Sunday, July 27, 2014

D'apres Adam Mickiewicz:Ciemno wszędzie, głucho wszędzie, Co to będzie, co to będzie?

                                                          drawing by marguerita

The story of Adam and Eve is central to the belief that God created human beings to live in aParadise on Earth, although they fell away from that state and formed the present world full of suffering and injustice.
 It provides the basis for the belief that humanity is in essence a single family, with everyone descended from a single pair of original ancestors.
It also provides much of the scriptural basis for the doctrines of the Fall of man and Original Sin, important beliefs in Christianity, although not generally shared by Judaism or Islam.

“When you have a crisis where a major power has a national interest involved they will try to block interference by the Security Council,” said Gérard Araud, the French ambassador to the United Nations, who finished his term here on Friday. “The U.N.,” he said, ends up being “in charge of crises that are of no interest to anybody.”

One of the most mysterious, as well as the most famous, quotations from Polish literature comes from the Romantic epic poem by Adam Mickiewicz. We invite you to delve into the secret of the number 40 and 4, and discover the Jewish roots of Poland’s most legendary soothsayer.
And the question remains - who is the Messiah?
The drama comprises four parts, the first of which was never finished. Part III joins historiosophical and individual visions of pain and annexation, especially under the 18th-century partitions of Poland.

Thursday, July 24, 2014


                                                           drawing by marguerita

The first resolution that has to be achieved is a joint agreement on the fact that there is no military solution.
 Only then can one begin discussing the question of justice for the Palestinians, which is long overdue, and of security for Israel, which it rightfully requires. Palestinians feel that they need to receive a just solution.

And this applies everywhere on OUR? EARTH.

IT is fundamentally one for justice and for the rights given to every people on Earth: autonomy, self-determination, liberty, and all that comes with it. 
 Israelis need an acknowledgement of their  right to live on the same piece of land.

 The division of the land can only come after both sides have not only accepted but understood that we can live together side by side, most definitely not back to back.

At the very heart of the much-needed rapprochement is the need for a mutual feeling of empathy, or compassion. In my opinion, compassion is not merely a sentiment that results from a psychological understanding of a person’s need, but it is a moral obligation. Only through trying to understand the other side’s plight can we take a step towards each other. As Schopenhauer put it: “Nothing will bring us back to the path of justice so readily as the mental picture of the trouble, grief and lamentation of the loser.” In this conflict, we are all losers. We can only overcome this sad state if we finally begin to accept the other side’s suffering and their rights. Only from this understanding can we attempt to build a future together.

A CALL : A call to cooperate not to clash

drawing collage by marguerita
The world needs to move away from “zero sum thinking” and focus on cooperation in order to meet the challenges of this new century.

“If you look around the world, wherever there are diverse networks of people whose primary objective is to get something done, goods things are going to happen.”

He also acknowledged that “millions of people” die from lack of access to medication and discussed how much of his work post-presidency involved fundraising.

“Are we going to share the future? Or are we going to fight for it? Our goal should be to find a way to bridge the divide.”

“Are we going to share the future or are we going to fight over it? Is what we have in common more important than our histories or differences?”

“We are living in the most interconnected period in human history, but all that means is that we’re bumping up against one another, around the corner and around the world.
“What we do affects other people and what they do affects us, and divorce is not an option.”
from Royce Kurmelovs  Guardian

Tuesday, July 22, 2014

New Daily Blood Times: Where are we going?

                              drawing/collage by marguerita

"She was a kind, happy young woman full of ideas about the future,”
“He was a person who knew no barriers,”
“We will stay in a villa with a private pool with rose petals floating in it,”  “We won’t leave before all those petals have withered away.”
“Throughout my (professional) life, I hope to contribute to making the world a better place to live, work and love,”

 The day before she boarded the flight, she had called the school principal to talk about her trip, which included a visit to Paris to visit the St. Francis Xavier Church where St. Madeleine Sophie Barat, the founder of the Society of the Sacred Heart, is buried. It was a "very special moment”  who was a sister of the Sacred Heart, the principal, said. "She was in a good space.

"He loved the outdoors and he loved beaches.” On his LinkedIn page, e was passionate about "the science of living things, always questioning."

OUR World today?

         drawing /collage by marguerita

Thursday, May 1, 2014

Of Feelings,Bellow,To emit a hollow,loud,animal cry, as a bull or cow.2 to roar;bawl bellowing with rage.verb used with....

                                                                      drawing  by marguerita

Anyways: Saul Bellow,the writer once put it: Oppressed people tend to be witty....

Wednesday, March 26, 2014

Formicheval,variation on Lady Chatterley'Lover

                                 drawing by marguerita  
Lady Chatterley's Lover begins by introducing Connie Reid, the female protagonist of the novel. She was raised as a cultured bohemian of the upper-middle class, and was introduced to love affairs--intellectual and sexual liaisons--as a teenager. In 1917, at 23, she marries Clifford Chatterley, the scion of an aristocratic line. After a month's honeymoon, he is sent to war, and returns paralyzed from the waist down, impotent.

After the war, Clifford becomes a successful writer, and many intellectuals flock to the Chatterley mansion, Wragby. Connie feels isolated; the vaunted intellectuals prove empty and bloodless, and she resorts to a brief and dissatisfying affair with a visiting playwright, Michaelis. Connie longs for real human contact, and falls into despair, as all men seem scared of true feelings and true passion. There is a growing distance between Connie and Clifford, who has retreated into the meaningless pursuit of success in his writing and in his obsession with coal-mining, and towards whom Connie feels a deep physical aversion. A nurse, Mrs. Bolton, is hired to take care of the handicapped Clifford so that Connie can be more independent, and Clifford falls into a deep dependence on the nurse, his manhood fading into an infantile reliance.
Into the void of Connie's life comes Oliver Mellors, the gamekeeper on Clifford's estate, newly returned from serving in the army. Mellors is aloof and derisive, and yet Connie feels curiously drawn to him by his innate nobility and grace, his purposeful isolation, his undercurrents of natural sensuality. After several chance meetings in which Mellors keeps her at arm's length, reminding her of the class distance between them, they meet by chance at a hut in the forest, where they have sex. This happens on several occasions, but still Connie feels a distance between them, remaining profoundly separate from him despite their physical closeness.
One day, Connie and Mellors meet by coincidence in the woods, and they have sex on the forest floor. This time, they experience simultaneous orgasms. This is a revelatory and profoundly moving experience for Connie; she begins to adore Mellors, feeling that they have connected on some deep sensual level. She is proud to believe that she is pregnant with Mellors' child: he is a real, "living" man, as opposed to the emotionally-dead intellectuals and the dehumanized industrial workers. They grow progressively closer, connecting on a primordial physical level, as woman and man rather than as two minds or intellects.
Connie goes away to Venice for a vacation. While she is gone, Mellors' old wife returns, causing a scandal. Connie returns to find that Mellors has been fired as a result of the negative rumors spread about him by his resentful wife, against whom he has initiated divorce proceedings. Connie admits to Clifford that she is pregnant with Mellors' baby, but Clifford refuses to give her a divorce. The novel ends with Mellors working on a farm, waiting for his divorce, and Connie living with her sister, also waiting: the hope exists that, in the end, they will be together.from the Internet

Monday, March 17, 2014

To my friend Denise

collage by marguerita                    

Tuesday, March 4, 2014

FORMICANCAN, Yes Life is a Dance of sorts.......

                                 drawing by marguerita
The can-can (sometimes non-hyphenated as in the original French: cancan French pronunciation: ​[kɑ̃kɑ̃]) is a high-energy and physically demanding music hall dance, traditionally performed by a chorus line of female dancers who wear costumes with long skirts, petticoats, and black stockings. The main features of the dance are the lifting and manipulation of the skirts, with high kicking and suggestive, provocative body movements. The Infernal Galop from Jacques Offenbach's Orpheus in the Underworld is the tune most associated with the can-can.[1]
The cancan first appeared in the working-class ballrooms of Montparnasse inParis in around 1830. It was a more lively version of the galop, a dance in quick2/4 time, which often featured as the final figure in the quadrille.[2] The cancan was, therefore, originally a dance for couples, who indulged in high kicks and other gestures with arms and legs. It is thought that they were influenced by the antics of a popular entertainer of the 1820s, Charles Mazurier, who was well known for his acrobatic performances, which included the grand écart or jump splits—later a popular feature of the cancan.[citation needed] At this time, and throughout most of the 19th century in France, the dance was also known as thechahut. Both words are French, cancan meaning "tittle-tattle" or "scandal", hence a scandalous dance, while chahut meant "noise" or "uproar".[citation needed] The dance did cause something of a scandal, and for a while, there were attempts to repress it. Occasionally people dancing the cancan were arrested but it was never officially banned, as is sometimes claimed.[citation needed] Throughout the 1830s, it was often groups of men, particularly students, who caused the most outrage by dancing the cancan at public dance-halls.[citation needed]
As performers of the cancan became more skilled and adventurous, it gradually developed a parallel existence as entertainment, alongside the participatory form, although it was still very much a dance for individuals and not yet performed on stage by a chorus line.[citation needed] A few men became cancan stars in the 1840s to 1860s, and an all-male group known as the Quadrille des Clodoches performed the dance in London in 1870.[citation needed] But women performers were much more widely known in this period. They were mostly middle-ranking courtesans, and only semiprofessional entertainers—unlike the dancers of the 1890s, such as La Goulue and Jane Avril, who were highly paid for their appearances at the Moulin Rouge and elsewhere.[citation needed] The female dancers of theSecond Empire and the fin de siècle developed the various cancan moves that were later incorporated by the choreographer Pierre Sandrini in the spectacular "French Cancan", which he devised at the Moulin Rouge in the 1920s and presented at his own Bal Tabarin from 1928. This was a combination of the individual style of the Parisian dance-halls and the chorus-line style of British and American music halls (see below).[citation needed]from Wikipedia