Σάββατο 18 Απριλίου 2009
Σάββατο 11 Απριλίου 2009
ΤΑ ΑΘΛΙΑ ΥΠΟΚΕΙΜΕΝΑ ΤΗΣ ΕΡΤ ΕΚΟΨΑΝ ΤΗΝ ΑΠΟΝΟΜΗ ΤΟΥ ΧΡΥΣΟΥ ΣΤΟΝ ΒΛΑΣΗ ΜΑΡΑ
ΤΑ ΑΘΛΙΑ ΥΠΟΚΕΙΜΕΝΑ ΤΗΣ ΕΡΤ ΕΚΟΨΑΝ ΤΗΝ ΑΠΟΝΟΜΗ ΤΟΥ ΧΡΥΣΟΥ ΣΤΟΝ ΒΛΑΣΗ ΜΑΡΑ
σημεία των καιρών
http://hakis-hakis.blogspot.com/2009/04/18-my-space-death-salvation.html
"Δεν έχω πλέον λόγο να συνεχίσω να ζώ. Δυστυχώς για εσάς, είμαι πολύ εγωιστής για να φύγω και να σας αφήσω να ζήσετε τις γαμημένες ζωές σας. Πριν πεθάνω θα σας στερήσω ότι πολυτιμότερο έχετε. Δεν έχω σεβασμό για την ανθρώπινη ζωή. Φτύνω κατάμουτρα στην «αξιοπρέπεια» και την «τιμή» σας και σε ότι έχετε ιερό. Έχω πάρει την απόφασή μου και δεν πρόκειται να κάνω πίσω. Οποιοσδήπωτε βρεθεί μπροστά μου το πρωί της 10ης Απριλίου 2009 γίνεται άμεσα στόχος - δεν θα υπάρξει καμία διάκριση στην ηλικία, το φύλο ή την καταγωγή εκείνων που θα δολοφονήσω, για εμένα είστε όλοι σκουπίδια. Θα σας σκοτώσω γιατί έτσι γουστάρω και θα φροντήσω να το ευχαριστηθώ όσο περισσότερο γίνεται. Για τους περισσότερους απο εσάς μπορεί να ακούγομαι παρανοϊκός, εγκληματίας ή δολοφόνος... Κάνετε λάθος, εσείς είστε τα νοητικώς στερημένα θρασύδειλα εγκληματικά καθάρματα που βρίζουν υπό την κάλυψη της ανωνυμίας, της ιδιότητας του καθηγητή ή των πολυάριθμων παρέων. Μέχρι στιγμής δεν έχω εισπράξει τίποτα άλλο παρά την απόρριψη και την ύβρη των γύρω μου. Σας τα επιστρέφω με την υπόσχεση να περάσετε τις τελευταίες στιγμές σας παρακαλώντας για την ελλεεινή και τρισάθλια ζωή σας - σύντομα θα δείτε πως είμαι άνθρωπος που τηρεί τις υποσχέσεις του... Δεν είμαι αναγκασμένος να δώσω περαιτέρω εξηγήσεις για τις πράξεις μου. Δεν έχω γνωρίσει παρά ένα άτομο που να αξίζει σαν άνθρωπος και με την οποία πίστευα πως είχα ερωτευτεί. Νιώθω πολύ άσχημα που με απέρριψε και ελπίζω πως με ότι κάνω την Παρασκευή θα αλλάξει γνώμη για μένα"
Παράφρων; μπορεί και να ήταν, αλλά σίγουρα όχι ο μόνος...
Παρασκευή 10 Απριλίου 2009
η αληθεια για τη μακεδονια
Editor, Archaeology Magazine
36-36 33rd Street
Long Island City, NY 11106
U.S.A.
Dear Sir,
I opened the January/February issue of Archaeology today and eagerly turned to “A Letter from Macedonia” only to discover that it was actually a letter from ancient Paionia – the land north of Mt. Barmous and Mt. Orbelos. Livy’s account of the creation of the Roman province of Macedonia (45.29.7 and 12) makes clear that the Paionians lived north of those mountains (which form today the geographically natural northern limits of Greece) and south of the Dardanians who were in today’s Kosovo. Strabo (7. frag 4) is even more succinct in saying that Paionia was north of Macedonia and the only connection from one to the other was (and is today) through the narrow gorge of the Axios (or Vardar) River. In other words, the land which is described by Matthew Brunwasser in his “Owning Alexander” was Paionia in antiquity.
While it is true that those people were subdued by Philip II, father of Alexander, in 359 B.C. (Diodorus Siculus 16.4.2), they were never Macedonians and never lived in Macedonia. Indeed, Demosthenes (Olynthian 1.23) tells us that they were “enslaved” by the Macedonian Philip and clearly, therefore, not Macedonians. Isokrates (5.23) makes the same point. Likewise, for example, the Egyptians who were subdued by Alexander may have been ruled by Macedonians, including the famous Cleopatra, but they were never Macedonians themselves, and Egypt was never called Macedonia (and so far as I can tell does not seek that name today).
Certainly, as Thucydides (2.99) tells us, the Macedonians had taken over “a narrow strip of Paionia extending along the Axios river from the interior to Pella and the sea”. One might therefore understand if the people in the modern republic centered at Skopje called themselves Paionians and claimed as theirs the land described by Thucydides.
But why, instead, would the modern people of ancient Paionia try to call themselves Macedonians and their land Macedonia? Mr. Brunwasser (p. 55) touches on the Greek claims “that it implies ambitions over Greek territory” and he notes that “the northern province of Greece is also called Macedonia.” Leaving aside the fact that the area of that northern province of modern Greece has been called Macedonia for more than 2,500 years (see, inter alios, Herodotus 5.17; 7.128, et alibi), more recent history shows that the Greek concerns are legitimate. For example, a map produced in Skopje in 1992 shows clearly the claim that Macedonia extends from there to Mt. Olympus in the south; that is, combining the ancient regions of Paionia and Macedonia into a single entity.
The same claim is explicit on a pseudo-bank note of the Republic of Macedonia which shows, as one of its monuments, the White Tower of Thessalonike, in Greece.
There are many more examples of calendars, Christmas cards, bumper-stickers, etc., that all make the same claim.
Further, Mr. Brunwasser has reported with approval (International Herald Tribune 10/1/08) the work of the “Macedonian Institute for Strategic Research 16:9”, the name of which refers “to Acts 16:9, a verse in the New Testament in which a Macedonian man appears to the Apostle Paul begging him: ‘Come over into Macedonia, and help us.’” But where did Paul go in Macedonia? Neapolis (Kavala), Philippi, Amphipolis, Apollonia, Thessaloniki, and Veroia (Acts 16:11-17:10) all of which are in the historic Macedonia, none in Paionia. What claim is being made by an Institute based in Skopje that names itself for a trip through what was Macedonia in antiquity and what is the northern province of Greece today?
I wonder what we would conclude if a certain large island off the southeast coast of the United States started to call itself Florida, and emblazoned its currency with images of Disney World and distributed maps showing the Greater Florida.
Certainly there was no doubt of the underlying point of “Macedonia” in the mind of U.S. Secretary of State Edward Stettinius on December 26, 1944, when he wrote:
“The Department [of State] has noted with considerable apprehension increasing propaganda rumors and semi-official statements in favor of an autonomous Macedonia, emanating principally from Bulgaria, but also from Yugoslav Partisan and other sources, with the implication that Greek territory would be included in the projected state. This government considers talk of Macedonian ”nation”, Macedonian “Fatherland”, or Macedonian “national consciousness” to be unjustified demagoguery representing no ethnic nor political reality, and sees in its present revival a possible cloak for aggressive intentions against Greece.”
[Source: U.S. State Department, Foreign Relations vol viii, Washington, D.C., Circular Airgram (868.014/26Dec1944)]
Mr. Brunwasser (a resident of Bulgaria), however, goes on to state, with apparent distain, that Greece claims “Alexander III of Macedon (Alexander the Great) . . . as Greek.”
This attitude mystifies me. What is there to “claim”? Alexander’s great-great-great grandfather, Alexander I, was certified as Greek at Olympia and, in the words of the father of history “I happen to know that [the forefathers of Alexander] are Greek” (Herodotus 5.22). Alexander’s father, Philip, won several equestrian victories at Olympia and Delphi (Plutarch, Alexander 4.9; Moralia 105A), the two most Hellenic of all the sanctuaries in ancient Greece where non-Greeks were not allowed to compete. If Philip was Greek, wasn’t his son also Greek?
When Euripides – who died and was buried in Macedonia (Thucydides apud Pal. Anth. 7.45; Pausanias 1.2.2; Diodorus Siculus 13.103) – wrote his play Archelaos in honor of the great-uncle of Alexander, did he write it in Slavic? When he wrote the Bacchai while at the court of Archelaos did he not write it in Greek even as it has survived to us? Or should we imagine that Euripides was a “Macedonian” who wrote in Slavic (at a date when that language is not attested) which was translated into Greek?
What was the language of instruction when Aristotle taught Alexander? What language was carried by Alexander with him on his expedition to the East? Why do we have ancient inscriptions in Greek in settlements established by Alexander as far away as Afghanistan, and none in Slavic? Why did Greek become the lingua franca in Alexander’s empire if he was actually a “Macedonian”? Why was the New Testament written in Greek rather than Slavic?
On page 57 of the so-called “Letter from Macedonia” there is a photograph of the author standing “before a bronze statue of Alexander the Great in the city of Prilep.”
The statue is patently modern, but the question is whether the real historic Alexander could have read the Slavic inscription beneath his feet. Given the known historic posterity of Slavic to Greek, the answer is obvious.
While Mr. Brunwasser’s reporting of the archaeological work in Paionia is welcome, his adoption and promotion of the modern political stance of its people about the use of the name Macedonia is not only unwelcome, it is a disservice to the readers of Archaeology who are, I imagine, interested in historic fact. But then, the decision to propagate this historical nonsense by Archaeology – a publication of the Archaeological Institute of America - is a disservice to its own reputation.
Let it be said once more: the region of ancient Paionia was a part of the Macedonian empire. So were Ephesos and Tyre and Palestine and Memphis and Babylon and Taxila and dozens more. They may thus have become “Macedonian” temporarily, but none was ever “Macedonia”.
Allow me to end this exegesis by making a suggestion to resolve the question of the modern use of the name “Macedonia.” Greece should annex Paionia – that is what Philip II did in 359 B.C. And that would appear to be acceptable to the modern residents of that area since they claim to be Greek by appropriating the name Macedonia and its most famous man. Then the modern people of this new Greek province could work on learning to speak and read and write Greek, hopefully even as well as Alexander did.
Sincerely,
Stephen G. Miller
Professor Emeritus,
University of California, Berk
Κυριακή 5 Απριλίου 2009
Άλαν Μουρ: η κορυφή των κόμικς
απο
http://www.guardian.co.uk/books/2009/mar/16/alan-moore-watchmen-lost-girls
Alan Moore: an extraordinary gentleman
As the world recovers from the onslaught of the Watchmen movie and its omnipresent marketing campaign, the spotlight has yet again come on to Alan Moore – its comic book creator, guru of the graphic novel and mystical man of mystery. And yet again, the spotlight has been desperately sweeping the stage only to find he hasn't turned up. He'd be easy to spot if he did – a giant of a man, always dressed in black, with formidable facial hair and large rings on every finger – but he's the archetypal reclusive writer.
Amid the chatter of debate on the merits or otherwise of Hollywood's rendition of what is generally agreed to be "the greatest comic-book story ever", Moore has maintained his usual dignified silence and stayed put in his hometown of Northampton. On the day I spoke to him, he had already turned down a profile in Time magazine and an interview with CNN, stating that he was busy preparing for a forthcoming benefit gig at the Frog and Fiddler, a local pub.
"I am aware of the immense power of absence," he says. "I'm not being completely disingenuous here. Of course I'm aware it doesn't hurt my reputation, but I'm not playing hard to get as some publicity ploy. I'm genuinely busy with stuff that is really important to me."
Nobody quite believes Moore when he says he doesn't care about the movies made of his work. For most writers of any shade, a big-budget Hollywood adaptation of their work is a form of validation, not to mention a pension fund, but Moore puts his money where his mouth is – or rather isn't. He has had his name removed from anything to do with the Watchmen movie. He's also demanded that his share of any profits from it go to Dave Gibbons, the original artist of the comic book (who has co-operated with the movie production). Assuming there are any profits, that is. Despite being expensively made and exhaustively hyped, the movie has not taken the box office by storm. It adheres to the comic with slavish reverence, transcribing whole chunks of dialogue verbatim, and using the pages as a storyboard for the expensive cinematography and production design. As a comic, Watchmen was a cultural event, "the moment comics grew up"; as a movie, it's a star-free, 18-certificate proposition with a labyrinthine plot, silly costumes and offputting levels of violence.
All of which only goes to prove Moore's long-held contention that it is impossible to make movies out of his work. "There is something about the quality of comics that makes things possible that you couldn't do in any other medium," he says, with just a hint of the exasperated schoolteacher. "Things that we did in Watchmen on paper could be frankly horrible or sensationalist or unpleasant if you were to interpret them literally through the medium of cinema. When it's just lines on paper, the reader is in control of the experience – it's a tableau vivant. And that gives it the necessary distance. It's not the same when you're being dragged through it at 24 frames per second."
Just as he distanced himself from other movies based on his works – V for Vendetta (a vigilante saga set in an Orwellian Britain), The League of Extraordinary Gentlemen (a superhero team of characters from Victorian literature), and From Hell (a Jack the Ripper story starring Johnny Depp), none of which achieved any significant commercial or creative success – Moore hasn't watched Watchmen. He feels, he says, "emotionally distanced" from it now, and doesn't even have a copy in the house. Nor is he attached to any of the other titles he no longer owns the rights to, which is most of them. In fact, he says he's pretty much done with comic books altogether.
Moore's career has been marked by disputes and fallings-out, largely due to issues of artistic integrity and perceived injustices. He rose to prominence in the early 1980s, when he was recruited by America's DC Comics (home of Superman and Batman), having established himself on British titles such as 2000AD and Warrior. He reinvigorated a minor DC title, Swamp Thing – a sort of sentient bog monster – with his now-familiar penchant for supernatural mysticism, psychedelic prose and adult characterisation. That led to Watchmen, and opened the floodgates for other British writers, such as Neil Gaiman and Grant Morrison, who largely operated in the "mature reader" territory Moore conquered. His relationship with DC deteriorated over issues such as rights and merchandising, however, and in 1999 he founded his own company, America's Best Comics (ABC), where he simultaneously wrote five titles, including League of Extraordinary Gentlemen. But a few years later, ABC's parent company, Wildstorm, was acquired by his arch-enemies DC, whom he now likens to "a rich stalker-girlfriend".
"Much as I love the medium, I despise the industry," he says. "I've always despised it to a certain degree but after this last few years and all this nonsense with the films, I believe it to be a completely poisonous place that isn't really going anywhere. I did once feel I was part of a movement that wanted to change comics into something was valuable to culture, but I don't really feel that kinship in the way I used to."
The Watchmen movie was the final straw. From his point of view, which he explains in great detail, various executives at DC (which is owned by Time Warner, co-producers of the Watchmen movie) tried to manipulate him and attempted to sneak out Watchmen-related products behind his back, using artist Dave Gibbons as a "messenger", and even exploiting the fact of his best friend's brother's terminal illness to exert pressure on him. "At that point, I decided I didn't want anybody at DC to ever contact me again. That was what made me curse this wretched film and everything connected with it."
Moore can at least be assured that his most recent comic book epic will not be made into a movie. Lost Girls is a 320-page, three-volume work of pornography, illustrated by Melinda Gebbie, a veteran of the San Francisco underground and also his wife. In its own way, Lost Girls is as pioneering as Watchmen, albeit more difficult to read on public transport without getting strange glances.
"Most pornography is simply horrible, and not just from a woman's perspective," Moore says. "We felt we could reclaim and redefine what pornography was, and we deliberately chose to use that word. We didn't want to hide behind 'erotica' – because it's not etymologically accurate for one thing, and I'm very fussy about that kind of stuff, and there's a class element to it. Pornos graphos – drawings or writings of wantons – that will do."
Again, Lost Girls demonstrates what comics can do that movies can't – or at least shouldn't. The story centres on three fictional women – Lewis Carroll's Alice, Peter Pan's Wendy and Dorothy from The Wizard of Oz, whose sexual exploits at an Austrian hotel it details with a mix of Carry On-style humour and De Sadean exhaustiveness. Wendy gets it on with the Lost Boys, Dorothy gets it on with the Tin Man, everyone gets it on with everyone, in fact. There are polysexual orgies, incest, bestiality, semi-pubescent sex – polite softcore it is not. But in a country that's still only comfortable acknowledging bad literary sex, the shamelessness is utterly refreshing, even – dare anyone ever admit it – arousing. As always with Moore, he's done his homework, (including Simone de Beauvoir, Angela Carter and feminist critiques of pornography), and Lost Girls takes in the history of sexual literature, the impact of modernism, war, sexual repression and the ethics of the imagination. And even if Gebbie's illustrations leave very little to that imagination, they're dreamy and sensual rather than cold and anatomical. "There is a moral agenda in it. Put simply, it's 'make love, not war' but it goes a bit further than that. I think if we had a better relationship with our sexual imaginations, there would be a lot less sex crime – and a lot less directed at children."
Moore isn't entirely done with comics – there's a new trio of League of Extraordinary Gentlemen stories coming soon – but he's keeping busy elsewhere. A practising magician (the occult kind, not the Paul Daniels variety), he's been working on the Moon and Serpent Bumper Book of Magic – a history of the subject presented as a children's annual, with none of "that creepy gothic shit" that hangs around modern-day views of the subject. There's also a 750,000-word novel, which he expects to complete in a couple of years' time. Entitled Jerusalem, it follows on from his 1996 novel Voice of the Fire, a collection of short stories set in Northampton over 6,000 years. "I'm trying to tell the story of the neighbourhood I grew up in – much smaller than the area I covered in my first book, which was paradoxically a lot slimmer. Whether my third novel is going to be a couple of million pages long and will be set just in this end of the living room I don't know. It's a possibility."
In entirely appropriate defiance of physical laws, Moore's world seems to be expanding and contracting simultaneously. As his career has progressed, he has homed in ever closer on his immediate landscape, while roving further across history, literature and human consciousness – usually right out to the edges. In the process, his work has become ever more inimitable and unclassifiable: a rich blend of fantasy, psychogeography, folklore, occult mysticism, baroque prose, down-to-earth humour, social critique and literary criticism. He surely merits his own adjective. Moorean? Mooreish?
"To me, all creativity is magic," he says. "Ideas start out in the empty void of your head – and they end up as a material thing, like a book you can hold in your hand. That is the magical process. It's an alchemical thing. Yes, we do get the gold out of it but that's not the most important thing. It's the work itself. That's the reward. That's better than money."
The single-volume hardcover edition of Lost Girls will be published in May. The League of Extraordinary Gentlemen Volume III, Book One is out in April, both from Top Shelf productions.
Όλοι μαζί να διώξουμε τον Καραμανλή και άς έλθει ακόμη και ο απόφοιτος του ΠΙΚΠΑ!
Τι σημασία έχει εάν καταρρέει η παγκόσμια οικονομία και κινδυνεύουμε να μείνουμε όλοι ΑΝΕΡΓΟΙ αν δεν είμαστε προσεκτικοί με τα οικονομικά μας;
Τι σημασία έχει που το Χαζο-γκιόργκο είναι 100% και ΑΠΟΔΕΔΕΙΓΜΕΝΑ άνθρωπος τον αμερικανών;
Τι σημασία έχει εάν δεν έχει γνώσεις σε ΤΙΠΟΤΕ, ιδιαίτερα στα οικονομικά που μας καίνε αυτή τη στιγμή;
ΤΟ ΜΟΝΟ ΠΟΥ ΕΧΕΙ ΣΗΜΑΣΙΑ ΕΙΝΑΙ ΟΤΙ Ο ΓΙΩΡΓΑΚΗΣ ΕΙΝΑΙ ΔΙΚΟ ΜΑΣ ΠΑΙΔΙ, ΤΟΥ ΔΙΝΟΥΜΕ ΚΑΙ ΜΑΣ ΔΙΝΕΙ, ΚΑΤΑΛΑΒΑΙΝΟΜΑΣΤΕ.
Η συνταγή είναι του Γιωργάκη είναι ΑΠΛΗ.
...
Τάξε στο λαό λεφτά ΠΡΙΝ τις εκλογές και ΜΕΤΑ θα βρούμε ότι δικαιολογίες θέλουμε.
...
Αμερικανοί – καναλάρχες – συνδικαλιστές – πάμπλουτοι ψευτο-δημοσιογράφοι, όλοι στον αγώνα ΠΥΡ ΟΜΑΔΟΝ - άλλοι για να κονομήσουμε και άλλοι για να γλυτώσουμε τη στενή:
* [MEGA-ΕΘΝΟΣ-ΗΜΕΡΗΣΙΑ-ΠΡΩΤΟ ΨΕΜΜΑ] ο μεγαλύτερος καναλάρχης και φαταούλας Μπόμπολας κάνει ότι μπορεί, θέλει τα 25 δις του Δ’ ΚΠΣ (το μεγάλο ψάρι)
* [ΝΕΑ-ΒΗΜΑ] ο Λαμπράκης σπρώχνει και αυτός να μη χάσει διαφημιστική πίτα, πενήντα χρόνια τώρα ανεβοκατεβάζει κυβερνήσεις.
* [ΑΝΤ-1] ο Κυριακού με ΕΝΑ ΚΑΚΟΥΡΓΗΜΑ στην πλάτη κάνει ότι μπορεί για την προίκα της μπεμπούλας. Λύσαξε που τον σουτάρανε από τη ΔΟΕ αλλά και τα δάνεια είναι ατέλειωτα και το κανάλι έχει γονατίσει.
* [ALTER-EXTRA3] ο Κουρής σε διπλό ταμπλό (για όλα τα ενδεχόμενα) και ο μαφιόζος ο Βρυώνης από κοντά κιαυτός.
* [ΣΚΑΙ-ΚΑΘΗΜΕΡΙΝΗ] ο απατεώνας-εφοπλιστής ο Αλαφούζος (τόσο χρήμα έβαλα να μη βγάλω και κάτι τις;) δίνει τα ρέστα του όσο πιό μουλωχτά μπορεί.
* [ALPHA] Ο γνωστός υπόδικος με ΔΕΚΑ ΚΑΚΟΥΡΓΗΜΑΤΑ ασφαλιστής Κοντομηνάς της Interamerican κονόμησε και πήρε τον πούλο, αλλά τα τσιράκια του συνεχίζουν να βρίζουν και να παραπληροφορούν.
ΚΑΙ ΒΕΒΑΙΑ ΚΑΘΕ ΠΕΝΤΕ ΜΕΡΕΣ ΜΑΙΜΟΥ ΔΗΜΟΣΚΟΠΗΣΕΙΣ ΣΤΑ ΚΑΝΑΛΙΑ ΚΑΙ ΤΙΣ ΕΦΗΜΕΡΙΔΕΣ ΤΟΥΣ.
Τι άλλο θα ακούσουμε στην ψευτο-δημοκρατία που μας ετοίμασαν;
ΜΑΖΙ ΣΑΣ ΘΑ ΤΑ ΠΑΡΕΤΕ ΚΩΛΟΓΕΡΟΙ;
ΤΑ ΣΑΒΑΝΑ ΔΕΝ ΕΧΟΥΝ ΤΣΕΠΕΣ ΡΕΕΕΕΕΕΕΕΕΕ ….
Όλοι αυτοί όμως λογαριάζουν όμως ΧΩΡΙΣ ΤΟ ΛΑΟ!
Πολύ σύντομα, μαζί με τους πάμπλουτους καναλάρχες και τους πρασινοφρουρούς πολιτικούς θα καταρεύσουν και οι προσδοκίες των αμερικανών να χαρίσουν το όνομα Μακεδονία στους Βάρδαρους, την Κύπρο στους Τούρκους (σχέδιο Ανάν του Γιωργάκη), να ματαιώσουν τους Ελληνορωσικούς αγωγούς και τη συνεργασία μας με τη ΝΕΑ ΥΠΕΡΔΥΝΑΜΗ, την Κίνα.
Βλακογιώργο, πές αλεύρι.
Ο λαός σε γυρεύει!
10 Απρ 2009 8:58:00 πμ