Showing posts with label war. Show all posts
Showing posts with label war. Show all posts

1.3.24

Explore Greek & Roman Gods: Ares vs Mars - Mythology, Love, and War Insights

Dive into the fascinating world of Greek and Roman mythology with a detailed comparison between Ares and Mars. Discover their myths, lovers, and roles in ancient tales.

Hey, y’all. I’m in the Louvre Museum. Here stands Mars (or Ares to the Greeks), the deity of war, embodying cries, battles, bloodshed, and military conquest. It feels like the Romans admired him significantly, and although the Greeks certainly gave him a place of honor on Olympus, he wasn’t as much worshipped in temples as he was respected and feared. His lover was famously Aphrodite — the goddess of love. Also, in the spirit of exploring the less discussed side of history, we get to see his representation from behind. Additionally, if you’ve ever seen Ridley Scott’s ‘Prometheus’ — the prequel to the Alien movies — does the god’s face remind you of the giant humanoids from the film? And, if you’re a Percy Jackson fan, Ares plays a supporting role in the plot of the first book.

Citation:
Louvre Museum. "Arès Borghèse." Louvre Collections, https://collections.louvre.fr/ark:/53355/cl010279164
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19.1.20

Quote on Beauty and Difference from the Classic Series of Dr. Who — "The Genesis of the Daleks" (1975)

Doctor Who and the Genesis of the Daleks.jpg"Why must we always destroy beauty? Why kill another creature because it is not in our image?" I keep the classic series of Dr. Who on replay at my house. I want to catch up on episodes I have missed — and I particularly like the Tom Baker episodes. He's the fourth incarnation of the Doctor, and he portrayed the character from 1974 to 1981 (the longest-running tenure of the role in the show's history).
The Doctor and Davros (The Genesis of the Daleks)The Genesis of the Daleks:     In the Terrance Dicks written chapter entitled "The Genesis of the Daleks," — the Doctor is sent back in time and space to the Dalek planet Skaro to prevent war between humans and the Dalek race from occurring in the future. The episode is an origin story of the Daleks —  a race of boxy, dangerous aliens. The Daleks have proved to be the doctor's most fearsome, persistent nemesis. With their vibrating cry of "Exterminate!" it is not a hard extrapolation that the Daleks are meant to represent the extreme version of what happens when a species goes all-out bonkers with racial superiority and hatred of difference. The Daleks annihilate difference and vouchsafe sameness in the universe. There is a twist in this episode, however, since the Doctor learns that the Daleks are the creation of a figure named Davros — a humanoid with a Dalek-shaped lower body. The Daleks are the master idea of a diabolical mastermind. Are you getting a Hitler-tingle? Well. You should.
Are Humans More Destructive or Creative as a Species?     
As per the course of a Dr. Who narrative — there is a lot of meaningful talk about what difference (and how humans deal with that which is different) means for the future of humanity. Are we more like the Daleks — whose prime directive is to kill all lifeforms, not like their own? The writers of the show make obvious nods to humanity's own track record for acting like Daleks — think of violence enacted in the name of racial superiority or the banal way in which humans become exterminators under certain conditions — think of the gas chambers that annihilated Jews, homosexuals, people of color, and other so-called dissidents — or the way guards at Guantanamo Bay tortured and debased human beings under their supervision. 
A Trenchant, Relevant Quote    
One scene in particular is a miniature of the grand themes Terrance Dicks is hashing out in the show. In a brief episode of capture, Sarah Jane Smith, one of the Doctor's classic companions, is considered for extermination. But a voice cries out. And asks a question: Why destroy beauty? Why destroy another creature because it does fit into one's own image?



(Sarah is out cold as a muto strokes her face.)SEVRIN: She's beautiful. No deformities, no imperfections.GERRILL: She is a norm. All norms are our enemies. Kill her now for what she's done to our kind.SEVRIN: No, why? Why must we always destroy beauty? Why kill another creature because it is not in our image?GERRILL: Kill her! It is the law. All norms must die. They are our enemies. And if you won't, I will.
Dr. Who "Genesis of the Daleks" Original Airdate on BBC television: March 8, 1975 / image from the BBC 

25.10.10

Film Still: Playing Chess With Death

In this post, I jot down some thoughts on when I first saw Ingmar Bergman's 1957 black and white masterpiece The Seventh Seal.
"The Seventh Seal" (written and directed by Ingmar Bergman and 
starring Max von Sydow and Bengt Ekerot)

        The Seventh Seal is a visually stunning movie. And it has a narrative that keeps the viewer fixated. Death has come to collect Antonius Block (played by Max von Sydow), a crusader who has returned home from war to find his home stricken by Bubonic Plague. Death offers a concession — beat him in a game of chess. And the crusader can cheat death. What transpires after this pact is a visual lexicon of human suffering and hope for that which is beyond all hope. Filled with religious symbolism that is concurrent with the era of the plague — Europe in the Fourteenth Century — the film plays on themes of chance and deceit to deliver its message. In one scene, the Crusader goes to a church and confesses to a priest, all the while, revealing what his next chess move will be. The curtain is revealed, and it is death itself pretending to be a prelate. 
       Ironically, the movie offers a sublime treatment on the theme of death and despair. And presents a couple of transcendent moments as well — including what appears to be a vision of the Virgin Mary who appears to Jof (played by Nils Poppe), a lovable roving theater actor (which I found to be shot in soft light, a trick of the camera that enunciates the ethereal moment and leaves the event to mystery. Was it really the Virgin Mary? Or was it just a mirage that the actor saw through bleary, morning eyes?
        I first saw the Seventh Seal as a teenager. I had checked it out from the local public library and I know it had an effect on me. It was the first movie that I had seen that played with visual allegories — like an early scene where Death cuts down a corpulent human who has tried to escape by climbing up a tree! I remember trying to show the movie to a couple of friends, but they were bored by it and could not relate to its what seemed out-of-date imagery. I think I related to the idea of Antonious Block, preventing death from taking him, so he could carve out one meaningful event in his life after having lived it so vainly and disagreeably in war. At one point, Block asks, (and I am paraphrasing), "What is there?" and Death gives a matter-of-fact answer: "Nothing."
        What I felt the movie was saying was that life is fleeting, and beauty is captured in a moment, then gone. The famous final scene — all of the cast carried away in a dance towards Death — seems to me, a visual for life lived, of the fragile connections we have with others and the suddenness with which life comes to an end. That is why Bergman chose the Plague as his setting. In a time of disease, death is everywhere; one can smell it, taste it, know it. And it forces one to come up out of one's everyday dealings and contend with finality.
        Deep stuff.
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9.10.10

Book Review: Virginia Woolf as Philosopher for the People

Three Guineas Journal
In this post, I offer a review of Virginia Woolf’s searing report on the devastating effects of war. It's her most articulate contribution to the history of ideas because it articulates quite well, and cogently – in the manner of classical rhetoric  ideas about pacifism, women, and war. Having lived through the First World War, Woolf dreads the possibility of another one to come . . .
     
Three Guineas is a bitter discourse on the prevention of war, and defense of philanthropy, and women; it is also an attack on the growing hegemonic power afloat in Europe before the Second World War; it is an older and hardened view, distinct from the more playful A Room of One’s Own she had written earlier, which is more about the sexuality of women, the spirit of women. However, it touches on some of the issues she expounds upon in Three Guineas. In a way, it is like a sequel; actually, I think this is how Woolf intended it. Three Guineas comes out of the work she did on The Years, her most famous novel, about the Pargiter family, their history from the 19th century to Woolf’s present day.
      Woolf published the book Three Guineas out of her own Hogarth press. I wonder how many people actually “got it” or even took the time to read the book? I wonder how many people actually read A Room of One’s Own and “got it”? The slim volume deserves a second look. I think Woolf is important to intellectual thought. Woolf is part of what I call intellectual talk within intellectual circles and also, by her own admission, critical to the public sphere of intellectualism. Woolf attempts to speak to everyman. She is a philosopher for the people. Three Guineas is filled with harsh condemnations. She accuses society of having an infantile fixation (134-135); of the widening gap between the public and private sectors and the use of clothing to deceive young men into joining the war effort (14). I find Woolf to be candid in this book. I think she states some hard arguments. The difficulty of the book is following Woolf’s train of thought; Woolf reads like an autodidact, which she was, and her arguments sometimes feel more passionate than systematically thought out; but, I reason, she has spent so much time, energy and words on these issues; I feel ill at ease following her passion because I sense she doesn’t have to convince me; I know she must be right!
     One significant contribution she gives in this work is that she nuances the stance of feminism. Feminist thought is not dead even though women can now vote and work, Woolf argues. We can’t stop now as if everything is equal and normal for women. As if women and men are the same. There will still be Creons abusing Antigones. But, Woolf is not fatalistic. She does see that something must be done. There is a web site I found about an organization founded in 1993 called the Three Guineas Organization. It helps women and girls through education, similar to the groups that were writing to Woolf asking for aid.
     I say Three Guineas is a bitter discourse because it is written not as a romp through Oxford and the British Library, but an attempt to ask the hard questions and a realization of forces greater than our control. Woolf intuits the horror of the World War and the seeming repetition of war, the misuse of women throughout history; “Things repeat themselves it seems. Pictures and voices are the same today as they were 2,000 years ago” (141). I think she sees Hitler and Fascism for what it really was: not for true freedom and liberty but rather threatening to Western Civilization. Of course, war is threatening. But she asks: how does war deplete society? Why are women asking for money? How does war take away resources, thus eroding the cornerstone of liberal arts education, the workforce, and liberty in general? Why are these three different organizations, even asking for money in the first place? Will a guinea also help them? Shouldn’t society be asking why they must plead for money in the first place? Why are the administrators of a woman’s college living under deplorable conditions, begging? In a letter to Woolf, an accountant for the college asks, “Will you send a subscription to [our society] in order to help us to earn our living? Failing money … any gift will be acceptable – books, fruit, or cast-off clothing that can be sold in a bazaar (41)”.
     Woolf wants to know why is this school asking for money? Haven’t women been liberated for the past twenty years? She includes a response to such a request for a subscription, asking, “How can it be, we repeat? Surely there must be some very grave defect, of common humanity, of common justice, or of common sense” (41-42).
     I noticed in this book that Woolf is aware of the influence of photography (at least 11 and 142). She writes about the horrors of war recorded by the camera. This book is timely today because we can trace how the influence of the camera has made an arc to the television set, to the Internet. We are inundated with images that dictate how we are supposed to look at the world. I love how she is so contemporary with this issue.
What is the meaning of these words that we are willing to die to defend? Freedom? Liberty? Rights of Man?
      She lambasts an army general’s debonair suit by pointing out that in battle, soldiers do not wear finery. Woolf concludes that the regalia of uniforms is a lure to get young men to join the military. The suit does not tell the truth; uniforms are deceptive instruments to get people in the ranks, to fight the countries wars.
      Also, isn’t it interesting that Woolf questions giving the money to these different organizations? She challenges us to look at things from all the different points of view, preferably three. She has three newspapers on her desk. “Therefore if you want to know any facts about politics you must read at least three different papers, compare at least three different versions of the same fact, and come in the end to your own conclusion” (95). Woolf challenges the reader to think critically. Not to look merely at one source and form our opinion. We should have at least three sources about the same topic in front of us. Librarians probably agree; parts of this book could serve as an introduction to Library Science. How many times do I get letters in the mail asking for money? Do I ask myself the reasons behind their requests for money? Do I wonder why they really need the money in the first place? Woolf, I bet, surprises the honorary treasures by questioning their requests. Partly to get them to think about their situations and partly, for Woolf’s part, to answer the real questions.
Why does she attack H.G. Wells? I was surprised to see Wells included in this book; I didn’t think Woolf would go after a particular person in this polemic. But she does. She seems to see him as superficial. Wells obviously does not fight for the same principles as Woolf.
      We are not fighting for the rights of man or for woman. We should be rallying the cause of humanity; because, isn’t it, like Georges Sands says – “all beings are interdependent of one another”? Who of us can present ourselves as insulated, cut off from one another? Because we are a man? Because we are a woman? Most of our problems stem from the insistence on creating sharp distinctions between man/woman; free/slave; public/private. Maybe Woolf is calling for, in this book, is a common interest; “it is one world; one life” (142).
source: Woolf, Virginia,  Three Guineas.  Harcourt Brace. 1938, 1966. 

14.4.10

On a Visit to Ozanam Inn in New Orelans — A Men's Homeless Shelter

New Orleans has an all-men homeless shelter on Camp Street. Today my cousin and I stepped inside to take a look.
Ozanam Inn 
photo credit: Ozanam Inn
Spontaneously, while walking on Camp street heading for the D-day museum, We crept behind a gate. Ozanam Inn sprung into view as if metastasized right there on Camp street, replete with a line of men, waiting in line for a room to sleep. But he didn't know what was behind the gate. I didn't tell him; he was horrified, ripped from a pleasant view into a darker corner, social inequality thrust upon a privileged. It was rudeness on my part; I had said, "Come here. I want to show you something," as if I knew what a good lesson was. To me, they were readers, workers, sinners, saints -- reading a newspaper, one, another a novel, and another dragging on a cigarette. Another protecting his bicycle leaning against the dump. For him, just a boy at my side, they were strangers, monsters in his sleep, the stay-away-from-them folks momma told you about, not the needy in want of bread, shelter -- not the Samaritan on the block. It was my fault; I deserved his "Don't ever do that to me again without telling me first" accusation. In my rush to enlighten, I revealed reality too quickly, shed the gauze from his eyes too swiftly as if I went to amputate his legs without warning. We walked to the museum and I could tell I had frightened him. He was skittish and uncomfortable, gazing into the plexiglass displays of bombers and beach ballasts, authentic uniforms; and my words, a mismatch of history and mentorship. An old veteran's wife approached us while I was trying to explain axis and allies; "Listen to him boy; you can't get a better lesson than this". You indeed can't get a better lesson that.

4.3.10

Anatomy of a Scene: Au Revoir Les Enfants (Scene 20)

Movie Still - Au Revoir Les Enfants (1987)
In Louis Malle's haunting autobiographical film, Au Revoir Les Enfants (1987), figures come out of the Northern European mist as if half-dead, draped in dark shrouds of black. The setting is not Auschwitz or the Western front, but a small Catholic boarding school outside of Paris, Winter 1944, months before the fall of the Third Reich. Malle's focus is not the battlefield, nor is it the concentration camp, but rather, he focuses his exploration on the effects of racism and evil on the lives of young French adolescent boys holed up in a confined space, apart from their upper-class parents. The school's headmaster, Father Jean, has decided to matriculate three new students at the start of the Winter term. What no one knows is that the three new students are, in fact, Jewish stowaways, hidden by the school to save their lives. In this scene (scene 20, according to Malle's screenplay), students are marching to the public baths for their periodic soapy wash. The scene is a mixture of everyday rituals of boarding school life, similar to other scenes in the film, of the boys sleeping, praying, attending class, playing war games, playing the piano, and taking tests. The "normal," almost painterly scenes are punctuated by news from the war zone: talk of hatred against Jews, the Resistance, French collaborators with the Germans, and the impending intimidation enforced by the conquering Germans. Rations are scarce. Even the wealthy schoolboys suffer; their only allowance is jam and sugar which they exchange for cigarettes. France is occupied by Germany but the Resistance is rumbling. News of German defeat on the Russian front has been circulating.

20.12.09

Obama and the Peace Prize, And Other Rifts on Violence

   I wonder how our President can accept the peace prize and then cite an argument for just war?! I personally feel his decision to increase troops was morally bankrupt. A more peaceful approach would have been to refuse the prize.
   Now our prez did close Guantanamo and he has laid down a progressive plan for peace, but I think the two wars he has inherited make it a prickly predicament.
   Is Obama a war mongerer? Does he feel a little aggressive push is necessary to end the war in Iraq and Afghanistan? Is violence ever necessary?
   His decision to enact violence is not necessarily unethical. Even Gandhi and King understood violence is necessary to enact change. Violence in some order can bring about peace - even the non-violent violence that encouraged civil rights and brought down the monarchy in India was in my opinion ethical violence. The violence of WWII took the lives of millions of more civilians than any other war this past century. Democracy does not deplore that war.
   If our president wants to make a change in our world through violence he needs to enact violence in other sectors to secure peace:
   Reasons for "just war" in other regions besides the Middle East:

21.9.06

Jean Mohr's Photographs of Boys in After the Last Sky (with Edward W. Said)


in After the Last Sky:

The Palestinian boy in Jean Mohr’s photograph elicits sadness just by looking into his eyes (WOR 623). He is of unknown age, so the caption says, because we are not sure if he is even a child although he is small enough to be a child.  His child-sized tummy, poking out from beneath his tight Grease t-shirt is tiny like a child’s. He doesn’t have a man’s beard.  Nor is he a toddler.  He has a playful half-akimbo pose with his left arm perched on his hip, a boy’s shaved head like a London chimney sweep and his body semi-contrapposto – but his face is veritably adult looking with those sad sad eyes.
  “You see it in our children who seem to have skipped a phase of growth or, more alarming, achieved an out-of-season maturity in one part of their body or mind while the rest remains childlike” (623).  Said has similar impressions to my own.  Except Said is writing in the first person plural “we.” “Our children,” he says.  A Palestinian himself, Said is not only looking at a boy marked by deportation, war, and strife but looking at one of his own exiled children, a child who has grown up too fast, as the clichéd expression goes.  This assertion of “we” makes his already poignant comments – and the photograph itself – an intimate expression of the pain and loss of the Palestinian exile.  This is the portrait of a child whom the Palestine’s enemies say,  “Kill them before they kill you” (623).  This is a child that the enemy says could be a potential terrorist; they say in Lebanon you should kill the children because they’re the ones who’ll kill (623).  The child in the picture is lost.  The real child who suffers is lost in a bungled list of population reports and military strategy.
But how can you justify that kind of statement when you look at this photograph – or any of the photographs in the After the Last Sky?  What kind of sloughing off of humanity do you have to do until you reach the point of disregard for human life?  Is the point of no return when you can believe that “there are no Palestinians” (623)?  Insert any group here for “Palestinian”.  When you can strip the Palestinians of identity like, “Non-Jews. Terrorists. Troublemakers. DPs. Refugees.  Names on a card.  Numbers on a list” (624)?  It seems to me, once you strip a people of their sense of place and identity you can then place upon them labels sufficient to your own cause.  The Palestinians have nowhere to call Palestine, no stable place to call home (although there has been an attempt by Palestinians like Said to refer to this disposed land as Israel/Palestine).  The boy in Mohr’s photograph, ill-fitted in his American style t-shirt – what is he thinking?  What is he trying to tell the observer?  What can be read in his face?  If anything?
Jean Mohr, photographer
He is similar to another boy who appears later on in the book.  This time a young villager is peering into the window of an Israeli officer in Kalandia, near Ramallah in 1967 (640).  In a series of photographs by Mohr that illustrate the juxtaposition of two worlds: one Israeli and the other Palestinian, in this one he captures another Palestinian boy caught by the photographer peeking into the quotidian life of the conqueror’s den.  The photographer is taking the photograph from the inside capturing the child looking inside.  The soldier is oblivious to the child and lost in thought (640). The Israeli officer has one hand on his chin and the villager has one hand on the windowpane, a look of shy curiosity imbued in his eyes. He has been caught by the gaze of the camera and looks downward just enough to give himself away as the forgotten one.