Abgesegnet im Namen der gesamten Machtclique. Anders kommt man da nicht rein. Im weitgehend rechtsfreien Raum legen sie wie die Made im Speck einen Fehltritt nach dem anderen hin und alle haben das Nachsehen. Wenn man denen die Hand gibt rutscht man schon aus. Das ist schon eine Falle. Die triefen regelrecht vor leeren Versprechungen und Falschheit. Minimum immer eintausend Meter Abstand halten. Ganz gleich welche Farbe. Sich von denen vor den Karren spannen lassen. Ich kenne den Saftladen schon.
Ich habe es selber erlebt vor 23 Jahren. Und meinen Augen nicht getraut. Die Doppelmoral der Bundesregierung und ihrer schwarz braunen Hasselnuss: Dem Nationalsozialismus den Weg weisen und hofieren. Wer sind denn wir? Wenn der Nationalsozialismus eh schon fester Bestandteil dieser Kultur ist.
Wie in einer oligarchieschen Bananenrepublik wird das gehandhabt. Keine Neo Nazis bei den Berliner Festspielen Die korrupte Veranstaltung sofort absetzen. Die faule Handhabung und Haltung der Regierung trockenlegen. In meinen Augen ohne wenn und aber: Ein von Haus aus knochenkonservativer superreicher finanziell linientreuer Nazi. Einer der von der Wehrsportgruppe CDU hofiert wurde. Von taz bis freitag. Einer von ganz oben. Die Veranstaltung wird sowieso nicht abgesetzt. Dazu ist die ganze Sippschaft viel zu geldgierig.
Ein abgekartetes Spiel ist das! Zur Versorgung der armen Menschen in diesem Land bleibt nur eins zu sagen: An eine Tasse Kaffee trinken zu gehen ist da nicht zu denken, weil man sofort rechnet wie lange man im Notfall davon was zu essen kaufen kann im Supermarkt. Und das Schlimmste sind die unqualifizierten Bemerkungen von Menschen die es definitiv nicht kennen und nur das nachplappern was ihnen der Fernseher dazu sagt.
Bei der Berliner Tafel, was gibt es denn da schon? Und die gibt es nur einmal in der Woche. Den Druck der sich dann an allen Ecken und Enden breit macht kann man sich nicht erdenken, sondern muss ihn erleben um es zu begreifen. Wo haben die so einen Vollquatsch her? Na also, er kann doch rumrutschen, wenn er nur will. Ich habe mich sozusagen hochgeruscht zu der Erkenntnis: Sollen sie ihren Dreck selber wegmachen! Der Mensch vergisst, ist faul, dumm, unterentwickelt und doof.
Hartz 4 ist ein riesiges Verbrechen! Wie an einem Pranger auf einem Marktplatz im Mittelalter wird das gehandhabt. Jeder darf dort seinen Dreck auf diese Menschen werfen. Regelrecht zerkaut wird das Thema von den Medien. Ganz gleich unter welchen Kriterien auch immer. Das ist ja so gewollt. Wenn sich die Armen durch Faschismus gegenseitig abschaffen freut sich die Oberschicht. Juni eine Meldung wert. Geht dann im Feierabendverkehr baden! Was ergibt rot und schwarz gemischt: Da habt ihr echt den Vogel abgeschossen! Oktober ist an der East Side das Ein Abbild unserer Kultur wie aus dem Bilderbuch.
Die Zahlenangaben schwanken Wer den Wohn- und Arbeitsraum verliert verliert alles. Betroffen sind bei diesem ausufernden Endspiel des Kapitalismus die entschiedene Mehrheit. Wohn- und Arbeitsraum ist ein Lebensrecht. Das gilt es nicht auf dem Opfertisch einer sterbenden Kultur zu schlachten. Daher muss unbedingt eine gesetzliche Verankerung her um diesem Treiben ein Ende zu setzen. Sollen die Menschen ihr Geld sinnvoll in sozialen Projekten anlegen. In keiner anderen Stadt in Deutschland leben so viele obdachlose Menschen wie in Berlin.
Wohnungslos waren im vergangenen Jahr laut Senatssozialverwaltung rund Die Zahl hat sich im Vergleich zu fast vervierfacht. Dieser Betrieb ist gelebter Klassismus. Dort kommt von unten niemand rein. Vor so einem Hintergrund braucht sich niemand wundern das wir schon wieder mit einem Fuss am Abgrund stehen. Der Kapitalismus hat ausgedient. Ohne Bruch mit dem Kapitalismus geht es nicht"! Stillstand auf der Marke Die Industrie hatte enteignet ist weitergezogen. Rechtsradikalismus statt sozialem Aufbruch. Und wollen sie auch nicht! Diese Raffgier muss ein Ende haben bevor wir alle eins haben! Sonst gehen wir alle den Bach runter.
Was will man denn gegen den Faschismus ausrichten wenn man nicht bereit ist die Ursache zu beheben? Diese kleinkarierte Fuchtelei im Umgang damit muss beendet werden! Man muss den Menschen was anbieten. Was ist das schon gegen den Zusammenbruch einer ganzen Kultur. Wohin will man ihn denn mitnehmen? Die sollten lieber lernen wie man innerlich mit Verlusten und Niederlagen zurecht kommt.
Das bisschen Verzicht steht in keinem Vergleich zu dem was ihnen und uns allen dadurch erspart bleibt. Ja, der Geiz ist so eine Sache. Ob mit uns oder ohne uns. Es ist eine riesen Chance. Die einzige die es gibt. Hartz 4 muss sofort beendet werden! Es muss was her was die Menschen verbindet. Die daraus entstehende Dankbarkeit ist viel mehr wert als jeder Eigensinn. Indem man ihnen ohne Kleckerei, Kleinkram und Geiz das eindeutig bessere Angebot macht!
In der Zwischenzeit hat man es sich selber gut gehen lassen. Das Verbrechen was man mit den Menschen gemacht hat wurde einfach ignoriert. Jetzt kurz vor dem eigenen sozialen Abstieg, kurz vor der der Bruchlandung ist die Schmerzgrenze erreicht. So sind sie die Menschen. Dieser Vorwurf steht ja immer im Raum. Wenn es so weiter geht wie im Augenblick fahren wir gegen die Wand. Wie vor , , , Jahren. Damals hier in Europa oft der Fall, wenn auch nicht immer in riesigem Umfang. Die Menschen die heute kommen sind bereit viel zu tun, zu geben, einzusetzen. Das ist ganz wichtig. Dann geben sie alles.
Die, die schon alles haben, wollen in der Regel nur mehr. Aber ganz oben komme ich mit meinem Kram hervorragend an. Die sind schon wieder so arm dran wie ich. Die wissen was das alles wert ist. Und sie sind am weitesten davon entfernt. Das ist das Problem. Damit die mal aufwachen diese snobistischen Pinkel und Lackaffen. Wieso soll ich mir denn die Finger schmutzig machen und bei solchen Kreaturen ausstellen. Ein einziges "Gepinkel" ist das dort. Hof halten ist nicht mehr! Aber genau so steht es auf dem Papier. Das die Menschen die gleichen Rechte haben und gleich viel wert sind.
Der Abgesang einer Kultur. Das Ende einer Gesellschaft. So ein Tinnef kommt dann dabei heraus! Das ist alles viel zu lasch. Mit so einer Flickschusterei kommt man da nicht weiter! Genau das ist hier der Fall! Das war ja klar das sie sich diese Gurke ausgesucht haben. Bei Frau Hampelmann kann nichts anbrennen. Das stand schon vorher fest! Na also, ich sags doch. Das sagt doch alles. Wir bewegen uns im gesellschaftlichen Millimeterbereich.
Wie bezeichnen wir Dinge? Wie schaffen oder verschleiern diese Bezeichnungen Wirklichkeiten? Es gibt Rufnamen, Codenamen, Spitznamen. Hier aber haben wir es mit dem Deutschen Pavillion in Venedig zu tun. Das ist genau das. Jetzt zitiere ich mich mal selber: Warum ist der nicht bei seinen Bienen geblieben? Nein, die Elite ist jenseits davon zu kollabieren. Dadurch wird nur Halbwissen transportiert das zudem noch mit Marktwerbung versehen mehr Schaden als alles andere anrichtet. Nur die gute dumme alte eigene Erfahrung bringt die Menschen zur Kunst. Und genauso halbgar sieht das Zeug auch aus mit dem sie sich eindeckt.
Auch wenn ich ihn nicht ausstehen kann den Luxus. Aber ich bin Realist. Die werden nicht freiwillig loslassen. Wie alle anderen auch. Alles schon mal da gewesen. Also alles noch mal neu. Man sucht immer da wo man gerade nicht ist. Wobei das zweite viel schlimmer ist. Erst zu Beginn des Jahrhunderts begann eine lebhafte Rezeption seines Werks die bis heute nicht abgerissen ist. Baselitz ist ein ganz schlechter Maler. Der weiss gar nicht wie das geht. Alle sehen nur das er erfolgreich ist. Das er eine inhaltliche Luftnummer ist sehen die wenigsten. So schlecht ist der. Das ist gar nichts. Da ist aber nichts.
Allen ist die Sicht versperrt. Dabei ist seine Malerei zappenduster. Davon werden sie nicht besser. Aber immerhin hat er wenigstens das begriffen. Das das rein gar nichts ist. Das bekommen wir serviert. Der Illusion muss permanent gehuldigt werden. Wetten das diese unwichtige Meldung jetzt ungehindert durch die gesamte Medienlandschaft wandert. Schrecklich im Umgang genial mit dem Pinsel. Und er ist der unbekannteste dazu. Gerhard Richter hat sein Ego immer aus der Kunst herausgenommen. Praktisch so ein Richter.
Genauer gesagt am besten ist sie erst gar nicht vorhanden. Sondern nur das Geld! Wie sieht denn eine Kultur aus in der nur die zu sehen sind die die Kultur bestimmen und nicht die die in ihr leben. Wird von vorneherein auf die Seite geschoben. Ja, sagen jetzt wieder einige, aber bei uns kann man doch alles machen. Kann man im Kuhstall in Hintertalbachkleinhausen. Wer macht denn diese Dinger? Und bei den Vereinen ist das ein einziger theoretischer Irrgarten.
Die lassen sich nicht einfach in die Suppe spucken. Die tun nur so. Das ist kein offener Wettbewerb. Das wird nur behauptet. Wir leben nicht in modernen Zeiten. Wir leben noch in den genau den gleichen Zeiten wie vor oder oder Jahren. Die Unterschicht kauft keine Kunst. Es sei denn ich orientiere mich an solchen dummen Veranstaltungen wie Basel, die nur noch eine Klientel kennen. Im Idealfall die oberste nur erdenkliche Oberschicht aller Oberschichten.
Bei der Mittelschicht ist es klar. Die gucken nur kurz ob es da was zu holen gibt. In der Bildenden Kunst ist alles viel einfacher. Und wenn dann noch der Staat versagt. So nah dran und doch so weit weg. Das ist das grausame am Leben. Es ist alles viel einfacher als wir denken. Die waren viel weiter als wir". Die gilt es um jeden Preis zu unterbinden. Und genau deshalb ist es an der Zeit das die Reichen bei uns auf Entzug gehen. Machinen die einem das Leben diktieren.
Was glaubst du eigentlich wer du bist Version" nach der anderen. Dieses Unternehmen ist eine Falle. Und wenn man erst einmal drin liegt in der Grube. Dann gibt es auch kein Gegengift. Da wird einem schummrig. Die Erde dreht sich. Es geht um Darstellung. Es geht nicht in erster Linie um Kunst, Geist und Inhalt! Ein affektierter Tempel der Wichtigmacherei! Das sind Menschen die mit Das merken die gar nicht.
Der Imobilienmarkt ist nichts dagegen. Wenn es erstmal eine fette Geldspritze gibt. Der Inhalt ist zweitrangig, drittrangig, egal. Das ist ein Konstrukt wie zu Zeiten von Kaiser Nero. So sieht das ja auch aus in den Kitschtempeln hier in Berlin und weltweit. Der Betrieb ist durch und durch korrupt! Dort wird Geistlosigkeit als Kunst dargestellt. Allerdings kann man die dort mittlerweile wirklich suchen. Mehr ist das nicht! Jeder kann damit Geld verdienen wenn er es darauf anlegt!
Mit Kunst kommt man da nicht weit! Vielleicht kann man es so sagen: Insbesondere wenn es dem Zweck der Geldvermehrung und Geldanlage dient, bewegt sich die Kunst auf Abwegen. Es ist das Gegenteil davon. Wie kann ein Mittel das Geiz erzeugt Kunst sein? Wie kann ein Mittel das alle voneinander trennt Kunst sein? Wie kann ein Mittel das uns nicht verbindet Kunst sein? Wie kann ein Mittel das Arroganz erzeugt Kunst sein? Wie kann ein Mittel das eine geistige Krankheit, eine geistige Seuche ist Kunst sein? Wie kann ein Mittel das Geistlosigkeit nach sich zieht Kunst sein?
Wie kann ein Mittel das Macht erzeugt Kunst sein? Wie kann ein Mittel das die Welt teilt Kunst sein? Wie kann ein Mittel das die Boshaftigkeit auf den Weg bringt Kunst sein? Geld ist alles andere als Kunst. Vor diesem Tineff braucht man keine Ehrfurcht haben! Da kann man seinen Augen trauen! Vor allem der Sinn. Wer das am besten beherrscht bedient ganz gleich mit was gilt was. Konformistischer betriebswirtschaftlicher Ablauf der dort vielleicht Sinn macht aber eben auch nur dort ist das. Professionell daran ist nur die inhaltliche Leere. Diskriminierung findet hier genauso statt.
Werden dann aber kaltgestellt von den Verantwortlichen. Offene Ausgrenzung und offene Diskriminierung und Diffamierung. Das interessiert kein Schwein. Der Kunstbetrieb in diesem Land ist eine einzige Diskriminierung. Wenn man Leute mag gebe ich sehr gerne. Dann hat es Methode. Oder wenn man Menschen die man gar nicht mag, wenn man denen aus Bosheit und Geldgier Dinge entwendet ist das nicht das Gleiche.
Das beste und schlimmste Beispiel ist die Werbung. Es geht ja nicht um den Besitz, sondern um die Achtung. Das ist ja kein respektvoller Austausch, das ist ein einfach sich bedienen an etwas. Damit degradiert man die Leistung anderer, entwertet sie, macht sie zu Hilfsarbeitern ohne Lohn und Brot. Auch ansonsten grabscht er nach allem was er in die Finger kriegen kann.
Ob sie wollen oder nicht. Das geht soweit das man sich gar nicht unterhalten muss. Herzlich willkommen in Deutschland! Wehren wir uns gemeinsam gegen den Google-Campus in Kreuzberg! Google ist kein guter Nachbar! Ein Kampf gegen Google, aber nicht nur Der Sand im Getriebe sein! Umspannwerk Ohlauer in Kreuzberg besetzt!
Die will man nicht nur nicht in seiner Nachbarschaft nicht haben. Die will man nirgendwo auf der Welt haben. Ganz gleich wie sie sich nennen! Das es den Wunsch der entschiedenen Mehrheit der Menschen nach einem selbstbestimmten und freien Leben gibt. Es geht um die Menschen und ihre Lebensbedingungen vor Ort. Nicht um die Profite weniger irgendwo auf der Welt. Von Google profitiert in Kreuzberg niemand. So ein Unternehmen schadet ganz klar den Lebensbedingungen der Menschen im Stadtteil. Den zeigt Kreuzberg dieser "Welt" schon lange! Den langen Atem kann sich Google sparen.
Genau so ist es! Google wird kein Nachbar! Campus-Absage ist ein Erfolg! Erfolgreich ist das allemal. Die Mehrheit der Presse redet den Erfolg madig. Was soll gut daran sein wenn so eine Riesenkrake einfach angewackelt kommt und Existenzen wegfrisst? Wem ist damit gedient? Linksliberal ist mindestens so schlimm wie konservativ. Der Schandfleck soll verschwinden! Kein weiterer Luxusdreck in Kreuzberg! Nachdem in Chemnitz bereits Ende August Alarmstufe rot war ist heute am 1.
Oktober ein schwarzer Tag. Wir haben ja auch erst "". So etwas darf Europa niemals erreichen. Eine Horrordiktatur wird das werden. Vielleicht hat Gott ein Einsehen und handelt vor dem 1. Aber bedauerlichsterweise kann das nicht nur in Brasilien passieren. Immer sind es Primitivlinge mit einem Zugang zu Massenmedien. Wenn sie dann noch was so gut wie immer der Fall ist strohdoof sind ist beinahe jedes Mittel recht sie dingfest zu machen! Das ist das was der Faschismus macht. Unfassbar grausam trifft es auf den Punkt.
Warum hat ihr niemand geholfen? Die jahrelangen kriminellen Handlungen und Straftaten die stattgefunden haben, sogar noch vor ihren Augen waren allesamt keine Kavaliersdelikte. Soll sich Margarete unten rum freimachen so viel sie will. Ich habe ihr nichts getan. Ganz primitive kleinkarierte kleingeistige Rechtsradikale. Das ist jetzt schon eine einzige Farce. Die haben noch nicht mal behauptet die Demokratie abschaffen zu wollen auch wenn sie nichts weiter als ein Sargnagel derselbigen sind.
Komisch komisch komisch alles. Immer gut angepasst und vor allem Maul halten und nur dann das bellen was das Kommando vorgibt und wenn es erteilt wird! Aber das hier ist das Patriarchat unter anderem Namen und in anderer Besetzung! Die einen nehmen Zement die anderen Beton. Das Feindbild fest vor Augen. Den letzten Boden gut machen. Hauptsache die neue Vision leuchtet am Himmel der Ignoranz. Ich habe nichts gegen Margarete.
Alles von Frauen geschrieben. Kommen die dann ins Lager? Leider leider leider halten diese Personen nur weil sie Frauen sind den Visionen einer neuen besseren Welt nicht stand! Der Artikel der gleichen Seite ebenfalls unter der Kategorie Verbrechen "Wenn dich dein Nachbar ungestraft beim Umziehen filmt" ist auch interessant! So sieht die Welt der Machas oder Machistinnen dann aus: Die Dunkelziffer mit eingerechnet. Aber bei den anderen Prozenten sieht es so aus. Und das ist mittlerweile ebenfalls Alltag. So etwas ist keine Seltenheit.
Es ist Standart bei manchen Frauen. Man muss nur an die richtigen Frauen geraten. Die gibt es wie Sand am Meer! Es entstand so der Eindruck: Was Margarete als Hustensaft der Frauenbewegung da eins nach dem anderen in populistischer Manier raushaut ist nur bedingt differenziert und fundiert. Mehr braucht es aber nicht um den Massen den Wutwahn in den Kopf zu treiben.
Der Nazi Zombie ist ja kein Mann. Das konnte sich gar nicht entwickeln. Das ist eine von Frauen ferngesteuerte Marionette die von der eigenen Mutter missbraucht wird. Aus eigener Zucht sozusagen. Ein Propagandaspinner der dem Wahn unterliegt das sei alles ganz wichtig was er da ablichtet und der Stasi Anhang der den Missbrauch genauso handhabt. Ein dressierter Goldesel aus dem gleichen Lager. Gleicher Jahrgang, selbst wie der neue Bundeskanzler, und auch aus Fernost. Das Matriachat ist schon vollzogen. Bei der Gelegenheit lassen sich gleich noch ein paar offene Rechnungen mit der eigenen Geschichte begleichen.
Gemessen wird alles klassisch konservativ in Zahlen. Was will frau mehr. Deshalb hat dort niemand Skrupel die Verbrechen in Schutz zu nehmen. So macht man das! Offiziell ist Spiegel Online gegen Nazis und korrekt. Merkt ihr selber, oder?? Meine Frau darf sich jeden Tag aussuchen was sie heute kocht? Ob eine Beziehung zustande kommt oder nicht liegt in der Macht der Frau, genauso wenn eine Beziehung beendet wird.
Und jetzt wollen die Frauen auch noch politische und wirtschaftliche Macht. Diese feministische Dominaz aller Lebensbereiche muss endlich gebrochen werden. Statt den ganzen Tag nur wie Mimosen herum zu jammern. Bitte schnell ein Aspirin! Nicht nur, dass ein Mann als erstes zum Thema Feminismus spricht. Und deshalb werde ich jetzt dauerdiskriminiert. Ich bin sicher kein Feminist wenn ich mir ansehe was darunter zu verstehen ist. Versehen mit Hohn und Spot von oben herab. Das ist Doppelmoral der untersten Kategorie! Das interessiert mich auch. Wo wann wie oft wie mit wem alleine?
Da fehlt jede Vertrauensbasis. Das habe nicht ich verursacht. Alles Reden ist sinnlos wenn das Vertrauen fehlt. Trainingslager Deutsche Denunzianten Republik. Pippi geht von Bord! Klar ist Sibylle Berg gegen Nazis. Das ist sicher lieb gemeint. Das eine hat mit dem anderen nichts zu tun! Wir verteidigen Unrecht um es auf unserer Seite anzuprangern. Was nicht passt wird im Verbund ausrangiert und totgeschwiegen. Wie bei einer Sekte. Die Scientology des Klatsches! Die Leute reden viel wenn der Tag lang ist.
Man kann sie auch ignorieren und nichts tun oder sich einreden man tut was und tut nichts. Man erfindet die Wahrheit einfach neu! Was will man schon von Menschen erwarten die sich von solchen Werbemitteln aushalten lassen! Das habe ich vergessen. Ich bin nur ein "Mann". Es gibt einen Punkt da helfen keine Worte mehr. Das weiss eine "Frau" wie Sibylle die das sofort vorhergesehen hatte. Ich lese die Seite nicht mehr habe aber selten so einen Stuss zu Gesicht bekommen.
Offenkundig ist bei einigen Leuten aus der Redaktion verstrickt in eigene Befangenheiten der Kopf abgebrannt. Und das Ganze bei einem Wichtig ist aufm Platz. Die anderen sollen mal machen. Das letztere beinhaltet der Faschismus bereits. Aber es ist eben nur so. Und wie dann weiter resumiert wird "Aber leider - man kann es sich nicht aussuchen. Aber es ist auch in diesem Fall eben nur so.
Fast wie ein Gott. Ich nehme ihr das ab das sie nicht dahinter steht. Das geht dann nicht als Diskriminierung durch. So einfach funktioniert die Welt dann doch nicht. Auch wenn der Mainstream das einer "Frau" wie Margarete gerade gerne glauben macht. Aber das steht dem Erfolg im Weg. Gemobbt und unfair behandelt? Das war Folter was hier fabriziert wurde von - Und die Folterknechtin dieser ekelhaften Menschen ist eine ostdeutsche Frau mit Stasi Vergangenheit die unter dem Maligner Narzissmus leidet. Das gesamte Material ist strafrechtlich relevant.
Die Aussage von Margarete ist nichts weiter als Lug und Trug. Das ist kein Kochstudio. Das gibt es schon seit tausenden von Jahren. Leider aber auch das entsprechende Publikum dazu hinterher. Da liegt der Hund begraben. Sie sind auch nicht schlechter. Sexismus und Ausgrenzung ist nur ein Bestandteil davon. Nicht mit dem "Frau" oder "Mann" sein.
Sie handhaben es nur anders. Thomas Gottschalk der nun wirklich nichts ausgelassen hat in seinem Leben an unintelligentem Krempel muss es ja wissen. Das ist dem Verlag doch wurscht. Machas die einen Neonazi decken der der Clown von ein paar faschistischen Frauen ist und die daher nicht gerechnet werden solange es nur um einen Mann geht. Das ist doch nicht das erste mal das ich so etwas gesellschaftlich beobachte. So sieht kein Feminismus aus sondern geschlechterspezifischer geschlechtsfanatischer Geschlechts Faschismus. Kann auch ein Neonazi hinter Mickey Mouse Bildern sein.
Was anderes interessiert sie in der Regel nicht. Die verschanzen sich am liebsten hinter solchen Extremen wie dem Menschenhandel. Da muss ein ganz neues Denken her. Ich will eine Frau die mich und meine verschwenderische Arbeit finanziert. Nur dann was von mir will wenn ich das will. Gut aussieht wie in der Werbung. Ich brauch nicht viel aber es wird immer mehr. Aber vielleicht ist das ja auch dasselbe zwischendurch mal wenns halt gerade anders und vor allem woanders nicht geht.
Freiheit ist immer Freiheit der Andersdenkenden. Eine Leiche ist auf jeden Fall im Keller. Das ist noch nicht mal mehr Sarkasmus sondern Hochverrat an der Sache. Berauscht von der Informationsflut fehlt schlicht und ergreifend der Abstand der Erkenntnis! Solange es um die Wahrheit der anderen geht vielleicht.
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Nicht jeder kann die Wahrheit sehn aber sein. Wasser predigen Wein trinken! Der Neandertaler des Fortschritts. Die AfD des Anspruchs. Die Sperrstunde des Anstandes. Die Meinungsvielfalt der Haltungslosigkeit. Die Groko der Berichterstattung! Von einer Zeitschrift mit politischem Anspruch zu einem Boulevard- und Klatschblatt. Zu einer Primitivpresse und Neonazi Plattform! Das rechte Volk bleibt unter sich! Wer das liest was die wie deren Freund umsonst abgreifen bekommt ununterbrochen Bedarfslenkung vom feinsten aufgehalst.
Und bei allem was sich bewegt gibt es noch dick Doppelmoral extra oben drauf. Das ganze nennen die dann Spiegel. Geil was wie die selber dabei immer in die Kamera grinsen! So etwas ist aberwitzigster Aberglauben. Abgewunken von Politik und der Staats- und massengeschmacksindoktrinierten Primitivst-Presse!
Der ganze Mist wird von oben verordnet. Nur so tun als ob und aus der Konserve existieren. Die sich die Ahnung entweder ererbt oder angelesen haben. Und dann kommt noch ein Nazikasper und stammelt was von Revolution. Nicht nur im Bundestag. Auf einen Arm mehr oder weniger kommt es dabei nicht an.
Hauptsache die Kameradinnen und Kameraden aus der vornehmen rechten Szene sind zufrieden! Geschmacksfrage des sehr schlechten Stils! Mit Arroganz schreiben die uns die Welt von ihrer Pressekanzel herab einfach so zurecht wie sie sie brauchen! Wer sind eigentlich die Strippenzieher beim Spiegel hinter der linken Fassade? Bayreuth hat in diesem Fall alles nur erdenkliche richtig gemacht. Unterstes geistiges wie bildnerisches Tiefgeschoss haben an so einem Ort nichts verloren. Einen Rohrkrepierer nennt man so was! Der Spiegel selber verkommt in diesem Artikel einmal mehr zu einer grotesken Karikatur.
Aufgemotzt und hochpoliert aufgebaut hinter einem nationalsozialistischen Untertan. Das wird bei der einseitigen Kundschaft gerne gesehen. Kein Wunder wenn sich dort nur die Oberschicht und die die vor ihr herumrutschen herumtreiben! Wenn solche Leute schon ganz offiziell in den Museen ausstellen und von der Presse hofiert werden wundert einen nichts mehr! Wer nicht will dass sich die Geschichte wiederholt muss sich den rechten Umtrieben entgegenstellen - in Wort und Tat. Das sieht ganz duster aus.
So etwas darf sich hier nie wiederholen. Sind Teil des Ganzen und bieten niedrigsten Instinkten eine ideale Vorbildfunktion. Ja das ist immer noch ein Bild von Baselitz. Die sind unter diesem Link weiter unten auch immer noch auf der Seite zu finden. Erleben Sie erlesenes vom Feinsten? Aus dem Leitbild der Pinakothek der Moderne: Faschisten nicht zu Wort kommen lassen! Oberender aus Jena, selber rechts wie Maas von der Pinakothek! Da freut sich die Leitung des Hauses? So was feines will man sich doch nicht entgehen lassen.
Soll gut schmecken, eine kleine Aufstockung des Museumsalltages? Na gut, die Schulkinder. Aber die kommen ja auch nicht ins Museum. Und wenn doch, sind das einfach die lieben bunten Bilder vom netten Onkel. Der ist ganz anders als die echten Nazis. Alles ganz lustig bei dem. Das eiserne Kreuz ist nur Spielzeug.
Das mit dem Adolf und dem Hakenkreuz das haben die Nazis alles nicht so gemeint. Die sind eigentlich ganz nett. Zahlt alles der liebe Onkel. Das lassen die sich doch nicht entgehen mit den vielen bunten Hakenkreuzen zum nachmalen. Wie der liebe Onkel. Soll doch mit rechten Dingen zugehen. Die Holocaust-Ignoranten vom Propagandawerk. Fahrt in die Irre. Es ist einem egal. Wer verfasst so einen unterirdischen Text?
Wenn die gesellschaftlichen Folgen davon in Betracht gezogen werden ist das nicht absurd. Daran sieht man um was es hier wirklich geht! In Geldbesessenheit die den letzten Funken Anstand aus dem Kopf verjagt hat? Ni ew ie de rN ie. Hinein ins Deutsche Museum! Und das tut der Herr aus Jena auch!
Das interessiert die Allgemeinheit. Da muss es doch eine Liste geben? Wer, wann, wo, wie, wieviel und von welchem Konto? Ich bin nicht das Finanzamt. Da fliegt der ganze Laden auseinander. Da kann ich Einzelteile von hier in 36 aufsammeln. Nicht mehr zu beheben. Nicht so ein Gehampel. Auch wenn sie es nicht wahrhaben wollen. Noch leben wir in einer Demokratie! Die machen was sie wollen wann und wie sie es wollen und zwar alles ohne das wir nur den geringsten Einblick haben.
Vor allem die wirtschaftliche Unterschicht wird von diesen Leuten in keinster Weise reflektiert. Leute glaubt uns das ist Demokratie auch wenn es aussieht wie Diktatur und gehandhabt wie wie Oligarchie. Das waren noch Zeiten. Aber da ging es zumindest in die andere Richtung. All diese Leute und Institutionen waren und sind sich nicht zu schade mit Nazis zusammenzuarbeiten. Technologisch "hoch entwickelt", aber so einen Unsinn bekommt man nicht in den Griff.
Das kann nicht in unserem Interesse liegen. Das was da veranstaltet wird ist bei aller Liebe zum Geld keine Parodie sondern uneinsichtiger eiskalter Nationalsozialismus. Von den Strippenzieherinnen und Strippenziehern. Diese Odyssee wird unter solchen Voraussetzungen aller Voraussicht nach nicht gut enden. Kein einziges Wort dazu. Das Peacezeichen hat auf junge Menschen eine enorme Symbolwirkung. Deutscher Klassiker Verlag, , II: Poems and fragments, trans. Anvil Press Poetry Ltd. SIKES drunk on the possibility of its power to replace the world with its own mental products, had utterly forgotten the sacrifice at the source of its vitality and nourishment.
It stands as the main obstacle of the age in becoming Hesperian, and thus also in becoming historical. Could the Hesperians, those occidental mod- erns, overcome a paucity of heart and mind to bear the challenge of joy, love, and gratitude? Dare they be thankful? The question rever- berates today for the post-Hesperians too.
Dare we be thankful? And if so, how? For we have become so unused to love, and poetic dwelling seems beyond us. His elegy invites us to sing with Dionysian gratitude the destiny of the gods and the earth, one in which everything, including the gods, takes on a mortal, earthly hue. Indeed the new religion would be just this celebration of gratitude in tragic-poetic song. Taking tragedy as a religious text, its song as liturgy, the new religion does not seek, with neurotic intransigence, to recover and fix all that is lost and dissolved in time.
Rather, it celebrates the downfall and flight of the gods as the origin of time and earth. Tragedy sings the earth while abandoning itself to the dance of its vernal and autumnal rhythms. In par- taking of the god, he is, once again, called back to earth and consumed in word and world. I call this the poetics of sacrifice.
Interwoven in the discourse of celebration are the thematic threads of time, the turning of the ages, and remembrance. In a more daring show of love and gratitude, the new tragic-poetic religion performa- tively takes up the task of historical remembrance. When god and mortal are joined in the element, the era of that people will have a destiny. The destinies of the great bygone eras of aether are thought in the elegy in terms of the three half-gods, the fraternal trinity: Dionysus; Heracles and Christ.
The advent and death of Christ is told in stanza eight. The identification and progression of the eras can be grounded looking carefully at the following clues. At the end of stanza three, an allusion to Dionysus is made by naming his haunts and homeland, Thebes v. The second era, that of a republican Heracles the one who pulled down Zeus and his pantheon is signified by the self-rule of the city-state that creates nations: Dionysus is the god of the future, of Hes- peria. He is found at the beginning of the poem and is the god we are left with at the end — an ending that overshadows the entire elegy.
Through a mere change of the accent, he says, the word eleusis, the coming, is transformed into the name Eleusis. Thus the highest object of the Eleusian mysteries was none other than this coming of God, and this coming belongs to his essence. Dionysus is god of the night. Around us the town rests; the lamplit street settles into silence […]6 It is evening when the elegy comes to an end: More gently dreams and sleeps in the bosom of the earth, the Titan, Even that envious one, Cerberus, drinks and sleeps.
The Dreamers Dionysus reigns over that lunar realm of sacred sleep, dream, and trance. The lines quoted above are reminiscent of the hymn Mnemosyne, which sings of that soporific rocking of the skiff upon the waves; such rocking is connected not so much with the future or the past but with the moment in between. The future of Hesperia lies in its devotion to the god Dionysus, in the moment of being taken in by his wine- induced divine sleep.
The aether distilled in wine creates the dream that divinizes the sleep. For after the gods have flown, seeking out heartier spaces than those fragile human vessels can provide, Dionysus remains on earth ministering aether through the fruits of his vine. Henceforth, we consort with the heavenly ones through his oneiric medium: Only at times can humans bear the full bounty of the gods. But madness, Wandering, helps, like sleep […]8 5. But they are, you say, like those holy ones, priests of the wine-god Who in holy Night roamed from one place to the next.
What the song of the ancients presages of the children of God, Look! Hesperia in ancient Greece is also connected with the Hesperides, which names both the daughters of Night or Hades and the garden placed under their protection where the golden apple of immortality grew. The apostrophe here addresses Wilhelm Heinse, to whom the elegy is also dedicated.
This love for the earth is born of and for its mortal nature, and marks the finitude of the gods. In these myths, thanatos and eros are never far from each other. The history of Hesperia and the Hesperides is intimately tied to that which is hesperos, of the evening or the dark. Sophocles in Oedipus Rex connects it with the penumbral realm of Hades, the god of darkness, and the moment of death: Placed in the context of that infamous realm of evening, Hades, the Hesperian gods go underground, leaving the age without any ground.
In one version of the intellectual intuition Once thought to be the highest noetic act, if one is to encounter it at all, intellectual intuition can only be accessed through the unconscious, and all that is associated with this realm: Only in Dionysian dream — and tragic poetry in his name — can the Hesperi- ans remember those flights with the gods once again. Hesperia is riddled with paradox. It is the land rich in resource, poros, the home of the golden apple.
Yet it is a land nonetheless bank- rupt, penia, its inhabitants searching for a way into the very garden that is ostensibly its inheritance. As the lines from Hyperion lament: Eros Love is the only consolation in this mythological history of conscious- ness. As we know from Plato surrounding the birth of Eros, Poros and Penia mated. Thus Eros is born. Perhaps it is better said that Resource was most plentiful in the moment when In Eros these two contradictory drives — one skybound, one earthbound — are unit- ed, and Eros becomes the symbol of our ambiguous mortal nature.
Common mortality binds us to one another; consciousness of mortal- ity makes us human. This consciousness also enables human beings to love, for it is knowledge of mortality that makes us love life with the fierceness of Antigone, irrecusably, with a depth and intensity, Innig- keit, that makes us love others who may or may not survive us. The Beautiful traces the infinite strivings of love toward the unique other, whose existence is fleeting beneath the life-giving sun.
Beauty in art is inextricably entwined with this uniqueness or originality. Thus we see why Hyperion has to irritate us, scandalize us, with his contradictions, aberrations, his strength and weakness, his love and wrath, his mourning. Herein lies his intensity, his originality, the sign of all his striving and his mortality — herein shines his beauty.
For the Beautiful shines only in Gerhard Kurz, Mittelbarkeit und Vereinigung: Metzlersche Verlagsbuchhandlung, , SIKES the glory of its transience.
So it appears in the strivings of the hero like Achilles: Thus the age of Philia cannot be a static, Edenic state of perfection. Such perfection has nothing to gain or lose, no fetters to struggle against, nothing that would move it. Rather, it is a perfection that, at the brink of its boundary and form, sounds its own demise. This idea can also be connected with the death and earthbound tendencies of the gods. Mortality, then, is the very condition for love. In being- moved and moving simultaneously, love marks and tells us of time. Both love and time are known in passing, in the movement of the moment: And yes, even the gods must reckon with this when, like Zeus, they fall for a mortal.
She counted for the Father of Time The sounding of the hours, the golden. Without faithful observance of the god, Poros and Penia perpetually encircle each other, never crossing paths under the arbor resplendent with the promise of that golden fruit. With only cunning and penury in our hearts, any love or gratitude shrivels up altogether in that garden.
We are beggars when we reflect. Love must love even more if it is ever going to approximate the beauty and transience of the beloved — or the infinite debt of gratitude owed the beloved for giving the lover life. Thus the need for a more daring love and gratitude, like the kind of tribute only possible when intoxicated by the dream of the beloved. In the dream we become gods. Thus to go toward the future, we must go toward Dionysus. To be precise, the time, or time itself, characterized by Dionysus, is neither a state to which one can return nor one to be anticipated; it is rather that perpetual flux and fusion arising between states, between syn- chrony and diachrony, day and night, heaven and hell.
Let us go to- ward Dionysus, and toward the Hesperian, by way of the beginning of the elegy, where his age is first described. There we will see that sacri- fice plays a principal role in defining the moment in which Dionysus dwells, one for which the poet must prepare. Only a poetics of sacrifice rooted in the prodigality of celebration can properly remember the god.
He teeters perpetually upon the alpine ridge be- tween disorganization and organization, mass confusion and articu- lated unity. The wine in his chalice is always on the brink of overflow- ing. Dionysus is not a useful god who helps weave or knot things together, but a god who loosens or unties. The weavers are his enemies. Yet there comes a moment when the weavers will abandon their looms to dash off after him into the mountains. SIKES sober delimitation of our existence, were but a brief parenthesis overwhelmed in an instant.
Where fundamentally completed, sufficiently thought, and truly said, pouring is: The god courses and streams, pours and spills down, giving himself as the fullness of life: Dionysus, taking after his father Zeus, is there in the thunderous wrath of the storm and in the clear aethereal skies that follow. The sacred is something that impregnates, it pours into the young girl, the animal, the statue, and fills them. Tim Parks New York: Vintage International, , O grant us oblivion and holy drunkenness , Grant the on-rushing word, like lovers, Sleepless and a wine cup more full a life more daring, Holy remembrance, too, keeping us wakeful at night.
In a wine cup more full, the god is sacrificed; this is his desire, the Todeslust of the god. Here, the dissolution of knots also heralds the parturition of a new social fabric. Upon the excesses of sacrifice, civilizations and ages are born. Next let us turn to how this transition is constituted through remem- brance. Krell poses the question: If this sacrifice is made, civilizations of the past and future will find their destiny. The fatherland goes into decline at the peak of its perfection, unity, fullness, at which juncture it must be offered as a sacrifice to Dionysus.
The moment of sacrifice is what Krell calls the point of diremption, which comes to bear when the whole of life swells with too much intimacy, or is too infinitely connected. David Farrell Krell, Lunar voices: Of tragedy, poetry, fiction, and thought Chicago: The University of Chicago Press, , Diremption occurs with, in, and through a feeling of excess. After the memory [die Erinnerung] of the dissolved, the individual unites with the infinite feeling of life through the memory of dissolut- ion, and after the gap between them is filled, there proceeds from this unification and comparison of the past singularity and the infinitely present the new situation proper, the next step that is to succeed upon the past DKV II: The first possible hazard is that dissolu- tion becomes fixed or stamped in the memory, thus belying the nature of its object, the infinite feeling of life that arises in decline.
The Voice of the People should also remind us of just how important the symbol of water is; there is no more powerful image than the one found here of the great rivers rushing gloriously unimpeded toward their death, dissolving and mixing indistinguishably with the ocean of the unbound All.
Alleine schon das ein Griff ins Klo. At the same time, the erotic is located so deeply at the very center of our lives that its marginalization or expulsion must be recognized as an impossibility. Das sollte man jeden Tag machen so etwas. Vielleicht kann man es so sagen: Seit der Wende hat sich diese Richtung vor allem wieder neu entwickelt, auch wenn sie zu unser aller Schande davor nie weg war.
It runs through all of his great river poems, and others dedicated to the civilizations they made possible, like the river Neckar in Heidelberg DKV I: Mimesis, philosophy, politics, ed. Stanford University Press, , 63— The access and the excess of pain […] rise in the course of dissolution, blotting out any possible apprehension of the new life […]. The very nature of dissolution and of infinite affect, which Krell sees as the excess of pain in diremption, seems to incorporate something recalcitrant to the ideational act of memory: The mo- ment of separation marks the vanishing point into which everything dissolves.
If excess itself and its attendant diremption — separation pure and simple — are the true objects of ideational recollection, this poses a grave challenge to a memorializing and singing that must offer itself in a form most genuinely mirroring and representing divine ex- cess. It points back to the problem that the infinite properly speaking cannot be presented.
The third difficulty faced by ideational recollection and its memorial- izing is the entirely momentary, augenblicklich, character of this transi- tion of age and world. Past and future, sky and earth, god and mortal converge, gather together, finding themselves intimately entwined in such a way that the gathering constitutes an event in the history of being. If the mode of existence — the relations governing among human be- ings and in their intimacy or lack thereof with nature or the divine The divine can present itself, that is, be experienced as a mode of existence and song, only at that liminal point between the downfall and parturition of the moment.
Such dissolution holds its peculiar character between being and nonbeing KII: As momentary, ephemeral, and ecstatic, divine presentation as well as divine existence in the song is incalculable and unpredictable — it happens in due course, and we can neither anticipate nor accelerate its due. Thus memorializing must not only remember and reflect what escapes all rational apprehension and reflection, regardless of how ideal, but it also has to embody a mode of being which itself is only fleeting, ecstatic, and distills in due time only after its fermentation. How the poet accomplishes this is the mystery revealed in and through Bread and Wine.
The and versions of the stanza remain the same, except for the next lines, —, which, although differing, explain why Christ had to disappear. In the first version the poem reads: This intensification of the comparative is redoubled, becoming too great, grandiose. The entire line takes on entirely too much intensity and an excessiveness upon which, as Krell points out, diremption is bound to supervene. This excess is the joy of the wine-god himself, der Freu- dengeist, whose intensity becomes too great for human beings to bear, thus signaling his departure.
To hesperianize the language means to spiritualize it, make it more con- ceptual, abstract, and in this sense also more numinous — and less graspable. What prevail are the very earthly and modest forms of bread and wine, the very gratitude extolled in the last lines of the stanza.
What prevails is poetic song as bread and wine: Bread is the fruit of the Earth, indeed the blessing of sunlight, And from the thundering god comes the joy of wine. Therefore in tasting them we think of the Heavenly who once were Here and shall return when the time is right; Therefore sing in seriousness the poets to the wine-god, Never idly devised sound the praises of that most ancient one. Von Pigenot highlights these very lines just quoted from Bread and Wine in order to bring into relief the quiet in- tensity and intimacy of these words.
The prevailing thanks are secured in bread and wine. Therefore Darum , from this secured ground, in tasting them we think of the heavenly ones. Therefore Darum , the songs devised, or to say it more vividly, thought-up, erdacht, in remem- brance of the wine god are serious, sung mit Ernst. This is the same seriousness, or gravity, which the action in tragedy, according to Aris- Martin Heidegger, Gesamtausgabe, 75 Frankfurt am Main: Vittorio Kloster- mann, , — SIKES totle, should have; the song is spoudaios. As both determined by and determining the relationship between the gods and mortals, poetic song bears the impact of destiny, which brings in its train ethical as well as political consequences for an era and its people.
After singling out those lines, von Pigenot comments: Thought in this way, his life and poetic work want to be nothing other than thanks; thanks to the gods and the genii of the cosmos; Greece itself counts among them. From time immemorial, they have been at work in the development of world substance. Our thanks Know God. Fearless, however, he remains, if he must, the man Alone before God, ingenuousness protects him, And he needs no weapon and no wile till The default of God helps.
Simpler than a thinking, thinking-on Andenken , and a thinking-up Erdenken that takes its ground as thanks to the genius? As Heidegger writes, thinking and poetizing arise from thanking GSA Likewise, thinking-on, das Andenken or remembrance, rests in and upon thanks GSA SIKES To say from remembrance is to think-up [Erdenken]; to abide most intimately with what is, that is the most daring spring into beying. Only gratitude remains standing at this crossing; only gratitude can guarantee the possibility of such a kairotic moment ever supervening again.
Thanks both receives the genius and prepares and institutes stiftet the ground for its reception. The Song as Bread and Wine Now the question arises: This question leads us back to the beginning of the essay, where I spoke of the nature of eros. It seems that the destitution of reflection and indeed, representational thinking in general, cripples our ability to love. It seems we can never love the other enough. If gratitude expresses this love, it must celebrate it, not reflect upon it. Ideational recollection, which we saw seeks to capture the genius within the representation of a figure, must give way to gratitude, which knows the genius in allowing it to pass away within the song.
Yet how is this accomplished? The first principle in a poetics of sacrifice is that every description of the god is a prescription for memorializing, for gratitude and song. To be dedicated to the god, poetry must embody the divine, must resemble it mimetically. With this in mind, let us recall the problems with such remembrance. The main difficulty lies in the nature of its Divine surfeit contains within it a second characteris- tic: As something both too unified and utterly dirempt, as something at the threshold of being and non- being, the divine appears, thirdly, as ecstatic and momentary.
The advent of the god cannot be reckoned; one can only provide and prepare for its arrival. If every description of the god is simultaneously a prescription for poetry and gratitude, poetic gratitude must be a certain praxis that imitates the divine. Such praxis is religious in nature, and more spe- cifically, liturgical or ritualistic. This is because the element of sacrifice in ritual is the moment of diremption — caesura — in the process, as we have seen in Bread and Wine.
How does the god disappear irrecuperably in the song? The mediacy and facticity of the word — and the world to which the god has descended — kills him. Or rather, he is consumed in the word and world. In the second version of the elegy we hear: Father Aether expends and strives, like flames, toward earth, Thousand-fold the god comes. Below lies like roses, the ground Ill-suited, transitory for the heavenly, but like flames Working from above and testing life and us, consuming. The consuming…33 Likewise, the bread and wine of the Eucharist — or of any celebration — disappears in the act of consumption.
The song as sacrifice is not the god mediated in word. It is the utter consumption of the god. Calasso notes something of importance to keep in mind here: Thus sacrifice is necessary to purify a people of miasma, the pollution rooted in thoughtlessness and profound ingratitude. Thus bread and wine appear — and poetic song, to be enjoyed, as before, in a human way; human beings must wine and dine upon the poetic word in which the god is sacrificed, celebrated, remembered. As the very superfluity of life, the god offers itself up for this sacrifice. The Vocation of the Poet The song itself must be an offering — a sacrifice of the god to the god in recognition of infinite gratitude.
Yet this only happens in so far as the poet, the one touched by genius — the one who becomes a genius — is sacrificed in the song. Or as Heidegger says, they must be a celebration of thanks in which thanks itself celebrates GSA 75, Gratitude celebrates as offering and sacrifice. In As on a Holiday, the song succeeds when it sounds of the fateful crossing between Zeus and Semele. So that quickly struck, she, known for the longest time To the infinite, shakes SIKES With recollection, and ignited by the holy ray She conceived the fruit in love, the work of gods and men, To bear witness to both, the song succeeds.
This religion, as song of the earth, sings the shattered origin of the god, one for whom birth simultaneously means death. Thus poetic religion is tragic, takes tragedy as a religious text, as Karl Reinhardt proposes. The poet-priest, as the one who stands closest to the god — close enough to share both his love and his death, indeed all his suffering, and is his semblable. Indeed, the poet through his poetry stands in for, represents, the god, so that he might appear.
Vandenhoeck and Ruprecht, , — But, oh, my shame! And let me say at once That I approached to see the Heavenly, And they themselves cast me down, deep down Below the living, into the dark cast down The false priest that I am, to sing, For those who have ears to hear, the warning song. There40 Thus it seems that this memorializing would need to take a lesson Only insofar as excess — of god, of the poet — is sacrificed, that is to say, finds its limits — which it does in suffering, can this excessive divinity ever come to the fore.
Love is born of this suffering and prepares the ground of infinite gratitude, a Dionysian Dankbarkeit. In this way, Poverty is given her measure of Superfluity. Correct measure and proportionality constitute the Beautiful. Such balance is also the objective of sacrifice, yet is only brought into being if excess is not reabsorbed within this calculus.
Something must go absolutely missing. Thus the infinite can only be shown in the moment of it going absolutely missing, or in the decline of the moment. In this moment, the poet, too, like the tragic hero, meets his downfall — he is cast down. Only a poetics of sacrifice, as a celebration of Dionysian Dankbarkeit, prevails. A fierce power and the sweetest thing. A source of calamities and the manifestation of grace.
A blind destiny and yet a future promise. Eros is the name of love, which, mythologically speaking, recalls the presence of a God.
Eros is the love that produces offspring. Variations of the myth appear throughout antiquity. Within the Orphic tradition we learn that Eros stems from an egg issued by the union of heaven and chaos, from which he burgeons as the power to restore what he himself has torn apart. Loeb Classical Library, When, in the 6th century B. C, Eros appears along the border between mythology and philoso- phy, it will be in the form of such a complex thing.
The first philoso- pher to write in prose, Pherecydes of Syros — the uncle of Pythagoras and one of the Seven Sages — grants us a narrative of this virtual back- and-forth movement: Eros is the power that makes us come into being and by which we, again and again or eventually, will break into pieces — as mere moments of an ever-lasting becoming.
Thus, Eros is a fertile love responsible for making and procreation or, with a more technical term, for production. Many are the voices that have praised the divine primacy of Eros, and one of them is Plato. With him we find the first philosophical 2. From Hesiod onwards, Eros stands for the power capable of unifying opposites. In this respect Eros has its temporal equivalence in the Greek divinity Kairos, the divine name of a time able to keep the universe together and to model the very measure of a time, kronos, that follows motion.
Rodolfo Mondolfo, El pensamiento antiguo. Ed Losada, , I am referring to works such as the Phaedrus, the Republic or the Laws, but above all to the dialogue Symposium, a compilation of ancient myths of love by way of six speeches. The exposition has its core in the last of the discourses, held by Socrates in memorial of his old teacher, Diotima. Who will deny that it is the ability of Eros that allows beings to be born and begotten? Recalling the principal argument of this abundantly commented upon investigation on the phenomena of love, we find that Diotima diverges from mythology in several respects.
Primarily, the complex nature of Eros is due to his mixed background. Issued by the union of a human being and the divine, Eros is not a God but a half-God, or what in Greek is called a daimon: Like its Christian equivalent, the daimon was held to be a messenger of the heavens, but unlike the later Christian figure, it was considered a channel in two directions.
The summary is mine. This is to say that Eros was born a bastard; and as a bastard he is to be both cursed and blessed. Thanks to his mother, he is submitted to motion and change as well as the normal mess known to a mortal being, such as poverty, scarcity and need. Existentially speaking, Eros is pure want; but this condition is graciously recompensed by a father able to turn shortage into a peculiar kind of plenty.
By Poros, Eros is blessed with abundance, such that it grants him whatever he needs to be ready at hand. This double heritage has made him a lover of what he does not have, and a skilled hunter with the means to achieve whatever he aims at. Eros will capture his prey but due to his mother, he will not be able to keep it.
His object will promptly escape him, the loss will present him with poverty, but then again, out of poverty, his hunting-spirit will be kept alive. As Goethe would later remind us, Love is eternal, only the objects are changing. From Socrtates analysis of Diotimas tale we learn that Eros is love but not — as had been commonly thought — as the love-worthy.
Being the child of Penia, Eros is he who loves. A lover of something, who desires his object and who wants to possess the object desired. Eros is the travel companion of Aphrodite, and hers are the attributes that may appear in the eyes of a lover — either it would be in body and flesh, in a beautiful soul, through the order of things or by an expression of knowledge. The divine attributes are of equal value and worth, yet the objects in which they appear are diverse. Although the sensitivity of beauty offers an indispensable initial condition, there is a virtuous path to be followed and an end to be reached: The traditional reading of the platonic Eros ends here.
The interpretation is based on a seemingly solid ground. More than once Plato himself has claimed the crowning of the erotic quest to be contemplation; and more than once has he claimed contemplation to be just the opposite of any kind of activity. The two realms were to be clearly distinguished, since eternity would disclose itself to a mortal eye only when all human activities were at rest.
It is tied up with the fact that for Plato contemplation was an attitude reserved for the few, namely those members of the polis considered freed from the time-consuming political activity or praxis the city-state required. This was also the origin of the phenomenon skhole: The opposition between contemplation and activity is convincing if we consider activity to translate the word praxis, but it is less so if we consider other words for activity within the Greek language such as archein, energein, dran or poiein.
A linguistic detail reflected by Plato himself. Turning to the Symposium, not only do we find contemplation treated as a verb, hence understood as an act, but moreover it is held to be the highest form of activity given to a mortal being: The University of Chicago Press, , 26— Anchor Books, , — Or as Plato defines it: The exposition of Plato is remarkably insistent and supplies us with guiding materials.
A passage from the important fourth book of the Republic may serve as an example. Even so, given the nature of poiesis, the story is not yet concluded. Posed as a question: According to Diotima, the answer is no. Strictly speaking, theoria may be considered the final aim of Eros only in so far as we mean the ultimate act given to a mortal being, which is to say, the act of dying.
Theoria is an act, but the ultimate object of Eros — partly in line with traditional understanding — is less of an act and more of an overcoming of a condition, since it is the elimination of death through the perpetuation of life, in other words: To this end, theoria is an intermediate step. Hackett Publishing Company Surely, then, it is not incorrect to say that Eros demands satisfaction, but only as long as we keep in mind that his ultimate claim is named fruit.
Eros, himself the result of a confusing encounter, is essentially fertile. Eros is known, above all, as the power to unify, nevertheless — or because of it — the playground of Eros is difference. Only what is apart can desire to meet, and Eros can strike the lover in as far as he is not at one with his object, only to the extent that there is a distance to be overcome and a difference to be obliterated. Moreover — as we have seen — the hidden agenda of Eros is immortality by way of succession, in other words, by way of reproduction of this very difference.
Now, what does this actually mean? Let us briefly recapitulate the movements of this vital train of events. The erotic-poietic process points to a beyond; in more than one way does it imply transcendence. While the lover, from his own point of view, is painfully tied to the world of appearance, the beloved one is not. The essence of the beloved is not of this world, nor is the time and the place of the longed-for encounter.
For a meeting to be celebrated there is a limit to be passed and a price to be paid. Like most deities, Eros calls for a sacrifice without which the encounter will be cancelled Symposium, d my abbreviation. The close linkage between Eros and Tanatos, recurrent in mythology and later recognized, among others, by Freud, is disturbingly present. The mingling business is virtually incompati- ble with any set individuality or established identity.
As Plato pre- scribes, being the most highly eroticised person, the philosopher should be prepared: The intimacy of the event corresponds to the final act of the lovers as separate beings. At least, for the time being. For a brief yet critical moment the negativity of dialectics, through which difference is borne and confirmed, is replaced by an instant of pure affirmation.
As Hegel later observed: The reference occurs in the dialogue Phaedro and it gives us a hand- some figure of the danger involved: Eros claims difference as the sacrifice to be made. The poetic experience that will prosper within romanticism is The Phenomoenolgy of the Spirit Cambridge: Oxford University Press, , The famous line is pronunced as an argument against intellectual intuition present in the philosophy of Schelling.
Among several attentive readings of this passage, I quote the one offered by Gadamer in his work Truth and Method New York: This assistance has the character of self-oblivion; and the essence of the spectator is to give himself over in contemplation while forgetting about himself. However, this state of self-oblivion has nothing to do with a state of privation, since it has its origin in the return to the thing, which the spectator will realize as his own positive action.
Physical or spiritual life, poetry or science re- gardless; only this pre-Cartesian methodos may lead us to the pre-con- ceptual intercourse of the known with the unknown, the familiar with the strange, the present at mind with the partly forgotten, that under- lies — as a modification of the Aristotelian notion of substance — the discontinuous continuity of the movement at stake. The process is of a cyclical nature and recalls the old notion of the eternal recurrence of the same — in its many variations.
What has been shaped in a blissful moment may be born in time, and what is born in time may grow to love, and so on and so forth. As difference is cancelled and unity thus restored, the outburst is already apt: Naming four of the major love-themes within the western tradition, the first to be mentioned is the caring love of agape. In the Christian tradition agape is known as the descending love reaching from a You to an I, and in some protestant readings, figured as the teocentric love opposing the egocentricity attributed to eros.
In each case we speak of a love that is directed to nourish what needs to mature, to Anders Nygren, Eros och agape Stockholm: As a counterpart to this benevolent love, we find the sorrowful circular love between an I and an I, a perverted perception mistaking the I for an Other, in line with the handsome Narcissus who fell in love with his own image.
Furthermore, there is the love in-between us, spoken by the word friendship, philia; possibly the most sweet, or the least painful love, since it is a love that is mutual. And last but not least, there is the ascending erotic love between an I and a You, whose power is to make us aware of a unification at reach, to make us want to recover what was lost and recalled.
Mythologically speaking, Eros is the origin of the becoming of cosmos and the destiny of its minor stars, but humanly speaking, it is the love presenting us with the source of a past and a future. The paradox of the fulfilment of an erotic encounter is the ability to mark a difference between what was and what is to come, to draw a line thereby between a past that might serve us or haunt us, and a future that might appear as a promise or drive us insane — by way of a unifying presence of a becoming.
Eros claims offspring, and is therefore the word for love of poiesis and love as poiesis, a productive love that conquers difference for the sake of difference in memory of it All, by way of the Whole, hence, underlies the continuation of the discontinuous processes known as philosophy, poetry, science or life. In contrast to this, an examination of the main themes related to platonic love permits the conclusion that, for Plato, the seat of love is in the soul and nowhere else.
According to the dialogues, Platonic love takes on different functions: But all of these functions have one and the same goal, to attain the True. In this way, Platonic love is a condition of both psychagogy and gnoseology. Enneads, VI, 8 39 , 15, 1: Despite the recurrence of Platonic themes in the Enneads, and some- times even of a Platonic vocabulary taken over almost word for word by Plotinus,3 what we find, with regard to eros, is not only a different intuition, but even the emergence of a new metaphysics.
The first dif- ference, and the most remarkable, is that the Plotinian eros does not have its seat in the soul, as in Plato, but in the One. Nowhere in Plato do we find the affirmation of an Eros of the Good generating the Ideas. By contrast, it is from the Plotinian One, from its diffusive Eros, that everything comes, and from the in- nate desire of the derivatives for their generator comes the fundamen- tal process of conversion permitting the constitution of the Intelligible as well as the sensible. Plotinian love is thus both at the source of the procession, as the cause of that which derives from the One loving itself, and the driving force of the conversion of the derivatives to- wards the latter, in that the diffusive love of the Principle is trans- formed, in the derivatives, into love of the Good: In the first place, for Plato the at- traction of what is the supreme value of love is valid only for the human soul in its ascension towards the Good in itself.
This is notably the case in VI, 9 9 , 9, ; VI, 7 38 , 32, 25 and 33, On the contrary, for Plotinus it is when the human soul goes beyond the intellect in order to be nothing but love, that there is vision of the Principle and union with it, and this, more- over, is valid also for the intelligible realities.
Nowhere is love that which is diffused from the Good into the realities which follow from it, the Ideas, and nowhere is it the only ideal of the soul, as Plotinus 6. VI, 7 38 , 31, 17—18 my italics. It is thus that gymnastics and music, in the Republic, correspond to the love of beautiful bodies and the love of beautiful souls in the Symposium.
Music has no other purpose than to regulate the soul through harmony; for a detailed analysis of this unification of the soul through the study of music, cf. Thus Platonic intellectualism surpasses the erotic: The dialectic is therefore that which crowns the erotic method, in so far as only the dialectic carries us all the way to the contemplation of the anhypothetic. In Plotinus, on the contrary, love is neither a method nor an auxiliary of the dialectic, but it is a dynamic, it is power and life. What commands this dynamic is the overflow of the One, its abundance, and that which structures the Intelligible as well as the sensible is once again the erotic dynamic as conversion towards the Good.
Our study will show how eros, in relation to the human soul — in its purification and its amorous ascension towards the Principle — has a fundamental role in Plotinus. But before entering into the way of the erotic ecstasy of the soul, we must understand where this love inhabiting the human soul comes from and what is its nature. We will show that the eros that moves the human soul is the trace of henological Love, and that, by virtue of its origin, its nature is divine.
We will then be able to explain what is the nature of Plotinian ecstasy: The Henological Origin of the Eros of the Soul The uniqueness of the philosophy of Plotinus resides in the fundamen- tal doctrine of the procession. At the source of the latter is the overflow of the One, diffusing an eros and a life inseparable from each other: This is why life and love are connatural in the derivatives and express, in their difference from the One, the trace of the latter in them, its presence. The trace or ichnos of the One in that Nevertheless, eros does not signify primarily the ontological difference of the hypostasis in relation to its origin, but rather it is the expression of an identity, a conti- nuity that traverses the intelligible world Nous 14 and is found, dimin- ished but not exhausted, in the sensible world as well and, a fortiori, in the human soul.
In its continuity with the origin, eros is thus founda- tional: This is true for the Nous as well as for the Soul, but in different degrees. In fact, Plotinus conceives the Intellect as pure relation to itself, a self-presence that is pure perfection and self-sufficiency, whereas the Soul is conceived as being in a relation of complete dependence with regard to the Intellect. The self-sufficiency of Nous expresses itself as primary life and archetypical of all the forms of life following upon it: Through this loving part, living the Life of the One, the perfection of the Intellect expresses itself according to a modality different from that of the One: Thus love, superior to thought, is the trace of its origin: Love thus signifies both the provenance and the dynamic continuity of the procession and the conversion.
High up above everything is overflowing and, in a way, seething with life. Everyone has the whole within himself and sees everything in every other: Nevertheless, even though love is the trace of the One in the Intellect, even though it is the presence of it, does it on no account establish a relation of strict identity with the Principle. In fact, eros is simultaneously the sign of the absence of the One, since the latter, in its absolute transcendence, its irreducible alterity, is never found as such in the hypostasis which immediately derives from it: In this way, as the trace of the presence of the First, love manifests an infinite dependence, a proximity in the tension of the desire for the supremely love worthy; it permits a living tie to unite that which is originally different.
But the absence of the Principle is also visible in the fact that it never manifests itself other than in the guise of an infinite power derived from its pure Act, a power in which the diffusive love and life of the Absolute are fused. Thus, the erotic dynamic power emanating from the One manifests simultaneously the tie that unites it with its derivatives and its absence in that which it has produced: But love is also a generative power since, in the act of producing, the origin leaves its trace. In this way, love emphasizes not only the distance from the eminence, but also and above all the III, 8 30 , 11, 14— Such is the trace of the Good which one sees in the Intellect, and it is in this way that one must conceive the model.
In fact, it is from the trace of the Good having imprinted itself on the Intellect that one has the notion of the true Good. Still, in the complete Intellect, the primary life is the totality of forms, it is ontological life; it is thus not in the form that the trace of the Origin resides, but in that which permits the form to bear a resemblance to the Good.
The formless life issuing from the pure Act of the Principle, becoming ontological life in Nous, retains a similarity with it because love is, as such, acting. In fact, only eros, as the trace of the Inexpressible, is able to accomplish the transcendence of the ontological, since it itself is somehow the light of that which is without form: This is why, if love is an acting generative power, Nous will also produce through love: The gen- eration of the Soul is thus the effect of an active generosity, because from the founding power of the One emanates an erotic-vital power which is not exhausted in the constitution of the hypostasis of the Intel- lect.
In fact, this erotic-vital power always exceeds the process through which a hypostasis is actualized and completed; the overflow of the One is always exceeding, and this excess is at the origin of another hypostasis, the Soul. But this time, the mode of generation is different, because whereas Nous is constituted from that which the One does not give, Nous in its turn makes a gift to the Soul of that which it pos- sesses.
The Soul is thus actualized and completed as hypostasis in amo- rously turning toward its generator. Thereby it receives the form and the limit possessed by the Intellect, as it contemplates the intelligible realities present in the Nous; and the thought of the Soul, which is III, 8 30 , 10, 1—5: In fact, in contemplating the intelligible, the Soul simultaneously contemplates the beauty shim- mering over the forms, and beauty is an indication of the presence of the Good. Thus, the Intellect and the Soul in their complete perfec- tion express the Good without form. The form may thus be considered as the trace of the One, in so far as the process of generation is the achievement of love and, in the act of production of one hypostasis by another, constitutes an active relation.
In the final analysis, then, that which gives the form the trace of the Good is love, in that it exceeds all forms. In fact, even if the presence of the Good cannot be thought outside of the identity of form and life, it is nevertheless in love, as trace and presence of the Good in each of the derivative hypostases, that it comes to be expressed. II, 3 52 , 18, 15— This is why, on the one hand, the Soul is always attached, through love and contemplation, to the Intellect with which it fills itself, thus producing its lower part, and, on the other hand, the intellectual part of the Soul is filled with forms by Nous.
But without the love, which moves the hypostases towards their generator, without the eros assuring the processional passage in its continuity, there would be neither life nor hypostasis. VI, 6 34 , 18, 47— VI, 7 38 , 33, In fact, through the function of an intermediary between the Intelligible and the sensible, which is exer- cised by the Soul-Nature and the individual souls, the presence of the Good — that is to say its trace in the sensible universe — is not effaced but only weakened and diminished.
Eros is active as well in the living totality of Nature, in the force and generative power animating the sensible world, because every force is, in Plotinus, a trace of the erotic- vital power having its source in the One. The wealth of concrete determinations thus expresses the erotic-vital dynamic in the phenomenal world. As concerns matter, it is like the dross of the higher beings, and thereby cannot communicate anything to this world except its bitterness. The descent of the particular souls is thus destined for the completion of the sensible universe; but the love that acts in the particular soul, the eros VI, 7 38 , 7, 8— In order to produce, the souls only have to follow the design already traced and organize the parts one by one; and each one directs its attention to the part which it approaches, as in a chorus where the dancer unites with the part given to him.
In fact, the love which lives in the soul transforms the bodily ties into an exercise of power in order to arrange that which is ontically inferior, just as it permits the soul, which is mixed up with the body, to purify itself and thus turn its gaze towards its true part. Above all, it is the analysis of the human soul that shows that the erotic power in us attaches us with all its force to an originary love of which we preserve the trace.
Instead, eros in Plotinus becomes reality in act, revealing to the amo- rous soul the propitious road leading from sensible beauty to absolute Beauty, and from the contemplation of the perfect forms in the Intel- lect to the contemplation of the One. VI, 7 38 , 32, 21— It is thus that Plotinus exhorts us: This will has led them into becoming, it has separated them from the principle by adding a first difference, matter — difference being defined, in the Plotinian vocabulary, as the principle of plurality and separation.
The role of the purification will thus be to restore our soul to its original purity and unity, to make it reconnect, through the erotic contemplation, with its true part. It is here that eros, as the driving force of the conversion, intercedes. In fact, on each level of the erotic anabasis of the soul toward its principle, the soul must traverse the multiplicity of its erotes. These different aspects of the eros of the soul are manifested in the form of the material desire characteristic of the soul completely entangled in matter and perverted by it, as well as in the form of divine eros as the attribute of the noetic and wise soul directing its gaze towards the One.
In fact, when our soul rises all the way up to the loving and inchoative Nous, it contemplates, in its company and in a state of erotic ecstasy, the Good that dispenses love. We may thus affirm that the nature of the eros of the soul is multiple, due to its sensible condition as incarnated. It is this erotic multiplicity that we must analyze. Plotinian difference may be analyzed as matter.
In fact, Plotinus writes, in the treatise 10 V, 1: Thus, even in the intelligible world, difference produces matter: We will then arrive at the true nature of its eros when, after having lifted itself through purification to that simplicity which makes us similar to the non-thinking and loving Intellect, our soul is no longer anything but love. The doctrine of love in Plotinus is tied to the doctrine of the love of the beautiful, which is rooted in the unthought love for the Good which moves all being: This is the reason why the soul is attracted to everything which shines with some beauty or other, a beauty through which the soul is seduced by the sensible world.
For the soul loves sensible beauty but, at the same time, forgets that the sensible is beautiful only through the grace of its intelligible model. Because of this forgetfulness of the intelligible, the eros of the incarnated soul may become a bad pathos, a passion for the sensible appearance of beauty, which always threatens to end up in ugliness and evil.
Thus Plotinus warns us: But the incarnated soul is ignorant also because V, 5 32 , 12, 7—9. III, 5 50 , 3, 36— V, 5 32 , 12, 10— III, 5 50 , 1, 64— This is not to say that every pathos is necessarily and absolutely bad; even for the passions of the soul, Plotinus proposes a hierarchy separating the bad pathos, the purely material desire, from mixed love and pure love. However, it would seem that pathos is, for the most part, in Plotinus, a desire whose proper tendency is the ugly.
The original movement of desire towards beauty is thus transformed, because of the matter contained in the composite which we are, into an unwholesome desire polluted by vice and intemperance. Thus, whereas in the general context of the Plotinian treatises homosexuality always constitutes a vice and a fault, mixed love for its part may, when procreation is its aim, constitute a temperate sexual union.
On this point Plotinus thus distances himself from Plato, for whom the first step of the ascendant dialectic is constituted by pederastic eros. The Alexandrinian for his part wishes to ignore this possible path of purification completely and, therefore, considers pederastic love as the height of intemperate sexuality. Introduction, traduction, commentaire et notes Paris: Cerf, , III, 5 50 , 1, In fact, the love which is awakened by the beauty of bodies does not remain pure and carries with it the instinct of generation: If they seek to see the loved one, it is in order to fecundate this image and stop it from withering.
With regard to the love which directs itself toward the other in flesh and blood, we ought not to ridicule it as an illusion, but understand that the illusion which consists in attributing to an incarnated being the perfection of essence in fact reveals this deep truth that in the imperfect being which we love, we see and love the reflection of its intelligible essence.
This is why VI, 7 38 , 22, 4—5. Pure love does not have any other nature than this intelligible one, nor any other power than to transfigure matter. As for the love con- trary to nature, that which is a simple accompaniment of the vice of the soul, it is nothing but a feverish phantasm, completely deprived of psychological value. Incidentally, nowhere in Plotinus is sexual love accorded any cathartic value, even if, as in the case of mixed hetero- sexual love, he recognizes that it may have a certain nobility of origin that renders it morally tolerable. But sexual love apparently never has any propaedeutic value.
Pure love is thus preferable to mixed love, and the lover who prefers not to generate is self-sufficient autarkesteron , since his love does not require anything but the beautiful. Moreover, the pathos he experiences does not run any risk of falling into vice and ugliness, something from which mixed love is never exempt.
This is why the earthly love most highly valued by Plotinus, and which he considers as the typical example of pure love, is that which a young girl feels for her father, the most adequate metaphor for the love of the Good. First of all, every pathos, including that which is pure, is a rapture of the soul toward sensible beauty.