Or; '...hallowed by thy name...'
1. (- note)
;
“... Democracy is theorised by contemporary political scientists as
a complicated interlinked process – one involving elections,
institutions, law, the protection of minorities, 'a government which
grants freedom of press and of speech to all', and so on – the kind
of system that does obtain, though it functions imperfectly, in the
industrialized West. ...the complexity of any democratic system worth
the name makes it hard to take a quick look at a society and say
'Yes, we have a democracy here' : there is no easy test. Second, in a
modern culture where news is disseminated visually, it is impossible
to film the whole tedious process of democracy in a thirty-second
report, and thereby prove in images that democracy is happening. As a
consequence, television news adapts a kind of shorthand: the shot of
people standing in line to vote has become the standard means of
showing 'democracy'. The danger of such visual telescoping is that it
will come to imply that voting is all there is to the concept, that
democracy is nothing but elections.
Such
a deliberate confusion of the part of the whole may have its
propagandistic uses. ...“
;
“...
It is perhaps more correct to say that capitalism doesn't care where
the profits come from, and to remember that, in certain countries,
the military industry accounts for no insignificant proportion of
capitalism. In 1970, the US Department of Defense owned '10 per cent
of the assets of the entire American economy'. In the second
financial quarter of 2003, military spending accounted for 60 per
cent of the growth rate of US gross domestic product. ...military
spending can fuel short-hand growth, a phenomenon that economists
have christened 'military Keynesianism': evidently, this worked for
the Iraq invasion. …
...Capitalism
is not inherently evil; nor is it inherently good. It is agnostic on
matters of good and evil. It is not immoral, it as amoral. (Which is
why, despite the rhetoric of 'free trade', western capitalist
democracies protect themselves with vast edificies of law and
regulation.) And once you are agnostic about the rights or wrongs of
war, you may be intensely relaxed about the fact that war can be very
good for business.”
;
from Unspeak.
Words are Weapons.. (p. 198-9 ; 216-7)
(by
Steven
Poole)
Abacus, 2006
;
“
The Poem therefore
(with the exception of the first canto, which is purely introductory)
is narrative, not didactic. It is a succession of pictures
illustrating the growth and progress of individual mind aspiring
after excellence, and devoted to the love of mankind; … its
impatience at 'all the oppressions which are done under the sun;' its
tendency to awaken the public hope, and to englighten and improve
mankind; the rapid effects of the application of that tendency; the
awakening of an immense nation from their slavery and degradation to
a true sense of moral dignity and freedom; the bloodless dethronement
of their oppressors, and the unveiling of the religious frauds by
which they had been deluded into submission; ...the universal
toleration and benevolence of true philanthropy; the treachery and
barbarity of the hired soldiers; ...the consequences of legitimate
despotism, - civil war, famine, plague, superstition, and an utter
extinction of the domestic affections; the judicial murder of the
advocates of Liberty; the temporary triumph of oppression, that
secure earnest of its final and inevitable fall;
[…] …
But mankind appear to
me to be emerging from their trance. I am aware, methinks of a slow,
gradual, slient change. In that belief I have composed the following
Poem.
I
do not presume to enter into competition with our greatest
contemporary Poets. Yet I am unwilling to tread in the footsteps of
any who have preceded me. I have sought to avoid the imitation of any
style of language or versification peculiar to the original minds of
which it is the character; designing that, even if what I have
produced be worthless, it should be properly my own. …
The
Poem now presented to the Public occupied little more than six months
in the composition. That period has been devoted to the task with
unremitting ardour and enthusiasm. … And, although the mere
composition occupied no more than six months, the thoughts thus
arranged were slowly gathered in as many years.”
; by Shelley,
Percy Bysshe
- of 'Author's Preface'
to 'Revolt of Islam'
(Or) 'The
Daemon of the World'
(poems)
; via The Complete Poetical Works
of Percy Bysshe Shelley, Vol 1. (Collection
f.p. 1839., preface by y. 1824)
;
“... The ancients believed that souls that had not received the
honors of burial on earth wandered on the banks of death river for a
long time; it seems to me that an almost identical fate is reserved
for me. I shall be on the border between this life and the next, and
reverie will help me gently while away long years filled with my
memories alone.”
;
from Delphine,
a novel (; p. 399)
(by
Madame de Stael
; p. 1802)
------------------------
Recoms:
DORI
STORIES. The Complete Dori Seda.
(by
Dori Seda, plus compilators...'comix biography'.)
197
p. ; Lasp Gasp (1999)
;
BLAZING
COMBAT
(Orig.
as US comics-magazine, published btw 1965-6.)
Stories:
Archie Goodwin,
w. various drawing artists.
p.
207 p.; Phantagraphics books, (reissue,) 2010.
;
AYA.
Love in Yop City
(by
Marguerite Abouet, Clément Oubrerie)
328
p. ; (Gallimard Jeunesse, 2013)
; [
Recommendations V / 2016.]
;
...Series
of view-points to Commonwealth, pt VIII.
-----------------------
“ ...These recoms' offering,Now exhibit the bits and stripfrom the World of Comics,All by all the apprehension,and complimentions.
So,
(dat here) a Jolly Good Polly,
By the
tune not much of any Golly,
(neither
often not, or rarely Molly),
(horns
and hounds just some glamours,
she
makes no favours)
Yet
all the element so well in tune,
an'
those stories accompanied
more can tell than this rune.
;
...On
this (adjacent)
we
need not from make so many verse,
ouf of
the pic (they) seem bent,
on the
foot is noted all else.
...dat
for sure, anyone can ya tell,
War is
hell. 2. (note)
;
...and, from the last in our line,
not so comprihensive, or so much have we read.
...and
got swingin' even the old Senilix,
Her
words might've surprised
(some, maybe who like mead, or just maybe'd)
but dat rhytm,
oh, I
even wished it fo' mine.
(And there
even some advice for cooks,
; recipe from
stock cubes, broil, soups.) ”
-------------------------
Note(s):
1.
; ...A
few lines on the (mainly) silent-era
film actresses, whose pics at this recoms begin. ; From
the left, onwards; Karen
Morley,
who played the pair for Paul
Muni,
at the time, on a hugely successfull gangster-film Scarface
(...the original, Howard Hawks' filmatisation from 1932. The
original ending
also features fx the scene of the prison execution, by that time, a
topic which was prohibited from depict in the realistic manner.). On
Morley (is noted), she was 'picked' afterwards for few more films,
but she then soon 'semi-retired' for family-life,
'after arguments about her roles and private life',
only appearing on films occasionally later on. However, also, “In
1947, her career came to a halt when she testified before the House
Committee on Un-American activities and refused to answer questions
about possible enrollment in the Communist party. Afterward she
continued promoting left-wing causes...” ;
Then, Myrna
Loy
(1905-93) one among the few female stars that managed from
'...make a succesfull transition into the sound era'.
Early years she played often the exotic 'femme fatale', 'Theda
Bara-types',
and (also) anecdotes of the 1920s mention her been discovered 'one
night' for the motion picture industry from local stage play (by Mrs
Rudolph
Valentino).
; Ann
May Wong
(d. 1961), was the '...first Chinese-American movie star' (who)
“...managed to have a substantial acting career during a deeply
racist time when the taboo against miscegenation meant that Caucasion
actresses were cast as 'Oriental' women in lead parts opposite
Caucasian leading men.”
- So fx for the role of an opposite for male peasant 'hero' on The
Good Earth
(...that
role played by Paul Muni, also. The film situates on chinese
country-side, about that time.) she was rejected and likewise said
that '...discrimination
she faced in the domestic industry caused to go to Europe for work in
English and German films'.
(...Quite interestingly or even surprisingly, seems it said that she
was able achieve in the Europe popularity not just among films
industry, but was most favored actresses from the audiences
too. (Where she hanged around Riefenstahl,
Sternberg,
ao of the eras filmatisations. Later featuring on some Paramount
films her career continued, about, until ca late 1940s.) ; Then –
Ann Dvorak,
who also acted on that Scarface,
above mentioned (Actually, she was the main tragic 'heroine'
character at film.) Dvorak, some years/roles after, seem said from
'...left for
Britain unhappy w. films and commerce.' (In
spite of that), she was featured to several films from later day,
although not on any particularly novelty some. ; Nina
Mae Mckinney (d.
1967), of whom it fx said that she was “...acknowledged
as a great actress, singer and dancer by audiences in the US and
Europe
(while) ...today
she is mostly forgotten.
(Also by the era)
...Hollywood was scared to take a chance on an attractive black
woman, to make her into a glamorous sex symbol...
(and also, Hollywood,) ...could
accept black character actresses...having a close relationship with
white characters in a film, but would not allow a beautiful black
actress the same...”
However,
'she had much more success on stage' ,
and in the 1940s was featured on number from 'cheap flicks' filled
from exotism. ; Finally, last from the right;
Louise Brooks,
perhaps best renown of the mentioned. After successful roles at
several films, but disappointed for the industry, she left for the
Europe having achived contract to play at few classic Pabst-films.
(Which was still prior the 'talkies'-era, about 1929.) Later (after
additional role on
'Prix
de Beauté',
1930 a moderate successfull fashion-film.), she returned only to
discover of been '...put
on an unofficial black list on Hollywood.'
Her filmography then represents a few (minor) films from 1931, and a
few more films by -36, and -37 (, some western and alike). Later from
around the war-are she then passed via 'a few professions' and less coherent
period in life (characterized by various psychic conditions, various pills and the resulted
drug-addiction on those), yet later did returning for her favored practices by
writing and painting. The former hobby then provided also several
articles, which were later on collected, at about 1970s, for her famous
'autobiography'. (Various characters by the era featured on her
memoirs, etc, ao..)
; ...Cites/brief quatations on this are via the ImDb-entries - and of a few other variable sources.
2.
; ...The
history from publication of that mag (Blazin' Combat) seems a reason for it's
inclusion on this recom, by itself. That so, since these
anti-war and realistic stories
originally appeared on a short-lived comics, intended sold on various
shops and via retailers, already prior any general resistance against
the Vietnam/foreign
wars
hadn't yet emerged in US. All the stories in the mag were wrote by
Goodwin,
drawn by various artist, And generally the quality of stories also is
artistically rather high (if compared for the more typical stuff of
the war-comics by the time, or even later from.)
; Anyway, from the
interviews of Goodwin and publisher at this compilation one can read
about
that US army confiscated
practically all copies
from magazine,
early on
or soon from it's begins. (Or, of some retailers them were perhaps
bought and 'shelved' away from the readers.) As the result, the
sales from it never really took off, and after only four issues it
had to cease from published. All
that in the society that claimed of to be democratic,
which maybe worth a notice too. ; ...Generally all the stories
perhaps not so skillfull , or succeedingly created, but the emphasize
on vast waste and meaningless of war is apparent all the way. (One
might only wonder how the underaged and other readers for these
stories would've benefited of the views it meant for transmit
originally. Anyway, seems it from said of having had quite
good reception by the public, on what there was possible from them
to acquire during that 1960s.)
; Pic
aside
(that) is from the cover
for magazine's first issue
– It perhaps most definitely captures that madness of the war. A
viewer can't avoid the impression from watching something very brutal
and what can't end but badly. Them - the guys depicted - sure know
they're going to the hell, and (posssibly) nothing could prevent
that. They
seem
also
of to believing
that by themselves, from to be destined from going to that hell.
(No alternative considerable, or even possible for them. They're
already beyond
life,
seems of be that ultmate message on this unusual depiction.) And
thats, of course, the very nature of all wars.
; The stories don't
either leave aside sufferings of the
civils
on war fronts, albeit the main plots of the stories represent the
battles, etc. scenes. (It also has fx several short-stories about the
air pilots and air fights, etc. On that can fx be noticed how popular
on the imagination of peoples the jet engine aircrafts still were by
the decade - Some of those stories situated for Korea, possibly on
some earlier wars too.) ; But, shortly, the mags history and (most
stories) very quality make it almost unavoidable from to leave aside
from this comics-compile.
----------------------------
; Pics: Hela ['norse goddess'] - From the story 'Whirlpool of Death' at Forbidden Worlds (US comics-mag., by the 1950s) ; Lulubelle ['french bar-maid', speak-bubble little modified] - from via Blueberry. (by Charlier - Giraud).
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