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December 22 2011

December 11 2011

02mydafsoup-01
[...]

Erklärbar ist das nur, wenn die Mehrzahl von uns das Elternwort aus der Nachkriegszeit nicht aus den Ohren bekommt. "Andere wären froh drum!" Gemeint damit der Trost, wenn es das dritte Mal in der Woche gebrannte Mehlsuppe gab. Anderen geht es noch schlechter. Also halten wir uns an das Gegebene. Heimische. Vorhandene. Zufrieden sein. Nicht Maulen. Glauben....

Das heißt aber: Berechenbarkeit wird abgeschafft. Wir reihen uns ein in die Glaubensgemeinschaft der Starken, die zusammenhalten.

[...]

Frau Bismarck ...

[...]
In Brüssel ein Sieg? Ja - einer der Glaubensgemeinschaft über die Berechenbarkeit | trueten.de - 2011-12-11
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November 30 2011

02mydafsoup-01

October 01 2011

02mydafsoup-01

September 10 2011

Philosophie: Wir sind dreifach frei | Kultur | ZEIT ONLINE - 2011-08-20




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quotation added by oAnth

[...]

Für Honneth ist die entscheidende Wertvoraussetzung der Moderne die Freiheit in drei Bedeutungen: als gleiches Recht eines jeden Menschen auf bestimmte Grundrechte, als Anspruch auf das eigene autonome Urteil über moralische Normen und als »soziale Freiheit«. Letztere versteht er mit Hegel als »Anerkennung«. Das ist der Schlüsselbegriff für seine Kritik der Entwicklung moderner Gesellschaften: Jeder will sich im sozialen Handeln von den anderen bejaht, respektiert und in seinen Zielen gefördert erfahren. Diese Beziehung muss eine symmetrische sein, in der er die anderen ebenso fördert und »ergänzt« – alltäglich erfahrbar ist das vor allem in Freundschaft und Liebe. Marktbeziehungen und demokratische Politik folgen aber demselben Muster. Honneth nennt die soziale Freiheit daher auch »demokratische Sittlichkeit«. Von ihr aus müssen Moral und Recht vor allem als Bedingungen sozialer Freiheit verstanden werden. Das Recht als »negative Freiheit« zu verstehen, deren Bedeutung vor allem in der »Berechtigung zur temporären Verweigerung von lebensweltlichen Verpflichtungen« liegt, trifft aber allenfalls Teilaspekte des modernen Begriffs subjektiver Rechte.

[...]

Reposted fromnunatak nunatak

September 01 2011

02mydafsoup-01
Play fullscreen
Deutschlandlied-Ein Teil der deutschen Geschichte - YouTube
2 3

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// oAnth:

Sehr aufschlussreich hier, wie gesellschaftspolitisch entschärfend und retouchierend der Vormärz und die 1848-er dargestellt werden - so als würden sich die Burschenschaften aus heutiger Perspektive nahtlos in diese Tradition der deutschen politschen Romantik im Deutschen Bund einfügen; das gilt doch nur zum Teil (man lese Heinrich Heine und Ludwig Börne), und unter der verwendeten Bezeichnung "Patrioten" sämtliche politische Strömungen der damaligen Zeit subsummieren zu wollen, zeigt deutlich wessen geistiges Erbe im vorliegenden Falle die redaktionelle Feder geführt hat. M.E. wird hier ein Aspekt des Flurschadens sichtbar, den die Hofberichterstatter und Historiographen im Historikerstreit der 80-er-Jahre mit zu verantworten haben, ein Machwerk aus der Ära Kohl'scher Selbstgefälligkeit und das verbindende Glied zwischen Neoliberalismus und Neokonservatismus, das mediengerecht aufbereitet, eine passende Blaupause für das Geschichtsbild der authoritativ geprägten 51-zu-49-Prozent-Demokratien unserer Tage liefert: gezielte Ausblendung gesellschaftspolitisch revolutionären und im wörtlichen Sinne liberalen Gedankenguts.

Es ließe sich bei entsprechend wissenschaftlicher Redlichkeit und wohlgemerkt identischem Budget ein ungleich differenzierterer Weg nachzeichnen, den die Hayden'sche Hymne in der Geschichte Deutschlands und Österreichs genommen hat.
Reposted fromm68k m68k

August 15 2011

02mydafsoup-01
[...]


It was Pico who first made explicit the connection between displacement and the Humanist project. His touchstone was the phrase, “Man is his own Maker,” which appeared in his brief essay “Oration on the Dignity of Man,” written, it is now thought, while Pico was in prison. Pico imagines God as “the master-builder [who] by the laws of his secret wisdom fabricated this house, this world which we see.”2 But God, whom Pico calls the “Master Artisan,” then created mankind as a “work of indeterminate form.” Pico imagines God the Master Artisan speaking to Adam, his unfinished creation, as follows, “in conformity with thy free judgement, in whose hands I have placed thee, thou art confined by no bounds; and thou wilt fix limits of nature for thyself.”3 These words had the personal meaning to Pico that, as a displaced person, he would have to make up a life for himself.

Freedom, then, to do anything and to become anyone? Informality and spontaneity as the ends of life? Pico emphatically rejected this. Born indeterminate, he says, human beings have to find unity in their lives; a person must make him or herself coherent. In Renaissance Humanism, this quest meant uniting conflicting ancient ideals by bridging the Hellenic and the Christian mindset; in Pico’s own philosophy, it meant making the one and the many cohere, or as philosophers would put it today, discovering unity in the midst of difference. Spinoza, two centuries later, was grounded in just this Humanist project.

[...]

In Burckhardt’s own time, the nationalism nascent in the nineteenth century seemed to the historian to usher in the “age of brutal simplifiers,” nationalism denying the mixture of peoples and the multiple identities of individuals in each nation. The paradox appears because the nineteenth century was also the great age of industrial development, of productive technology. His paradox connected these two developments, technology and nationalism, with industrial technology tending to the complex and nationalism tending to the brutally simple.

If radios had existed in Burckhardt’s time, the stark us-against-them language on right-wing American talk shows would have served him to define “crude”; if Burckhardt could have web-surfed, he would have found similar evidence in blogs of all political persuasions all over the world. We could use another value-soaked word to understand what Burckhardt was getting at: society becomes more primitive, the more people see themselves categorically, in terms of fixed identities.

Whether social relations were once more complex is a question we should set aside; it is an exercise in nostalgia. We should refocus this paradox just as a proposition in itself; refocused, it suggests most simply that technical innovations run ahead of people’s ability to use the innovations well. This simple version has been true through the history of technology: human beings have invented new tools before they knew what to do with them. There is, though, a sharper version of the paradox: the first impulse in using a new tool is to simplify the social relations that existed before.

[...]



Several entries concerning Sennet's essay also with Pico della Mirandola's complete text "De Hominis Dignitate" in translations from Latin to English and Italian

http://www.brown.edu/Departments/Italian_Studies/pico/


via link compilation
http://www.pearltrees.com/02myprltr01/dignitate-02myitrenhum/id3233436

—   Humanism  by Richard Bennet | Institute for Advanced Studies In Culture: Publications - The Hedgehog Review - www.iasc-culture.org - Summer 2011

June 29 2011

Die ungefähre Frau



Georges Seurat, Eine Frau lehnt an einer Brüstung an der Seine (1881)

Die Wikipedia über den französischen Maler und - neben Paul Signac - wichtigsten Vertreter des Pointilismus, Georges Seurat (1859-1891).

(Gefunden bei Couleurs)

Reposted fromglaserei glaserei

RTFM: Hallo LulzSec, mal Bakunin lesen




Michail Alexandrowitsch Bakunin (1814–1876) war ein russischer Revolutionär und Anarchist. Er gilt als einer der einflussreichsten Denker der anarchistischen Bewegung und als deren erster Organisator.

.

(Gefunden bei i12bent)

Reposted fromglaserei glaserei

June 03 2011

02mydafsoup-01

Steve Bell on The Worship of

Bacchus by George Cruickshank


Steve Bell, The Guardian's cartoonist, takes a close look at George Cruickshank's masterpiece 'The Worship of Bacchus' 1860-2. The working is appearing in 'Rude Brittania' at Tate Britain 9 June – 5 September 2010
10.06.2010

April 17 2011

02mydafsoup-01
via

1892 portrait of August Strindberg by Edvard Munch in collection of Moderna Museet, Stockholm; (uncertain of original source for jpeg)

April 10 2011

02mydafsoup-01
Play fullscreen
Kathleen Ferrier & Bruno Walter - Kindertotenlieder 4
- Oft denk' ich, sie sind nur ausgegangen - rec ~1949

YouTube - permalink
yt-account: violinthief


Kathleen Ferrier & Bruno Walter - Kindertotenlieder 4 - Oft denk' ich

Oft denk' ich, sie sind nur ausgegangen!
Bald werden sie wieder nach Hause gelangen!
Der Tag ist schön! O sei nicht bang!
Sie machen nur einen weiten Gang!

Jawohl, sie sind nur ausgegangen
Und werden jetzt nach Hause gelangen!
O, sei nicht bang, der Tag is schön!
Sie machen nur den Gang zu jenen Höh'n!

Sie sind uns nur vorausgegangen
Und werden nicht wieder nach Hause verlangen!
Wir holen sie ein auf jenen Höh'n
Im Sonnenschein!
Der Tag is schön auf jenen Höh'n!
___________________________________________

Often I think that they have only stepped out -
and that soon they will reach home again!
The day is fair - O don't be afraid!
They are only taking a long walk.

Yes: they have only stepped out
and will now return home!
O don't be anxious - the day is fair!
They are only taking a walk to those hills.

They have simply gone on ahead:
they will not wish to return home.
We'll catch up to them on those hills
in the sunshine!
The day is fair on those hills

April 05 2011

02mydafsoup-01
Play fullscreen
Myra Hess plays Brahms Intermezzo opus 117 no. 1 (rec 1941)
   

YouTube - permalink
yt-account: pianopera


Johannes Brahms (1833-1897):

from Drei Intermezzi opus 117 (1892),
1. Andante moderato in E flat major.

Played by Myra Hess (recorded in 1941). She plays it with tenderness, expression, spirituality, purity and simplicity, but without eroticism, narcissism, mannerism or sentimentality.

"On a smaller and more intimate scale than the surrounding sets of Op. 116, Op. 118 and Op. 119, the composer described these pieces as "lullabies to my sorrows". Here we find Brahms at his most tender and introspective, with only one outburst (in the third Intermezzo) of the characteristic Brahmsian fieryness. The Intermezzi were inspired by a Scottish poem from Herder's Volkslieder, and bear this inscription:

Schlaf sanft mein Kind, schlaf sanft und Schön !
Mich dauert's sehr, dich weinen sehn.

(Sleep softly my child, sleep softly and well !
It hurts my heart to see you weeping.)"

Piano Society.

Painting by Berthe Morisot (1841-1895)



April 04 2011

02mydafsoup-01

Vier ernste Gesänge - Four Serious Songs, for voice & piano - Johannes Brahms, op. 121 | Information from Answers.com

   
On March 26, 1896, Brahms' lifelong friend and champion, Clara Schumann, suffered a stroke. Brahms, who considered Clara to be the "greatest wealth" in his life, was deeply shocked and forced to confront the fact that she might soon die. To cope, he immersed himself in work, completing the Vier ernste Gesänge (Four Serious Songs), Op. 121, by his birthday, May 7, 1896.

Brahms compiled the texts for the Vier ernste Gesänge from Martin Luther's translation of the Bible -- mostly passages from the apocryphon, Ecclesiastes. The four songs represent a progression of thought about, and reaction to, death, and by virtue of their subject hardly require the adjective, "serious." Appearing after a decade in which the composer wrote no original songs, these four songs are truly unique in Brahms' output: they show no trace of folksong influence, they are not in strophic form, and they occasionally adopt a harsh, dramatic quality that is quite beyond his other songs. Brahms refused to have them performed, suggesting that they were of great personal importance to him.

"Denn es gehet dem Menschen" (It is for a person [as it is for an animal]), from Ecclesiastes 3:19-22, focuses on the transience of life. The text notes that people, just like animals, must die. In D minor, Brahms' setting conveys this transience through changes in tempo, meter and texture. The song proceeds with a turning melody, never leaving D minor; a quiet shift to a 3/4 meter and Allegro tempo bring with it denser and more complex harmonies, climaxing with the appearance of a new texture and the question, "Who knows if the soul of a person rises upward?". "Ich wandte mich und sahe an alle" (I turned and looked upon everyone), sets Ecclesiastes 4:1-3. The opening notes, over a stumbling accompaniment, anticipate the beginning of the next song. This is the most recitative-like of the four songs.

The text for "O Tod, o Tod, wie bitter bist du" comes from Ecclesiastes 41:1-2; Brahms alters the opening text, "O Tod, wie bitter bist du" (O death, how bitter you are) to "O Tod, wie wohl tust du dem Dürftigen" (O death, how good you are to the poor) when it returns for the second time. A musical metamorphosis accompanies this textual one, reflecting a shift in attitude from the bleak to the reassuring. Death, although final, alleviates suffering. The fourth and final song, "Wenn ich mit Menschen- und mit Engelzungen redete" (If I speak with the tongues of humans of angels), is drawn from 1 Corinthians 13; it is both a paean to, and a eulogy for, love. ~ John Palmer, Rovi

March 11 2011

02mydafsoup-01

Contributed Photograph 1041

FRYER, ROBERT

AMPUTATION OF THIRD, FOURTH, AND FIFTH METACARPALS.

PVT

Company G

52nd

New York

VOLUNTEERS

Battle of HATCHER'S RUN, VA

25 MAR 1865

Dr RB BONTECOU,

HAREWOOD HOSPITAL, WASH. DC.

See also CP 459

BOUND IN AMM, VOL. 7. HISTORY ON VERSO.

CIVIL WAR, AMPUTATION

cp1041 | Flickr - Photo Sharing!
By otisarchives1 Otis Historical Archives Nat'l Museum of Health & Medicine
Reposted fromhenteaser henteaser

March 08 2011

6224 748b

historyfan:

An officer and non-commisioned officer of the 57th West Middlesex Regiment of Foot. 1855.

In the background can be seen a servent with a horse.

Taken by Roger Fenton.

-------------------------------------

Krimkrieg - Crimean War

Reposted fromjohnstaedler johnstaedler

March 07 2011

New book sheds new light on Lincoln's racial views

Source: AP (3-4-11)

Abraham Lincoln's Gettysburg Address has inspired Americans for generations, but consider his jarring remarks in 1862 to a White House audience of free blacks, urging them to leave the U.S. and settle in Central America.

Lincoln went on to say that free blacks who envisioned a permanent life in the United States were being "selfish" and he promoted Central America as an ideal location "especially because of the similarity of climate with your native land — thus being suited to your physical condition."

As the nation celebrates the 150th anniversary of Lincoln's first inauguration Friday, a new book by a researcher at George Mason University in Fairfax makes the case that Lincoln was even more committed to colonizing blacks than previously known. The book, "Colonization After Emancipation," is based in part on newly uncovered documents that authors Philip Magness and Sebastian Page found at the British National Archives outside London and in the U.S. National Archives....

Reposted fromsigalonhistory sigalonhistory
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