The word cereals derives from Ceres, commemorating her association with edible grains. Statues of Ceres top the domes of the Missouri State Capitol and the Vermont State House serving as a reminder of the importance of agriculture in the states' economies and histories. There is also a statue of her on top of the Chicago Board of Trade Building, which conducts trading in agricultural commodities.
Denarius picturing Quirinus on the obverse, and Ceres enthroned on the reverse, a commemoration by a moneyer in 56 BC of a Cerialia, perhaps her first ludi, presented by an earlier Gaius Memmius as aedile[53]
A moneyer is a private individual who is officially permitted to mint money. Usually the rights to coin money are bestowed as a concession by a state or government. Moneyers have a long tradition, dating back at least to ancient Greece. They became most prominent in the Roman Republic, and continued into the Empire.
Moneyers were not limited to the ancient world. When European coinage was revived during the Middle Ages, moneyers again were trusted to create currency on behalf of kings and potentates.[1][2][3][4] For a large part of that era, virtually all coins in circulation were silver pennies, and these often bore the name or other identification of the moneyer.[5]
Moneyers were not limited to the ancient world. When European coinage was revived during the Middle Ages, moneyers again were trusted to create currency on behalf of kings and potentates.[1][2][3][4] For a large part of that era, virtually all coins in circulation were silver pennies, and these often bore the name or other identification of the moneyer.[5]
The Conquest Of Dough Will be a fully MultiMediaNovel. The Original MultiMediaArtist of the modern age for me was William Blake and expect to see appearances of Our Billy in both the novel and on this web site. This next video is a Slide show accompaniement to Don Henly´s Track if Dirt were dollars, which gives every appearance of having dissappeared into the moneyers memory hole, room 101 or Winstons waste paper basket.
English Translation and Modern Contextualisation
Completed in 2013, SoS is a re-working of Debord's film of the same name completed in 1973.
A lengthier statement on the film can be found on my site here: heathschultz.com/2014/02/21/spectacle/
I've also compiled a fair amount of research on SI and SI Film, available here: situationistlibrary.wordpress.com/ Cricket Appleseed
Published on 15 Apr 2016
https://vimeo.com/hschultz
It goes without saying that anyone is welcome to use the film for non-commercial purposes, even without contacting me. I would, however, love to hear from you. I can be reached at schultz.heath [at] gmail [dot] com
https://www.youtube.com/watch?v=IoUIHBSiVAY
La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same title. It was Debord's first feature-length film. It uses found footage and detournement in a radical criticism of mass marketing and its role in the alienation of modern society. The 88 minute film took a year to make and incorporates footage from feature films, industrial films, news footage, advertisements, and still photographs.[1] The films include The Battleship Potemkin, October, Chapaev, The New Babylon, The Shanghai Gesture, For Whom the Bell Tolls, Rio Grande, They Died with Their Boots On, Johnny Guitar, and Mr. Arkadin, as well as other Soviet films. Events such as the murder of Lee Harvey Oswald (who assassinated U.S. President John F. Kennedy in 1963), the Spanish Civil War of 1936-1939, the 1956 Hungarian Revolution and the Paris riots in May 1968 are represented, and people such as Mao Zedong, Richard Nixon and the Spanish anarchist Durruti. Throughout the movie, there is both a voiceover (of Debord) and inter-titles from The Society of the Spectacle but also texts from the 1968 Occupation Committee of the Sorbonne, Machiavelli, Marx, Tocqueville, Émile Pouget, and Soloviev. Without citations, these quotes are hard to decipher, especially with the subtitles (which exist even in the French version) but that is part of Debord's goal "to problematize reception" (Greil and Sanborn) and force the viewer to be active. In addition, the words of some of the authors are detourned through deliberate misquoting. In 1984, Debord withdrew his films from circulation because of the negative press and the assassination of his friend and patron Gerard Lebovici. Since Debord's suicide in 1994, Debord's wife Alice Becker-Ho has been promoting Debord's film. A DVD box set titled Guy Debord: Oeuvres cinématographiques complètes came out in 2005 and contains Debord's seven films. The cover of the film is derived from a photo of Life magazine photographer J. R. Eyerman. On November 26, 1952, at the Paramount Theatre (Oakland, California), took place the premiere screening of film Bwana Devil, by Arch Oboler, the first full-length, color 3D (aka 'Natural Vision') motion picture. Eyerman took a series of photo of the audience wearing 3D glasses. Life magazine used one of the photos as the cover of a brochure about the 1946-1955 decade. The photo employed by Debord shows the audience in "a virtually trance-like state of absorption, their faces grim, their lips pursed;" however, in the one chosen by Life, "the spectators are laughing, their expressions of hilarity conveying the pleasure of an uproarious, active spectatorship."Debord version is also flipped left to right, and cropped. Merci à Ubuweb http://www.ubu.com/film/debord.html "The integration of Debord's world with mass media culture became a running motif climaxing with "The Society of the Spectacle". Debord wrote the book The Society of the Spectacle before writing the movie. When asked why he made the book into a movie, Debord said, "I don't understand why this surprised people. The book was already written like a script". Debord's last film, "Son Art et Son Temps", was not produced during his lifetime. It worked as a final statement where Debord recounted his works and a cultural documentary of "his time"." wikipedia http://en.wikipedia.org/wiki/Guy_Debord
Augustine Joyce https://www.youtube.com/user/LSD2017/about
Published on 7 Jan 2013
A lengthier statement on the film can be found on my site here: heathschultz.com/2014/02/21/spectacle/
I've also compiled a fair amount of research on SI and SI Film, available here: situationistlibrary.wordpress.com/ Cricket Appleseed
Published on 15 Apr 2016
https://vimeo.com/hschultz
It goes without saying that anyone is welcome to use the film for non-commercial purposes, even without contacting me. I would, however, love to hear from you. I can be reached at schultz.heath [at] gmail [dot] com
https://www.youtube.com/watch?v=IoUIHBSiVAY
La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same title. It was Debord's first feature-length film. It uses found footage and detournement in a radical criticism of mass marketing and its role in the alienation of modern society. The 88 minute film took a year to make and incorporates footage from feature films, industrial films, news footage, advertisements, and still photographs.[1] The films include The Battleship Potemkin, October, Chapaev, The New Babylon, The Shanghai Gesture, For Whom the Bell Tolls, Rio Grande, They Died with Their Boots On, Johnny Guitar, and Mr. Arkadin, as well as other Soviet films. Events such as the murder of Lee Harvey Oswald (who assassinated U.S. President John F. Kennedy in 1963), the Spanish Civil War of 1936-1939, the 1956 Hungarian Revolution and the Paris riots in May 1968 are represented, and people such as Mao Zedong, Richard Nixon and the Spanish anarchist Durruti. Throughout the movie, there is both a voiceover (of Debord) and inter-titles from The Society of the Spectacle but also texts from the 1968 Occupation Committee of the Sorbonne, Machiavelli, Marx, Tocqueville, Émile Pouget, and Soloviev. Without citations, these quotes are hard to decipher, especially with the subtitles (which exist even in the French version) but that is part of Debord's goal "to problematize reception" (Greil and Sanborn) and force the viewer to be active. In addition, the words of some of the authors are detourned through deliberate misquoting. In 1984, Debord withdrew his films from circulation because of the negative press and the assassination of his friend and patron Gerard Lebovici. Since Debord's suicide in 1994, Debord's wife Alice Becker-Ho has been promoting Debord's film. A DVD box set titled Guy Debord: Oeuvres cinématographiques complètes came out in 2005 and contains Debord's seven films. The cover of the film is derived from a photo of Life magazine photographer J. R. Eyerman. On November 26, 1952, at the Paramount Theatre (Oakland, California), took place the premiere screening of film Bwana Devil, by Arch Oboler, the first full-length, color 3D (aka 'Natural Vision') motion picture. Eyerman took a series of photo of the audience wearing 3D glasses. Life magazine used one of the photos as the cover of a brochure about the 1946-1955 decade. The photo employed by Debord shows the audience in "a virtually trance-like state of absorption, their faces grim, their lips pursed;" however, in the one chosen by Life, "the spectators are laughing, their expressions of hilarity conveying the pleasure of an uproarious, active spectatorship."Debord version is also flipped left to right, and cropped. Merci à Ubuweb http://www.ubu.com/film/debord.html "The integration of Debord's world with mass media culture became a running motif climaxing with "The Society of the Spectacle". Debord wrote the book The Society of the Spectacle before writing the movie. When asked why he made the book into a movie, Debord said, "I don't understand why this surprised people. The book was already written like a script". Debord's last film, "Son Art et Son Temps", was not produced during his lifetime. It worked as a final statement where Debord recounted his works and a cultural documentary of "his time"." wikipedia http://en.wikipedia.org/wiki/Guy_Debord
Augustine Joyce https://www.youtube.com/user/LSD2017/about
Published on 7 Jan 2013
Adam Curtis’s new film Hyper-normalisation takes its starting point at 1975, with the New York Bond issue and Austerity imposed by the Wall Street Bankers on that City; this, contrasted with Assad in Syria and his perceived betrayal by Henry Kissinger and US foreign policy in the Middle East. This Interview with Foucault contrasts well with and provides an alternative starting point for Adam Curtis´s argument that Self-referential infotainment is fed on-line to pacify the egotistical narcissistic angst of theBourgeoisiee. The starting point at 1968 perhaps gives the lie that all protest and resistance is futile and neutered.
Curtis's Film is limited by its isolation of the limited historicity of its time reference, This interview and also Curtis's other films, Centruy of Self The Mayfair Set and Bitter Lake are essential viewing to give the necessary historical context to Curtis´s latest work.
My short critique of Hyper Normalisation.
I found it all rather bourgoise. Not one of his better efforts. The chattering classes will be outraged and enchanted by it in equal measure an ironic reflection of curtis´s central point that Media content presented through Googles algorithms tailors content to a viewers predelictictions. The Bourgoise bit is Curtis´s condescension that the power of the powerful is all encompassing and all fall before it realising their impotence. Worth watching although with highly skeptical and critical alerts fully operational. The antedote is of course discussion and seeking alternative viewpoints. Curtiss´s genius may be that, he provokes thought in many of us who have perhaps forgotten how that feels.
heres a link for a download for those who do not have i player or can not access it for anty reason.
Transmission or U Torrent are good torrent clients for those who do not use torrents.
This poem is about pedagogy of the oppressed it represents all that I have come to understand about representative democracy and the disjoint between Power, Power relations and Political Power. Politicians claiming Democratic objectives in the interests of the Constituents of the communities they represent but actually patronize. This is the Tension between Elites from Grande Bourgeois to Petit Bourgeoise and their aversion too all forms of popular expressions of solidarity by the working Class. Anything outside the boundaries set by the Bourgeoisie sensibilities and aesthetic mores of the Political and Chattering classes is deemed vulgar and viscous in the Vice full sense.
As with the revolution the resolution will be Live.
We interrupt your discord to bring you this resolution
from popular consciousness.
A trailer to the Three Voice Poem
Bourgeois resolution.
A poem in Three Voices for added 4th part Harmony.
Inspired by The society of spectacle by Guy De Bord and the updated version linked.
Original File: https://vimeo.com/60328678
https://www.youtube.com/watch?v=IoUIHBSiVAY
The Society of the Spectacle by Guy Debord (1973) dub fr sub eng
Augustine Joyce ublished on 7 Jan 2013
La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same title. It was Debord's first feature-length film. It uses found footage and detournement in a radical criticism of mass marketing and its role in the alienation of modern society.
The 88 minute film took a year to make and incorporates footage from feature films, industrial films, news footage, advertisements, and still photographs.[1] The films include The Battleship Potemkin, October, Chapaev, The New Babylon, The Shanghai Gesture, For Whom the Bell Tolls, Rio Grande, They Died with Their Boots On, Johnny Guitar, and Mr. Arkadin, as well as other Soviet films.
A PDF form in tabulated format is available as the poem is concieved as a Matrix which can be read in columns as single voices or sequentiually as a dialogue.
The PDF will be available for download for Patreon subscribers or customers on Amazon. The formatting for the downloads will be completed hopefully by the end of this weekend.
Bourgeois resolution.
A poem in Three Voices for added 4th part Harmony.
Synthesis Speaks to introduce, And Thesis, Anti Thesis and Synthesis dialogue
The conversation revolves and we find
Revolution plagiarizes past mistakes.
In Consensus the three Voices resolve and entreat your contribution dear reader for a fourth part, shall we harmonIse.
Synthesis.
Start here with your own experience. Bring here your
open mind and trust your instinctive feeling for truth.
As resolution of discord demands a return to the tonic. The Tonic for our dissonant condition is a harmonic resolution to the Chord of Nature.
∲6/8 bb :
Thesis.
In a diary of a nobody, Mr Pooter,
is everyman and woman. Striving.
Petit Bourgeois, discordant with
their lot, in earnest to impress.
Anti Thesis
Life liberty and the pursuit of happiness,
inalienable rights , the laws of Nature
and of natures god.A constitution
written for a usurping class, claiming
authority, a reflection of common sense,
and pained to see. This revolution of , by and for Whom?
and pained to see. This revolution of , by and for Whom?
Synthesis.
As the victor writes history so the powerful pass laws to satisfy their own ends. Power only represents the powerful.
Moyenne Bourgeoise and Grande
Haute Bourgeoise. A Class cuisine, Escoffier
Classical Aspiration. One acquires,
A bourgeoise aesthetic, Petit Bourgeoise Sycophancy.
Will the Chef of the constitution,
Taste his own cooking.
Does he as a class walk the walk and talk the talk
Or is it ; do as I say and not as I do.
An appeal always made, at once
to Authority.Follow faithfully, blindly.
Ask they who would your bidding do. Listen to your life's story, History, His History will not be yours? Be heard.
Pygmalion's elocution for the ordinaire.
Les rois et philosophes merde-et
ainsi de faire des dames. Conventional
pieties of the extraordinaire, Elite.
Écoute Et Répète, Listen and repeat
Learn by rote and do not question,
To Each that has shall be given,
those who hath not will be punished,
Know ones betters and issue scripted
speech when spoken too, Obsequious.
Do not blanche before appearance of grandeur.
Pompous ceremony seeks to silence chafing curiosity.
How readily the pecking order
has regiments in line , volunteers
to a false consciousness of liberation by
societies consumptive ills, Polysemous
At the sign, Obey and join the
que. Wait your turn and receive
your due. Punch the clock and
Answer the bell. Ask not for whom
the bell tolls, The bell rings the benefit
makes a gift of what is rightfully yours.
The hand that gives also takes away. Often the gift
merely returns that which was stolen from you.
Citizens within a polity, city state
yet the peasants range free of sophistry
Freemen in the confined spaces
offer conformity to the graduated mould.
Glamorous flashing city lights
Suburbia within commute of higher
Dreams. A stairway to real Estate heaven.The only Ladder, oh to be
upon the bottom rung and rise.Dreams for mortgage, no hostage to Fortune.
Sophistication often masques ignorance. The humble and rustic often belies an appreciation of what truly is.
Calliopsis or Magnesia where poets
slave to familiar rhymes and themes
Not golden or silver words but workmanlike
fashion hymns of safe iron and copper.
On The city on the hill,
Songs sung to green and pleasant lands
My Country Right or wrong
Patriotic duty, above the evidence
heroic deeds, laurels earned
Myths of Wagnerian operatic spectacle.
Behind the claimed reality
of how things are lies a deeper truth clothed in the noble lie. He deceived by the noble lie is excluded as unworthy of an opinion.
Where Stockholm once commanded
St-Petersberg in that peculiar syndrome
did the people know of freedom, which noble lies
will accommodate the others', too Slumber.
A common purpose, to ideals,Shared
and narrated from Cradle to grave.
History written in our victorious mood
Always times distant, always yesterday
A better day , a past nostalgic searching
For a future, yet to become tomorrow.
Being keen to please and seeking approval from authority feeds ego and starves the real self.
An irony of words pretending a meaning
which no longer holds and yet
serves to bind a convention, a grip
that hampers the gait, Barre the pedestrian.
Witty Double entrendre to pacify,
Laughing at the otherness, not of
our own genre. Bending of wills
or an ends of a means which makes
a meaner mind , setting examples
Cruelty for kindness sake, who´s End?
The devil takes the hindmost. Trampling upon the unfortunate excuses elitist privilege. There but for the grace of privilege
go they!
Self censored by a Mean temperament
no longer just and a bespoke Key
The city gates envelop to constrain
Invention no longer a prize, only too fit.
Which mode of government befitting
The cadence of Timocracy, Oligarchy
or the tyranny of democracy, Which?
A key to unlock the wealth of timbre
Trusting in the chastity of greed
the diabolas in musica. Descend below.
Discord or overbalance
corrects naturally. In a system where gross imbalance and discord is evident are we to believe that harmony was ever thus.
As poets slave to the set rythym
so a ruling Class Slaves to support
its very tyranny, no purpose theirs,
tis only to own be owned and Owe.
There is no Alternative, leave behind
your utopian dreams of youth, Grown,
reality demands that you sing Our
democratic song making it your own.
No third , way. Just the chord of power.
Ambiguous, A Capitalist mode production.
Power is an end in itself.
Seeking power to reform injustice is a contradiction in terms. For harmonious consensus all voices must
strike a chord.
Oh such discordance felt heard seen
demanding resolution. Harmonies equal
in temperament to guide back home
to the unity. One full revolution
Tracing the musical image in
Camra obscura, inverted and
opposite, do you see what it is yet
As the tonic marks a tranquil resting
place so conformity leaves us resolved
resiled and not reconciled Trapped
Power relations beget power relations, As the wheel of history turns repeating mistakes of previous revolutions.
As the wheel turns a revolution
as a harmony resolves Resolution
A new hub for human consciousness.
Not the machine now but organic.
Yours to follow little people
Know your place and praise
Elite heroes, distant an shimmering
As all mirages inspire the thirsty
to crawl into the oasis of illusion
squeezing blood from exhausted humanity.
As resolution of discord demands a return to the tonic. The Tonic for our dissonant condition is a harmonic resolution to the Chord of Nature.
The conversation has revolved and we find
Revolution plagiarized its past mistakes.
In Consensus the three Voices resolve and with your contribution dear reader a fourth part, harmonIsed. Or perhaps we as yet have to find a resolution , play on and seek new voices for our symphony of freedom is not yet written and least wise played freely with authentic joy.
Others we invite TO ,
Start here with your own experience. Bring here your
open mind and trust your instinctive feeling for truth. :D.S. ∲ ::
The PDF may be purchased to follow the Score of this poem at these links.
World Premiere Performance of Bourgeois resolution. A poem in Three Voices for added 4th part Harmony.
The PDF may be purchased to follow the Score of this poem at these links.
This poem is composed as Sheet Poetry. The 3 Parts, speak alone and then dialogue in sequence, the Poem is followed as if guided by the Musical Notation for returning to the Head, Repeating choruses and proceeding to the Coda.
The Poem is written with musical theory of discordance, and alludes to Bach's, equal temperament and the Greek system of Pythagorean Modes. The Pluralism in musical language and the polysemous use of words allude to the context of art and historical juxtaposition of sequence and order and the use of suggestion in propaganda and modern use of cognitive dissonance.
The Broad influence of Society of Spectacle and the Discrete charm of the bourgeois, Mc Mullen's Ghost Dance and not stated but there of Michael Foucault, drawing on a broad sweep of political philosophy from The Republic of Plato through to the enlightenment and political philosophy of the modern era.
The metaphor of a Wheel , revolving with each revolution of the wheel necessary plagiarizing and repeating the mistakes of previous revolution. The poem argues for a Resolution to discord through the harmonies of the voiceless always ignored and always excluded from the Bourgeoisie. Neo - Liberalism is the New Credo of the Bourgeoisie in the terms of this poem and it rejects representative politics for the corrupt charade that it is.
The spoken Introduction , discussing the themes found in the poem.
World Premiere Performance of Bourgeois resolution. A poem in Three Voices for added 4th part Harmony.
It all started from this mans speech to the Oxford Union , ''poets the unacknowledged legislators of the world´´ Shelly.
Purple Haze. Nigel Kennedy.
James Blood Ulmer.
Notes and long extracts from the references.
or Wagner’s
use of timpani tuned to C and F sharp to convey a brooding atmosphere
at the start
of the second act of
the opera Siegfried.
Wagner,
Prelude to Act 2 of Siegfried
In
his early cantata La
Damoiselle Élue, Debussy uses
a tritone to convey the words of the poem by Dante
Gabriel Rossetti.
Debussy,
La Damoiselle Élue, Figure 30
Roger
Nichols (1972, p19) says that "the bare fourths, the wide
spacing, the tremolos, all depict the words—‘the light thrilled
towards her’—with sudden, overwhelming power.” [27] Debussy’s
String Quartet also features passages that emphasise the tritone:
The
tritone was also exploited heavily in that period as an interval
of modulation for
its ability to evoke a strong reaction by moving quickly to distantly
related keys.
Later, in twelve-tone
music, serialism,
and other 20th century compositional idioms, composers considered it
a neutral interval.[28] In
some analyses of the works of 20th century composers, the tritone
plays an important structural role; perhaps the most cited is
the axis
system,
proposed by Ernő
Lendvai,
in his analysis of the use of tonality in the music of Béla
Bartók.[29] Tritone
relations are also important in the music of George
Crumb[citation
needed] and Benjamin
Britten,
whose War
Requiem features
a tritone between C and F♯ as a recurring motif.[30] John
Bridcut (2010, p. 271) describes the power of the interval in
creating the sombre and ambiguous opening
of the War
Requiem:
“The idea that the chorus and orchestra are confident in their
wrong-headed piety is repeatedly disputed by the music. From the
instability of the opening tritone—that unsettling interval between
C and F sharp—accompanied by the tolling of warning bells …
eventually resolves into a major chord for the arrival of the boys
singing 'Te decet hymnus’.”[31] George
Harrison uses
tritones on the downbeats of the opening phrases of the Beatles songs
"The
Inner Light",
"Blue
Jay Way"
and "Within
You Without You",
creating a prolonged sense of suspended resolution.[32] Perhaps
the most striking use of the interval in rock music of the late 1960s
can be found in Jimi
Hendrix's
song "Purple
Haze".
According to Dave Moskowitz (2010, p.12), Hendrix "ripped into
'Purple Haze' by beginning the song with the sinister sounding
tritone interval creating an opening dissonance, long described as
'The Devil in Music'."[33]
Tritone
substitution:
F♯7 may substitute for C7, and vice versa, because they both share
E♮ and B♭/A♯ and due to voice
leading considerations. 
Play (help·info)
Play (help·info)Publications[edit]
.jpg)
The back of No. 19,
York Street (1848). In 1651 John
Milton moved
into a "pretty garden-house" in Petty France. He lived
there until theRestoration.
Later it became No. 19 York Street, belonged to Jeremy Bentham (who
for a time lived next door), was occupied successively byJames
Mill and William
Hazlitt,
and finally demolished in 1877.[54][55]
Works published in Bentham's lifetime include:- Short Review of the Declaration (1776). An attack on the United States Declaration of Independence.[56]
Dissonance
A
disruption of harmonic sounds or rhythms. Like cacophony, it refers
to a harsh collection of sounds; dissonance is usually intentional,
however, and depends more on the organization of sound for a jarring
effect, rather than on the unpleasantness of individual words. Gerard
Manley Hopkins’s use of fixed stresses and variable unstressed
syllables, combined with frequentassonance, consonance,
and monosyllabic words, has a dissonant effect.
https://en.wikipedia.org/wiki/Auguste_Escoffier
https://archive.org/stream/defenceofpoetry012235mbp/defenceofpoetry012235mbp_djvu.txt
ABSTRACT
Plato's
attitude toward the poets and poetry has always been a flashpoint of
debate, controversy and notoriety, but most scholars have failed to
see their central role in the ideal cities of the Republic and the
Laws, that is, Callipolis and Magnesia. In this paper, I argue that
in neither dialogue does Plato "exile" the poets, but,
instead, believes they must, like all citizens, exercise the
expertise proper to their profession, allowing them the right to
become full-fledged participants in the productive class. Moreover,
attention to certain details reveals that Plato harnesses both
positive and negative factors in poetry to bring his ideal cities
closer to a practical realization. The status of the poet and his
craft in this context has rarely to my knowledge been addressed.
Keywords: Plato;
Poetry; Poets; Mimesis; Myths; Demiurge; Callipolis; Magnesia.
The
role of the poet in Plato's ideal cities of Callipolis and Magnesia
Gerard
Naddaf
York
University, Toronto, Canadá. naddaf@yorku.ca
The
culture of politics needs to change from command and control to a
culture of engagement | LabourList
Arnie
Graf: Corbynmania feels like student politics, not people trying to
form a government | Coffee House
There
are many challenges ahead not just in party politics but in global
politics.
But
the end doesn't justify means. As Gandhi well understood, rather the
means is the ends in the making.
Take
the media. It's not the media that controls this party; it's what we
do in spite of the media that counts. (Please re tweet.)
Roger
G Lewis, Poetry, Philosophy Creative writing and Music is creating
Poetry, Spoken Word Performance, Folk Songs and Creative Writing |
Patreon
Shelley, Percy Bysshe, 1792-1822. en A. defence of poetry, [1904] A DEFENCE OF POETRY A DEFENCE OF POETRY PERCY BYSSHE SHELLEY EDITED BY MRS. SHELLEY REPRINTED FROM THE EDITION OF MDCCCXLV The Eolian Harp BY SAMUEL TAYLOR COLERIDGE composed at clevedon, somersetshire The stilly murmur of the distant Sea Tells us of silence. And that simplest Lute, Placed length-ways in the clasping casement, hark! How by the desultory breeze caressed, Like some coy maid half yielding to her lover, It pours such sweet upbraiding, as must needs Tempt to repeat the wrong! And now, its strings Boldlier swept, the long sequacious notes Over delicious surges sink and rise, Such a soft floating witchery of sound Poetry, in a general sense, may be defined to be "the expression of the imagination:" and poetry is connate 12 with the origin of man. Man is an instrument over which a series o ex- ternal and internal impressions are driven, like the alternations of an ever- changing wind over an Aeolian lyre, which move it by their motion to ever- changing melody. But there is a prin- ciple within the human being, and perhaps within all sentient beings, which acts otherwise than in the lyre, and produces not melody alone, but harmony, by an internal adjustment of the sounds or motions thus excited to the impressions which excite them. It is as if the lyre could accommodate its chords to the motions of that which strikes them, in a determined propor- tion of sound; even as the musician can accommodate his voice to the sound of the lyre. A child at play by itself will express its delight by its voice and motions; and every inflexion of tone and every gesture will bear exact relation to a corresponding antitype in the pleasurable impressions which 13 awakened it; it will be the reflected image of that impression; and as the lyre trembles and sounds after the wind has died away, so the child seeks, by prolonging in its voice and motions the duration of the effect, to prolong also a consciousness of the cause. In relation to the objects which delight a child, these expressions are what poetry is to higher objects. The savage (for the savage is to ages what the child is to years) expresses the emotions pro- duced in him by surrounding objects in a similar manner; and language and gesture, together with plastic or picto- rial imitation, become the image of the combined effect of those objects, and of his apprehension of them. Man in society, with all his passions and his pleasures, next becomes the object of the passions and pleasures of man; an additional class of emotions produces an augmented treasure of expressions; and language, gesture, and the imita- tive arts, become at once the repre- 14 sentation and the medium, the pencil and the picture, the chisel and the statue, the chord and the harmony. The social sympathies, or those laws from which, as from its elements, society results, begin to develop them- selves from the moment that two human beings co-exist; the future is contained within the present, as the plant within the seed; and equality, diversity, unity, contrast, mutual de- pendence, become the principles alone capable of affording the motives ac- cording to which the will of a social being is determined to action, inas- much as he is social; and constitute pleasure in sensation, virtue in senti- ment, beauty in art, truth in reasoning, and love in the intercourse of kind. Hence men, even in the infancy of society, observe a certain order in their words and actions, distinct from that of the objects and the impressions represented by them, all expression being subject to the laws of that from '5 which it proceeds. But let us dismiss those more general considerations which might involve an inquiry into the principles of society itself, and restrict our view to the manner in which the imagination is expressed upon its forms. In the youth of the world, men dance and sing and imitate natural objects, observing in these actions, as in all others, a certain rhythm or order. And, although all men observe a similar, they observe not the same order, in the motions of the dance, in the melody of the song, in the combinations of language, in the series of their imita- tions of natural objects. For there is a certain order or rhythm belonging to each of these classes of mimetic repre- sentation, from which the hearer and the spectator receive an intenser and purer pleasure than from any other: the sense of an approximation to this order has been called taste by modern writers. Every man in the infancy of 16 art, observes an order which approxi- mates more or less closely to that from which this highest delight results: but the diversity is not sufficiently marked, as that its gradations should be sensi- ble, except in those instances where the predominance of this faculty of approximation to the beautiful (for so we may be permitted to name the relation between this highest pleasure and its cause) is very great. Hence the fame of sculptors, painters, and musicians, although the intrinsic pow- ers of the great masters of these arts may yield in no degree to that of those who have employed language as the hieroglyphic of their thoughts, has never equalled that of poets in the restricted sense of the term; as two performers of equal skill will produce unequal effects from a guitar and a harp. The fame of legislators and 22 founders of religions, so long as their institutions last alone seems to exceed that of poets in the restricted sense; but it can scarcely be a question, whether, if we deduct the celebrity which their flattery of the gross opin- ions of the vulgar usually conciliates, together with that which belonged to them in their higher character of poets, any excess will remain. We have thus circumscribed the word poetry within the limits of that art which is the most familiar and the most perfect expression of the faculty itself. It is necessary, however, to make the circle still narrower, and to determine the distinction between measured and unmeasured language; for the popular division into prose and verse is inadmissible in accurate phi- losophy. Sounds as well as thoughts have relation both between each other and towards that which they represent, and a perception of the order of those relations has always been found con- nected with a perception of the order of the relations of thoughts. Hence the language of poets has ever affected a certain uniform and harmonious recur- rence of sound, without which it were not poetry, and which is scarcely less indispensable to the communication of its influence, than the words them- selves, without reference to that pecu- liar order. Hence the vanity of trans- lation; it were as wise to cast a violet into a crucible that you might discover the formal principle of its colour and odour, as seek to transfuse from one language into another the creations of a poet. The plant must spring again from its seed, or it will bear no flower and this is the burthen of the curse of Babel.
In a drama of the highest order there is little food for censure or hatred; it teaches rather self-knowledge and self-respect. Nei- ther the eye nor the mind can see it- self, unless reflected upon that which it resembles. The drama, so long as it continues to express poetry, is as a prismatic and many-sided mirror, 4* which collects the brightest rays of human nature and divides and repro- duces them from the simplicity of these elementary fprms, and touches them with majesty and beauty, and multi- plies all that it reflects, and endows it with the power of propagating its like wherever it may fall. But in periods of the decay of social life, the drama sympathises with that decay. Tragedy becomes a cold imita- tion of the form of the great master- pieces of antiquity, divested of all harmonious accompaniment of the kindred arts; and often the very form misunderstood, or a weak attempt to teach certain doctrines, which the writer considers as moral truths; and which are usually no more than spe- cious flatteries of some gross vice or weakness, with which the author, in common with his auditors, are infec- ted. Hence what has been called the classical and domestic drama. Addi- son's "Cato" is a specimen of the one; 43 and would it were not superfluous to cite examples of the other! To such purposes poetry can not be made sub- servient. Poetry is a sword of light- ning, ever unsheathed, which consumes the scabbard that would contain it. And thus we observe that all dramatic writings of this nature are unimagina- tive in a singular degree; they affect sentiment and passion, which, divested of imagination, are other names for caprice and appetite. The period in our own history of the grossest degra- dation of the drama is the reign of Charles II., when all forms in which poetry had been accustomed to be expressed became hymns to the tri- umph of kingly power over liberty and virtue. Milton stood alone illumina- ting an age unworthy of him. At such periods the calculating principle per- vades all the forms of dramatic exhi- bition, and poetry ceases to be expressed upon them. Comedy loses its ideal uni- versality: wit succeeds to humour; we 44 laugh from self-complacency and tri- umph, instead of pleasure; malignity, sarcasm, and contempt succeed to sympathetic merrimentj we hardly laugh, but we smile. Obscenity, which is ever blasphemy against the divine beauty in life, becomes, from the very veil which it assumes, more active if less disgusting: it is a monster for which the corruption of society for ever brings forth new food, which it devours in secret.
Men, from causes too intricate to be here discussed, had become insen- sible and selfish: their own will had become feeble, and yet they were its slaves, and thence the slaves of the will of others: lust, fear, avarice, cruelty, and fraud, characterised a race amongst whom no one was to be found capable of creating in form, language, or insti- tution. The moral anomalies of such a state of society are not justly to be charged upon any class of events im- mediately connected with them, and those events are most entitled to our approbation which could dissolve it most expeditiously. It is unfortunate for those who can not distinguish words from thoughts, that many of these anomalies have been incorpora- ted into our popular religion. 56 It was not until the eleventh centu- ry that the effects of the poetry of the Christian and chivalric systems began to manifest themselves. The principle of equality had been discovered and applied by Plato in his Republic, as the theoretical rule of the mode in which the materials of pleasure and of power produced by the common skill and labour of human beings ought to be distributed among them. The limita- tions of this rule were asserted by him to be determined only by the sensibility of each, or the utility to result to all. Plato, following the doctrines of Tim- aeus and Pythagoras, taught also a moral and intellectual system of doc- trine, comprehending at once the past, the present, and the future condition of man.
Whilst the mechanist abridges, and the political economist combines labour, let them beware that their speculations, for want of correspond- ence with those first principles which belong to the imagination, do not tend, as they have in modern England, to exasperate at once the extremes of luxury and want. They have exempli- fied the saying, "To him that hath, more shall be given; and from him that hath not, the little that he hath shall be taken away." The rich have become richer, and the poor have become poor- er; and the vessel of the state is driven between the Scylla and Charybdis of anarchy and despotism. Such are the effects which must ever flow from an unmitigated exercise of the calculating faculty.
p.70
Tags
Luther
is well known for using anal and defecatory metaphors throughout his
more polemical writings (i.e. Table Talk), although most were aimed
at the Papacy. However, the reformer was so fond of all things
scatological, that he even utilized fecal wordplay in explaining his
theology. He once expressed his readiness to depart from this world
in the formula, “I am the ripe shard and the world is the gaping
anus.”Whilst the mechanist abridges, and the political economist combines labour, let them beware that their speculations, for want of correspond- ence with those first principles which belong to the imagination, do not tend, as they have in modern England, to exasperate at once the extremes of luxury and want. They have exempli- fied the saying, "To him that hath, more shall be given; and from him that hath not, the little that he hath shall be taken away." The rich have become richer, and the poor have become poor- er; and the vessel of the state is driven between the Scylla and Charybdis of anarchy and despotism. Such are the effects which must ever flow from an unmitigated exercise of the calculating faculty. It is difficult to define pleasure in its 70 highest sense; the definition involving a number of apparent paradoxes. For, from an inexplicable defect of harmo- ny in the constitution of human nature, the pain of the inferior is frequently connected with the pleasures of the superior portions of our being. Poetry is not like reasoning, a power to be exerted according to the determination of the will A man can- not say, "I will compose poetry." The greatest poet even can not say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from with- in, like the colour of a flower which fades and changes as it is developed, 77 and the conscious portions of our na- tures are unprophetic either of its ap- proach or its departure. Could this influence be durable in its original purity and force, it is impossible to predict the greatness of the results; but when composition begins, inspiration is al- ready on the decline, and the most glorious poetry that has ever been com- municated to the world is probably a feeble shadow of the original concep- tions of the poet. Poetry is the record of the best and happiest moments of the happiest and best minds. We are aware of evanes- cent visitations of thought and feeling sometimes associated with place or person, sometimes regarding our own 79 mind alone, and always arising unfore- seen and departing unbidden, but ele- vating and delightful beyond all expres- sion: so that even in the desire and the regret they leave, there cannot but be pleasure, participating as it does in the nature of its object. It is as it were the interpenetration of a diviner nature through our own; but its footsteps are like those of a wind over the sea, which the coming calm erases, and whose traces remain only as on the wrinkled sand which paves it. These and cor- responding conditions of being are ex- perienced principally by those of the most delicate sensibility and the most enlarged imagination; and the state of mind produced by them is at war with every base desire. The enthusiasm of virtue, love, patriotism, and friendship is essentially linked with such emotions; and whilst they last, self appears as what it is, an atom to a universe. Poets are not only subject to these experien- ces as spirits of the most refined organ- 80 isation, but they can colour all that they combine with the evanescent hues of this ethereal world; a word, a trait in the representation of a scene or a passion will touch the enchanted chord, and reanimate, in those who have ever experienced these emotions, the sleep- ing, the cold, the buried image of the past, Poetry thus makes immortal all that is best and most beautiful in the world; it arrests the vanishing appari- tions which haunt the interlunations of life, and veiling them, or in language or in form, sends them forth among mankind, bearing sweet news of kind- red joy to those with whom their sisters abide abide, because there is no portal of expression from the caverns of the spirit which they inhabit into the uni- verse of things. Poetry redeems from decay the visitations of the divinity in man. least in relation to the percipient. "The mind is its own place, and of itself can make a heaven of hell, a hell of heaven." But poetry defeats the curse which binds us to be subjected to the accident of surrounding impressions. And whether it spreads its own figured curtain, or withdraws life's dark veil from before the scene of things, it 82 equally creates for us a being within our being. It makes us the inhabitants of a world to which the familiar world is a chaos. It reproduces the common universe of which we are portions and percipients, and it purges from our in- ward sight the film of familiarity which obscures from us the wonder of our being.
85 It is presumptuous to determine that these are the necessary conditions of all mental causation, when mental effects are experienced unsusceptible of being referred to them. The frequent recur- rence of the poetical power, it is obvi- ous to suppose, may produce in the mind a habit of order and harmony correlative with its own nature and with its effect upon other minds. But in the intervals of inspiration, and they may be frequent without being durable, a poet becomes a man, and is abandoned to the sudden reflux of the influences under which others habitually live. But as he is more delicately organised than other men, and sensible to pain and pleasure, both his own and that of others, in a degree unknown to them, he will avoid the one and pursue the other with an ardour proportioned to this difference. And he renders himself obnoxious to calumny, when he neglects to observe the circumstances under which these objects of universal pursuit 86 and flight have disguised themselves in one another's garments.
We can now
see why, at this stage, Plato stops short, indeed far short, of
banishing the poets from the ideal city. The poets offer
indispensable techne. They have expertise about meter,
rhythm, and melody, that is, about the mnemo-technical procedures,
the sine qua non of poetry (Brisson 1998, 48). If the poets were
banned, then the founders of Callipolis, that is, the philosophers,
would not only have to provide the tupoi that poetry
must follow but also to compose the muthoi themselves.
They would be responsible for the content (logos), the form
(lexis) and the accompanying music corresponding to
the muthoi. But would this be part of the
philosopher-king job description according to the natural division of
labour? Is composing poetry and everything it entails, part of the
one thing they are expected to do well (contra Naddaff 1992, 7-8 for
example)? This question is rarely addressed.
In
conjunction, Plato contends that it is sometimes necessary for men to
tell falsehoods (pseude,
see 376e-379b) and then institutionalize them. The myth of the
metals,24 to
which the children are to be exposed from the earliest age, serves to
convince the inhabitants that Callipolis is autochtonous and, thus,
one and indivisible, even though it is in fact made up of three
distinct groups – the rulers are introduced at 412a-c, according to
the natural division of labour (3.415a-d). Continued reliance on this
fiction strongly suggests that the dramatic enactment, the mimesis,
of such poetry will continue in Callipolis.25 But
is it the job of philosophers to be directly involved in the staging
of such deceptions? Prior to invoking the myth, Plato insists that,
to determine who among them is most resistant to deception, the
potential future guardians will from childhood be tested with
different forms of deception (412e-413e) including magic (goeteia),
possibly in the form of the most potent magical spell of all:
"imitative poetry" (413d; 607c-608a). This could suggest
that the poets would be requested by the state officials to create
deceptive plays for the children of the guardians to see if they are
conforming to the appropriate models. A position he seems less
inclined to endorse in Republic 10.
When
we turn to Republic 10,
we encounter a much harsher assessment of imitative poetry. By this
time we have a better idea of what Plato understands by the role of
philosophers in the "ideal" city, and of how the three
parts of the soul are distinguished from each other. We can now also
contrast the difference between a traditional education and a
philosophical education. From an epistemological perspective, the
poet is three or four degrees from reality. He does with words what a
painter does with colours; a painter does not even paint the image of
a particular bed, let alone the form of a bed, but only a particular
bed as it appears from different perspectives (596e-598c).26 Such
an imitator has neither knowledge nor right opinion. The poet, like
the painter, has no direct knowledge of his subject matter.
Plato argues
that all imitative poetry, in particular the tragic poetry of Homer,
should be excluded from the city. Homer has no techne to
teach us. There is nothing in his work that guides us toward
political and moral excellence.
The
role of the poet in Plato's ideal cities of Callipolis and Magnesia
Gerard
Naddaf
York
University, Toronto, Canadá
Hose slave, Stockholm syndrome,
Discorand, resolution not revolution, peacefull not violent research.
Truth and reconcilliation southafrics. Quicggle re lies during war.
Quiggleys words.p.232
tragedy and Hope.
´´but criticism should have been directed rather at the hypocrisy and lack
of realism in the ideals of the wartime propaganda and at the lack of honesty of the chief negotiators in carrying on the pretense that these ideals were still in effect while they violated them daily, and necessarily violated them. The settlements were clearly made by secret negotiations, by the Great Powers exclusively, and by power politics. They had to be. No settlements could ever have been made on any other bases. The failure of the chief negotiators (at least the Anglo-Americans) to admit this is regrettable, but behind their
reluctance to admit it is the even more regrettable fact that the lack of political experience and political education of the American and English electorates made it dangerous for the negotiators to admit the facts of life in international political relationships.”
´´but criticism should have been directed rather at the hypocrisy and lack
of realism in the ideals of the wartime propaganda and at the lack of honesty of the chief negotiators in carrying on the pretense that these ideals were still in effect while they violated them daily, and necessarily violated them. The settlements were clearly made by secret negotiations, by the Great Powers exclusively, and by power politics. They had to be. No settlements could ever have been made on any other bases. The failure of the chief negotiators (at least the Anglo-Americans) to admit this is regrettable, but behind their
reluctance to admit it is the even more regrettable fact that the lack of political experience and political education of the American and English electorates made it dangerous for the negotiators to admit the facts of life in international political relationships.”
This
position is reiterated at Laws 810eff.
The Athenian again states that the "traditional" poets have
produced a lot of fine work – as well as a lot of rubbish. The
Athenian states that, to separate the good from the bad, the poets
(poietai) must follow
models (paradeigmata)
that emulate the new "laws" being composed (811c-e). These
laws are indeed the mandatory paradigm of a "literary
composition". The Athenian characterizes the discourse of
theLaws as both
"divinely inspired" (ouk aneu tinos
epipnoias theon) and as resembling a poem
(poiesei, 811c; see
also 817a-d on the legislator as tragedian).
The Athenian
seems to distinguish two kinds of poets in the Laws –
contemporary poets who practice a teachable craft (e.g 669bff and
above) and the inspired traditional poets, Homer and Hesiod (see
669b). Plato refers to professional poets on several occasions (656c;
662b; 802b; 811e; 816e; 935e; 936a). These poets, like the
professional teachers and musicians with whom they collaborate, are
explicitly stated to be salaried foreign employees of the state of
Magnesia (e.g., Laws 7.811e; 858d; see also Morrow
1960, 326-327; 330-340). Such poets fulfil the expectation
articulated in the Frogs by Euripides that poets
possess both a teachable poetic craft and high moral standards. They
do not include, however, the troupe of foreign "tragedians"
who request, and are denied, admission to Magnesia to perform their
own dramatic poetry (817a-d).
It would seem
that the poetic technicians mentioned above would be made redundant
by the famous "third" chorus, the chorus of Dionysus
in Laws 2.670aff, who epitomize the actions of "good
men". The members of this chorus are to be masters with a
"higher" knowledge of music. Although a poetic technician
needs to know about harmony and rhythm and the art of representation,
he may not know "whether the representation is noble or ignoble"
(2.670e). Such knowledge requires a higher music, one derived from
the "actual Muses" (669c; 812b-c), beyond the reach of
salaried functionaries. Nonetheless, there are too many references to
these foreign technicians to think them expendable. It should thus be
argued that these technicians have the technical skill and knowledge
to convey to the young the paradigms of their Dionysian masters.
Plato
insists that the laws of Magnesia45 must
be set to music – a music that, like the laws themselves, must
never be changed – and not only sung but also danced to in chorus
with the accompaniment of the lyre (812a-e). And Plato insists on
several occasions in the Laws that
all mousike,
including his own, is imitative and representative (e.g., Laws 668a6,
b10; 669c; 802c-d;7; 803a-b; 854b). In other words, the laws must be
poetized and set to music and therefore "performed" in a
fashion reminiscent of "dramatic poetry".
This explains
why, in refusing entry to the travelling troupe of foreign
tragedians, the Athenian has the citizens of Magnesia say that they
themselves are the greatest "tragedians," the greatest
poets (poietes), the greatest "performers," and
their laws the greatest "tragedy" (7.817a-d). If our lives
must be modelled on the divine, what is a better way to communicate
the divine, to imitate the divine, then through God's own divine
plan: through singing and dancing the dramatic poetic tragedy of
the Laws, the ultimate road to earthly virtue and
happiness?
In the final
analysis, if "dramatic poetry" was seen an addictive drug
in the Republic, indeed, from the time of its inception,
it seems that Plato has now channelled it toward a useful end. There
can be no poetry in the ancient Greek tradition without singing and
dancing. In fact, the mark of a well-educated man, as Plato contents
in theLaws (644b) "is one that is able to sing and
dance well". Since all music is a matter of "rhythm and
harmony" (665 a), in which poets excel, along with
"representation and imitation" (668 a-c), the models of
which are provided by philosophers and legislators, we can now
appreciate why the talent and skills of both groups must be
amalgamated in order for Plato to realize his dreams.
What
does Plato understand by this limited kind of poetry and does it
include an "imitative" nature? To what degree if any, is it
contrary to what we saw in Republic 3?
And, once again, would this kind of poetry be composed by a class of
individuals with a specialized techne that
Plato would characterize as "poets"?
Now
in the "ideal" city of Callipolis, as we saw, traditional
poetry is as severely restricted for epistemological as for moral
reasons (although the former appear to reinforce the latter). Plato's
primary opposition is based on the notion that the primary entities
in myth: gods, heroes, daimons, events in Hades,29 were
seen as the models of human behaviour in traditional poetry. In the
passage cited above, Plato appears to limit poetry to "hymns to
the gods" and "encomia of good people." Let's look
more closely at these.
Socrates
- GLAUCON
I fear, said Glaucon, laughing, that the words 'every one' hardly includes me, for I cannot at the moment say what they should be; though I may guess.
At any rate you can tell that a song or ode has three parts --the words, the melody, and the rhythm; that degree of knowledge I may presuppose?
Yes, he said; so much as that you may.
And as for the words, there surely be no difference words between words which are and which are not set to music; both will conform to the same laws, and these have been already determined by us?
Yes.
And the melody and rhythm will depend upon the words?
Certainly.
We were saying, when we spoke of the subject-matter, that we had no need of lamentations and strains of sorrow?
True.
And which are the harmonies expressive of sorrow? You are musical, and can tell me.
The harmonies which you mean are the mixed or tenor Lydian, and the full-toned or bass Lydian, and such like.
These then, I said, must be banished; even to women who have a character to maintain they are of no use, and much less to men. Certainly.
In the next place, drunkenness and softness and indolence are utterly unbecoming the character of our guardians.
Utterly unbecoming.
And which are the soft or drinking harmonies?
The Ionian, he replied, and the Lydian; they are termed 'relaxed.'
Well, and are these of any military use?
Quite the reverse, he replied; and if so the Dorian and the Phrygian are the only ones which you have left.
I answered: Of the harmonies I know nothing, but I want to have one warlike, to sound the note or accent which a brave man utters in the hour of danger and stern resolve, or when his cause is failing, and he is going to wounds or death or is overtaken by some other evil, and at every such crisis meets the blows of fortune with firm step and a determination to endure; and another to be used by him in times of peace and freedom of action, when there is no pressure of necessity, and he is seeking to persuade God by prayer, or man by instruction and admonition, or on the other hand, when he is expressing his willingness to yield to persuasion or entreaty or admonition, and which represents him when by prudent conduct he has attained his end, not carried away by his success, but acting moderately and wisely under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave.
And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking.
Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale?
I suppose not.
Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments?
Certainly not.
But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute?
Clearly not.
There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country.
That is surely the conclusion to be drawn from the argument.
The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said.
Not at all, he replied.
And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious.
And we have done wisely, he replied.
Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of a courageous and harmonious life; and when we have found them, we shall adapt the foot and the melody to words having a like spirit, not the words to the foot and melody. To say what these rhythms are will be your duty --you must teach me them, as you have already taught me the harmonies.
But, indeed, he replied, I cannot tell you. I only know that there are some three principles of rhythm out of which metrical systems are framed, just as in sounds there are four notes out of which all the harmonies are composed; that is an observation which I have made. But of what sort of lives they are severally the imitations I am unable to say.
Then, I said, we must take Damon into our counsels; and he will tell us what rhythms are expressive of meanness, or insolence, or fury, or other unworthiness, and what are to be reserved for the expression of opposite feelings. And I think that I have an indistinct recollection of his mentioning a complex Cretic rhythm; also a dactylic or heroic, and he arranged them in some manner which I do not quite understand, making the rhythms equal in the rise and fall of the foot, long and short alternating; and, unless I am mistaken, he spoke of an iambic as well as of a trochaic rhythm, and assigned to them short and long quantities. Also in some cases he appeared to praise or censure the movement of the foot quite as much as the rhythm; or perhaps a combination of the two; for I am not certain what he meant. These matters, however, as I was saying, had better be referred to Damon himself, for the analysis of the subject would be difficult, you know.
Rather so, I should say.
But there is no difficulty in seeing that grace or the absence of grace is an effect of good or bad rhythm.
None at all.
And also that good and bad rhythm naturally assimilate to a good and bad style; and that harmony and discord in like manner follow style; for our principle is that rhythm and harmony are regulated by the words, and not the words by them.
Just so, he said, they should follow the words.
And will not the words and the character of the style depend on the temper of the soul?
Yes.
And everything else on the style?
Yes.
Then beauty of style and harmony and grace and good rhythm depend on simplicity, --I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only an euphemism for folly?
Very true, he replied.
And if our youth are to do their work in life, must they not make these graces and harmonies their perpetual aim?
They must.
And surely the art of the painter and every other creative and constructive art are full of them, --weaving, embroidery, architecture, and every kind of manufacture; also nature, animal and vegetable, --in all of them there is grace or the absence of grace. And ugliness and discord and inharmonious motion are nearly allied to ill words and ill nature, as grace and harmony are the twin sisters of goodness and virtue and bear their likeness.
That is quite true, he said.
But shall our superintendence go no further, and are the poets only to be required by us to express the image of the good in their works, on pain, if they do anything else, of expulsion from our State? Or is the same control to be extended to other artists, and are they also to be prohibited from exhibiting the opposite forms of vice and intemperance and meanness and indecency in sculpture and building and the other creative arts; and is he who cannot conform to this rule of ours to be prevented from practising his art in our State, lest the taste of our citizens be corrupted by him? We would not have our guardians grow up amid images of moral deformity, as in some noxious pasture, and there browse and feed upon many a baneful herb and flower day by day, little by little, until they silently gather a festering mass of corruption in their own soul. Let our artists rather be those who are gifted to discern the true nature of the beautiful and graceful; then will our youth dwell in a land of health, amid fair sights and sounds, and receive the good in everything; and beauty, the effluence of fair works, shall flow into the eye and ear, like a health-giving breeze from a purer region, and insensibly draw the soul from earliest years into likeness and sympathy with the beauty of reason.
There can be no nobler training than that, he replied.
And therefore, I said, Glaucon, musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why; and when reason comes he will recognise and salute the friend with whom his education has made him long familiar.
Yes, he said, I quite agree with you in thinking that our youth should be trained in music and on the grounds which you mention.
Just as in learning to read, I said, we were satisfied when we knew the letters of the alphabet, which are very few, in all their recurring sizes and combinations; not slighting them as unimportant whether they occupy a space large or small, but everywhere eager to make them out; and not thinking ourselves perfect in the art of reading until we recognise them wherever they are found:
True --
Or, as we recognise the reflection of letters in the water, or in a mirror, only when we know the letters themselves; the same art and study giving us the knowledge of both:
Exactly --
Even so, as I maintain, neither we nor our guardians, whom we have to educate, can ever become musical until we and they know the essential forms, in all their combinations, and can recognise them and their images wherever they are found, not slighting them either in small things or great, but believing them all to be within the sphere of one art and study.
Most assuredly.
And when a beautiful soul harmonises with a beautiful form, and the two are cast in one mould, that will be the fairest of sights to him who has an eye to see it?
The fairest indeed.
And the fairest is also the loveliest?
That may be assumed.
And the man who has the spirit of harmony will be most in love with the loveliest; but he will not love him who is of an inharmonious soul?
I fear, said Glaucon, laughing, that the words 'every one' hardly includes me, for I cannot at the moment say what they should be; though I may guess.
At any rate you can tell that a song or ode has three parts --the words, the melody, and the rhythm; that degree of knowledge I may presuppose?
Yes, he said; so much as that you may.
And as for the words, there surely be no difference words between words which are and which are not set to music; both will conform to the same laws, and these have been already determined by us?
Yes.
And the melody and rhythm will depend upon the words?
Certainly.
We were saying, when we spoke of the subject-matter, that we had no need of lamentations and strains of sorrow?
True.
And which are the harmonies expressive of sorrow? You are musical, and can tell me.
The harmonies which you mean are the mixed or tenor Lydian, and the full-toned or bass Lydian, and such like.
These then, I said, must be banished; even to women who have a character to maintain they are of no use, and much less to men. Certainly.
In the next place, drunkenness and softness and indolence are utterly unbecoming the character of our guardians.
Utterly unbecoming.
And which are the soft or drinking harmonies?
The Ionian, he replied, and the Lydian; they are termed 'relaxed.'
Well, and are these of any military use?
Quite the reverse, he replied; and if so the Dorian and the Phrygian are the only ones which you have left.
I answered: Of the harmonies I know nothing, but I want to have one warlike, to sound the note or accent which a brave man utters in the hour of danger and stern resolve, or when his cause is failing, and he is going to wounds or death or is overtaken by some other evil, and at every such crisis meets the blows of fortune with firm step and a determination to endure; and another to be used by him in times of peace and freedom of action, when there is no pressure of necessity, and he is seeking to persuade God by prayer, or man by instruction and admonition, or on the other hand, when he is expressing his willingness to yield to persuasion or entreaty or admonition, and which represents him when by prudent conduct he has attained his end, not carried away by his success, but acting moderately and wisely under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave.
And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking.
Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale?
I suppose not.
Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments?
Certainly not.
But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute?
Clearly not.
There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country.
That is surely the conclusion to be drawn from the argument.
The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said.
Not at all, he replied.
And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious.
And we have done wisely, he replied.
Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of a courageous and harmonious life; and when we have found them, we shall adapt the foot and the melody to words having a like spirit, not the words to the foot and melody. To say what these rhythms are will be your duty --you must teach me them, as you have already taught me the harmonies.
But, indeed, he replied, I cannot tell you. I only know that there are some three principles of rhythm out of which metrical systems are framed, just as in sounds there are four notes out of which all the harmonies are composed; that is an observation which I have made. But of what sort of lives they are severally the imitations I am unable to say.
Then, I said, we must take Damon into our counsels; and he will tell us what rhythms are expressive of meanness, or insolence, or fury, or other unworthiness, and what are to be reserved for the expression of opposite feelings. And I think that I have an indistinct recollection of his mentioning a complex Cretic rhythm; also a dactylic or heroic, and he arranged them in some manner which I do not quite understand, making the rhythms equal in the rise and fall of the foot, long and short alternating; and, unless I am mistaken, he spoke of an iambic as well as of a trochaic rhythm, and assigned to them short and long quantities. Also in some cases he appeared to praise or censure the movement of the foot quite as much as the rhythm; or perhaps a combination of the two; for I am not certain what he meant. These matters, however, as I was saying, had better be referred to Damon himself, for the analysis of the subject would be difficult, you know.
Rather so, I should say.
But there is no difficulty in seeing that grace or the absence of grace is an effect of good or bad rhythm.
None at all.
And also that good and bad rhythm naturally assimilate to a good and bad style; and that harmony and discord in like manner follow style; for our principle is that rhythm and harmony are regulated by the words, and not the words by them.
Just so, he said, they should follow the words.
And will not the words and the character of the style depend on the temper of the soul?
Yes.
And everything else on the style?
Yes.
Then beauty of style and harmony and grace and good rhythm depend on simplicity, --I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only an euphemism for folly?
Very true, he replied.
And if our youth are to do their work in life, must they not make these graces and harmonies their perpetual aim?
They must.
And surely the art of the painter and every other creative and constructive art are full of them, --weaving, embroidery, architecture, and every kind of manufacture; also nature, animal and vegetable, --in all of them there is grace or the absence of grace. And ugliness and discord and inharmonious motion are nearly allied to ill words and ill nature, as grace and harmony are the twin sisters of goodness and virtue and bear their likeness.
That is quite true, he said.
But shall our superintendence go no further, and are the poets only to be required by us to express the image of the good in their works, on pain, if they do anything else, of expulsion from our State? Or is the same control to be extended to other artists, and are they also to be prohibited from exhibiting the opposite forms of vice and intemperance and meanness and indecency in sculpture and building and the other creative arts; and is he who cannot conform to this rule of ours to be prevented from practising his art in our State, lest the taste of our citizens be corrupted by him? We would not have our guardians grow up amid images of moral deformity, as in some noxious pasture, and there browse and feed upon many a baneful herb and flower day by day, little by little, until they silently gather a festering mass of corruption in their own soul. Let our artists rather be those who are gifted to discern the true nature of the beautiful and graceful; then will our youth dwell in a land of health, amid fair sights and sounds, and receive the good in everything; and beauty, the effluence of fair works, shall flow into the eye and ear, like a health-giving breeze from a purer region, and insensibly draw the soul from earliest years into likeness and sympathy with the beauty of reason.
There can be no nobler training than that, he replied.
And therefore, I said, Glaucon, musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why; and when reason comes he will recognise and salute the friend with whom his education has made him long familiar.
Yes, he said, I quite agree with you in thinking that our youth should be trained in music and on the grounds which you mention.
Just as in learning to read, I said, we were satisfied when we knew the letters of the alphabet, which are very few, in all their recurring sizes and combinations; not slighting them as unimportant whether they occupy a space large or small, but everywhere eager to make them out; and not thinking ourselves perfect in the art of reading until we recognise them wherever they are found:
True --
Or, as we recognise the reflection of letters in the water, or in a mirror, only when we know the letters themselves; the same art and study giving us the knowledge of both:
Exactly --
Even so, as I maintain, neither we nor our guardians, whom we have to educate, can ever become musical until we and they know the essential forms, in all their combinations, and can recognise them and their images wherever they are found, not slighting them either in small things or great, but believing them all to be within the sphere of one art and study.
Most assuredly.
And when a beautiful soul harmonises with a beautiful form, and the two are cast in one mould, that will be the fairest of sights to him who has an eye to see it?
The fairest indeed.
And the fairest is also the loveliest?
That may be assumed.
And the man who has the spirit of harmony will be most in love with the loveliest; but he will not love him who is of an inharmonious soul?
Erica
Chenoweth
29.07
Erica
Chenoweth and Maria J. Stephan. Why Civil Resistance Works: The
Strategic Logic of Nonviolent Conflict.
New
York: Columbia University Press, 2011. ISBN: 978-0-231-15682-0. 296
pp. ; $ 29.50. -
Reviewed
by Jason Rineheart
Erica
Chenoweth’s and Maria J. Stephan's book is one of the most timely
released study in the past decade. Shortly after non-violent protest
movements swept the Middle East - changing regimes and the political
discourse in many countries – the two researchers released this
comprehensive study, analyzing the historical efficacy of
non-violent resistance.
Using
their Non-violent and Violent Campaigns and Outcomes (NAVCO) data
set, the authors quantitatively analyzed 323 violent and non-violent
resistance campaigns for the period 1900 to 2006. Their conclusion:
non-violent movements are nearly twice as likely to achieve success
(or partial success) than their violent counterparts. Chenoweth and
Stephan hypothesize that non-violent campaigns are more likely to
succeed because non-violent activism creates lower barriers to
participation, creating the conditions for diverse membership and
allowing mass mobilization across key social sectors.
Perhaps
their most interesting findings relate to the consequences of
violent and non-violent movements for post-conflict regimes. The
NAVCO data show that successful non-violent movements produce
democratic regimes more often than successful violent movements.
Interestingly, the data also reveal that non-violent campaigns do
not necessarily benefit from outside material support, although the
authors acknowledge that small amounts of money, sanctions, and
international public support can have a positive impact on
successful movements. However, they caution that "outside
support for local non-violent groups is a double-edged sword”
since that is often used by regimes to delegitimize such movements
(p. 225).
To
support their findings, four case studies explain why some
non-violent movements achieve success, partial success, and, at
times, fail. The Iranian revolution (1977-1979) and the Philippine
People's Power movement (1983-1986) are their textbook examples of
how broad-based civil resistance, mass participation, and strategic
non-cooperation from all sectors of society can succeed against
authoritarian regimes. Similarly, the authors make a persuasive case
in their explanation why the First Palestinian Intifada (1987-1992)
was a relatively peaceful movement that achieved "partial
success," or at least more progress than the violence used by
the PLO and Hamas. The label "partial success" in this
instance is one that some analysts may take issue with, since the
Israeli occupation and settlement activity increased substantially
over the following decades. Finally, the Burmese Uprising
(1988-1990) case study shows how both violent and non-violent
campaigns can fail if such movements do not create and maintain
unified popular support and generate loyalty shifts within a regime.
Perhaps
Chenoweth and Stephan’s most daunting task is pre-empting
scholarly critiques questioning how they can accurately define a
resistance movement as entirely "violent" or entirely
"non-violent", and sufficiently determine which faction
contributed most to a movement's success when such movements operate
simultaneously. But when compared against years of failed violent
activism in countries like Iran and the Philippines, the authors
argue that identifying and framing successful non-violent campaigns
within the fog of violent and non-violent activism is actually not
as difficult as some may assume, especially when considering the
amount of diverse support and mass mobilization that successful
non-violent movements produce.
True
to academic form, the book reads as a lengthy, quantitative research
report full of nuance, definitions, and important caveats explaining
the inherent difficulties when systematically studying violent and
non-violent movements. Some may disagree with their methodologies or
the way they coded their data, but their justifications and
rationales are refreshingly straightforward and transparent.
Yet
when it comes to framing their study, one striking aspect that may
irk some scholars is how they situate their research within existing
the literature. They claim that a "prevailing view among
political scientists is that opposition movements select terrorism
and violent insurgency strategies because such means are more
effective than non-violent strategies at achieving policy goals"
(p. 6). They argue that Robert Pape's (2003, 2005, 2010) work -
which holds that suicide terrorism is an effective strategy to
defeat occupying democratic powers - "could be applied to
almost all scholars whose research tests the efficacy of different
violent methods" because such scholars fail to compare violent
methods to non-violent alternatives (p. 25-26).
It
is certainly true that some security scholars are biased toward
studying violent conflict. But it is a bit unfair to project Pape's
heavily criticized work onto the entire research community as
accepted scholarship, particularly when several terrorism
researchers have argued that using terrorism as a strategic tactic
is rarely successful and at times even self-defeating (Crenshaw,
1992; Rapoport, 1992; Hoffman, 2006; Abrahms, 2006). Moreover, the
authors' data reveal that insurgent movements in their data base
succeed roughly 25% of the time, which they acknowledge is in line
with similar other studies. Thus, despite framing their research as
breaking new ground in the arena of security studies, their findings
are actually in line with accepted scholarship on the relative
ineffectiveness of terrorism and insurgent violence.
The
book is novel in its attempt to quantitatively compare and contrast
violent and non-violent insurgencies and in pushing back against
security scholarship that has been reluctant to study non-violent
movements. As such, it is a welcomed contribution. Terrorism
researchers, alas, are left wanting more nuanced analysis on the
efficacy of terrorism and insurgent tactics within their NAVCO data
set. But perhaps such a study is in the works.
About
the Reviewer: Jason
Rineheart is
a Research Assistant at the Terrorism Research Initiative.
I was
blown away by the appearance of Melina Abdullah of Black Lives
Matters on Democracy now yesterday following the Sanders win in the
Michigan Primary. Professor Abdullah made a persuasive case for those
interested in real change in the US not to become over invested in a
democratic (sic) process simply not designed as democratic in the
sense of By the people for the people. The process is corrupt how
ever hard Sanders or in a charitable case Clinton and even Trump push
back against. Its wider than that and the African American viewpoint
is not something as A white Male expatriate white British Male in
Sweden could ever understand let alone articulate so Reading
Professors work as I have Dr Cornell Wests ( Race Matters for
instance) will provide me something of a shadow in the Allegory of
the Cave. Cornell West inspired my Track Blues Man in the life of the
mind. https://www.youtube.com/watch?v=8jadV... and when Professor
Abdulllah mentioned and quite obviously referenced the Great Gil
Scott Herons the revolution will not be televised I had to just edit
that together along with some of the words of my Favorite living
Philosopher Cornell West, and of Course the Dangerous Dude from the
Brooklyn Hood Bernie Sanders. What happens in the US is more
important to my Country of Birth The United Kingdom than the
referendum to leave the EU, My blog on that can be found here.
http://letthemconfectsweeterlies.blogspot.se/2016/03/brexit-smexit-why-we-should-all-be.html
Fairuse
and not for profit.
Attribution
according to you tube Standard licemce
Democracy
Now
https://www.youtube.com/watch?v=_3ob6...
The
Young Turks
https://www.youtube.com/watch?v=mcOJT...
The
Revolution Will not be televised
https://www.youtube.com/watch?v=_VJuZ...
Gil
Scott-Heron - The Revolution Will Not Be Televised - Full Band
Version
ButterflyRebekah
ButterflyRebekah
“We’re
not telling people not to vote, we’re simply not endorsing any
presidential candidate,” Dr. Abdullah said to Democracy Now.
Dr.
Abdullah expanded this thought by stating that, in her view, neither
democratic candidate held a “strong command” or demonstrated a
willingness to really invest the time or energy to develop plans on
issues related to race and black oppression; this has led to a lack
of faith in both democratic candidates.
Their
lack of endorsement more broadly derives from a suspicion of the
entire party system, which Dr. Abdullah identifies in her 2015
article as “a White supremacist heteronormative patriarchal
capitalist hegemony that intentionally builds policies and
institutions that systematically target, oppress, and exploit black
people.”
“We
recognize that both the Democratic Party and the Republican Party are
controlled by monied interests,” Dr. Abdullah said, “And as much
as Bernie Sanders and, to a lesser degree, Hillary Clinton have kind
of pushed back against that idea that they’re controlled by money,
and Bernie Sanders has kind of identified with socialism, still we
know that the Democratic and Republican Party are built to entrench
themselves. So no matter what the candidates attempt to do, being
controlled by the two-party system is hugely problematic and is
disempowering and oppressive to Black people.”
Busily
writing a piece on Bourgoise aeshetics in ´´Progressive´´Politics.
Progressive itself is a bourgoise patronisation of the class war.
There are tow classes The Oligarchs and their bourgoise apologists,
henchmen and House Slaves and then there is the rest. ROghly
speaaking 99%1% bit really .01%, the 1% and then the 5-15%
The managerial class the french actually have catogories that make the most sense, even more complex than the arcania of British class sensibilities.France and French-speaking countries[edit]
In English, the term bourgeoisie is often used to denote the middle classes. In fact, the French term encompasses both the upper and middle classes,[12] a misunderstanding which has occurred in other languages as well. The bourgeoisie in France and many French-speaking countries consists of four evolving social layers: petite bourgeoisie, moyenne bourgeoisie, grande bourgeoisie, and haute bourgeoisie.
The managerial class the french actually have catogories that make the most sense, even more complex than the arcania of British class sensibilities.France and French-speaking countries[edit]
In English, the term bourgeoisie is often used to denote the middle classes. In fact, the French term encompasses both the upper and middle classes,[12] a misunderstanding which has occurred in other languages as well. The bourgeoisie in France and many French-speaking countries consists of four evolving social layers: petite bourgeoisie, moyenne bourgeoisie, grande bourgeoisie, and haute bourgeoisie.
Petite
Bourgeoisie[edit]
The petite bourgeoisie consists of people who have experienced a brief ascension in social mobility for one or two generations.[citation needed] It usually starts with a trade or craft, and by the second and third generation, a family may rise another level. The petite bourgeois would belong to the British lower middle class and would be American middle income. They are distinguished mainly by their mentality, and would differentiate themselves from the proletariat or working class. This class would include artisans, small traders, shopkeepers, and small farm owners. They are not employed, but may not be able to afford employees themselves.
The petite bourgeoisie consists of people who have experienced a brief ascension in social mobility for one or two generations.[citation needed] It usually starts with a trade or craft, and by the second and third generation, a family may rise another level. The petite bourgeois would belong to the British lower middle class and would be American middle income. They are distinguished mainly by their mentality, and would differentiate themselves from the proletariat or working class. This class would include artisans, small traders, shopkeepers, and small farm owners. They are not employed, but may not be able to afford employees themselves.
Moyenne
Bourgeoisie[edit]
The moyenne bourgeoisie or middle bourgeoisie contains people who have solid incomes and assets, but not the aura of those who have become established at a higher level. They tend to belong to a family that has been bourgeois for three or more generations.[citation needed] Some members of this class may have relatives from similar backgrounds, or may even have aristocratic connections. The moyenne bourgeoisie is the equivalent of the British and American upper-middle classes.
The moyenne bourgeoisie or middle bourgeoisie contains people who have solid incomes and assets, but not the aura of those who have become established at a higher level. They tend to belong to a family that has been bourgeois for three or more generations.[citation needed] Some members of this class may have relatives from similar backgrounds, or may even have aristocratic connections. The moyenne bourgeoisie is the equivalent of the British and American upper-middle classes.
Grande
Bourgeoisie[edit]
The grande bourgeoisie are families that have been bourgeois since the 19th century, or for at least four or five generations.[citation needed] Members of these families tend to marry with the aristocracy or make other advantageous marriages. This bourgeoisie family has acquired an established historical and cultural heritage over the decades. The names of these families are generally known in the city where they reside, and their ancestors have often contributed to the region's history. These families are respected and revered. They belong to the upper class, and in the British class system are considered part of the gentry. In the French-speaking countries, they are sometimes referred la petite haute bourgeoisie.
The grande bourgeoisie are families that have been bourgeois since the 19th century, or for at least four or five generations.[citation needed] Members of these families tend to marry with the aristocracy or make other advantageous marriages. This bourgeoisie family has acquired an established historical and cultural heritage over the decades. The names of these families are generally known in the city where they reside, and their ancestors have often contributed to the region's history. These families are respected and revered. They belong to the upper class, and in the British class system are considered part of the gentry. In the French-speaking countries, they are sometimes referred la petite haute bourgeoisie.
Haute
Bourgeoisie[edit]
The haute bourgeoisie is a social rank in the bourgeoisie that can only be acquired through time. In France, it is composed of bourgeois families that have existed since the French Revolution.[citation needed] They hold only honourable professions and have experienced many illustrious marriages in their family's history. They have rich cultural and historical heritages, and their financial means are more than secure.
The haute bourgeoisie is a social rank in the bourgeoisie that can only be acquired through time. In France, it is composed of bourgeois families that have existed since the French Revolution.[citation needed] They hold only honourable professions and have experienced many illustrious marriages in their family's history. They have rich cultural and historical heritages, and their financial means are more than secure.
These
families exude an aura of nobility, which prevents them from certain
marriages or occupations. They only differ from nobility in that due
to circumstances, the lack of opportunity, and/or political regime,
they have not been ennobled. These people nevertheless live a lavish
lifestyle, enjoying the company of the great artists of the time. In
France, the families of the haute bourgeoisie are also referred to as
les 200 familles, a term coined in the first half of the 20th
century. Michel Pinçon and Monique Pinçon-Charlot studied the
lifestyle of the French bourgeoisie, and how they boldly guard their
world from the nouveau riche, or newly rich.
In
the French language, the term bourgeoisie almost designates a caste
by itself, even though social mobility into this socio-economic group
is possible. Nevertheless, the bourgeoisie is differentiated from la
classe moyenne, or the middle class, which consists mostly of
white-collar employees, by holding a profession referred to as a
profession libérale, which la classe moyenne, in its definition does
not hold.[citation needed] Yet, in English the definition of a
white-collar job encompasses the profession libérale. I am currently
writing notes to coalesce around a broad theme related to Resolution
as in resolving from the discordant to the Harmonious, Developing a
theory of resolution through conciousness as opposed to the baggage
that is attendant upon Violent revolution. the Linguistic hijacking
Detourn ment https://en.wikipedia.org/wiki/D%C3%A9tournement is
much of what the Situationist identified as the lies are truth
backwards logic reversal of certainties to absurdities of the
consumer society. Anyway, suffcie to say, its all very interesting
but the time just evaporates. This on why Civil resistance works is
very good, I encountered the theory a couple of years
ago.http://www.ericachenoweth.com/research/wcrw/ I
have edited together a video sequence that sort of gets at what I am
aiming for but at present I am not sure where the theme will
lead.https://youtu.be/vxMP4IAkgpU?t=28m31s
“My
aim is not to provide excuses for black behavior or to absolve blacks
of personal responsibility. But when the new black conservatives
accent black behavior and responsibility in such a way that the
cultural realities of black people are ignored, they are playing a
deceptive and dangerous intellectual game with the lives and fortunes
of disadvantaged people. We indeed must criticize and condemn immoral
acts of black people, but we must do so cognizant of the
circumstances into which people are born and under which they live.
By overlooking these circumstances, the new black conservatives fall
into the trap of blaming black poor people for their predicament. It
is imperative to steer a course between the Scylla of environmental
determinism and the Charybdis of a blaming-the-victims
perspective.
”
― Cornel West, Race Matters
”
― Cornel West, Race Matters
“Without
the presence of black people in America, European-Americans would not
be "white"-- they would be Irish, Italians, Poles, Welsh,
and other engaged in class, ethnic, and gender struggles over
resources and identity. (p. 107-108)”
― Cornel West, Race Matters
― Cornel West, Race Matters
ncle Tom syndrome
From
Wikipedia, the free encyclopedia
Uncle
Tom syndrome is
a concept in psychology.[1] It
refers to a coping
skill where
individuals use passivity and submissiveness when
confronted with a threat, leading to subservient behaviour
and appeasement,
while concealing their true thoughts and feelings. The term "Uncle
Tom"
comes from the title character of Harriet
Beecher Stowe's
novel Uncle
Tom's Cabin,
where the African
American slave
Tom is beaten to death by a cruel white master for refusing to
betray the whereabouts of two other slaves.
In
the American racial context, Uncle
Tom is
a pejorative term
for blacks that give up or hide their ethnic or gender outlooks,
traits, and practices, in order to be accepted into the
mainstream—a so-called race
traitor.
In African American parlance this is also derogatorily known as
an Oreo
cookie:
black on the outside, and white on the inside.[2]
In
race minority literature Uncle Tom syndrome refers to blacks that,
as a necessary survival technique, opt to appear docile,
non-assertive, and happy-go-lucky. Especially during slavery,
blacks used passivity and servility to minimize retaliation and
maximize own survival.[3] Key
notions are integrity and self-respect. For instance, the
Aboriginal Australian Corranderrk are
reported to have conformed to European ways while still retaining
group dignity and individual self-respect, thereby not succumbing
to the Uncle Tom syndrome.[4]
In
a broader context the term may refer to a minority's strategy of
coping with oppression from socially, culturally or economically
dominant groups involving suppression of aggressive feelings and
even identification with the oppressor, leading to "forced
assimilation/acculturation" of the cultural minority.[5]
See also[edit]
Origin and meaning[edit]
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The
term was used in the speech "Message
to the Grass Roots"
(1963) by African-American activist Malcolm
X,
wherein he explains that during slavery, there were two kinds of
slaves: "house Negroes", who worked in the master's house,
and "field
Negroes",
who performed the manual labor outside. He characterizes the house
Negro as having a better life than the field Negro, and thus being
unwilling to leave the plantation and potentially more likely to
support existing power structures that favor whites over blacks.
Malcolm X identified with the field Negro.[1]
The
term is used against individuals,[2][3] in
critiques of attitudes within the African American community,[4] and
as a borrowed term for critiquing parallel situations.[5] For
example,as Natalie Pompilio reports in Legacy.com: [6]
"At the peak of comic Flip Wilson's popularity, some of his contemporaries criticized him for not doing enough to advance the cause of African-Americans. After all, his hit television program, The Flip Wilson Show, gave him access to millions of viewers each week in the heavily segregated America of the early 1970s. Yet his humor was lighthearted and apolitical.Richard Pryor even told Flip he was 'the NBC house Negro'."
https://en.wikipedia.org/wiki/False_consciousness
Engels[edit]
Although Karl
Marx frequently
denounced ideology in general, there is no evidence that he ever
actually used the phrase "false consciousness". It appears
to have been used—at least in print—only by Friedrich
Engels.[1]
Ideology is a process accomplished by the so-called thinker. Consciously, it is true, but with a false consciousness. The real motive forces impelling him remain unknown to him; otherwise it simply would not be an ideological process. Hence he imagines false or apparent motives. [...]
It is above all this appearance of an independent history of state constitutions, of systems of law, of ideological conceptions in every separate domain, which dazzles most people. If Luther and Calvin "overcome" the official Catholic religion, or Hegel "overcomes" Fichte and Kant or if the constitutional Montesquieu is indirectly "overcome" by Rousseau with his "Social Contract," each of these events remains within the sphere of theology, philosophy or political science, represents a stage in the history of these particular spheres of thought and never passes outside the sphere of thought. And since the bourgeois illusion of the eternity and the finality of capitalist production has been added as well, even the victory of the physiocrats and Adam Smith over the mercantilists is accounted as a sheer victory of thought; not as the reflection in thought of changed economic facts but as the finally achieved correct understanding of actual conditions subsisting always and everywhere [...]
Here Engels expresses
semantic baggage associated with the term ideology,
i.e. that it implies a lack of objectivity, which the term had at the
time of its introduction from German (due in no small part to a
reaction to Hegelianism).
This has somewhat substantially been lost over the nearly two
centuries since then as "ideology" has come to be equated
with "world
view"
or "philosophy". False consciousness is theoretically
linked with the concepts of the dominant
ideology and cultural
hegemony,
and to a lesser extent with cognitive
dissonance.
The idea of false consciousness has also been used by Marxist
feminists and radical
feminists with
regard to women's
studies.[3][4]
Bach and just and mean temperament
cest
sychophant nes pas, plus ca change.
Transcendent
resolution¨
Famous
musical resolutions
Sequences
Power
politics, representative of people constituency-
Anthropogenic,
Anthropocene
Plasticine
Concentric
Metric
Mimetic
Polymorphic
Plurality
Cadence
Harmonic
Obscene
Viscous,
Vice
