#Social critique

[weirdlookindog]

Stefan Eggeler (1894-1969) - "Louis XV"

illustration from Hanns Heinz Ewers' Die Herzen der Könige (1922), a tale about a painter that uses the hearts of the kings of France in his paintings.

[tinkerbitch69]

My favourite part of dot and bubble (besides ncuti’s performance in the last scene my god!!!) is that the episode kinda misleads you into thinking Lindy is so dismissive of the doctor and the disappearance of others because of the social media echo chamber she has isolated herself in. That she is scared to leave it and that she could be a better more empathetic person if given the chance to leave.

But then the final scene happens!

All of her actions, from putting Ricky in the firing line before her to lying about it to refusing the help of the doctor because of her thinly veiled racist beliefs, reveal that this refusal to acknowledge the reality around her to the point of putting people in danger and inevitably allowing the problem to become worse was a choice. She was not some innocent victim of media manipulation but had complete agency in her denial of the danger others were and just didn’t care about them.

The reveal is an important part of the episodes critique of social media echo chambers, I think. Their danger isn’t that they obscure information that challenges the users but that they allow people to choose not to be confronted with information that challenges their worldview or their behaviour. Which is an experience vital to developing critical thinking skills and being a compassionate, empathetic human being. But by removing the agency of people who choose not to break from their bubble, we also enable the insularity of these echo chambers!

God I love this episode so much <3_<3

[cotidianoseeder]

Conservatives pov:

[traewilson]

So on Twitter, a post is going round of a lame fan fiction speculating the ending of Calvin & Hobbes. It's awful. It's completely out of character and tone with the story. It's basically Calvin giving Hobbes to his daughter. I don't really care to talk about it beyond the fact it exists, and commentary around it sparked Thoughts in my brain.

For those of you who don't know, the actual ending of the comic is intentionally open - they hop on their sled and go on another adventure. That's it. They are metaphorically frozen in time, and yet made perpetual, in this ending; there will always be more adventures. There is no ending - even as you grow up and stop being a child, childhood is always happening somewhere. It ends for us individually, but it marches on as a constant of human life. Calvin & Hobbes, the symbol of childhood that they are, shall remain as such long after those who were first raised on it when it was new have passed on.

The reason I'm here writing on this is I suddenly realized - this is a symptom of a wider societal swing in America. One which we've all seen but maybe not had pinned down. People who feel the compulsion, the URGE, to drag their childhood to their adulthood, and, because the people who want to do this tend to be miserable soulless people, they take that thing that gave them so much joy in their youth and rip out everything that made it so special to you as a kid, and make it as grey, realistic, and lifeless as you are.

This mindset is what leads to the live-action / hyper-realistic animation from Disney lately. Very Serious People want to watch The Lion King, but are embarrassed and ashamed of the film they loved as a kid. They still love it, but they need a "socially acceptable" way to watch it.

And that's where the "live action" remake comes in.

The advertising on this film brazenly declaring a CGI animated film as "live action" is the height of madness, until you remember - to call it animation is to call it "kid stuff." If they call it a CGI animated film, Very Serious People think of Minions.

They add Very Serious Nuance in the form of generational warfare between the hyenas and lions; in the form of Scar's desire for power being rooted in cucking Mufasa by claiming his wife Sarabi as his own. They make the animation Very Serious and, therefore, Realistic. So Realistic in fact that, really, to even call it """animation""" is an insult to what they're doing here.

(Even though animation is, obviously, objectively, what it is.)

The animals barely emote, showing less emotion than what even real animals can express, because emotional openness is, to these Very Serious People, bluntly:

C R I N G E.

So, they barely emote. The songs are still there, but they're almost all shambling putrid parodies of the original musical numbers. Favreau didn't even want half the songs to be in the movie; famously Be Prepared was a last-minute addition after mass public backlash - and it shows that it's a last-minute addition. It's barely even sung; more of a spoken word poetry thing than an actual song. Because I feel like either Jon Favreau, his executive overlords, or worse I SAY WORSE both treated the musical aspect of The Lion King as a necessary evil.

It's telling the only song they gassed up wasn't Elton John's new song at the end credits - it was Beyoncé's number, Spirit. A pop number awkwardly slapped on to a musical film apropos of nothing but Those Sales and That Sweet Academy Award for Best Original Song, Baby.

And of course, it worked; the film made over a billion dollars because the world is chock-full of Very Serious Adults who want to take their childhood with them into adulthood, but demand it grow up with them.

They want their childhood, but are embarrassed by that very desire.

We live, in short, in a teenaged society. A society that's matured only in body but not yet in mind.

This is, naturally, because so many of us are, ourselves, adults who only grew up in age.

Some grow wiser; some just get older - if I may paraphrase Paul Williams. And THAT'S the hell of it.

Moral of the story: stop being ashamed of the things you liked as a kid. You CAN take your childhood with you into your adulthood - in fact, it's good and healthy to (in moderation, I must stress; dont overcorrect.) You don't have to do this thing where you make these bumbling shambling homunculi of the things you loved, but without any of that cringeworthy "charm" or "color" or "fun". Learn to enjoy things on their own merits. Fuck realism in art - we have enough reality all around us to ignore, and no matter how hard you push realistic CGI, it'll be never be reality.

[nympho-scene-boy]

ME AND MY FRIENDS GOT BOOKS SO NOW JUDGE US ON OUR CHOICES ♡♡♡

☆▪︎ME▪︎☆

~ANA~

♤SAM♤

[cigarettesaftersushi]

Isn’t it absurd that so many self-proclaimed ‘liberal feminists’ are actually men who, while performing a caricature of womanhood, distort the meaning of what it truly means to be a woman? It’s reached a point where anyone, even an alien, could claim the label without question, and these individuals see no issue with it. The fact that men have infiltrated women’s spaces with such ease, appointing themselves as arbiters of womanhood, is both absurd and deeply unsettling. They take it further by manipulating, guilt-tripping, and gaslighting women for daring to speak up about the invasion of their own spaces, and the loss of meaning tied to their identity. It’s a display of entitlement that would be laughable if it weren’t so disturbing.

[k-i-l-l-e-r-b-e-e-6-9]

𝔇𝔢𝔠𝔞𝔭𝔦𝔱𝔞𝔱𝔢𝔡 - 𝔗𝔥𝔢 𝔑𝔢𝔤𝔞𝔱𝔦𝔬𝔫

[4ngels3gg]

Construção a Personal Analysis

Brazil has always been great at hiding protest from censorship in harmony and nostalgic beats. My favorite artist who is famous for his songs of this sort is Chico Buarque I believe he is 77 years old.

This is a song made 52 years ago by Chico Buarque. From my research, at the time there was a military dictatorship in Brazil going on and heavy censorship was pushed down upon the slightest critiques, just as it's seen in many dictatorships in history. I put the video with the English subtitles in this post. It's a shame that a language can never be truly translated since the tone of voice and vocabulary along with intentions can't be understood with just words, leaving only the native speakers to enjoy.

Anyway, the same story is told 3 times but with different words being used at the end of each sentence. There are also a lot of metaphors which reminded me of the Bible and the time some of the books were being written. Because like before censorship was rough so almost anything needed a metaphor that people could understand but not get in trouble for writing. The song is a social critique that much a listener can get from just one listen.

"Amou daquela vez como se fosse a ultima." This line one of the lines that gets repeated and altered. The first time is saying that the man loved his wife as if it were the last time he'd ever love. It's also told that he kissed his sons as if they where the only ones paying attention to each of them. I won't repeat and explain every line for that is extremely tedious. But you can get an idea of what the story in the song attempts to convey.

The background music and orquestra plays a huge role on how a listener may perceive the story since it starts out calm and catchy but at the climax of the story A.K.A the workers death it suddenly gets quiet and erupts to a loud noise of various instruments that, for some, makes you really feel how the situation is plating out. The man dies in in the public sidewalk and it's described as "atrapalhando" The death of the man is bothering, annoying, agonizing the public that's there to watch a drunken desensitized worker. And the background noise translates this feeling to the listener even when there is a language barrier you can just feel the urgency.

I want to jump to my favorite part that's near the end that comes after the climax of all the three repeated stories "Morreu na contramao atrapalhando o sabado" (I apologize for the lack of any accents.) After this the critiques become obvious and the background noise keeps the feeling found at the end of the stories, and there is no longer one single calm voice but three I believe correct me if there are more. They all sing in union.

The lyrics thank a higher power for simple things such as a floor to sleep and bread. What got my attention was the thanking for the privilege to smile. "A concessao pra sorrir" The singer views something like smiling, which everyone is entitled to in their lives, as a privileged. "Por me deshar respirar, por me deixhar existir." One can really notice how such simple things that should be something you get along with life are thanked for. "Deus Lhe Pague." This line is what I struggled with understanding. Are they really thanking the Christian God or are they thanking an entity who has power over them such as say, a politician. But it could just be me and my hurry to find meaning in everything.

I really recommend giving it a listen and making your own opinion of it. The genre is really worth it especially the artist so if you do decide to dig down to Brazilian music and history I'll be really glad if it started with me. Sorry for rambling so much about 5 word sentences.

[weirdlookindog]

Heinrich Kley (1863-1945) - “Devil sniffing smoke from a factory chimney” & “Interruption of production”, 1909

[zwei2x]

"We wear them; the skin, the burdens, of the past selves, of the beloved people we left behind."

Offered in high resolution to Patrons!

--

So this started out as a critique of society-enforced circumcision. Then as I was sketching, the character pulling the skin became female-presenting because it just FELT right. Then it became a gender expression study. Then it looped back to female circumcision, and abuse. Then it went back to pulling the skin of the past, as a burden.

All this to say; the message is about wearing the skin of those left behind; including our past selves. The interpretation is up to y'all! :)

[blueheartbookclub]

Dubliners: A Captivating Exploration of Ordinary Lives

James Joyce's "Dubliners" is a collection of short stories that offers readers a poignant and vivid portrait of life in early 20th-century Dublin. Published in 1914, this seminal work of modernist literature is renowned for its richly detailed character studies, evocative prose, and incisive exploration of the human condition.

At the heart of "Dubliners" is Joyce's keen observation of the everyday lives of the people of Dublin, capturing the hopes, dreams, and disappointments of ordinary individuals with precision and empathy. From the working-class neighborhoods to the middle-class suburbs, Joyce paints a multifaceted picture of Dublin society, revealing the complexities and contradictions that lie beneath its surface.

One of the most striking aspects of "Dubliners" is Joyce's mastery of the short story form, as he skillfully crafts each narrative with economy and precision. From the atmospheric opening story, "The Sisters," to the haunting conclusion of "The Dead," Joyce's stories are united by a common theme of epiphany, as characters grapple with moments of revelation and self-realization that illuminate the hidden truths of their lives.

Moreover, "Dubliners" is celebrated for its richly drawn characters, who range from the disillusioned alcoholic in "Counterparts" to the young boy experiencing his first crush in "Araby." Through his vividly depicted characters and their inner lives, Joyce offers readers a window into the social, cultural, and psychological forces that shape their experiences and interactions.

In addition to its exploration of individual lives, "Dubliners" also serves as a poignant meditation on the broader themes of Irish identity, colonialism, and the search for meaning in a changing world. Joyce's portrayal of Dublin as a city caught between tradition and modernity reflects the broader tensions of Irish society in the early 20th century, as it grapples with its colonial past and uncertain future.

In conclusion, "Dubliners" by James Joyce is a timeless masterpiece of modernist literature that continues to captivate readers with its vivid depiction of Dublin life, richly drawn characters, and profound exploration of the human condition. Through its evocative prose and incisive insights, "Dubliners" offers readers a deeply moving and thought-provoking journey into the heart of Dublin and the lives of its inhabitants. With its enduring relevance and universal appeal, "Dubliners" remains a testament to the enduring power of Joyce's vision and storytelling prowess.

James Joyce's "Dubliners" is available in Amazon in paperback 15.99$ and hardcover 22.99$ editions.

Number of pages: 312

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[omegaphilosophia]

The Philosophy of Metal

The philosophy of metal, particularly heavy metal music, involves exploring the genre's themes, cultural impact, and the ways it reflects and shapes human experiences. Metal is known for its distinctive sound, often characterized by loud, distorted guitars, powerful drumming, and aggressive vocals. It has a rich cultural and philosophical dimension that resonates with themes of rebellion, empowerment, and existential reflection.

Key Themes in the Philosophy of Metal:

Rebellion and Individualism:

Counter-Cultural Stance: Metal often positions itself as a form of rebellion against mainstream societal norms and conventions. This rebellious spirit is reflected in its lyrics, aesthetics, and attitudes, challenging the status quo and embracing a more defiant stance.

Empowerment and Self-Expression: Metal provides a platform for individual expression and empowerment. It encourages listeners and musicians to embrace their individuality, reject conformity, and assert their personal identity.

Darkness and Morbidity:

Exploration of Dark Themes: Metal frequently explores dark and morbid themes, including death, the occult, and existential despair. This focus on darker aspects of human experience allows for an exploration of profound and often uncomfortable subjects.

Catharsis and Understanding: By confronting these themes, metal can offer a form of catharsis and a way to process complex emotions. It provides a space for exploring fears, anxieties, and existential questions in a controlled and artistic manner.

Power and Strength:

Musical Intensity: The intense and powerful nature of metal music reflects a philosophy of strength and resilience. The genre's aggressive sound and energetic performances embody a sense of power and determination.

Personal Empowerment: Metal often promotes themes of personal strength and overcoming adversity. Lyrics and music can inspire listeners to face their challenges with courage and conviction.

Fantasy and Mythology:

Imagery and Themes: Metal frequently incorporates elements of fantasy, mythology, and epic storytelling. This use of grandiose and imaginative themes allows for the exploration of heroic narratives, mythic struggles, and otherworldly concepts.

Escape and Imagination: The fantasy aspects of metal provide an escape from everyday reality, allowing both musicians and listeners to explore alternative worlds and imaginative scenarios.

Existentialism and Nihilism:

Existential Reflection: Metal often grapples with existential themes, such as the search for meaning in a seemingly indifferent or chaotic universe. It reflects on the human condition, questioning the nature of existence and the role of individual agency.

Nihilistic Views: Some metal subgenres embrace nihilistic philosophies, questioning the value of traditional beliefs and structures. This nihilism can be expressed through themes of meaninglessness and the rejection of conventional moral frameworks.

Cultural Identity and Community:

Metal Subculture: Metal has a distinct subculture that values its own codes of conduct, aesthetics, and community. This subculture fosters a sense of belonging and identity among its members, creating a supportive environment for like-minded individuals.

Global Influence: Metal's impact extends beyond its origins, influencing and integrating with various cultures around the world. It reflects a global exchange of ideas and styles, contributing to a diverse and dynamic musical landscape.

Artistic and Musical Innovation:

Experimentation and Complexity: Metal is known for its musical complexity and innovation, with many subgenres incorporating intricate arrangements, technical skill, and experimental elements. This focus on musical innovation reflects a philosophical commitment to pushing artistic boundaries.

Genre Diversity: Metal encompasses a wide range of subgenres, each with its own philosophical and aesthetic values. From traditional heavy metal to black metal, death metal, and beyond, the genre's diversity reflects a broad spectrum of artistic expression and thematic exploration.

Authenticity and Integrity:

Commitment to Artistic Vision: Metal often values authenticity and integrity, with musicians and fans alike emphasizing the importance of staying true to one's artistic vision and personal values. This commitment to authenticity is central to the genre's identity.

Resistance to Commercialization: Many metal artists resist mainstream commercial pressures, prioritizing artistic expression over commercial success. This resistance reinforces the genre's rebellious and independent spirit.

Social Critique and Commentary:

Addressing Social Issues: Metal frequently addresses social and political issues, including themes of injustice, corruption, and oppression. Through its lyrics and imagery, metal offers a form of critique and commentary on societal problems.

Voice for the Marginalized: Metal often serves as a voice for marginalized or disaffected groups, providing a platform for expressing dissatisfaction and advocating for change.

The Philosophy of Aggression:

Expression of Aggression: Metal's aggressive sound and themes reflect a philosophical exploration of aggression and conflict. This aggression can be both a form of artistic expression and a way of confronting and processing inner and outer conflicts.

Controlled Aggression: The genre allows for the controlled expression of aggression, offering a safe outlet for exploring intense emotions and experiences.

The philosophy of metal encompasses a diverse range of themes and values, from rebellion and individualism to existential reflection and cultural identity. Metal provides a unique lens through which to explore and express complex emotions, societal critiques, and artistic innovation. Its emphasis on power, authenticity, and the exploration of dark and fantastical themes contributes to its distinct and influential position in the world of music and culture.

[thesaturnianwife]

𝚃𝚑𝚒𝚜 𝚎𝚜𝚜𝚊𝚢 𝚒𝚜 𝚊𝚗 𝚎𝚏𝚏𝚘𝚛𝚝 𝚝𝚘 𝚋𝚞𝚒𝚕𝚍 𝚊𝚗 𝚒𝚛𝚘𝚗𝚒𝚌 𝚙𝚘𝚕𝚒𝚝𝚒𝚌𝚊𝚕 𝚖𝚢𝚝𝚑 𝚏𝚊𝚒𝚝𝚑𝚏𝚞𝚕 𝚝𝚘 𝚏𝚎𝚖𝚒𝚗𝚒𝚜𝚖, 𝚜𝚘𝚌𝚒𝚊𝚕𝚒𝚜𝚖, 𝚊𝚗𝚍 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕𝚒𝚜𝚖. 𝙿𝚎𝚛𝚑𝚊𝚙𝚜 𝚖𝚘𝚛𝚎 𝚏𝚊𝚒𝚝𝚑𝚏𝚞𝚕 𝚊𝚜 𝚋𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚒𝚜 𝚏𝚊𝚒𝚝𝚑𝚏𝚞𝚕, 𝚝𝚑𝚊𝚗 𝚊𝚜 𝚛𝚎𝚟𝚎𝚛𝚎𝚗𝚝 𝚠𝚘𝚛𝚜𝚑𝚒𝚙 𝚊𝚗𝚍 𝚒𝚍𝚎𝚗𝚝𝚒𝚏𝚒𝚌𝚊– 𝚝𝚒𝚘𝚗. 𝙱𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚑𝚊𝚜 𝚊𝚕𝚠𝚊𝚢𝚜 𝚜𝚎𝚎𝚖𝚎𝚍 𝚝𝚘 𝚛𝚎𝚚𝚞𝚒𝚛𝚎 𝚝𝚊𝚔𝚒𝚗𝚐 𝚝𝚑𝚒𝚗𝚐𝚜 𝚟𝚎𝚛𝚢 𝚜𝚎𝚛𝚒𝚘𝚞𝚜𝚕𝚢. 𝙸 𝚔𝚗𝚘𝚠 𝚗𝚘 𝚋𝚎𝚝𝚝𝚎𝚛 𝚜𝚝𝚊𝚗𝚌𝚎 𝚝𝚘 𝚊𝚍𝚘𝚙𝚝 𝚏𝚛𝚘𝚖 𝚠𝚒𝚝𝚑𝚒𝚗 𝚝𝚑𝚎 𝚜𝚎𝚌𝚞𝚕𝚊𝚛–𝚛𝚎𝚕𝚒𝚐𝚒𝚘𝚞𝚜, 𝚎𝚟𝚊𝚗𝚐𝚎𝚕𝚒𝚌𝚊𝚕 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚜 𝚘𝚏 𝚄𝚗𝚒𝚝𝚎𝚍 𝚂𝚝𝚊𝚝𝚎𝚜 𝚙𝚘𝚕𝚒– 𝚝𝚒𝚌𝚜, 𝚒𝚗𝚌𝚕𝚞𝚍𝚒𝚗𝚐 𝚝𝚑𝚎 𝚙𝚘𝚕𝚒𝚝𝚒𝚌𝚜 𝚘𝚏 𝚜𝚘𝚌𝚒𝚊𝚕𝚒𝚜𝚝–𝚏𝚎𝚖𝚒𝚗𝚒𝚜𝚖. 𝙱𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚙𝚛𝚘𝚝𝚎𝚌𝚝𝚜 𝚘𝚗𝚎 𝚏𝚛𝚘𝚖 𝚝𝚑𝚎 𝚖𝚘𝚛𝚊𝚕 𝚖𝚊𝚓𝚘𝚛𝚒𝚝𝚢 𝚠𝚒𝚝𝚑𝚒𝚗, 𝚠𝚑𝚒𝚕𝚎 𝚜𝚝𝚒𝚕𝚕 𝚒𝚗𝚜𝚒𝚜𝚝– 𝚒𝚗𝚐 𝚘𝚗 𝚝𝚑𝚎 𝚗𝚎𝚎𝚍 𝚏𝚘𝚛 𝚌𝚘𝚖𝚖𝚞𝚗𝚒𝚝𝚢. 𝙱𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢 𝚒𝚜 𝚗𝚘𝚝 𝚊𝚙𝚘𝚜𝚝𝚊𝚜𝚢. 𝙸𝚛𝚘𝚗𝚢 𝚒𝚜 𝚊𝚋𝚘𝚞𝚝 𝚌𝚘𝚗𝚝𝚛𝚊𝚍𝚒𝚌𝚝𝚒𝚘𝚗𝚜 𝚝𝚑𝚊𝚝 ��𝚘 𝚗𝚘𝚝 𝚛𝚎𝚜𝚘𝚕𝚟𝚎 𝚒𝚗𝚝𝚘 𝚕𝚊𝚛𝚐𝚎𝚛 𝚠𝚑𝚘𝚕𝚎𝚜, 𝚎𝚟𝚎𝚗 𝚍𝚒𝚊𝚕𝚎𝚌𝚝𝚒𝚌𝚊𝚕𝚕𝚢, 𝚊𝚋𝚘𝚞𝚝 𝚝𝚑𝚎 𝚝𝚎𝚗𝚜𝚒𝚘𝚗 𝚘𝚏 𝚑𝚘𝚕𝚍𝚒𝚗𝚐 𝚒𝚗𝚌𝚘𝚖– 𝚙𝚊𝚝𝚒𝚋𝚕𝚎 𝚝𝚑𝚒𝚗𝚐𝚜 𝚝𝚘𝚐𝚎𝚝𝚑𝚎𝚛 𝚋𝚎𝚌𝚊𝚞𝚜𝚎 𝚋𝚘𝚝𝚑 𝚘𝚛 𝚊𝚕𝚕 𝚊𝚛𝚎 𝚗𝚎𝚌𝚎𝚜𝚜𝚊𝚛𝚢 𝚊𝚗𝚍 𝚝𝚛𝚞𝚎. 𝙸𝚛𝚘𝚗𝚢 𝚒𝚜 𝚊𝚋𝚘𝚞𝚝 𝚑𝚞𝚖𝚘𝚛 𝚊𝚗𝚍 𝚜𝚎𝚛𝚒𝚘𝚞𝚜 𝚙𝚕𝚊𝚢. 𝙸𝚝 𝚒𝚜 𝚊𝚕𝚜𝚘 𝚊 𝚛𝚑𝚎𝚝𝚘𝚛𝚒𝚌𝚊𝚕 𝚜𝚝𝚛𝚊𝚝𝚎𝚐𝚢 𝚊𝚗𝚍 𝚊 𝚙𝚘𝚕𝚒𝚝𝚒𝚌𝚊𝚕 𝚖𝚎𝚝𝚑𝚘𝚍, 𝚘𝚗𝚎 𝙸 𝚠𝚘𝚞𝚕𝚍 𝚕𝚒𝚔𝚎 𝚝𝚘 𝚜𝚎𝚎 𝚖𝚘𝚛𝚎 𝚑𝚘𝚗𝚘𝚛𝚎𝚍 𝚠𝚒𝚝𝚑𝚒𝚗 𝚜𝚘𝚌𝚒𝚊𝚕𝚒𝚜𝚝–𝚏𝚎𝚖𝚒𝚗𝚒𝚜𝚖. 𝙰𝚝 𝚝𝚑𝚎 𝚌𝚎𝚗𝚝𝚎𝚛 𝚘𝚏 𝚖𝚢 𝚒𝚛𝚘𝚗𝚒𝚌 𝚏𝚊𝚒𝚝𝚑, 𝚖𝚢 𝚋𝚕𝚊𝚜𝚙𝚑𝚎𝚖𝚢, 𝚒𝚜 𝚝𝚑𝚎 𝚒𝚖𝚊𝚐𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚌𝚢𝚋𝚘𝚛𝚐.

𝙳𝚘𝚗𝚗𝚊 𝙷𝚊𝚛𝚊𝚠𝚊𝚢, 𝚃𝚑𝚎 𝙲𝚢𝚋𝚘𝚛𝚐 𝙼𝚊𝚗𝚒𝚏𝚎𝚜𝚝𝚘. 𝟷𝟿𝟾𝟻.

[mentholdyke]

how do aspects of western culture create the conditions for wide spread disease? first, we have to dispel the myths of individualism vs collectivism. the argument of people from western cultures are inherently more individualistic is a farce. the very fact that many individuals seek outlets for altruism, though they may be flawed and difficult to make real change through, even when we live in a system that rewards anti-social behaviors such as resource hoarding and deception for personal gain, is some proof of that. individualism is a capitalist concept - the idea that personal advancement and enrichment is reliant on the self - self independence, self esteem, self interest - and though this may be the case in capitalist societies where a focus on the self is rewarded and collective action is punished, is it really fair then to say that the people are inherently more this-or-that when the very structures our lives depend on, rely on our ability to function as socially isolated, nonempathetic beings? certainly to survive and thrive in such a world many people have to “turn off” the parts of their brains that lead to pro-social behavior.

so, we have a culture that discourages collective action, so much so that attempts to self-establish community care by staying at home while sick usually end in us losing our jobs — even though those of us who do fight to stay home while sick do not usually have enough of a support system to stay at home in the first place, as the ruling class wrings us dry. it is more important for us to make money for the ruling class than it is for us to have a healthy and enriched life. that is the end of the question of, why isn’t anything changing as far as the amount of multiple global pandemic catastrophies since the inception of violent white supremacist and capitalist colonization.

our government legitimizes leaders who don’t believe in science, and they make decisions for communities they aren’t a part of. businesses have become somewhat “apolitical” entities who have some levels of immunity to law, since we know state law is not a suitable measure of accountability.

fighting through the law as a means of “regaining our rights” simple is an overdone conversation, and it has been for over a century. we must be the own arbiters of our fates - the information we and our neighbors recieve (education), the measures of care we provide for each other (mask blocs, no strings attached mutual aid to get through periods without income during quarantines, providing each other with medical care), our ability to fight for the people we love - these are the real things that matter.

this is going to be an extremely active, long-term effort. the HIV/AIDS fight lasted for arguably over 50 years. COVID doesn’t have to keep killing us for that long.

[blueheartbooks]

"Unveiling the Tapestry of Ambition and Redemption: A Review of 'Great Expectations' by Charles Dickens"

Charles Dickens' magnum opus, "Great Expectations," stands as a testament to the enduring power of storytelling and the complexities of the human experience. Set against the backdrop of Victorian England, the novel follows the journey of its protagonist, Pip, as he navigates the intricacies of ambition, social class, and the pursuit of self-discovery.

At its core, "Great Expectations" is a bildungsroman, tracing Pip's evolution from a humble orphan living in rural Kent to a gentleman of means in bustling London society. Dickens' masterful prose and vivid characterization breathe life into the rich tapestry of characters that populate Pip's world, from the enigmatic Miss Havisham and her ethereal ward, Estella, to the kind-hearted blacksmith, Joe Gargery, and the mysterious benefactor, Abel Magwitch. Through Pip's encounters with these characters, Dickens explores themes of identity, guilt, and the corrosive effects of ambition, weaving a narrative that is as poignant as it is profound.

One of the novel's most enduring themes is the tension between ambition and contentment, as Pip grapples with the realization that his "great expectations" may come at a cost too dear to bear. Dickens' portrayal of Pip's moral and emotional journey is both nuanced and compelling, as the protagonist confronts the consequences of his choices and learns the true value of love, loyalty, and forgiveness. Through Pip's trials and tribulations, Dickens offers a poignant commentary on the human condition, reminding readers of the importance of humility, integrity, and the bonds of friendship and family.

Moreover, "Great Expectations" is a social critique of Victorian society, exposing the stark disparities between the privileged elite and the disenfranchised underclass. Dickens' keen eye for detail and his incisive wit shine through in his portrayal of the class-conscious society of 19th-century England, where social status and wealth dictate one's prospects and opportunities. Through characters such as the conniving lawyer, Jaggers, and the opportunistic clerk, Mr. Wopsle, Dickens highlights the hypocrisy and moral bankruptcy that permeate the upper echelons of society, while also celebrating the resilience and dignity of the working class.

One of the novel's greatest strengths is Dickens' evocative prose and his ability to create vivid, atmospheric settings that transport readers to another time and place. From the haunting desolation of Satis House to the bustling streets of London, Dickens paints a rich tableau of Victorian England, immersing readers in a world that is as vibrant as it is unforgiving. Through his vivid descriptions and keen observations, Dickens captures the essence of a bygone era, while also exploring themes and issues that remain relevant to contemporary readers.

In conclusion, "Great Expectations" is a timeless masterpiece that continues to captivate and inspire readers with its richly drawn characters, intricate plotting, and profound insights into the human condition. Dickens' exploration of ambition, redemption, and the search for identity resonates as strongly today as it did when the novel was first published over 150 years ago, reminding us of the enduring power of literature to illuminate the complexities of the human experience.

Charles Dickens' magnum opus, "Great Expectations," is available in Amazon in paperback 23.99$ and hardcover 29.99$ editions.

Number of pages: 520

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[portablefrailty]

Our greatest tales only become more relevant