it is the public school, the home for the elderly and insane, which represent new types of society to organize and lead the masses, the museum and Caf'Conc 'as bourgeois and popular diversions respectively curiosity cabinets, parks as a place of bourgeois distraction, cemeteries, factories and supermarkets as places focal new mega-urbanization. And as coercive and regulatory elements of the emerging national states, administrative buildings, ministries, police and intelligence. The mass media, newspapers, also appear in the XIX th century ( Historia de la Arquitectura Contemporánea ).
In this transition from modern to contemporary ( Historia de la Arquitectura Contemporánea ), the architect from the author of Treaties to author Manifestos for the development of journalism and the brevity demanded by the new era. However, the ideology of the artist persists in polyphacétique Arts & Crafts, Bauhaus and Art Deco, which combine architecture and decorative arts. The ideology of the artist and intellectual guide for the company persists in the insistence of the architects explained, not so long in Treaties in otherwise powerful Manifestos , which retains the idea that the action is architectural always later than the urban conceptualization. Thus the ideal cities of the Renaissance can be found in cities, be they industrial, garden, linear, or new ( New Towns ), behind the contemporary urban options.
In the work of Tatlin and futuristic architects, Norbert-Bertrand Barbe recognizes the permanence of the iconography of the Tower of Babel and modern debates on the plan of Jerusalem and the Temple of Solomon , which he studied in a ensayo . .., and give shape to many baroque buildings, such as El Escorial in Madrid .
Defending rationalist contemporary architects and the use of pure forms is, according to the thesis of Norbert-Bertrand Barbe, the clear demonstration that architecture is primarily a symbolic material and non-functional since Adolf Loos himself used the cubic form that fascinated him for his mausoleum, which is still on the cube, mystically, the black square on white background with architectones , Malevich focused his attention, like the rationalist Loos .
Norbert-Bertrand Barbe addresses issues of contemporary and symbolic public spaces in his writings on architecture and its takeover of Nicaragua, for example, modern illogical Avenue (which he studied as a picture of political power in his articles Logia de Cultura on Min Pei and Brasilia, which according to him the capital Managua did not understand the meaning. Identically, he studied the implicit meaning, synchronic (which comes from ancient Egypt and passed through Rome to persist in modern architecture and contemporary) of the column as a symbol of passage between two spaces, one collective and profane, the other private and institutional. Norbert-Bertrand Barbe interested in public spaces that are defined in Managua by the predominance Advertising as Social Index and semiological .
The issues of relationship between collective identity created symbolic public spaces, both real and fictitious, and ideological appropriation thereof by the nationalist discourse are addressed by Norbert-Bertrand Barbe more detailed in the book Ciudadanía, identidad y Patrimonio .
Condensation(s) and developments
The 2000s represent Norbert-Bertrand Barbe a moment of condensation for several reasons. First is the period of greater dissemination of his work, both from books and texts (although this movement is given by the second half of the 1990s) that the number of internet publications and to From the second half of the 2000s.
Then is when it creates the journal Gojon , first called From Xtepetl (2005), since it was created Jinotepe, city Department of Carazo (Nicaragua), then called Xtepetl From Ya No (2006), when Norbert-Bertrand Barbe changed his residence to Masaya, and finally, in reference to a po e Pablo Antonio Cuadra: Gojon (2007). Magazine that presents ample works of significant artists and writers in the world of Nicaragua, Central and Latin American .
It is also the time when it changes its format works, and where appear the works phones , electrographic (photomontages of texts and images), which offer the artist the opportunity to do more to worry about transportation and preservation of his works, as works phones can easily carry a CD. Norbert-Bertrand Barbe expresses perfectly the new Extranjero in the niebla published by the Revista Katharsis No. 4 January 2005 . when he writes:
La verdad, antes sólo hacia of pintor, pero con eso de los viajes, y como no me da mucho del dibujo in the cuaderno vaina, pues, la escritura in Aprovecho hojas Sueltas has manera of diario, y también como forma de obra radical trasladable - por lo que, a mi forma soy un impressionista -.
That concept works phones appears the World First Creation-Installation Happening To Webcast (2004), works as a scroll (similar in its elongated shape, but here vertically and not horizontally, one proposed by the artist for the exhibition in honor of 80 years of Ernesto Cardenal) which is the account of a happening by the artist in his French home in 4 hours time, and has been for the artist to shave her head, to photograph and produce the work in which mingle texts (poems and analytical thinking) and self photographic performance.
It's the same concept that governs his choice to focus the limits of art, creating event-Arte Calle, promoting performance not visible , creating the principle of performance and processual works (which develop through a succession in time, as the series of photographs of a sparrow on a path or those over several days, rotting fruits), which will be copied by Ernesto Salmerón in 2009 in his exhibition at the Casa de los Tres Mundos (Granada).
The 2000s also marked for Norbert-Bertrand Barbe its separation from UNAN-Managua (National Autonomous University of Nicaragua), University with whom he had worked since the late 1990s.
In this context it starts to work, first with the UNICA (Catholic University), then with the UCA (Central American University), and finally with the UNI (National University of Engineering), for which he produced many pieces of architecture.
It is his years of working with UNICA that germinate several texts Logia de Cultura (2005-2008), second section of El Nuevo Diario that he is the author and creator after Hablemos de Cine (1997-1999). This time conducted on Saturday cultural supplement Nuevo Amanecer Cultural of this journal ( Hablemos de Cine was joining the Sunday supplement of the newspaper).
The texts Cultura Logia are divided into several thematic notables:
1.Contextual analysis of concepts especially in modern times (like the Movement, Space, Children, etc.)..
2.Iconological and semiological approaches to works which in their contents, mark the passage of the ideological evolution of the modern era to modern times. Thus in Greuze and Sade , Norbert-Bertrand Barbe examines ideological substrates, respectively, the representation of educational ideas of the XVIII th century, and the centrality of the female figure perverted (Sade Retif de la Bretonne , Defoe , Cleland , Prevost ) as the archetype of the libertarian discourse that will extend the XIX th and XX th century ( Flaubert , Ibsen , Colette , Emmanuelle Arsan , Dominique Aury ).
3.Nicaraguan and Central American youth productions in the arts and literature.
4.Analyses of short works, which creates a condensation problem even th in the collision interpretation: as po e of a letter from José Coronel Urtecho entitled Masterpiece (1927), founders (the po e and the poet ) movement vanguard Nicaraguan, or a new line entitled: The longest new world , the painter and writer Nicaraguan Alvaro Gutierrez, which for Norbert-Bertrand Barbe, represent a way to make test the comparative methodology.
In those same years, Norbert-Bertrand Barbe produced many epistemological, oriented to the description and discussion of the issue, in his words, issues of analysis of symbolic productions. They are: Arturo Andres Roig y el problema epistemological (1998, 2004), The Naked Kings: Where is the French university (inventory 1991-2001) (2002), The Case Elizabeth Tessier: a question of method (2004 ), Little dictionary of terms of aesthetics Barthes (2004), Del del texto place to place of Reading (2007), Carta abierta sobre la educación in Nicaragua (2009).
Similarly, it promotes and organizes events like the First International Symposium on Erwin Panofsky (2003), which he published the following year the Acts (2004).
Como Gato Patas Arriba (2003) is a compilation of works from 18 Latin American authors, on the same principle that it will resume in Gojon or in his translations of Carlos Rivas Martínez and Alfonso Cortes (the most comprehensive to date, in addition to be the only ones, both in French and Spanish) presentation and preservation.
The latest project by Norbert-Bertrand Barbe in this sense is the interdisciplinary work on the Nothing as an object of investigation for influence in all fields of contemporary thought (political nihilism / anarchy psychology does not be there / feel abroad sociology increase of suicide in modern times; literature: Group October / Theatre of the Absurd / Oulipo , ... art: Duchamp / Dada / Yves Klein ...; religion: atheism ; philosophy: Kant / Schopenhauer / Kierkegaard / Nietzsche / Sartre ). What Norbert-Bertrand Barbe has developed in his text Cultura Logia entitled: Introducción a la Nada (2005).
The 2000s are also and above all those of the creation of Bes Publishing, which is celebrating 10 years in 2010.
Through these editions, Norbert-Bertrand Barbe has published not only his thoughts, if not the classics but little circulation of Nicaragua ( El Güegüence , Cortes, Salomón de la Selva, Martínez Rivas, Ernesto Cardenal, etc..) and the Western world (Vitruvius, Julius Caesar, Boccaccio, Petrarch, Jane Austen, etc.) always favoring editions of complete works.
The most recent guidance Publishing Bes is the publication, still under the direction of Norbert-Bertrand Barbe, thematic anthologies, such as founding texts of the European Nations ( 7 Texts founders of the European Nations , 2003) and in 2008 - 2009, of utopian texts (from Thomas More to Fourier) on erotica (XVIII-XX th centuries); Political Thought (Plato to Marx) literary genres of the XIX th century, etc.. It is important to note that these are historic trails through works published in their entirety.
Thus, Norbert-Bertrand Barbe producing as editor, designeur, poet, artist, theorist and educator, also, in the 2000s, published two illustrated books for children: one is the illustration of the medieval farce Cuvier (2001), the other a tale of three semantic levels bunk entitled The Strange Death of the Hood Santa Claus (2004), with a first formal level of illustrations divided into two categories: traditional collages and digital photo-montage, and secondly a level of interconnection between adult and child, the characters mentioned in the text hiding in images, and thirdly an adult level, where some of the images refer to sexual tension or violence and war.
Timeline
1987 First solo exhibition
1991 Becomes Member of Mensa
1992 First publication
1995 Awards Arts and Letters of France: New Section (Poor Mister Snow) and Section Test (The Prisoner - From Me to Be - Test objective interpretation)
1996 Ph.D. in Comparative Literature (University of Orleans)
1997 First Division in El Nuevo Diario
2001 Creation of Bes Publishing
2005 Two e section in El Nuevo Diario
2007 Defence of the thesis of Hispanic Literature of Ana Santos Rios, La obra y Poética pictórica Norbert-Bertrand Barbe at the Catholic University - UNICA, Managua, 2007
2008 Tribute to the Nicaraguan Writers Center (Centro Nicaragüense de Escritores - CNE) for Lifetime Achievement
Bibliography This bibliography of books too.
The works must be reference in the subject field . There is desirable - if of interest - to quote the source and remove the section "Bibliography" .

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