It is one of the curious qualities of the lighthouse that while its raison d’être is to be visible, durable and stable in the most adverse conditions, it is often seen as a site of ambiguity and insecurity.
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To think of Shakespeare’s plays as safe havens for displaced textual agents from different traditions is to understate the underlying violence of the dislocations they display. But to say that the passage of these ideas is fraught and troubled, rather than apolitical, raises one of the abiding problems in Shakespeare studies: the instrumentalisation of real-world pain for a greedy project of relevance.
Kaminsky bought chemistry books from bouquinistes along the Seine and taught himself to make explosives. But when a man known as Penguin (aka Marc Hamon) recruited him for the Resistance, he wasn’t interested in his knowledge of explosives so much as his knowledge of dyes. The Resistance needed papers for passeurs at the border, for members parachuting in from the UK and for Jews at risk of deportation. Kaminsky proved remarkably resourceful and inventive.
Why would my students pay attention to my views on Brexit when I can’t even get them to stop using the word relatable? Teaching is an uncertain affair, full of humility-inducing failures and miscues. Students have their own ideas about what is worth knowing and retaining, not because they are a tribe apart, but because each of them is an adult – unbiddable, unpredictable and indecipherable. My students aren’t relatable, and neither am I.
We’re increasingly comfortable with the idea of a book in virtual rather than physical form, but what happens when the content disappears too? Inevitably, we’re left looking at the frame around it. The point about the invisible book is that it suddenly makes other things visible.
Namwali Serpell’s aesthetic preference is to break a pattern almost before she has established it, to load, aim and cock a symbol but not pull the trigger. In The Furrows, the nexus between disaster, truth-telling and not being believed, though hinted at strongly, doesn’t manifest itself.
In our own time, Grosz’s great theme – the domestic horror show of bourgeoisie – seems to have vanished as a subject, or perhaps it’s just got better at camouflage. But once you’ve seen Grosz’s types, they start popping up everywhere. Perry Anderson described Trump’s entourage of bankers, businessmen and generals as ‘a cabinet out of George Grosz’.
If you can carve your own path to the grave these days, it is because grand narratives have crumbled and can no longer constrain you. Journeys are no longer communal but self-tailored, more like hitchhiking than a coach tour. They are no longer mass products but for the most part embarked on alone. The world has ceased to be story-shaped, which means that you can make your life up as you go along. You can own it, just as you can own a boutique.
Centimetre RulerI wanted to stop getting high but you know what they say no sobrietyin the first year of a big life change I think I’m recalling that right I think I...
Cezanne’s private puzzling – just how should masses of lemon and lead white converse? – slips into provocative teasing. No, that plate on the right could hardly have perched in that way on a three-dimensional kitchen table, and yes, the fruit on it perform a balancing act that seems outright miraculous. But painters have always reserved the right to collage their observations, and Cezanne did so with particular vehemence.
Wolf composed around three hundred Lieder, together with mostly minor orchestral works, the most significant being the Italienische Serenade (1892), several worthy choral works, and the opera Der Corregidor (1895). The musicologist Lawrence Kramer has compared him to Chopin, whose output was similarly dominated by a single medium. But Chopin’s piano music is a staple of the repertoire whereas Wolf’s songs, as Kramer points out, ‘are more often praised than sung’.
Federal regulators want to put new limits on late fees.
In today's BCTV Daily Dispatch: Doctor Who, James Gunn/Superman/Harley Quinn, Wonder Man, The Blacklist, SNL, AEW, Frasier, and lots more!
25 years of opposition to the historic peace deal by the DUP is paying off
Wagner Crimes: How the UK can Take the Lead on Stopping Putin’s Mercenaries
Mexico is not only dangerously dependent on US growers for its most important staple crop; it is growing more and more dependent each and every year. Mexico's government wants to reverse this dynamic, but the US has other ideas.
Sian Norris speaks to campaigners to learn more about a 20-year fight for justice for rape victims in Bolivia
55 journalists have been killed and hundreds more injured or detained by Israel since 2000. Yet for many Palestinian, the physical harm they face pales in comparison to the constant delegitimization of their work by in the media.
The post Palestinians Are Not Liars: Confronting the Violence of Media Delegitimization appeared first on scheerpost.com.
Matt Taibbi joins CN Live! to discuss the implications of his Twitter Files revelations, including his latest on Hamilton 68 and its fatal blow to the Russiagate narrative. With Chris Hedges and John Kiriakou. Watch the replay.
The post Watch: Twitter Files & the Death of Russiagate appeared first on scheerpost.com.
Can Oppressed People Ever Truly Be Free In America?
The post ‘Freedom’ appeared first on scheerpost.com.
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- by Joe Stadolnik