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Jacques Coulardeau
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Cro-Magnon's Language: Emergence of Homo Sapiens, Invention of Articulated Language, Migrations out of Africa
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Jacques Coulardeau (Goodreads Author),
Ivan Eve (Contributor)
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L'Apocalypse selon Saint Jean
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Jacques Coulardeau (Goodreads Author),
Annunzio Coulardeai (Illustrator),
Kévin Thorez (Illustrator)
really liked it 4.00 avg rating — 2 ratings
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STEPHEN KING, THE MAVERICK RAPSCALLION
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"Supernatural" Car Chase or Joy Ride?
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Jacques Coulardeau (Goodreads Author),
Annunzio Coulardeau (Illustrator)
it was amazing 5.00 avg rating — 1 rating
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HANDEL’S AGRIPPINA MODERN INTERPRETATIONS AND THE ROLE OF COUNTERTENORS
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Jacques Coulardeau (Goodreads Author),
Annunzio Coulardeau (Illustrator)
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THE INDIAN OCEAN FROM ADMIRAL ZHENG HE TO HUB AND SPOKE CONTAINER MARITIME COMMERCE
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Sigiri Graffiti
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Jacques Coulardeau (Goodreads Author),
Annunzio Coulardeau (Illustrator)
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Freedom of Expression and Copyright The Foundations of All liberties
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LOONY-LU & LULU: THE BELOVED SACRIFICED TO AND BY THE BELOVED, A MYSTICAL PARODY
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THE U.S. SUPREME COURT A UNIVERSAL LESSON IN CONSTITUTIONAL HUMAN RIGHTS
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Jacques’s Recent Updates
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Jacques Coulardeau
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GAY TRIAD, QUEER TRIO, AND MUSICAL TRIPLET IN A QUEEN-SIZED BED Three men fall in love, and they decide to experiment with a throuple sexual come-together. They are gay, one is an exclusive bottom, and the other two are exclusive tops, and they find t GAY TRIAD, QUEER TRIO, AND MUSICAL TRIPLET IN A QUEEN-SIZED BED Three men fall in love, and they decide to experiment with a throuple sexual come-together. They are gay, one is an exclusive bottom, and the other two are exclusive tops, and they find the situation particularly attractive, exciting, and sexually enticing. But the story is told from the outside by one member of a gay couple who do not want to get into that sort of experimentation. That definitely limits the range of the story itself since it is de facto marginalized by the indirect telling, and from a narrator who is definitely not ready to experiment. Hence, this indirect and standard gay married intermediary weakens the story to an exotic trek in gay land. One top, the oldest participant in the triad, is a marine officer. The second top was a marine under this marine officer, but he got out of it. The bottom is quite younger, and he is from nowhere in particular. He does not have any social dimension, apart from being the bottom of the other two. That marginalizes them in their experiment. The older top is the only one who has a real social position, but it is practically absent from the story. For the Marine Corps, whose officer he is, he is straight, normal, banal, without any gayness at all. In other words, he is socially incognito, unknown, unseen. The other two are some sort of gay individuals who do not have to have a social position, a job, an income, etc. This is a cliché gay situation. That does not really exist, except if you are making a living with your sexuality. The younger top is the son of a very conservative preacher of some unclear affiliation, and his wife, and both expelled him from the family, and the preacher is discovered, or simply asserted, since there is no real prosecution, as first, having a femme entretenue mistress somewhere in town, and second, being a regular thief of the very funds of his religious institution. Liar, hypocrite, and fornicator, all three (another triad) in one man. And when he is discovered as such, he changes his tone about their son and decides to reestablish some normal relationship. The three gay men are invited for Christmas, and they clearly say they will go. Yet the last scene of these three gay men is a Christmas party in which the two tops become two Father Christmases and they celebrate Christmas with a sex party, the two tops having sex with the bottom, burying their sex spears together in the back alcove of the bottom. I guess, though it is not specified, the father and mother of the younger top are the audience. Not clarified in the text. Since those three individuals only share sex for our enjoyment, the novella turns into some erotic trek in explicit porn literature that depicts and supports a promiscuous situation. These three men do not do anything else in life, at least two of them don't, and the oldest one is always available, any time, any day, any night. So, I came out of the story rather disappointed, and I remembered the erotic novels of Anne Rice under the name of A.N. Roquelaure, The Sleeping Beauty Quartet. That too was explicit, but the young men and women were the daughters and sons of top people in society, and they were spending some time in this special sexual reservation to get broken in their straightness, normalcy, and condescension, if not arrogance. It's true that being a young male from a top family and spending 24 hours chained naked to the wall, anally impaled onto some kind of long protruding knob, and being the toy of all the adult members of the club, coming there only to play with these young people, take advantage of them, is quite more open with that kind of back and front open access for boys and girls. Anne Rice is better because she did not segregate the boys from the girls, the men from the women, and all sorts of connections were possible. No gender discrimination, which is not the case with C. Travis Rice. Just a last note on this erotic writer. His “Travis” middle name is in fact the middle name of his father, Stanley Travis Rice Jr., and probably that of his grandfather. This reveals an emotional deficit in his relationship with his father, who died in 2002. If you do not like fornication, having sex for the very sake of sex itself, you don’t need to get into the book, be you gay, straight, bipolar, bi, or whatever in the LGBTQIA+ planet. Dr. Jacques COULARDEAU ...more |
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STARVATION AND GLUTTONY IN A DARK WITCH-HAUNTED FOREST The Grimm brothers are still causing great damage in the world with stories that initially were the collecting and the correcting of folktales without changing them, but choosing the most popular STARVATION AND GLUTTONY IN A DARK WITCH-HAUNTED FOREST The Grimm brothers are still causing great damage in the world with stories that initially were the collecting and the correcting of folktales without changing them, but choosing the most popular and extreme versions they encountered. The people after them all tried – Charles Perrault, first of all, even if he did not appear on this planet after the Grimm brothers – to soften the great horror that inhabited these stories. Stephen King is just doing that with this tale. Some changes are innocuous, maybe innocent, like the covering up of the lying of the kids taken red-handed in the process of eating the witch’s house. The original makes the witch say in the form of a question: “Nibble, nibble, little mouse, Who is nibbling at my house?” And of course, “The children answered: “It is not I; it is not I – It is the wind, the child of the sky.” Note how the two children answered in the first-person singular. In other words, the two children answer together something that is supposed to self-cover each child separately. But Stephen King takes off the question and then the answer is not needed, so that the self-centered egocentrism of each child and the lying of the children together is like a reflex. Children are born liars. Then they deserve a punishment, a second punishment, because they already deserve one for their gluttony and their stealing, instead of knocking on the door and asking for permission to eat the house. Who is dumb enough to ask such a question of the owner of the house? And that is not all. These children are real nuisances. They kill the witch in a very ugly way, and they steal her treasure. Totally immoral. I am told children like such stories. Sure! Like setting afire the tail of their cats. But you can do better than stick to the traditional ugliness of such stories. And as for rewriting the story to make it up-to-date in our modern world of smartphones and Artificial Intelligence, I did not notice any real change along such lines. Imagine the kids arriving in the forest, lost and abandoned, and Hansel getting his smartphone out of his pocket to call 911, and finding out “there is no connection,” the first time. And the second time, “Sorry, no juice, no electricity, you must have forgotten to have it recharged.” And that’s where the kids would be ingenious enough to find another solution to get the cops aboard. Here, there is nothing of the sort. Imagine the same set of four people starving in their home and homeland, like children and grown-ups in Gaza. There, Stephen King would have done something strong and human, if not humane. But no, milkmaid, no way. Let the witch, whose first name must start with a B, starve the people of Gaza and roast a few children for that B-witch to satisfy her ravenous hunger. It is what you call plagues in the Bible, but nowadays plagues do not come from God or some Messiah. They come from some very nasty people. Conclusion. Weak and too far from the real world to enable any connection with the real world, except that children are liars and thieves. The illustrations by Maurice Sendak are nice, colorful, and kind of childish. The forest scenes really surround the story, the kids, and lock them up between trunks, branches, and foliage. This can be the real dimension that could generate fear among the children. There really is a peculiar fear that can be called forest claustrophobia, and Sendak builds it up on many pages. And yet, Stephen King wrote two novels that echo such fear: The Girl Who Loved Tom Gordon (1999) and Gerald's Game (2017). The latter is for young adults or less young people, certainly not for children, even if it follows the Brothers Grimm’s model. Dr. Jacques COULARDEAU VERSION FRANÇAISE FAMINE ET GOURMANDISE DANS UNE SOMBRE FORÊT HANTÉE PAR DES SORCIÈRES Les frères Grimm continuent de causer de graves dommages dans le monde avec des histoires qui consistaient initialement à recueillir et à corriger des contes populaires sans les modifier, mais en choisissant les versions les plus populaires et les plus extrêmes qu'ils rencontraient. Après eux, tous ont tenté – Charles Perrault, en premier lieu, même s'il n’est pas apparu sur cette planète après les frères Grimm – d'atténuer l'horreur profonde qui imprégnait ces histoires. Stephen King fait exactement cela avec ce conte. Certains changements sont anodins, voire innocents, comme la dissimulation du mensonge des enfants pris en flagrant délit de dévoration de la maison de la sorcière. L'original fait dire à la sorcière sous forme de question : « Grignote, grignote, petite souris, Qui grignote ma maison ?» Et bien sûr, « Les enfants répondirent : « Ce n'est pas moi ; ce n'est pas moi ; C'est le vent, l'enfant du ciel. » Remarquez comment les deux enfants ont répondu à la première personne du singulier. Autrement dit, ils répondent ensemble à une question avec une réponse censée les couvrir individuellement. Mais Stephen King supprime la question et la réponse devient alors inutile, de sorte que l'égocentrisme individualiste de chaque enfant et le mensonge des enfants ensemble sont comme un réflexe. Les enfants sont nés menteurs. Alors ils méritent une punition, une deuxième punition, car ils en méritent déjà une pour leur gloutonnerie et leurs vol, au lieu de frapper à la porte et de demander la permission de manger la maison. Qui est assez stupide, d’ailleurs, pour poser une telle question au propriétaire de la maison ? Et ce n'est pas tout. Ces enfants sont de véritables nuisances. Ils tuent la sorcière d'une manière très ignoble et volent son trésor. Complètement immoral. On me dit que les enfants aiment ce genre d'histoires. Bien sûr ! Comme mettre le feu à la queue de leurs chats. Mais on peut faire mieux que de s'en tenir à la laideur traditionnelle de ces histoires. Quant à réécrire l'histoire pour la rendre actuelle dans notre monde moderne de smartphones et Intelligence artificielle : je n'ai pas remarqué de réel changement de ce genre. Imaginez les enfants arrivant dans la forêt, perdus et abandonnés, et Hansel sortant son smartphone de sa poche pour appeler les secours avec le 18, découvrant une première fois : « Pas de connexion.» Et la deuxième fois : « Désolé, pas de batterie, pas d'électricité, vous avez dû oublier de la recharger. » Et c'est là que les enfants seraient assez ingénieux pour trouver une autre solution pour embarquer les flics dans leur affaire. Ici, rien de tel. Imaginez le même groupe de quatre personnes mourant de faim chez elles, sur leur terre natale, comme des enfants et des adultes à Gaza. Là, Stephen King aurait fait quelque chose de fort et d'humain, voire d'humaniste. Mais non, pas de Perrette au pot au lait, hors de question, nenni. Laissez donc cette sorcière – dont le prénom doit commencer par un B – affamer les habitants de Gaza et rôtir quelques enfants pour que cette sorcière B apaise sa faim. C'est ce qu'on appelle des fléaux ou des plaies dans la Bible, mais de nos jours, les fléaux, comme les plaies, ne viennent pas de Dieu ou d'un Messie. Ils viennent de gens très malfaisants. Conclusion. Conte faible et trop éloigné du monde réel pour permettre un quelconque lien avec le monde réel, si ce n'est que les enfants sont des menteurs et des voleurs. Les illustrations de Maurice Sendak sont jolies, colorées et plutôt enfantines. Les scènes de forêt entourent vraiment l'histoire, les enfants, et les enferment entre des troncs, des branches, et du feuillage. C'est peut-être la véritable dimension susceptible de générer la peur chez les enfants. Il existe une peur particulière que l'on pourrait appeler la claustrophobie forestière, et Sendak la développe sur de nombreuses pages. Pourtant, du côté de Stephen King, je connais deux romans que Stephen King a écrits et qui se font l’écho à cette peur : La Fille qui aimait Tom Gordon (1999) et Le Jeu de Gérald (2017). Le second est définitivement pour jeunes adultes ou autres moins jeunes, mais pas pour les enfants, même dans la perspective des frères Grimm. Dr Jacques COULARDEAU ...more |
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ONCE A CHRISTIAN SLAVE IN MEXICO, NOT FOR VERY LONG! This book is important if you want to try to understand how slavery worked for Black Africans in Mexico. One thing is sure. It did not work the same as in North America under the English and then Br ONCE A CHRISTIAN SLAVE IN MEXICO, NOT FOR VERY LONG! This book is important if you want to try to understand how slavery worked for Black Africans in Mexico. One thing is sure. It did not work the same as in North America under the English and then British authority. It did not work the same as in other South or Mesoamerican countries, including the West Indies. But in Mexico, like in so many other countries in the Americas, there are no serious archives about slavery: number of captured Africans in Africa, number of Africans actually and forcefully embarked in Africa, how many ships departed from Africa, how many ships arriving in the Americas, number of embarked Africans and delivered Africans, the destinations of these Africans, their names, ethnicity, origins, languages, religions, or any data about them apart from sex and estimated age. And the most important word here is “estimated.” They were granted names, and that was the first difference between the British Protestant procedure on the one hand and the Spanish, Portuguese, and French Catholic procedure(s) on the other hand. On the Catholic side, Christening was a rule. The slaves had to be baptized, and thus given some Christian names sanctified by the christening ritual. On the Anglo-Saxon side, there was no christening (just haphazard name-giving), and certainly no ritual of any sort, except the imposition of a name of any sort, according to the caprice or caprices of the buyers. We know today what entering the fifth century of slavery, segregation, discrimination, etc. has produced in the USA. The Blacks, no matter how much hybridized, are still classified as Africans and are still the victims of rejection, discrimination in health, school results, jobs and qualifications, employment, and all sorts of social protection. Affirmative action has been repeatedly rejected in the USA, including by the Supreme Court, like the case pending in 1973-74 at the University of California at Davis, where I arrived in September 73. We don’t see that in Mexico, to the point that some people consider the Black Africans to have become invisible in Mexico. How can we reconstruct a history that explains this fact? That’s the challenge. But there are no archives of the slave trade or slavery. The author had to find a way to circumvent this handicap and find some feasible records enabling these Afro-Mexicans to be recaptured in their Africanity. He chose, but there was no choice since it was the only possible resource, to go into the records of the courts, both the religious courts (local and Inquisition) and the political courts (local and Crown). What kind of trials can be found there? And that is the second difference with North America. Since these slaves are Christians they have to abide by all the rites and obligations of their Christianity: christening of course, then religious education, participating in the various services (choir boys for example), and all the religious rites and sacraments: First and Solemn Communion, and then regular communion based on proper confession, marriage, going to church for services every time it is needed (on Sundays, for Nativity, Passion, Assumption, and some other celebrations). What may have become an exception (as compared to none at all before) in the 19th century in the Protestant USA was a Christian right from the very start in Catholic Latin America. That implied that any time there was a problem for the slave, this very slave could go to court and get into a lawsuit. This also implied the slave owners had rights as proprietors, but not beyond clearly defined lines. Violence was common, even killing a slave for any reason, but in this case, anyone could sue the slave owner, or the European culprit for abuse of violence, including at the initiative of a religious court or a political court, including the Inquisition and the Crown (its representatives). One instance is quite important. All slaves, no matter where they may be, had the right to be free on Sundays to fulfill their religious obligations, among which marital or matrimonial duties were at the top of the list. So, Herman L. Bennett is exploring the cases he came across in these registers or records. Slaves versus slave-owners of course, but also all sorts of problems in the neighborhoods where the slaves lived and here we hit a third difference: in Mexico, and in Latin America (including Louisiana before being sold to the US) there is a very high level of manumission, hence a great number of ex-slaves or their descendants who managed to get freed by this procedure: they bought up their freedom, or someone bought up their freedom in their place, and stead. They were granted their freedom on any occasion, particularly after some satisfactory service. Many slaves, at least the household slaves, were not confined to a clearly defined space. They could go around to purchase goods, or to deliver messages or goods. What’s more, they could be used as a guarantee by their owners in some commercial transactions, and this was particularly important since it granted the slaves a social and economic value. If they had such a value, then why not have it all? It encouraged and developed the consciousness and the desire to be an individual who could control his life or destiny. It is not a desire, a simple wish, a deeper frustration, pure alienation. It builds in their minds the consciousness that they are good enough to guarantee a deal. And they should be good enough to be free because they already have and are a social entity due to this kind of use. That's where we have to be prudent because these courts and these cases concern only some people, a minority, and the majority are not directly concerned. But they are under the influence of such cases. In these cases, they can have witnesses, and some of them can be slaves, and their words are just as valuable as the words of free people. Among the free people, there might be hybridized or creolized descendants of slaves who would be considered black in North America, since ONE drop of black blood makes you black in this country. And that brings us to another dimension and difference: neighborhood and family connections are important. Cousins, nephews, uncles, aunts, and neighbors are natural witnesses in any case, and they are recognized, no matter whether they are free, slaves, or have any level of black blood in their veins. The “cousin” relation between two people who are living in a common law or official marriage, or who want to get a license to marry, is essential because the catholic church tries to control inbreeding or consanguinity. For a religious court, it is a sin; for a royal court, it is a misdemeanor or even a crime. Yet licenses may be granted in such situations for various local reasons, or because it is too late since the people applying for a marriage license have already entered some common law marriage, hence an unofficial sexual relationship with even one or two children. A license might make the sin or misdemeanor negligible. There is no obligation for a slave to marry a slave, and some slaves think marrying a non-slave might be enough to get free, which is not the standard rule. In the same way, a child born from a slave mother is not necessarily a slave, sold away by the mother’s slave owner. The child has to be christened first thing after the delivery and birth, and then all possibilities are open. But Herman L. Bennett insists on the symbolic dimension of this situation. Africans arrived in the Americas with their surviving African symboleracy, which will be deculturized when they arrive, but only on the surface. A deeper layer will survive and be projected into the symboleracy they have to integrate. They have to become Christian slaves. They are thus acculturized into this new symboleracy of Mexican Christian society. Bennett is conscious that there is a transfer from the gods and spirits of their original symboleracy, gods and spirits who survive in the deeper subconscious of the slaves who adopt on the surface a Christian look centered on Jesus Christ, and that is where Bennett could go slightly further, by taking into account the third element, the Indians, mostly female Indians since the males have been eliminated by the Spanish genocide et culturicide (whereas woman were only the victims of the epidemics more than the military violence. These Indians, mostly women are concerned here, were also obliged to shift from a Maya, Aztec, or some other cultures and languages present in Mexico to the Christianized surface. Same problem as before. The old Indian symboleracy is deculturized on the surface, though kept at a deeper level, and they have to become Christians and be acculturized into Christianity, on the surface, of course, with the deeper Indian symboleracy kept subconsciously. Mexico is dedicated to the Blessed Virgin, therefore the Holy Virgin Mary, and yet she has been replaced by the Blessed Virgin Our Lady of Guadalupe, and the Virgin Mary has thus been Mexicanized. These two situations transfer some god or spirit from the older symboleracy, that are deculturized as Indian and acculturized into Jesus Christ (or vice versa, if you want, the result is the same), who is acculturized into the symboleracy of the Black Mexican or the Indian Mexican under Spanish Christian rule. Both the Afro-Mexican and the native Mexican are endowed with the very special ideology of Jesus Christ, love, and the promise of a paradise after death, the Messianic Jerusalem, which they certainly did not have before. Let us think of the obligation for dead Mayas to descend into Xibalba and face the Death Lords and their testing trials, if not ordeals. Few can survive these trials and emerge to climb the sacred Ceiba tree towards true paradise, “chaan.” Note in the following dictionary entry by John Montgomery in the Dictionary of Maya Hieroglyphs, available online at http://www.famsi.org/mayawriting/dict... (Foundation for the Advancement of Mesoamerican Studies, Inc. FAMSI) strong homophony links this paradise to a vision of a "captor", a supreme being who holds man in mastery, but also to the number "four" (strongly symbolic in Maya because they are the four cardinal points) and the "serpent" whose symbolism is even more complex and certainly ambiguously hostile since it is the Feathered Serpent, Kukulkan, the controversial god of human destiny. Let us note in the glyph (without covering all its symbolism) the three oblique bars, then the three liquid beads (blood, sperm, water) and the three vertical bars, three times three, and this number "three" is the symbol of the blood self-sacrifice required by the gods and voluntarily given to the gods. CHAAN/KAAN (chaan/kaan) (T561c) 1> noun "sky"; chaan in Ch'olan, kaan in Yucatec 2> noun "captor" <> (John Montgomery) Homophonous or semi-homophonous with chan/kan "four" and "snake." (Peter Mathews) CHAN/KA'AN (chan/ka'an) (T561) 1> noun "sky"; chan in Ch'olan, ka'an in Yucatec 2> noun "captor" <> Homophonous or semi-homophonous with chan/kan "four" and "snake." Important research is to be done in older forms of these deculturization-acculturization procedures and patterns to find how the transfer is possible. Jesus Christ is sacrificed on the cross and corresponds, for one instance only, to Jun Nal Ye, the Maize God of the Mayas who was sacrificed a long time ago and was revived by the Hero Twins, who were both thrown into a furnace and their ashes thrown into a river for them to resuscitate and come back to the Death Lords for vengeance, and they revive the Maize God who will die in every fall and resuscitate in every spring provided humans present him with enough blood offerings. Note how Jun Nal Ye is revived by the blood of humans being sacrificed or self-sacrificing for him, as opposed to Jesus shedding his own blood and dying to regenerate the human species out of sin, if they want to share communion in this blood-exchanging rite, the Eucharist and communion. The transfer is nevertheless symbolically easy. It is more complex with Africans, but we have to go into the Vodun tradition coming from Africa, and the Christian saints, God, and Jesus are transferred into the gods, spirits, and saints of the Vodun tradition ((donation of blood from the requester and the priest – some would say sorcerer or witch – officiating on the requester’s request). That would explain why the deculturization-acculturization procedure worked so easily in Latin America. The transfer is a blood offering. We can represent this double transfer (see below). The two cycles are simultaneous in the two human beings concerned and reciprocally supported by the two human beings again. "I do it, you do it, and then we ask a priest to marry us in this new common vision and project." The Christianization of the two Indian and Black African sides makes them man and wife, hence human. That's by far the best side of the book, and people curious about concrete real cases will find hundreds of them in the book, some described and discussed at length. That’s why racial elements are just ethnic characteristics that do not imply any inferiority or superiority. These elements are just identifying traits that do not carry any discrimination. No possible comparison with the USA, where the police, at times, some vigilantes still kill young black males at street corners for any reason you can think of. [The Graph cannot be uploaded.] For the readers who want to see this discourse in literature, I would advise looking for Anne Rice and the few books dealing with it, particularly Merrick, a novel bringing the Vampire Louis and the witch Merrick together using black magic connected with old temples in Guatemala. It deals with a mask from long ago and the Indian civilizations of the first millennia after JC. That mask gives you the power to see beyond the surface of reality, hence, to communicate with the dead since Louis wants to communicate with Claudia, the child he turned into a vampire a long time ago, and Lestat de Lioncourt has been obliged to destroy her because a child turned into an eternal vampire is a very bad perverse idea. Dr. Jacques COULARDEAU ...more |
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MÈRE MONSTRE FEMME (English below) LAURENT GAUDÉ – MÉDÉE KALI – MAGNARD COLLÈGE/LYCÉE – PARIS 2012 Qui n’a pas rencontré Médée dans sa vie, que ce soit sa vie scolaire, et donc la mythologie, ou encore la vie sociale tout court, et donc la sociologie d MÈRE MONSTRE FEMME (English below) LAURENT GAUDÉ – MÉDÉE KALI – MAGNARD COLLÈGE/LYCÉE – PARIS 2012 Qui n’a pas rencontré Médée dans sa vie, que ce soit sa vie scolaire, et donc la mythologie, ou encore la vie sociale tout court, et donc la sociologie de la déviance amoureuse pour laquelle Thanatos est le vrai dieu de l’amour, pour laquelle aimer c’est tuer, l’amour c’est la mort par suffocation, et si vous voulez échapper à cette mort dans l’amour, par l’amour, pour l’amour, il ne vous reste plus qu’à liquider dans le sang, au couteau comme le veut la mode actuelle, celui, celle ou ceux que vous aimez. Tuer est une preuve d’amour. Voilà donc qu’au-delà de la qui est mortelle, l’amour l’est aussi, aussi mortel que la vie. Mais pourquoi/pour quoi vivons-nous donc ? En plus nous savons tous que les meilleurs criminels reviennent toujours sur le lieu de leur crime. Médée se doit donc de revenir en Grèce là où elle a tué ses propres enfants. Mais si elle revient, d’où revient-elle ? De sa Colchide géorgienne ? Non point pour Laurent Gaudé. Toute issue de la culture turkique qui a quitté l’Afrique Noire vers 75 000 ans avant Jésus Christ pour conquérir l’Europe, le Caucase, une partie de l’Asie Mineure, l’Asie Centrale et se coltiner les Néanderthals en Europe, les Denisovans en Asie Centrale et se retrouver enfermé dans cette vaste zone eurasienne par les populations beaucoup plus ancienne sémites en Asie Mineure et en péninsule arabique, par les populations un peu moins anciennes qui parlent les langues isolantes de l’Asie et qui sont arrivées en Asie un bon 50 000 ans avant les populations turkiques. Et Gaudé manque l’enjeu de Médée. Princesse turkique, elle trahit sa lignée et offre la Toison d'or à Jason. Elle représente la population turkique que les Indo-Européens ont rencontrée à leur arrivée en Europe, 60 000 ans après les populations turkiques elles-mêmes. Ces Indo-Européens ne représentent que 25 % de l'ADN européen. Pourtant, les langues turkiques ont pratiquement disparu d'Europe, à l'exception du basque, de l'estonien, du finnois, du saami lapon et du hongrois (un cas particulier), ainsi que deux ou trois isolats dans le nord de la Russie. Alors que les Grecs et les Indo-Européens ont migré du plateau iranien vers l'Europe, et donc vers l'ouest, vers 15 000 avant notre ère, les Indo-Aryens ont migré à la même époque (dictée par la fin de la période glaciaire) vers l'est et le sous-continent indien. Gaudé fait revenir Médée, la princesse turkique de Géorgie, d'une Inde indo-aryenne mythique parlant des langues indo-aryennes, dont le sanskrit et l'hindi, une Inde indo-aryenne qui n'a rien à voir avec la culture turkique, ou très peu, et est en tout cas, bien plus tardive. Cette trahison de notre culture européenne et l'intégration de la mythologie géorgienne dans la mythologie grecque par la déification de Médée n'est donc absolument pas crédible anthropologiquement. Je le regrette car il y a une telle dimension anthropologique chez Médée que l'on ne peut que regretter que Laurent Gaudé passe à côté du char divin transportant Médée vers le soleil, une Médée qui revendique sa lignée solaire divine, lignée que la mythologie grecque lui accorde ou lui concède. Nous sommes au cœur de l'intégration d'une culture et d'un ensemble de langues démographiquement majoritaires (75 %) dans une culture et des langues qui arrivent à peine et ne représentent démographiquement que 25 %. Médée est un élément fondamental de cette intégration colonisatrice de l'Europe turkique. Ensuite, la culture intègre le héros indo-européen, le tueur de dragon armé d'une épée et, de manière encore plus obscure, le vampirisme. Ces héritages venus d'Asie ont été développés par les Indo-Iraniens entre 54 000 et 15 000 ans avant notre ère, sur le plateau iranien et un peu plus au Moyen-Orient, où trois systèmes d'écriture se croisent et se mélangent : le cunéiforme sumérien, le non alphabétique et non syllabique, égyptien hiéroglyphique, et le phénicien alphabétique sémitique à une seule voyelle, la semi-consonne initiale /a-/ (voir Adam, A.D.M.). Mais qu'explore donc Laurent Gaudé, qui, je le répète, n'a rien à voir avec la véritable anthropologie de la mythologie grecque ou européenne ? Il explore l'horreur du crime de Médée, qui vient extraire ses deux fils de leur tombe grecque pour les brûler sur le bûcher de la tradition hindoue, puis les relâcher dans le Gange afin qu'ils se perdent dans une sorte de renaissance surnaturelle. L'union finale avec Persée est assez amusante. Dans la mythologie grecque, Persée est le fondateur légendaire de la dynastie des Perséides. Il était, avec Cadmos et Bellérophon, le plus grand héros grec et tueur de monstres avant l'époque d'Héraclès. Il décapita la Gorgone Méduse pour Polydectès et sauva Andromède du monstre marin Cétus (facile allusion à Jonas et son autre baleine, Jonas-Jason même combat). Son fils aîné (sur sept, bien sûr, et il a deux héros homonymes à ne pas confondre), Persès, sera l'ancêtre des Perses, et donc le fondateur de l'Empire perse. Bien que Médée et Persée puissent être considérés comme mythologiques, l'Empire perse se situe des milliers d'années plus tard. Pourtant, la référence devient comme le plongeoir pour atteindre le Gange, d'où un lien ténu. Amusant en effet, et probablement collatéral à cause de la Gorgone Méduse, puisque la Perse est lointaine, même si le persan, connu sous le nom de farsi, est la langue de l'Iran et d'une bonne partie des musulmans chiites d'Irak. Certains diront que Médée est poignante. Je dirais plutôt qu'elle est pathétique. Il ne reste plus qu'à Jack l'Éventreur de se trouver un retour d'un empire aztèque quelconque pour que ses éventrations deviennent des actes de préméditation divine, ou de divination préméditée pour faire un peu païen. Médée est devenue un nom commun, comme Tartuffe ou Harpagon, Roméo ou Juliette, précisément parce qu'ils ne peuvent retourner sur les lieux de leurs crimes, qui deviennent alors des concepts que des imitateurs naïfs peuvent se permettre de répéter comme des lapsus, apparentés à un freudisme un peu facile. Je regrette que toute la littérature sur Médée, en tant que personnage littéraire, notamment celle des Noirs américains, ne fasse même pas l’objet d’une note de bas de page. Et la Médée noire à laquelle je pense a une dimension différente de cette Médée-Kali qui libère les corps de ses enfants, qu'elle a tués, de leur tombe grecque. Cela n'a rien à voir avec la libération de l'esclavage par une mère esclave noire refusant l'esclavage pour ses enfants. Plutôt la mort pour eux, plutôt qu'ils soient tués par la main aimante de leur mère, que de vivre en esclavage (The Margaret Garner Story, https://omekas.bcplhistory.org/s/bord...). Ou la note nécrologique du New York Times, https://www.nytimes.com/interactive/2.... Laurent Gaudé devrait consulter mon étude personnelle sur Médée : « Des lacs d’amour aux nœuds coulants : Médée aux prises avec l’histoire », dans Théâtres du Monde (https://www.theatresdumonde.com/) n° 22 (Mythes et croyances au théâtre, 472 pages), Université d’Avignon, Association pour la Recherche Internationale sur les Arts du Spectacle, Avignon, 2012, pp. 67-104. Or, Avignon est très proche d’Actes Sud à Arles. Des échanges sembleraient nécessaires. Dr Jacques COULARDEAU ENGLISH VERSION MOTHER MONSTER WOMAN Who hasn't encountered Medea in their life, whether it be at school, and therefore in mythology, or even in social life in general, and therefore in the sociology of romanticized deviance, for which Thanatos is the true god of love, for which to love is to kill, for which love is death by suffocation. Yet if you want to escape this death with love, through love, for love, all you have to do is liquidate in blood, with a knife as is the current fashion, the one or those you love. Killing is proof of love. So, beyond the fact life is mortal, love is also mortal, as mortal as life. But why/for what do we live? Moreover, we all know that the best criminals always return to the scene of their crimes. Medea must therefore return to Greece, where she killed her two children. But if she returns, where does she return from? From her Georgian Colchis? Not for Laurent Gaudé. All descended Medea was from the Turkic culture that left Black Africa around 75,000 BCE to conquer Europe, the Caucasus, part of Asia Minor, and Central Asia, and to contend with the Neanderthals in Europe and the Denisovans in Central Asia, Gaudfé ignores these facts. These Turkic populations found themselves confined within this vast Eurasian region by the much older Semitic populations in Asia Minor and the Arabian Peninsula, and by the slightly less ancient populations who spoke the isolating languages of Asia, and which arrived in Asia a good 50,000 years before the Turkic populations. Though descended from the Turkic culture, Gaudé makes Medea return from the Ganges in India. Why not the Yang Tse Kiang or the Huang Ho? The Amazon might have been an even more interesting challenge. Gaudé thus misses the vertiginal point of Medea. As a Turkic princess, she betrays her lineage and offers the Golden Fleece to Jason. She represents the Turkic population that the Indo-Europeans encountered when they arrived in Europe 60,000 years after the Turkic populations. These Indo-Europeans represent only 25% of European DNA. Yet, the Turkic languages have virtually disappeared in Europe, except for Basque, Estonian, Finnish, Lappish Sami, and Hungarian (a special case), plus two or three isolates in northern Russia. While the Greeks and Indo-Europeans migrated from the Iranian plateau to Europe, and therefore to the west, around 15,000 BCE, the Indo-Aryans migrated around the same time (dictated by the end of the Ice Age) to the east and the Indian subcontinent. Gaudé makes Medea, the Turkic princess of Georgia, return from a mythical Indo-Aryan India speaking Indo-Aryan languages, including Sanskrit and Hindi, an Indo-Aryan India that has nothing to do with Turkic culture, or very little, and in any case, much later. This betrayal of our European culture and the integration of Georgian mythology into Greek mythology through the deification of Medea is therefore absolutely not credible anthropologically. I regret this because there is such an anthropological dimension in Medea that we can only regret that Laurent Gaudé misses the divine chariot carrying Medea towards the sun, a Medea who claims her divine solar lineage, a lineage that Greek mythology gives or grants her. We are at the heart of the integration of a culture and a set of languages that are demographically the majority (75%) into a culture and languages that are just arriving and demographically only represent 25%. Medea is a fundamental element of this colonizing integration of Turkic Europe. Then, the culture integrates the Indo-European hero, the dragon slayer with a sword, and in an even more obscure way, vampirism. These are legacies from Asia and they were developed by the Indo-Iranians between 54,000 and 15,000 years BCE on the Iranian Plateau and a little around in the Middle East where three writing systems intersect and mix: the non-alphabetic and non-syllabic cuneiform Sumerian, the hieroglyphic Egyptian and the Semitic alphabetic Phoenician with a single vowel, the initial semi-consonant /a-/, see Adam, A.D.M. But what is Laurent Gaudé exploring then, which, I repeat, has nothing to do with the true anthropology of Greek or European mythology? He explores the horror of Medea's crime, who comes to pull her two sons from their Greek tomb so that she can burn them on the pyre of the Hindu tradition and then release them into the Ganges so that they can lose themselves in a sort of supernatural rebirth. The final union with Perseus is quite amusing. In Greek mythology, Perseus is the legendary founder of the Perseid dynasty. He was, alongside Cadmus and Bellerophon, the greatest Greek hero and slayer of monsters before the days of Heracles. He beheaded the Gorgon Medusa for Polydectes and saved Andromeda from the sea monster Cetus. His eldest (out of seven, of course) son Perses will be the ancestor of the Persians, hence the founder of the Persian Empire. Though Medea and Perseus might be considered mythological, the Persian Empire is thousands of years later. Yet the reference becomes like the diving board to reach the Ganges, hence a loose connection. Amusing indeed, and probably collateral due to the Gorgon Medusa, since Persia is far away, even if Persian known as Farsi is the language of Iran and a good part of the Shiite Muslims in Iraq. Some would say Medea is poignant. I would rather say she is pathetic. All that remains is for Jack the Ripper to find himself a return from some Aztec empire or other for his disembowelments to become acts of divine premeditation. Medea has become a common name like Tartuffe or Harpagon, Romeo or Juliet, precisely because they cannot return to the scene of their crimes, which then become concepts that naive imitators can afford to repeat as slips of the tongue, akin to a rather facile Freudianism. I do regret that all the literature on Medea, as a literary character, particularly that found among Black Americans, is not even footnoted. And the Black Medea I'm thinking of has a different dimension than this Medea-Kali who frees the corpses of her children, whom she has killed, from their Greek tomb. It has nothing to do with the liberation from slavery by a Black slave mother refusing slavery for her children. Rather death for them, rather they be killed by the loving hand of their mother, than live in slavery (The Margaret Garner Story, https://omekas.bcplhistory.org/s/bord...). Or the obituary in the New York Times, at https://www.nytimes.com/interactive/2.... He should consult my personal study on Medea: "From Lakes of Love to Nooses: Medea Grappling with History," in Théâtres du Monde (https://www.theatresdumonde.com/) No. 22 (Myths and Beliefs in the Theater, 472 pages), University of Avignon, Association for International Research on the Performing Arts, Avignon, 2012, pp. 67-104. Yet Avignon is very close to Actes Sud in Arles. Some exchanges seem to be needed. Dr. Jacques COULARDEAU ...more |
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GRAFFITI, ÇA PROFITE, LA CHAUX VIVE, T2C GRAFFITÉ LAURENT MATHOUX – LES PETITS PRINCES DE LA CITÉ – REVOIR - 2025 Ce dernier – mais est-ce vraiment le dernier ? – roman de Laurent Mathoux met littéralement les petits plats dans les grands, ou vice versa GRAFFITI, ÇA PROFITE, LA CHAUX VIVE, T2C GRAFFITÉ LAURENT MATHOUX – LES PETITS PRINCES DE LA CITÉ – REVOIR - 2025 Ce dernier – mais est-ce vraiment le dernier ? – roman de Laurent Mathoux met littéralement les petits plats dans les grands, ou vice versa, j’entends les petits matous dans les grands, et qu’on m’entende bien, vous resterez galvanisés d’horreur et de dégoût quand le chat d’Abdul sera finalement pelé comme un lapin et cuit en sauce de survie pour ne pas mourir de fin à Gaza. C’est loin de Saint Jacques, même en louchant fort. Mais ils ne pourront pas s’en resservir une assiette car une bombe tombera dans le plat et il n’y aura pas un seul survivant, à Gaza. Et la bombe, elle venait d’où ? Mais du ciel mon frère. Elle était divine. Certes, mais de quel dieu ? Celui d’Isaac, le fils légitime bien que second de choix spermique d’Abraham, ou celui d’Ismaïl, le demi-frère d’Ismaïl, le « faux » fils d’Abraham et de l’esclave arabe de sa femme ? Je ne sais pas ce qu’il y a de plus horrible dans cette histoire : le chat anti-famine, l’école à Gaza servant de camp de repli pour le Hamas et pour les civils qui n’ont plus aucun choix, la bombe dans le chat en sauce, l’indifférence du monde à ces millions de gens qui meurent tous les jours – sans qu’on les compte plus – de faim dans le camp de concentration qu’est devenu Gaza bouclé et progressivement déconstruit et apuré de ses résidents palestiniens apeurés par les bombes et la réalisation – car il n’est jamais trop tard pour réaliser la vérité – que la vie est mortelle. Quoi qu’on en dise ou croie, ou ait pu en croire, car une fois la mort venue il est trop tard pour changer d’opinion. Le cri de ralliement contre Franco en son temps était « Viva la Muerte » mais à Gaza contre le Benjamin que vous savez le cri de ralliement avant de passer l’arme à gauche c’est « Mourons Tous d’Une Mort Affamée ». Je crois que cela s’écrivait en un autre temps Buchenwald où Ernst Thaelmann est mort en cellule à gauche de l’entrée célèbre, « Arbeit macht frei, » avant d’être brûlé dans un crématoire. J’y suis entré dans cette cellule deux fois. Certains me murmurent que de tels ghettos de mort ont eu nom Varsovie en un autre temps, le temps d’Auschwitz. Mais dans cette triade de cas on était resté, à la première lettre de l’alphabet, Adolf pour les intimes, sans jamais monter jusqu’à la lettre B pour Benjamin, de son patronyme "YHWH a donné", donc Benjamin Don-de-Dieu par patronyme sacré. Mais de quel dieu parlons-nous, Osiris-Isis-Horus, vous savez, la triade infernale du Louvre. Il est de mauvais présage de brandir leurs noms ou leur photo. Ce dernier roman a donc un goût de soufre et une odeur de mort-aux-rats. Je vous en promets un plaisir pervers et une jouissance exquise, comme une mort mentale qui vous emportera pour toujours dans les quartiers ruiniformes de Thiers, avec quelques escapades à Saint Jacques, mon saint patron divin, le frère de Jésus mort lapidé à Jérusalem par les prêtres du Temple, ah ! Saint Jacques où j’ai perdu ma prostate. Mais de bout en bout vous aurez le malheur pour vous et le bonheur pour plus tard ou jamais. Une bande de jeunes ados qui ont juste l’âge de consentir, sans qu’ils sachent à quoi que ce soit ou à quoi que ce pût ou aurait pu être, mais ça leur monte à la tête et les voilà-t-y pas – remarquez l’y grec auvergnat – qu’ils se voient comme Perrette au sommet de la gloire, court vêtus et leur besace de dope en garde sécure un peu plus loin, les rêves d’argent facile de la drogue. Et le livre est un vrai manuel universel de comment on met en place un réseau de distribution des vitamines psychédéliques à trois ronds et cinq euros. Que cela s’appelle un four – crématoire dur à cuire, selon Le Pen père – ou un charbonnage ou une carbonisation, ou encore une carbonite aiguë (qui risque de vous donner une charnelle bite en bois de fayard, notre hêtre local), car cela carbure avec des bébés de seize ans qui croient qu’ils sont invincibles et qu’ils peuvent tenir tête à tous les flics du monde, même les apôtres de l’expatriation expulsive que sont les agents fédéraux de l’U.S. Immigration and Customs Enforcement (ICE) qui vient prendre possession d’enfants immigrés illégaux, sans papiers, dans les écoles primaires américaines pour les expulser sans habeas corpus, sans défense et comparution devant un juge dans les 24 heures qui suivent. Mais très bientôt on pourra avoir une carte verte américaine et même un passeport américain si on accepte d’être la chair à canon américaine en Iran ou en Ukraine, les nouveaux épisodes après l’Irak et l’Afghanistan, en sens inverse d’ailleurs historiquement, car l’Afghanistan est venu en premier. Si vous voulez lancer une opération de distribution de bonbons à l’acide LSD dans un quartier passant de nos villes, comme le rond point Goldorak à Thiers ou la Place Saint Jean à Ambert, ou les stations Léon Blum ou La Chaux de Saint Jacques, lisez ce roman qui est typiquement un manuel du dealer de drogue pour les – comment dit-on d’ailleurs ? – les nuls, les cons, les bargeots, les malingres du cerveau ? Je ne sais plus vraiment. Le Mathoux fait dans le détail et sachez que la Gare Routière de Clermont Ferrand est la plaque tournante des dealers qui n’ont pas encore le droit d’acheter des capotes anglaises dans les pharmacies. Ne le leur dites pas, car ils ne savent pas encore ce que c’est que des capotes anglaises qui sont des French Letters en Angleterre et qui ne sont pour eux que des « préservatifs » qui sont comme un hybride de « préserver » et « natif », ou est-ce « pressentir » et « naïf ». Mais comme ces jeunes sont grossiers comme des dockers en rut, ils rejetteraient ces préservatifs car le plaisir, le vrai plaisir pour eux, est dans leurs commandements chrétiens comme « tendre l’autre jouir » puisque les hommes en ont deux et « De Profundis Dégoulirium Hormonalecum ». C’est du Latin mon frère, pas du Latin de messe mais du Latin de collège bien sûr. Mais si vous avez encore un peu d’empathie pour tous les ratés du monde quand vous atteindrez la page 221 vous pourrez vous demander si la kalachnikov était une arme d’assaut militaire ou bien un cure-dent un peu radical. Certains me disent que c’est aussi très efficace pour la constipation, juste avant que le tireur presse la gâchette. Alors celui qui sera mort dans quinze secondes relâche toutes ses bondes et ouvre tous ses robinets. On me dit que cela sent plutôt mauvais, la chiasse de la peur de mourir juste avant qu’on meure une bonne fois pour toutes. Mais je ne sens plus rien. J’ai perdu l’odorat cinq ans avant le COVID. Et n’y perdez pas la foi, s’il vous plait. Car toute l’empathie du monde est dans la foi, une autre connaissance savante du collège. « Il était une fois dans la ville de Foix un marchand de foie qui une fois n’est pas coutume décida, ma foi, de s’en remettre pour une fois qui ne saurait foirer à foison sans foisonnement car les fois sans foi finissent toujours en queue de foisson, oh ! pardon, en queue de poisson, et ça c’est vraiment la poisse toutes les foisses que cela se fouraille au foirail de la camelote embourbée dans l’impuissance frigide d’un castrat au raz de l’abdomen. » Il semble bien que ce soit la première chose qu’il ait perdu, notre Diego, avant la vie au profit de la mort apportée par la troisième balle dans le cœur. Ses bijoux de famille encore vierges avec la première balle dans son coït en bois de trique interrompu juste avant de produire sa liqueur sirupeuse d’orgeat. Mais ce sera pour une autre fois dans une autre vie car il vient juste de perdre ses amandes. Non je n’aime pas les matous, mais je dois dire que celui-ci devrait réinventer les soirées bachiques dans quelque estaminet d’un quelconque pays minier car il pourrait alors expectorer le langage imagé de notre jeunesse qui ne sait plus parler qu’en SMS. Mais non pas « short message service » plutôt « Suck Me Sucker », (de mon temps au Collège Moderne, Lycée Municipal de Bordeaux pour garçons, le tourmenteur moitié voyou moitié violeur aurait dit à sa victime dans les toilettes mal surveillées car il fallait bien que les garçons soient des garçons, « Suces-moi le jonc, Salope », et je me demande si ce violeur moitié voyou n’aurait pas dit « pédale »). je suis sûr que mon père pourrait gagner le grand prix national du langage ordurier car il n’avait que des mots rugueux et grossiers qui dégoulinaient de testostérone. Vous savez « De Profundis Dégoulirium Hormonalecum ». Je jouerais aisément le rôle de Satanas – ou est-ce Fantomas ? – et notre Mathoux local pourrait s’écrier « Rétrograde Satanas, si tu ne veux pas que ta trottinette électrique finisse en bouillabaisse, avec ou sans chabrol ». Et si vous n’avez pas complètement perdu le sens de l’humour noir et le plaisir des yeux, pas plus s’il vous plait, jetez vous à corps perdu et totalement dénudé dans les huit romans de notre chat persan de service. Oui, je sais, la Perse c’est aujourd’hui l’Iran qui parle le farsi, c’est à dire le persan, comme d’ailleurs la majorité de la population de l’Irak, ce que Bush, les deux présidents qui avaient le cerveau en broussailles, avaient oublié et ils avaient enseigné l'arabe à leurs sbires en uniformes, la langue de Saddam Hussein. G rand Dieu, leur a fait. Et ce n’est qu’un aurevoir, jusqu’au neuvième roman, mais NEUF-9 c’est l’apocalypse. Qu’est-ce que L’Mathoux, il va bien pouvoir nous y inventer. Bon été. Cette critique ne sera pas en anglais car il faudrait au moins une équipe de cinq traducteurs professionnels pour réussir à mettre en anglais ce galimatias sans fin ni commencement. Mais putain de merde, c’est bien là le plaisir, comme dirait mon père, la merde au cul la chemise y colle. Dr. Jacques COULARDEAU ...more |
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Except Roman roads, watermills they invented buit did not use, the death of Cleopatra by eleven snakes, the impossible situation in Palestione that sh
Except Roman roads, watermills they invented buit did not use, the death of Cleopatra by eleven snakes, the impossible situation in Palestione that should include Isreal. Aaaah!!! Totis Andronicus and Jerusalem and a certain Jewish princess that became a masterpiece of French theater with Racine.Ask the Gazaans about that hzeit
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he had given himself much to philosophy, in which he knew that the Romans have left us nothing that is valuable, except what is to be found in Seneca and Cicero.
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In 1503 he opposed in the House of Commons Henry VII.’s proposal for a subsidy on account of the marriage portion of his daughter Margaret; and he opposed with so much energy that the House refused to grant it. One went and told the king that a beardless boy had disappointed all his expectations. During the last years, therefore, of Henry VII. More was under the displeasure of the king, and had thoughts of leaving the country. Henry VII. died in April, 1509, when More’s age was a little over thirty.
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RACIAL RACIST MOLE-RATS This article will be a review of the book, and behind it, of the exhibition, and later on a full study of the emergence of slavery among Homo Sapiens communities around 15,000 BCE. I will discuss many of the assertions in the b RACIAL RACIST MOLE-RATS This article will be a review of the book, and behind it, of the exhibition, and later on a full study of the emergence of slavery among Homo Sapiens communities around 15,000 BCE. I will discuss many of the assertions in the book and, hence, be critical of many points. But that must not obliterate the main positive point of this book. It is essential to consider the problem of anti-Black racism in our modern world, meaning in the West, since imperialism is always present in Western thinking and communication. But that must not prevent us from seeing that two other types of racism exist on this planet: anti-Islam, anti-Jewish, and anti-Israeli racism. The last two forms are often identified as anti-Semitism, which is wrong since all Muslim populations in Northern Africa (Maghreb Libya, Egypt, and others), all the populations of the Arabian Peninsula, and some populations in the Middle East, all of them that speak Semitic languages are Semites by genes, culture, and languages that became Muslim long after their settling where they are today. The settling happened between 200,000 and 150,000 BCE from Black Africa, with a possible first movement, as proved by archaeological artifacts from the Atlas Mountains in Morocco dated as far back as 300,000 BCE. It is fundamental to try to understand where this/these racism/s come/s from. Then we have to open the big book that considers racial slavery, racial discrimination, and racial apartheid. On the one hand, they all exist, first of all, in Western countries, and on the other hand, it is also essential to consider colonialism, this European project that emerged in the 15th century which was targeting all continents except Europe, of course, since Europe could not be colonized by itself. Note this project was widely prepared, though this colonialization failed, by the crusades against the Muslim population in Anatolia, the Middle East, and Egypt. By pretending they wanted to defend or reconquer the Holy Christian sites in the Middle East, the Europeans justified their violent conquest of Anatolia, the Middle East, and Egypt. The First Crusade (1995-1999) was preached by Pope Urban II in Clermont-Ferrand (at the time only Clermont, Auvergne’s religious capital) in 1095. The authors are right to consider that the two European enterprises (trans-Atlantic slavery and colonialism) are connected and, indeed, are of the same nature. Slavery in the New World, in the Americas, was only the importing of Black Africans to work in the plantations of the European colonies there, particularly due to the enormous collapse of the local Indian population with smallpox epidemics, among other diseases brought from Europe. It is the colonization of America and nothing else by white Europeans, using imported Black slaves forcefully transported there. They exterminated more than half the population (some even say that it may have concerned 95% of the native population in some areas). One of the weapons used to do this was the importation of European diseases like mumps, measles, and smallpox unknown in the Americas before the arrival of the Europeans. It probably was accidental at first. But it became a tactic very fast. The colonizers (the Conquistadors) sent some European pioneers, and some “peaceful” missionaries, who carried the diseases naturally in order to weaken the concerned population with them. If we do not take this into account, we cannot understand the racist culture of the Americas, and first of all, of the USA, and, of course, Europe. This first enterprise implied the transportation of millions of people captured in Black Africa to the Americas. We will have to compare the slavery of the Catholic countries, mainly France and Spain-Portugal, to the slavery of the Protestant countries, mainly in the USA and the English-speaking provinces of Canada, hence mostly England, Great Britain, and the United Kingdom, to which we can add Ireland. It is fascinating to make this comparison and to discover how different slavery can be in North America as compared to South and Mesoamerica. This is not entirely and clearly explained in the book. But fundamentally, the book has it right when it considers that racial slavery is always nothing but racial slavery, no matter what gravy is used in the North, the South, or the Middle. The second enterprise is colonialism, mostly of course in the Americas, and then in Africa, and the attempt to do the same in Asia, despite it being a lot more complicated, if not difficult, because of the massive population there and the highly literate written civilizations on this continent, mainly Buddhism and Hinduism and their culture and writing system based on Sanskrit, and of course the Chinese and the Japanese Empires. The cost of the transportation of the slaves across the Atlantic was saved with colonialism, though the result for the Black Africans was the same: this time slavery for the Africans on their own land, of which they had been dispossessed first. The conditions of this stationary slavery in Africa or Asia were in no way easier or less brutal than those in the Americas, but it was a lot cheaper. To keep these stationary slaves working obediently, it only took some light brigades of European soldiers, or legionnaires, to be sent there with only one command: "Shoot and kill as many of these black monsters!" If you do not believe it, just read Joseph Conrad's book Heart of Darkness. SIDE REVIEW, JOSEPH CONRAD – HEART OF DARKNESS – 1899 The times were going to change from the 19th to the 20th century. Europe, as a whole, was engaged in a vast race and/or competition towards Africa and Asia to colonize these continents. Colonization is a crime against humanity and to be made possible, I mean for human beings to be made to accept such a crime they commit against Black Africans, you need to summon the deepest and the darkest frustrations, violent impulses, phantasms of glory, domination, power and – the element Conrad neglects in his good Polish Catholicism – sexual perversion you can find embedded in the deepest layers of the human instincts and impulses, certainly not the mind. And all that is contained in the simple concept of Darkness, this satanization and diabolization of the color of the people there, Black Africans. To conquer them you have to see them as brutes, monsters, animals, of course, cannibals, and even just plain devils who go around naked because that's the only thing they want, they need: to submit you, to rape you, to eat you, and then to throw your bones in the river. And those white Europeans are nothing but pigs, aren't they? On the other hand, these black creatures are just good enough to be fodder for crocodiles and other big beasts in the river or the forest. Everything, every detail, every moment in the story is the revelation of the darkness of the heart of the colonizing people, the author calls the pilgrims, and their darkness of heart is entirely justified by the fact that the people here are dark. They even turn it around. Kurtz, at the end, just before dying, uttered his seventh word that some Christ dying on some cross would utter on what this continent is all about: "The Horror! The Horror!" Thus, the horror of the heart of the colonizer becomes the horror in the repulsive, perverse devils that are inhabiting the black skins of these dark beings. The whole book is about this reversal that leads Marlow to total and final perdition. All European nationalities are mixed, and mixed up in this plundering mission, this vastest and most systematic plundering of one branch of humanity by another. The French, the English, the Germans, the Russians, and a few more are all in one steamboat. It is leaking like hell and floating like a cork, on a very dark ocean in the middle of a moonless very black night. Their sole objective is to get as much ivory out of this continent in exchange for trinkets and beads, insignificant, small items worth nothing. The Europeans are looting the continent for a precious material, and paying for it with what we would give children to play with on a Sunday afternoon. Kurtz is the particular pilgrim who decided to invest himself in this black magic culture of Africa, and he demonstrated that this policy is dangerous for the whites, but never does he ask if this policy is good for black Africa. He never asks what could be good for black Africa. So, the steamboat goes up the Congo River, picks up a load of ivory, and gives away some beads and some very cheap fabric, and then it comes back as fast as it can. Most of the sailors on this steamboat are black. They are paid in currency, but they must provide their own food. That means they come with some hippo meat that rots in a couple of days, and then they don't seem to have much to eat if they do not catch a fish, from time to time. They don't seem to have grocery stores on the banks of this river. But that is the surface of the story and the end of it. It is, in fact, the central argument since this story is what Marlow tells his English audience in a private meeting about his experience in Africa. The end of this story leads to a metaphorical meaning, maybe even an allegorical hyperbole. This story, this "adventure," is a way to reveal the mind, the heart, the empathy, or lack of them, in the Europeans who may decide to take the next ship to go there. Kurtz's girlfriend is just the perfect representative of these narrow-minded, racist bigots. She wants to be recognized as Kurtz's girlfriend and, as such, get some of his reputation, though she did not go to Africa. Too dangerous, baby, too perilous. But Marlow is led to maybe his first lie in this story when he pretends Kurtz's last word, when he was dying, was her name. Kurtz did not call for her, but he called for us to realize that this colonial mission is against nature, and his last words were "The Horror! The Horror!" But the horror we are speaking of here is the horror in the European minds, hearts, and souls. Europeans are governed and managed by the horror that is deeply embedded in their flesh. They are all voyeurs and want this horror to be shown to them graphically. They are all predators, and they want to take part in this pounding on these black Africans whom you can just torture, kill, behead, and do so many other things to, for your pleasure, that you call security, and even state or company security. And there is no age limit to that. Imagine what you could do to a young boy or a young girl with the benediction of your state or your company. Indeed, this novella is a revealing dive into the darkest layers of European hearts, minds, and souls, where the darkness finds its real heart-deep roots, not in Africa. There is no love, nor hatred, just fear or submission to survival. There is no escape or forgetting. It is survival with the recollection and memory of the horror we have met and committed there forever, till we die, and even beyond our death, it will haunt our posthumous reputation. And the worst part is that the most rotten and crooked characters will be seen as saints, prophets, and heroes in our European colonial countries. It was a time when we were having exhibitions on our colonial empires and the way we treated the natives, who were so barbaric, and even cannibalistic when they had the occasion. We just brought slavery, colonialism, and exploitation, on the one hand, and a little bit of education, especially religious education, the gory crucifixion, and other Roman tortures imposed on the Christians for three centuries, on the other hand. Which side is more important? And that lasted till very recently when crowds, if not mobs, required, requested, and demanded the statues and names of all the Pierre Savorgnan de Brazza’s and all the David Livingstone’s, all the Christopher Columbus’s and all the Fernão de Magalhães’s to be taken down, from our public squares and the frontispieces of our schools, airports, hospitals, and so many other institutions. "The Times They Are A-changin," as Bob Dylan used to sing. It is high time the Blacks in the world take their own lives into their own hands under their sole responsibility and assess and expose the hypocrisy and cynicism of all these God-fearing God-believers in the West. The book and the exhibition are welcome, and it should be a compulsory visit and study topic for all students as soon they reach the age of puberty to turn these Western students into courageous males or powerful females, both able to stand up and speak up against any form of racial discrimination - and in the same movement, against any form of segregation and discrimination. This book should become the Sacred Book of all schools in the West for the descendants of the slave owners, slave traders, and slave dealers to make amends and finally reject any form of racism, racial exploitation, and racial bias. I heartfully agree with the book's authors: the road will be long, perilous, and dangerous, but the stakes are justice, fairness, and simple sanity. Dr. Jacques COULARDEAU ...more |
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MARC JONDOT, BROWN, BISTER, AND WHITE Working on a single volume by this author is difficult because he pursues a narrative he sometimes began long ago in one or more previous volumes. Comic book serialization is the result of this phenomenon that reg MARC JONDOT, BROWN, BISTER, AND WHITE Working on a single volume by this author is difficult because he pursues a narrative he sometimes began long ago in one or more previous volumes. Comic book serialization is the result of this phenomenon that regroups a theme, sometimes a title, or even a story, over two or three volumes, sometimes more, when we go b ack to the serialization of a single character like Tintin, and many others, without serializing the story from one volume to the next. Moreover, then, the reading order is no longer the chronological order of publication or at least doesn't have to be. From the very cover, we have an essential element of this comic book. It is neither in black and white, nor in color, but I would say that it is in bister and white, and it therefore plays on the entire range of bister hues and shades. It's a universe in ruins, and what hasn't yet fallen won't be long. We then make our eyes work as if they were driven by a Generative Artificial Intelligence discriminating patterns. We see an arrow pointing upwards in the center of the cover image, even if this arrow is also a little ruined and seems to be perhaps more or less light, probably solar, projected on a facade that makes this arrow appear. A pattern-extraction of, or a simple light-projection on these ruins? Besides the panthers and cats there, the three humanoids are also visible. One from her/his backside, nothing to say. The other two, from the front. The second, the most human of the three in appearance, has yet no mouth. Could it be mute? The third behind the second has a face that is perhaps humanoid but heavily deformed as if to appear like a skeleton with just skin covering the bone, and two eyes so large and entirely white that he resembles what could be a ghost or an individual from another planet, from another universe. On the walls, engraved in the stones like Mayan glyphs, a few entoptic symbols are visible, although we don't know what they mean. They are, of course, a glyphic writing system, perhaps not phonetic or phonological, but certainly symbolic and probably conveying the ritual discourse of a rite of a spiritual or religious nature. In any case, they posit a society organized in the past that had a hierarchy of different roles, including masters of symbolic language dictating the glyphs and their composition, and therefore also their meaning. If this world is in ruins, we will find the various beings we can imagine in these ruins: a few almost human-like humanoids, but without mouths. Will they speak? Then sprites, specters that will attempt to haunt the living. Possibly a few superior creatures with magical powers that dominate everything and direct the hunt after living humans. A sort of living dead triage-agents of the dead. So, we are in hell. We begin on "earth," if that's Earth, with Arthur in a library in a medieval castle, and his friend Reaper, like the Grim Reaper with his sharp scythe, evoking an aunt we find or must find, an uncle we can only lose, and a fleeting image of a woman's face that echoes a certain Jeanne. Arthur is a mouthless humanoid, as if wearing an invisible COVID-19 mask, and his friend, Reaper, is a humanoid with a skeletal head and large white eyes. This Reaper has just found a map of what he calls the passages, and since we are well-educated, we know that these can only be the passages between the various cosmic levels of this universe, layered or at least connected, like the levels of Dante's Inferno. So, they set out in search of their uncle, Jeanne, and what would be identified as a boat, the Amertume. To do this, they must descend into the Thar, a stony desert, the place where the damned wait to before being carried to the lower level by large flying creatures, the psychopomps of hell, like flocks of sparrows used by Stephen King in some novels, The Dark Half for example. In this transitory Thar, they meet people and begin their search with their map, which indicates that they must find Master Hassan, who should know the "entrance gates" of hell where their uncle must be. Along the way, they found a human hand with one of the entoptic signs already mentioned tattooed in the palm, which they consider should be the key to this hell, to these gates with fingerprints as a "password." I'll leave you there. It's your turn now. Along the way, they will discover that a human world of meritocratic justice has been replaced by a putschist justice where an Omnia Mater (Universal Mother) has taken power, just like the ethnologist who last night in my village's municipal library, in a debate on the family, gathered five other women around her to discuss the family in today's world. Even a few women in their audience pointed out that the father was absent from their discourse, which was identified as Western. Three notable absences: the Jewish family (mother dominant in religious affiliation), the Black African family (the mother’s brother has authority over her children), and the Muslim family (always seen as large and multigenerational), not to mention the various Asian Buddhist or Hindu families. And there are yet others in the mountains and plains of my Massif Central in France, not to mention Clermont Ferrand, a cosmopolitan city. If three participants had been men, we could have had a balanced discussion. The arrival of our characters in this putschist world triggered or corresponded to the programmed destruction, auto-destruction, or self-destruction of this world and the Omnia Mater, which went up in smoke or flames, in tatters, shreds, and rags either way, returning to the dust from which it had emerged. At this moment, they find Jeanne and must confront a band of guardians of the passage leading to the boat L'Amertume on the island where they find themselves again, the island of Om, from which they were ejected not so long ago, I imagine, in the previous volume. And oh, miracle! They board the boat, and the boat leaves the shore and the island, casting the infernal guardians behind. And it all ends with a final full-page panel featuring, in addition to a cat (the seventh day of the week), a superior triad of characters encountered along the way and an inferior triad with Arthur, Reaper, and Jeanne. Arthur has regained a semblance of a mouth. He can therefore speak, or he has left the therapeutic confinement and mask of Covid isolation. The Reaper is always the same, with his skeletal head, his two large, completely white eyes, and his typically British bowler hat. Jeanne, the only real woman in the story and therefore in this group of six characters presented as a Star of David, a triangular triad of God above pouring divine light into the triangular human triad open upwards and receiving this divine light. It just shows that David never leaves us in our Judeo-Christian world. But this six-pointed star symbol must have been in the caves of Homo Sapiens as far back as 50,000 BCE, even before the first two verses of Genesis were written down no earlier than 3500 BCE, and even before they were thought of, recited, and ritualized as soon as language emerged around 300,000 BCE, because Homo Sapiens migrations began to follow the entoptic star beyond their village and continent from the moment they had the necessary scraps of communication to undertake such journeys. And since Homo Erectus left Africa and migrated all over Europe and Asia, one might wonder how they followed this entoptic star beyond their immediacy if they had no language to communicate with. Marc Jondot is thus like a self-postapocalyptic, Davidian, if not rabbinical, Saint John. And he leads us from ruin to ruin, from a medieval castle to a boat sailing on an immense ocean that probably leads nowhere, at least for the moment. Bon Voyage. Dr. Jacques COULARDEAU ...more |
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“I must create a system, or be enslaved by another man's. I will not reason and compare: my business is to create.”
― William Blake, Jerusalem: The Emanation of the Giant Albion
― William Blake, Jerusalem: The Emanation of the Giant Albion
“Feel what it's like to truly starve, and I guarantee that you'll forever think twice before wasting food.”
― Criss Jami, Killosophy
― Criss Jami, Killosophy
“Musical innovation is full of danger to the State, for when modes of music change, the fundamental laws of the State always change with them.”
― Plato, The Republic
― Plato, The Republic
“For love is a celestial harmony
Of likely hearts compos'd of stars' concent,
Which join together in sweet sympathy,
To work each other's joy and true content,
Which they have harbour'd since their first descent
Out of their heavenly bowers, where they did see
And know each other here belov'd to be.”
― Edmund Spenser, Fowre Hymnes
Of likely hearts compos'd of stars' concent,
Which join together in sweet sympathy,
To work each other's joy and true content,
Which they have harbour'd since their first descent
Out of their heavenly bowers, where they did see
And know each other here belov'd to be.”
― Edmund Spenser, Fowre Hymnes
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