Jaime Sabines

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Jaime Sabines Gutiérrez (né le et mort le à l’âge de 72 ans) était un poète contemporain mexicain. Il est aussi connu sous le surnom « le tireur d’élite de la littérature » parce qu’il faisait partie d’un groupe qui a transformé la littérature en réalité. Il a écrit dix volumes de poésie et son travail a été traduit dans plus de douze langues. Ses écrits relatent l’expérience des gens ordinaires dans des endroits comme la rue, l’hôpital et les aires de jeux. Jaime Sabines était aussi un homme politique.

Bruce Metcalf

Bruce Metcalf (born September 30, 1949 in Amherst, Massachusetts) is an American artist who uses different materials like wood, metal, and plexiglass. With these materials he uses diverse techniques for the jewelry, sculptures, and wall reliefs that he creates. Many of these works are whimsical yet restrained works that comment on the human condition.

He received his B.F.A. in Crafts/Metalsmithing in 1972 at Syracuse University. He also majored in Architecture at Syracuse from 1968-1970. From 1972-73 he attended Montana State University and from 1973-74 attended SUNY College at New Paltz. In 1977 he received his M.F.A. in Metalsmithing and Jewelry at Tyler School of Art at Temple University.

„These necklaces and brooches represent a recent departure. They are neither narrative nor conceptual jewelry. Instead, I want to make jewelry that is decorative and comfortably wearable. Beyond that, I want these articles to become the center of attention when they are worn, and thus to make their wearers feel exceptional“.

L’Écrivain suisse allemand

Pour améliorer la vérifiabilité de l’article, merci de citer les sources primaires à travers l’analyse qu’en ont faite des sources secondaires indiquées par des notes de bas de page ().

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L’Écrivain suisse allemand est un roman de Jean-Pierre Rochat publié en 2012 aux éditions D’autre part. Neuvième ouvrage de l’écrivain, il a obtenu le Prix Michel-Dentan 2013.

L’Ecrivain suisse allemand raconte une amitié entre un écrivain et un paysan opposés par leur mode de vie respectif : le premier est globe-trotteur et séducteur, tandis que le second, travailleur sédentaire dans le Jura bernois, ne voyage qu’à travers les récits de l’écrivain. Le livre s’ouvre sur la mort de ce dernier, et le paysan de montagne – pourtant discret – livre son amitié par touches, au fil des pages (lorsque les amantes, ou la biographe de l’écrivain viennent chercher des histoires sur le défunt). La vie de l’écrivain est ainsi dévoilée à travers les yeux du paysan, qui l’admirait et ne pouvait s’empêcher de jalouser son mode de vie exceptionnel: ses nombreuses femmes, ses voyages, son succès… Il goûte d’ailleurs à une partie de cette vie lorsqu’il décide d’écrire et qu’il vit une romance de trois jours avec la veuve de l’écrivain.

Les personnages n’ont pas de nom, ils sont présentés par leur statut, leur fonction ou leur origine (l’écrivain suisse allemand, la femme de l’écrivain, la biographe, etc.). Ils ne sont par ailleurs jamais décrits complètement dans leur apparence physique. Le narrateur s’en remet à plusieurs reprises à l’imagination de son lecteur. Il se contente par exemple de dire que telle dame est „une belle personne“ ou de donner tel ou tel détail de son apparence dans le fil du récit: «  A l’enterrement la biographe avait encore de longs cheveux bruns, ici elle s’est fait faire une coupe au carré sur cheveux de jais, elle a pas encore l’habitude et arrête pas de caresser sa nuque fraîchement dégagée. »

À travers un roman à bien des égards psychologique (qui use du flux de conscience), l’auteur expose de nombreuses thématiques: l’opposition de la ville et de la campagne, notamment lorsqu’une simple visite en ville émerveille le paysan. Le voyage et la sédentarité, opposées par les modes de vie des deux protagonistes. Également l’amour, qui est présenté comme léger et peu dramatique (le paysan trompe sa femme avec la veuve de son ami, mais on ne ressent pas de malaise ou de jugements, tout a l’air simple et naturel). La montagne, qui est décrite à de nombreuses reprises, comme une âme et un esprit parlant parfois au paysan. Mais également, la sensibilité, le succès, les femmes, la beauté, la vieillesse, la jalousie, l’admiration, le charisme.

Virgen de Betania

La Virgen de Betania se refiere a varias apariciones de la Virgen María en una finca denominada «Betania» ubicada en Cúa, estado Miranda, Venezuela. La primera aparición fue registrada el 25 marzo de 1976, fiesta de la Anunciación y su protagonista fue María Esperanza de Bianchini a quien el obispo de Metuchen, Nueva Jersey, Estados Unidos, Paul Bootkoski, abrió un proceso de beatificación y canonización. La aparición fue aprobada oficialmente por el obispo Pío Bello Ricardo el 21 de noviembre de 1987. Esta aparición recibió el título de Advocación María Virgen Madre Reconciliadora de todos los Pueblos y las Naciones.

La primera aparición fue registrada el 25 de marzo de 1976 en la fiesta de la Anunciación, y fue presenciada únicamente por la vidente María Esperanza, más adelante, es varias apariciones, algunas otras personas fueron testigos. El sitio de estas apariciones fue una hacienda llamada Betania en el estado Miranda de Venezuela que luego se convertiría en Santuario y escenario religioso, místico y turístico de reconocimiento mundial.

Para marzo de 1984 alrededor de 150 personas afirman haber visto, luego de una Misa con motivo del aniversario, a la Virgen posada sobre una cascada, de estas personas 108 firmaron un documento como testigos del hecho.

Según dicen, la aparición fue bajo 7 advocaciones diferentes, entre otras como Lourdes, del Carmen y la Virgen de los Milagros, pero en la última tenía un niño en su brazo derecho en posición de entrega y, en la mano izquierda, el santo rosario.

El obispo de la Diócesis de Los Teques el jesuita monseñor Pío Bello Ricardo bajo instrucción afirmó que fueron cerca de 2000 personas quienes presenciaron las apariciones.

En la aprobación de las apariciones, el obispo Pío Bello Ricardo escribió:

„No intento afirmar que todas y cada una de las apariciones acaecidas en Finca Betania sean auténticamente tales…ha habido casos de simple alucinación…también en Lourdes hubo numerosos pseudovidentes, pero todo eso no quita validez a los numerosos testimonios a los que sí les concedo credibilidad“.

La imagen que fue venerada por un tiempo pertenecía a la advocación de Nuestra Señora de Lourdes hasta que se trajo la nueva imagen desde Italia.

La talla fue elaborada en mármol y se realizó basada en los detalles que aportó la vidente María Esperanza. La Imagen fue entronizada el 25 de marzo de 2008 por el obispo de la Diócesis de los Teques monseñor Freddy Fuenmayor luego de una vigilia comenzada el día anterior por la noche con motivo del 32 aniversario de la aparición. En el acto participaron el esposo de la vidente Geo Bianchini, presidente de la Asociación Civil Fundación Betania y la Coral Betania fundada en 1981 integrada por miembros pertenecientes a la Asociación Civil.

Kellerberg 2 (Annaburg)

Das Haus Kellerberg 2 (Annaburg) ist ein denkmalgeschütztes Gebäude in Annaburg im Landkreis Wittenberg in Sachsen-Anhalt. Es befindet sich gegenüber dem Gebäude der heutigen Sekundarschule. Bekannt ist es als das Ehemalige Gestüt der Stadt Annaburg.

Im Jahr 1793 wurde durch den sächsischen Kabinettsminister Camillo Graf Marcolini die Sächsische Landfohlen-Erziehungsanstalt in Annaburg gegründet. Eine Erweiterung durch Gründung von Filialen in Glücksburg und Moritzburg erfolgte 1800. Vierzehn Jahre später wurde das Gestüt durch den damaligen russischen Militärgouverneur geschlossen. Im 19. Jahrhundert erfolgte eine Nutzung der Gebäude als Schäferei, wobei das heute unter Denkmalschutz stehende Wohngebäude als Stall genutzt wurde. An der Stelle des ehemaligen Hauptgebäudes befindet sich jetzt ein Schulbau aus dem Jahr 1903.

Das Gebäude ist ein langgestreckter einstöckiger Fachwerkbau mit Krüppelwalmdach. Die massiv gemauerten Giebelseiten sind durch umgreifende Lisenen im Stil des Dresdener Spätbarock gegliedert.

Koordinaten:

Charles Comte

Charles Comte (… – …) è stato un calciatore, allenatore di calcio e giornalista svizzero, conosciuto come Comte I per distinguerlo dal fratello, giocatore del FC Genève nello stesso periodo.

Cresciuto calcisticamente in Svizzera, giocò con il Servette nella Serie A 1910-1911 dove vinse il Girone Ovest ma, ottenne solo l’ultimo posto nel gironcino finale. Si trasferì al Genoa, in Italia nella stagione 1911-1912, dove in sole 3 presenze segnò ben 5 reti. L’esordio in rossoblu avvenne alla prima giornata di campionato, il 15 ottobre 1911, nella vittoria in trasferta per cinque ad uno contro la Juventus dove mise a segno una doppietta. Con il Grifone si piazzò al terzo posto della classifica del Torneo Maggiore.

L’anno successivo, dopo aver partecipato alle amichevoli estive con la maglia del Grifone, passò dapprima al Savona ed a dicembre alla Juventus.

Alla Juventus segna una sola rete, nel derby perso per otto a sei contro il Torino del 9 febbraio 1913 e, ottenendo con il club bianconero l’ultimo posto del girone piemontese del campionato 1912-1913.

Terminata l’esperienza italiana tornò nel luglio 1914 al Servette, club con il quale conquistò la nazionale Svizzera e si piazzò al secondo posto della Serie A 1914-1915, perdendo la finale contro il Brühl St. Gallen. A Ginevra rimase sino al giugno del 1915.

Nel 1919 passò al Fc Genève dove giunse al quinto posto del Girone Ovest della Serie A 1919-1920.

Comte vanta anche una presenza nella nazionale Svizzera. Giocò l’incontro amichevole che gli elvetici disputarono il 31 gennaio 1915 a Torino contro l’Italia. Il match terminò tre ad uno per gli azzurri.

Nella stagione 1932-33 allenò i francesi dell’Hyères Football Club, retrocedendo nella divisione regionale.

Negli anni a Ginevra, collaborò con il quotidiano genovese Secolo XIX come corrispondente dalla Svizzera.

La Marchesa von…

La Marchesa von… (La Marquise d’O) è un film del 1976 diretto da Eric Rohmer, tratto dal racconto La marchesa di O…, di Heinrich von Kleist.

M. Città non precisata dell’Italia settentrionale, 1799.

Gli avventori di un albergo commentano un’inserzione pubblicata su un quotidiano: la Marchesa von O. invita lo sconosciuto che, a sua insaputa, l’ha resa madre del bambino che sta per partorire a presentarsi nella casa del padre e gli promette di sposarlo, chiunque sia.

Flashback: assedio delle truppe russe alla cittadella fortificata comandata dal padre della Marchesa von O, Giulietta. Rimasta vedova tre anni prima, è tornata, con le sue due figlie, a vivere con i genitori. Mentre la casa è colpita dalle cannonate e incendiata, cerca di fuggire con la madre, le cameriere e le bambine, ma un gruppo di soldati russi cerca di violentare le donne. La marchesa viene salvata dal Conte di F., un tenente colonnello russo. La governante per calmare la donna sconvolta le fa bere una pozione di papavero. Il governatore a capo della cittadella si arrende onorevolmente e gli vengono restituite le armi, mentre il generale russo fa fucilare i colpevoli della tentata violenza.

Qualche tempo dopo il Conte, che si credeva morto a causa di una grave ferita al petto che lo aveva ridotto in fin di vita, si presenta nella nuova casa di città della marchesa dove la famiglia del comandante si è trasferita dopo l’abbandono della piazzaforte, e sorprendentemente chiede la mano della donna in modo insistente, al limite dell’etichetta, per ottenere il consenso, ma riceve per convenienza e prudenza un momentaneo rifiuto.

La donna scopre intanto di essere rimasta misteriosamente incinta. Il fatto sconvolge i famigliari che non credono alle sue proteste di innocenza e la cacciano di casa. Lei va a vivere nella villa del marito dove viveva precedentemente e decide quindi di pubblicare l’annuncio sul giornale.

Con grande sorpresa colui che risponde è il Conte, e il matrimonio sarà celebrato, in forma strettamente privata, il giorno successivo. Il perdono gli sarà concesso solo dopo la nascita e il battesimo del bambino.

Rohmer torna alla regia dopo una pausa di quattro anni e il film segna una cesura nella sua opera: torna ad un adattamento letterario e dirige il primo film in costume.

Il soggetto è basato sul racconto di Heinrich von Kleist, Die Marquise von O, del 1808.

Il film è in lingua tedesca e le riprese sono state girate in un castello prussiano settecentesco della Franconia, nei pressi di Norimberga.

Rohmer dà una grande attenzione alla composizione della inquadratura, ai gesti, ai corpi, ai loro movimenti nella scena che riprende riducendo al minimo i movimenti di macchina.

La fotografia, molto lodata, è di un fotografo di talento come Néstor Almendros, che lavorò con François Truffaut e Terrence Malick.

È ispirata a quadri e artisti famosi dell’epoca:

Rohmer girava quasi soltanto con la luce naturale nelle scene diurne e con la luce delle candele nelle scene notturne, come in parallelo stava facendo proprio in quegli anni, Stanley Kubrick con Barry Lyndon.

Rohmer, contrariamente al solito scelse attori appartenenti ad un’unica compagnia teatrale, la Schaubühne am Halleschen Ufer di Berlino, diretta da Peter Stein.

Il regista firma il film con la sua presenza: appare nelle prime inquadrature nelle vesti di un soldato russo.

Il film, dopo la vittoria al festival di Cannes, ebbe una buona accoglienza. Fu il film che fece conoscere il nome di Rohmer al grande pubblico, e le opere precedenti usciranno nelle sale italiane solo successivamente.

Giovanni Grazzini:

Michele Mancini:

Ha vinto il Grand Prix Speciale della Giuria al 29º Festival di Cannes.

Robert Bachner

Robert Bachner (* 27. April 1972 in Vöcklabruck) ist ein österreichischer Jazzmusiker (Posaune, Komposition, Bandleader).

Bachner, dessen älterer Bruder der Saxophonist Christian Bachner ist, erhielt durch seine Eltern musikalische Grundlagen vermittelt. Ab dem Alter von 10 Jahren spielte er Euphonium, um vierzehnjährig zur Posaune zu wechseln. 1991 bis 1995 studierte er Jazz-Posaune am Bruckner-Konservatorium Linz bei Christian Radovan; daran schloss sich ein Kompositionsstudium am Konservatorium der Stadt Wien bei Thomas Huber und Karl Heinz Czadek an. Im Jahr 2000 weilte er an der New School University in New York City bei Conrad Herwig. Auch absolvierte er Meisterklassen und Privatstunden bei George Lewis, Ed Neumeister, Hugh Fraser, Bill Watrous, Robin Eubanks und anderen.

Seit Mitte der 1990er Jahre gehört er dem Upper Austrian Jazz Orchestra und der Gruppe Heavy Tuba an. Zwischen 1996 und 2008 war er Mitglied des Vienna Art Orchestra; auch spielte er im Quintett von Achim Tang, bei Nouvelle Cuisine, der Lungau Big Band und dem Concert Jazz Orchestra Vienna. Weiterhin tritt er im Flip Philipp & Ed Partyka Dectet auf, in der Jazz Big Band Graz, den Gruppen Schwarzmarkt und Chameleon Changes sowie dem Bastian Stein Oktett. Unter eigenem Namen veröffentlichte er mehrere Alben mit seinem Quintett und einer Big Band-CD sowie ein Duoalbum mit Helmar Hill. In seinem neuesten Projekt Count Phenomium widmet sich Bachner verstärkt dem Euphonium. Neben Kompositionen für eigene Projekte schreibt Bachner u. a. auch für Heavy Tuba oder das Upper Austrian Jazz Orchestra. Auch ist er auf Tonträgern von Andy Lee Lang und Dorretta Carter zu hören und arbeitet mit seiner Frau, der Sängerin Karin Bachner.

Bachners „Spiel vereint einen warmen, vollen und ausdrucksstarken Ton mit stupender Technik und beeindruckendem Tonumfang“; er gehört in Österreich „zu den gefragtesten und innovativsten Posaunisten“.

Bachner erhielt 2006 den Hans Koller Preis in der Rubrik „CD des Jahres“ für Travelling Hard.

This Is the End (For You My Friend)

This Is The End (For You My Friend)“ is a song by the punk rock band Anti-Flag, which is taken from the album For Blood and Empire. The song was part of the soundtracks for Madden NFL 07 and NHL 07 and as of 2016 is their highest selling song on the iTunes store.

The song is about how media drives self-hatred and mutilation. It claims that most media is powered by money, and that media entities try to make people feel worthless to help sell their product.

Found on the inside of the cover booklet of the C.D., there is an essay by Jean Kilbourne. It reads as follows:

„Advertising is an over $250 billion a year industry. We are exposed to over 3000 ads a day and will spend two years of our lives watching television commercials. Yet, remarkably, most of us believe we are not influenced by advertising. Ads sell a great deal more than products. They sell values, images, and concepts of success and worth, love, and sexuality, popularity and normalcy. They tell us who we should be … Sometimes they sell addictions.“

„Hollywood and the fashion, cosmetics and diet industries work hard to make each of us believe that our bodies are unacceptable and need constant improvement. Print ads and television commercials reduce us to body parts -lips, legs, breasts- airbrushed and touched up to meet impossible standards. TV shows tell women and teenage girls that cosmetic surgery is good for self-esteem. Is it any wonder that more than 80% of fourth grade girls have been on some sort of fad diet“

The video features the band playing the song in the small Downtown Los Angeles Mexican bar La Cita (on 5th and Hill St.). The filming of the music video was originally going to be one free show, but so many fans showed up to the concert that the band played two shows for benefit of the fans and the convenience of the small club venue. There are black title cards in between clips of the band, upon which are written facts about the influence of mass media on the self-perception of consumers. After each fact, there is a few seconds of the band playing, then another title card saying ‚This is the end… of-‚ followed by something the band hopes to bring the end of.

The title cards say:

Lights (Ellie Goulding album)

Lights is the debut studio album by English singer and songwriter Ellie Goulding, released on 26 February 2010 by Polydor Records. Goulding collaborated with several producers on the album, including Starsmith, Fraser T Smith, Frankmusik, Richard „Biff“ Stannard, Ash Howes, Liam Howe, Fred Falke and Mumford & Sons‘ Ben Lovett. The album received generally positive reviews from music critics, who complimented Goulding’s electronic edge, while less favourable reviews felt the sound was generic. Lights debuted atop the UK Albums Chart with first-week sales of 36,854 copies. In North America, the album charted at number 21 in the United States and number 66 in Canada. It spawned four singles: „Under the Sheets“, „Starry Eyed“, „Guns and Horses“ and „The Writer“.

The album was re-released on 29 November 2010 under the title Bright Lights, including six new tracks. It produced two additional singles—a cover of Elton John’s „Your Song“, which peaked at number two on the UK Singles Chart and became Goulding’s second highest-charting single in the UK, and „Lights“, which reached number two on the Billboard Hot 100 and became Goulding’s most successful single in the US. Following the reissue, the album saw a surge in sales in both the UK and Ireland. On 8 March 2011, the album was released in the United States with two songs removed and featuring three songs that were previously not available on the original version, but were included on the Bright Lights reissue.

Goulding dropped out of a degree programme at the University of Kent after two years in order to pursue her musical career. She explained to BBC News Wales, „I’d entered a university talent contest and was spotted by some people in the audience“. She signed a record deal with Polydor Records in July 2009. However, Goulding opted to release lead single „Under the Sheets“ on independent label Neon Gold Records so she would not feel under pressure.

Goulding explained that the album „is made up of songs that all started on a guitar over a period of about two years. A number of the songs vent romantic victories and failures.“ She revealed that the first song she ever wrote, „Wish I Stayed“, is featured on the album. She met chief producer Starsmith after moving to Bromley, London from her home in Hereford. In an interview, she explained, „Meeting Starsmith was a godsend. We’re like brother and sister. We fight a lot but you can’t get anywhere without creative tension.“ Goulding worked with producers Starsmith, Frankmusik, Fraser T Smith, Richard Stannard and Ash Howes. The majority of the album was recorded in Starsmith’s bedroom in Bromley, London. She told the Daily Star, „Though I write on guitar, I hear the entire sound of songs in my head. And Fin [Starsmith] is someone who understands.“

„Under the Sheets“ was released as the album’s lead single on 9 November 2009, reaching number 53 on the UK Singles Chart.

Follow-up single „Starry Eyed“, released on 22 February 2010, peaked at number four.

„Guns and Horses“ was released on 17 May 2010 as the third single from the album, and charted at number 26 in the UK.

„The Writer“, the fourth single, was released on 8 August 2010, reaching number 19 on the UK Singles Chart.

Goulding’s cover of Elton John’s 1970 classic „Your Song“ was released as the album’s fifth single on 12 November 2010, also serving as the lead single from the Bright Lights re-release. It became Goulding’s second highest-peaking single to date on the UK chart, reaching number two. The song was featured in the John Lewis Christmas 2010 TV advert in the UK. The album’s title track, which was originally available only as a bonus track from iTunes, was released as the album’s sixth single on 13 March 2011, peaking at number 49 in the UK.

„Lights“ was released as the album’s lead single in the United States and Canada, peaking at numbers two and seven, respectively. By June 2013, the song had sold four million copies in the US.

She also played live at Coachella Valley Music and Arts Festival in April 2011. Goulding made her American television debut on Jimmy Kimmel Live! on 7 April 2011 performing „Starry Eyed“. She appeared as the musical guest on the 700th episode of the Saturday Night Live, broadcast 7 May 2011 and hosted by Tina Fey. She served as one of many live performers at the wedding reception of Prince William and Kate Middleton on 29 April 2011 singing her rendition of „Your Song“ for the couple’s first dance as well as her hits „The Writer“ and „Starry Eyed“ and several of William and Kate’s personal favourites. She was introduced to Prince William by Tinie Tempah at a music festival during the summer of 2010. She said: „It was an amazing honour to be asked by Kate and William to perform at their party. The atmosphere was incredible and it is a night I will never forget.“ Goulding performed, for the second consecutive year, at Radio 1’s Big Weekend on Saturday 14 May.

Goulding headlined the 2011 Wakestock Festival in Wales, performing on 8 July. In August she, again, performed at V Festival for her second year in a row. On 6 August 2011, Goulding performed at Lollapalooza in Chicago. Goulding performed at the annual Nobel Peace Prize Concert on 11 December 2011 in Oslo, Norway, where she also served on a panel discussion with Amy Lee of Evanescence and Janelle Monáe. On 1 December 2011, Goulding performed at the White House during the National Christmas Tree lighting ceremony, alongside the likes of Big Time Rush and will.i.am. She also was a musical guest on The Ellen DeGeneres Show on 11 April 2012, performing „Lights“. On 18 January 2012, Goulding performed „Lights“ on Late Show with David Letterman.

„Every Time You Go“ was featured in the Vampire Diaries episode „Founder’s Day“. „Your Biggest Mistake“ appeared in an episode of The Inbetweeners and „Believe Me“ appeared in an episode of 90210. Her cover of „Your Song“ made an appearance on an episode of Haven.

Goulding toured in support of Lights and supported Passion Pit in March 2010 and John Mayer during his UK tour in May 2010. During the summer she performed at a number of festivals. On 29 May, she performed at the Dot to Dot Festival in Bristol. She performed a set on 25 June at the Glastonbury Festival 2010 on the John Peel Stage. Her third EP was a live recording of part of her set at the iTunes Festival 2010. The whole set was ultimately included as bonus content on the iTunes version of Bright Lights. She made her T in the Park debut on 11 July. She played on the Nissan Juke Arena at the 2010 V Festival in late August. In September she was part of the line-up at Bestival 2010 on the Isle of Wight. In support of the album in Europe she performed on the first day of Pukkelpop in Belgium, at the Open’er Festival in Poland and at Benicàssim in Spain. In March and April 2011, Goulding embarked on a tour across North America to support the release of Lights in the US.

Lights received generally positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 65, based on 19 reviews. Neil McCormick of The Daily Telegraph praised the „lush electro-dance production of Starsmith“, stating it „evokes a gushing, breathless rush of heady emotion that might have benefited from at least a dash of restraint and intimacy.“ Mike Diver of BBC Music described the album as „an expectations-passing collection that should see fans of the singer’s material to date elevating her to superstar status—perhaps not Gaga league, but certainly the equal of the current solo female du jour, Florence Welch“, adding that „ballads like ‚The Writer‘ and ‚I’ll Hold My Breath‘ retain the glossy attraction of singles ‚Under the Sheets‘ and ‚Starry Eyed‘.“ AllMusic’s Matthew Chisling commented that the album „lacks the dramatic crash and bang of Florence and the Machine’s Lungs, but is certainly a more restrained, compelling listen than the debut records by Pixie Lott and Little Boots“, commending Goulding for her ability to „take the best parts of all of her contemporaries‘ styles and create pleasantly surprising records.“

Camilla Pia of The Fly magazine raved, „Packed full of sparkling pop with a folky heart and an electronic edge, the debut is ridiculously infectious; swooping choruses and lyrics of all-consuming love and losing it sticking in your head from first listen.“ The Independent critic Andy Gill noted that „despite the occasional furtive flourish of acoustic guitar, her work on this debut album is more akin to the retro-synthpop of Little Boots and La Roux, thanks to the thoroughness with which production partner Fin Dow-Smith has smothered her folkie origins under a welter of busily cycling synths and programmed beats.“ Spins Caryn Ganz referred to the album as „[s]hiny, wholesome dance-pop, with a dash of saucy“ on which Goulding „glides through blippy anthems […], pumping disco […], and delicate grooves […] with a pixie-ish voice that’s one notch sweeter than Metric’s Emily Haines.“ Pitchfork Media’s Stephen Troussé wrote, „Outside of its immediate context, Lights is a sometimes great, always promising debut. It’s an album about leaving home, and it works best when the contrast between the folk singer and the pop production chimes with the tensions between the pull of home and the allure of the city.“ Jody Rosen of Rolling Stone expressed that Goulding has „a classic British folkie’s voice—the kind of tremulous soprano that evokes a wintry day on a fog-swaddled moor. But Lights places her vocals and minor-key melodies against producer Starsmith’s club-ready mix of synths and brisk, busy electro rhythms. The results are moody […], pretty […] and uniformly catchy.“

Michael Cragg of musicOMH argued, „For the most part, the strength of the songwriting should keep the doubters at bay, Goulding and producer Starsmith concocting a heady mix of skyscraping choruses, twinkling beats and Goulding’s elastic vocals.“ In a mixed review, Claire Allfree of Metro viewed the album as „undeniably pretty aerated synthpop“ and praised songs like „Starry Eyed“ („pulsingly pert“) and „The Writer“ („a lilting melodic hook“), but felt that „Goulding’s girly, heartfelt voice is oddly depthless, while the electronic vapour and four-to-the-floor house beats swoop in a wash of perfectly calibrated bland sound.“ In a review for the NME, Mark Beaumont critiqued that „there’s nothing here groundbreaking enough to justify the critical frothing. It’s largely straight-ahead folk-pop dappled with a mild ground-frost of sequenced beats, Auto-Tune, and synth sizzles.“ Drowned in Sound’s David Renshaw opined that „Lights sounds like a naïve folk album given a blog house remix“ and concluded, „Devoid of a true soul or sense of honesty Lights can be a pretty hollow listen.“ The Guardians Alexis Petridis was unimpressed, dismissing the album as „general acoustic singer-songwriter material“.

Lights debuted at number one on the UK Albums Chart, selling 36,854 copies in its first week. The following week, the album dropped to number 16 on sales of 19,398 copies—the third biggest fall from number one ever in the UK, after Christina Aguilera’s Bionic (2010), which fell to number 29, and George Harrison’s All Things Must Pass (1971), which fell to number 18 (although the latter had already spent eight weeks at the summit and was partially affected by a postal strike). Following the release of Bright Lights in late November 2010, the album re-entered the top 100 at number 24, selling 23,629 copies. It ended 2010 as the 24th best-selling album in the UK, having sold nearly 300,000 copies by late November 2010. In early January 2011, the album returned to the top ten, where it continued for six weeks. Following Goulding’s performance at the reception party of Prince William and Catherine Middleton’s wedding on 29 April 2011, the album returned once again to the top 10 on 8 May after an absence of 13 weeks, jumping from number 23 to number 10 on sales of 11,981 units. Lights was certified double platinum by the British Phonographic Industry (BPI) on 22 July 2013. By November 2015, the album had sold 801,414 copies in the UK alone.

In Ireland, Lights debuted on the Irish Albums Chart at number 12 on 4 March 2010. Following the Bright Lights re-release, the album entered the Irish top 10 for the first time, attaining a new peak position of number six on 24 February 2011. Elsewhere, the album reached number eight on the European Top 100 Albums, number 28 in New Zealand, number 35 in Norway, number 42 in Germany, number 54 in Belgium and number 90 in Switzerland.

In the United States, Lights debuted at number 129 on the Billboard 200 and at number one on the Heatseekers Albums chart on the issue dated 26 March 2011, selling 4,000 copies in its first week. Following a string of US performances, including Saturday Night Live, the album re-entered the Billboard 200 on 21 May 2011, reaching number 76 the following week. On the Billboard 200 issue dated 21 July 2012, the album jumped from number 116 to its peak position of number 21 with sales of 23,000 copies—an increase of 444% from the previous week. It also reached number 12 on the Digital Albums chart. The album had sold 300,000 units in the US by June 2012. Lights debuted at number 76 on the Canadian Albums Chart on 12 May 2011, peaking at number 66 the following week. The album has sold 1.6 million copies worldwide.