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the-fae-folk · 3 years ago

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Hi! Reading your blog is such a gift — at least to me, that's how it feels. I've been thinking for some time about what I could research about on the Fae, because it's a subject I want to focus my academic paper on. Do you happen to have any ideas? It would really help a lot if you could.

My Child, you are a delight and a wonder. Researching the Fair Folk is rather like taking a dive into what seems an ordinary pool of water, only to find that beneath the surface it expands ever wider and delves much deeper into the earth than you could have possibly believed. Down and down you swim, searching for the bottom, and you discover instead that there are tunnels and caverns that extend down and outward for miles and miles, possibly even connecting to the far away sea. There is simply an extraordinary amount of things to study when it comes to the Folk. You could look into the language, what words are connected to Faerie and Fae, and how the influence of those words has brought all kinds of strange ideas as cultures and concepts intermixed over time. Perhaps you could choose a particular country or group of people in Europe and study closely their folklore and myths, how those tell of the people themselves and their values and beliefs, as well as what it is they are saying about the Fae. Maybe you might write about a certain kind of Faerie, such as a Nixie, and then travel along on a journey all over Europe, tracing the movements of the idea and the changes of the name. There are more connections than you would ever know from a glance at the surface. What ideas, archetypes, and tropes have been preserved through Folk and Fairy Tales? Created through them? Passed along down through them? Discovered through them? Perhaps you could look at what sorts of things in the world were influencing those Fairy Stories. Cultural and Religious changes such as the rise of the Christian Church. Or perhaps Geographical changes like the slow disappearance of the ancient Hercynian Forest. If a narrower scope suits your tastes, perhaps look at a particular aspect of Faerie stories. What sorts of objects or ideas often show up in those old tales? Even things we dismiss as modern invention have surprising roots, like the origins of Fairy Dust. Despite its flaws, Academia and its systems allow for one of the most interesting opportunities one could take advantage of. Taking aspects from two different disciplines and combining them in order to explore a topic in a more unique way. For example, one could examine the odd behavior of Time in the old stories of Fairy Rings through the lens of Theoretical Physics (For example the work of Itzhak Bars on his theory of Two-Time Physics, which suggests the mathematical possibility of a universe with two dimensions of time instead of the usual one). There are ever so many ways you could approach the topic of the Fae. My suggestion is to find a broad category inside Faerie, then narrow and narrow and narrow your scope until you find something of a more manageable size. If you feel the urge to try and add too much into your paper's topic, resist it. Save that for another paper. Some academic papers can be for your own personal enjoyment too, otherwise there wouldn't be so many people writing them after getting out of school. I offer you all the blessings that are mine to give. Good luck! And I would love the chance to read your paper at some point.

#fae #faerie #otherfolk #faerie lore #folklore #academic paper #academic writing #fae academia #theoretical physics #itzhak bars #two-time physics #fairy rings #hercynian forest #fairy stories #fairy tales #fairy

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jewishbookworld · 4 years ago

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The 22 books posted on JewishBookWorld.org in February 2021

Here is the list of the 22 books that I posted on JewishBookWorld.org in February 2021. The image above contains some of the covers. The bold links take you to the book’s page on Amazon; the “on this site” links to the book’s page on this site. The Bar/Bat Mitzvah Book by Lily Safrani, Diana Yacobi (on this site)Benjamin’s Crossing by Jay Parini (on this site)Bound in the Bond of Life:…

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mysticstronomy · 4 years ago

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WHAT IS THE DIMENSION OF TIME? IS THERE A TIME DIMENSION??

Blog#41 Wednesday, December 2nd, 2020

Welcome back,

Before we start, I just wanna say, THANK YOU SO MUCH for 2,000 followers. I am really grateful for each one of you, I really appreciate it. Lets get into this dimension.

You can’t really enter into “another dimension” as science fiction would have you believe. Instead, dimensions are how we experience the world. But some aspects actually suggest to one expert, not one but two dimensions of time. If it were true, the theory could actually heal the most glaring rift in physics—between quantum mechanics and general relativity.

That’s according to Itzhak Bars of the University of Southern California, Los Angeles. The normal three dimensions including up-down, left-right, forward-back, and space-time. In Bars’s theory, time isn’t linear, but a 2D plane in curvature interwoven throughout these dimensions and more.

Dr. Bars has been crafting “two time physics” for over a decade now. It all started when he began questioning the role time plays in relation to gravity and other forces.

Though the idea of more dimensions sounds bizarre, more and more physicists are considering the idea, because it could allow for the coveted unified theory of physics or "theory of everything" to take shape. This would bring together all the fundamental forces of the universe into one clean, mathematical equation. Two-dimensions of time would make time travel possible. Instead of being linear, at some point time loops back on itself. In this way, you could travel back or forward in time.

It also raises the specter of the “grandfather paradox.” This is killing your maternal grandfather, accidentally, before your mother is born, negating your own birth. Two-dimensions of time would make time travel possible. Instead of being linear, at some point time loops back on itself. In this way, you could travel back or forward in time. It also raises the specter of the “grandfather paradox.” This is killing your maternal grandfather, accidentally, before your mother is born, negating your own birth.

So if there are all these extra dimensions, how come we don’t experience them? In two-time theory, they’re so infinitesimally small, we can’t see them. In this view, we move through these tiny, balled up dimensions all of the time, but never notice them. If we were to fashion technology on the subatomic level, we might be able to detect these additional dimensions, Bars claims. Another aspect, the electrical charges associated with certain particles may in fact exist, due to their interaction with these other dimensions of space.

M-theory, first posited in 1995, has turned physics on its head. According to celebrity physicist Dr. Michio Kaku, this is a superstring theory, the only one which can heal the puzzling gulf now inhabiting physics. M-theory contains 10 dimensions of space and one of time, all told.

COMING UP!!

(Saturday, December 5th,2020)

“DANGEROUS ‘NAKED’ BLACK HOLES COULD BE HIDING IN THE UNIVERSE”

#astrology #Astronomy #astrophysics #astrophotography #outer space #atmosphere #black holes #Black Hole

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orbemnews · 4 years ago

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Henry Goldrich, Gear Guru to Rock Stars, Is Dead at 88 When asked about his musical ability, Henry Goldrich would often demur, “I play cash register.” His stage was Manny’s Music in Manhattan, where Mr. Goldrich, the longtime owner, supplied equipment to a generation of rock stars. But even though he sold instead of strummed, Mr. Goldrich secured an important role in rock by connecting famous musicians with cutting-edge equipment. “To these guys, Henry was the superstar,” his son Judd said. “He was the first guy to get gear they had never seen before.” Mr. Goldrich died on Feb. 16 at his home in Boca Raton, Fla. He was 88. His death was confirmed by his other son, Ian, who said he had been in frail but stable health. Manny’s, which closed in 2009 after 74 years in business, was long the largest and best-known of the cluster of music shops on the West 48th Street block known as Music Row. It was opened in 1935 by Mr. Goldrich’s father, Manny, and it was a second home for Henry since his infancy, when the shop’s clientele of swing stars doted on him. Ella Fitzgerald would babysit for him in the shop when his parents went out for lunch, Ian Goldrich said. By 1968, when his father died at 62, Henry Goldrich had largely taken over operations and had turned the shop into an equipment mecca and hangout for world-renowned artists. He did this by expanding its inventory of the latest gear and by solidifying connections with suppliers that helped him consistently stock high-level instruments and new products. At a time before rock stars were lavished with the latest equipment straight from the manufacturers, Manny’s was favored by top musicians searching for new gear and testing out new equipment. These included two guitar gods of the 1960s, Jimi Hendrix and Eric Clapton — to whom, Ian Goldrich said, his father recommended the wah-wah pedal, an electronic device that immediately became a staple of both musicians’ approaches. He added that Hendrix would buy scores of guitars on credit and have Mr. Goldrich fine-tune them to the guitarist’s demanding preferences. Many rock and pop classics were either played or written on instruments sold by Mr. Goldrich. John Sebastian, founder of the Lovin’ Spoonful, recalled in an interview how Mr. Goldrich in the mid-1960s helped him select the Gibson J-45 he used on early Spoonful recordings like “Do You Believe in Magic?” Mr. Goldrich similarly matched James Taylor with a quality Martin acoustic guitar early in his career, his son Ian said. And Sting used the Fender Stratocaster Mr. Goldrich sold him to compose “Message in a Bottle” and many other hits for the Police before donating it to the Smithsonian Institution. In 1970, he sold the Pink Floyd guitarist David Gilmour the 1969 black Stratocaster he played on many of the band’s seminal recordings. It sold at auction in 2019 for a record $3,975,000. Pete Townshend of the Who would order expensive electric guitars by the dozens from Mr. Goldrich, who was not happy when he heard about the guitarist’s penchant for destroying his instrument onstage for theatrical effect. “It was good business,” Ian Goldrich said, “but my father was annoyed that Pete was breaking all the guitars he was selling him.” Unlike many of his flamboyant rock-star customers, Mr. Goodrich always dressed conventionally in a sport coat and kept a blunt demeanor that put his customers at ease. “He had a gruff personality; he treated them all the same,” Ian Goldrich said. “He’d tell Bob Dylan, ‘Sit in the back and I’ll be with you in a minute.’” There was the day in 1985 — it was Black Friday, and the store was packed — that Mick Jagger and David Bowie stopped by together, creating a commotion that halted sales. An annoyed Mr. Goldrich quickly sold them their items and rushed them out. “My father was like, ‘What are you guys doing here today?’” Ian recalled. “He didn’t throw them out, but he was not happy.” When the band Guns N’ Roses asked to shoot part of the video for their 1989 hit “Paradise City” in the store, Ian Goldrich recalled, his father agreed only reluctantly, saying, “OK, but we’re not shutting down for them.” Ever opinionated, Mr. Goldrich told Harry Chapin in 1972 that his new song “Taxi,” at nearly seven minutes, was too lengthy to be a hit. (It reached the Top 40 and is now considered a classic.) And he told Paul Simon, who as a boy had bought his first guitar at Manny’s, that he thought Simon and Garfunkel was a “lousy name” for a group. But he also advised new stars in a fatherly way not to squander their newfound wealth. “He’d take them aside and say, ‘You’re making money now — how are you going to take care of it?’” Ian Goldrich said. Henry Jerome Goldrich was born on May 15, 1932, to Manny and Julia Goldrich, and grew up in Brooklyn and in Hewlett on Long Island. After graduating from Adelphi College, he served in the Army in Korea in the mid-1950s and then went to work full time at Manny’s. His father opened the store on West 48th Street, a location he chose because it was close to the Broadway theaters and the 52nd Street jazz clubs, as well as numerous recording studios and the Brill Building, a hub for music publishers. In 1999, Mr. Goldrich sold Manny’s to Sam Ash Music, a rival store, which largely retained the staff until Manny’s closed in 2009. In addition to his sons, Mr. Goldrich is survived by his wife, Judi; his daughter, Holly Goldrich; seven grandchildren; and a great-granddaughter. Mr. Goldrich often used his celebrity clientele to market the store. “He recognized value of these people being in the store and it made the business, certainly,” his son Judd said. When a young Eric Clapton, then with the group Cream, was stuck in New York without the money to fly home to England, he offered his amplifiers to Mr. Goldrich to raise funds. “He said, ‘I’ll buy them from you as long as you stencil them with the Cream logo,” Ian said. Then there was the store’s Wall of Fame, thousands of autographed publicity photos of famous customers that constituted a Who’s Who of popular music. Mr. Goldrich helped cultivate the photos, many of which were inscribed to him, and often kept his staff from stacking merchandise in front of them. Mr. Taylor, in a video interview, described being mesmerized by the photos as a teenager and being proud when his own was added. “It was sort of an inside thing, not as celebrated as a Grammy or a gold record or a position on the charts,” he said. “But definitely you had arrived if you were included on that wall.” Mr. Goldrich became close friends with many musicians, including the Who’s bassist, John Entwistle, who attended Judd’s bar mitzvah in New Jersey and hosted the Goldrich family at his Gothic mansion in England. Ian remembered the band’s drummer, Keith Moon, sitting on his father’s lap while drinking cognac at a screening of the film “Tommy.” In a video interview, Mr. Goldrich described selling the violinist Itzhak Perlman an electric violin. When Mr. Perlman tried bargaining, Mr. Goldrich parried by asking if he ever reduced his performance fee. “He said, ‘It’s different, I’m a talent,’” Mr. Goldrich recalled. “I said, ‘I’m a talent in my own way, too.’” That talent was palpable to Mr. Sebastian when he asked Mr. Goldrich to allow him to test out his stock of Gibson acoustic guitars in a merchandise room. “Henry’s famously prickly demeanor receded slightly,” Mr. Sebastian recalled, and he agreed to open early the next morning to allow him in. “He knew exactly what I wanted,” he said. “And I’ll be damned if I didn’t catch Henry smiling as he made out the bill.” Source link Orbem News #Dead #gear #Goldrich #Guru #Henry #rock #stars

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jewish-privilege · 6 years ago

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...Ask any Ashkenazi American Jew about his family’s arrival in the United States, and you’re likely to hear a certain story. With minor variations, it goes something like this: “My great-grandfather was called Rogarshevsky, but when he arrived at Ellis Island, the immigration officer couldn’t understand his accent. So he just wrote down ‘Rogers,’ and that became my family’s name.”

Most American Jews accept such stories as fact. The truth, however, is that they’re fiction. Ellis Island, New York City’s historic immigrant-absorption center, processed up to 11,000 immigrants daily between 1892 and 1924. Yet despite this incessant flow of newcomers, the highest standards of professionalism were demanded of those who worked there. All inspectors—many of whom were themselves immigrants, or children of immigrants—were required to know at least two languages; many knew far more, and all at the native-speaker level. Add to that the hundreds of auxiliary interpreters, and together you’ve covered nearly every possible language one might hear at Ellis Island. Yiddish, Russian, and Polish, in this context, were a piece of cake.

Nor were inspections the brief interactions we associate with passport control in today’s airports. Generally they lasted twenty minutes or more, as inspectors sought to identify those at high risk of becoming wards of the state. But perhaps most significantly, Ellis Island officers never wrote down immigrants’ names. Instead, they worked from ships’ manifests, which were themselves compiled by local officials at the point of embarkation. Even overseas, passenger lists were likewise not generated simply by asking immigrants for their names. Rather, they were drawn from passports, exit visas, and other identification papers. The reason for this was simple: Errors cost the shipping company money. A mistake on a manifest, such as a name that was not corroborated by other documentation (whether legal or fraudulent), would result in the forced deportation of the person in question back to his point of departure—at the shipping company’s expense. Of course, many Jewish immigrants’ names were changed upon coming to America. Without exception, however, they changed their names themselves.

...[The] enduring popularity of the name-change story among otherwise rational American Jews is nothing short of astounding. They cling to it, stubbornly defending it, long after any of their ancestors who actually came through Ellis Island as adults has passed away. It has taken on a near-sacred status, passed from parent to child to grandchild along with more general stories of national identity, such as the Exodus narrative related at Passover.

Of course, this stance is understandable. For the Ellis Island name-change story is not so much a historical error as it is a legend. It expresses both the highest hopes and the deepest fears of American Jewry.

To be sure, the hopes and fears embedded in the Ellis Island myth are specific to the challenges of American life. But they are also tied inexorably to long Jewish traditions of diaspora life around the world. For thousands of years, Jews outside the Land of Israel have developed strategies for preserving their culture absent collective political autonomy—an absence that, almost invariably, resulted in persecution, assimilation, or both. Some of these strategies, such as the establishment of separate educational systems, are common to all diaspora Jewish communities. The creation of founding legends is another example. These legends attempted to ground each community’s legitimacy in Jewish terms, invariably by rooting it firmly in the grand Jewish-historical narrative. At the same time, they offered a tailored response to the specific challenges each Jewish community faced.

Seen in this context, the Ellis Island name-change story is simply one of many diaspora founding legends. We often consider the American Jewish community, with its tenacious belief in both the purity of its American identity and its ability to live a fully Jewish life, to be a bizarre exception to the rules of Jewish history...

...The ethnographer Haya Bar-Itzhak sees the two main elements of this legend—the carving of Jewish texts onto Polish trees and the Hebrew origins of the word “Poland”—as part of a larger pattern of Jewish settlement in a new land. For instance, she points out, there is a well-known Jewish tradition of midrashim in which the names of places are given etymological explanations that relate to the original Israelite arrival there. The Polish legend, then, is but one of many similar attempts to “explain” the obviously Slavic names of specific places as in truth being of Semitic origin. According to these stories, Bar-Itzhak writes, the name “is understood not as a random and arbitrary set of phonemes, but as a concatenation that conveys a meaning in a Jewish language—Hebrew and/or Yiddish. The name-midrash unveils this meaning, which allows the newcomers to identify with the place by Judaizing it.”

...It is here that one finds the community’s greatest aspirations and deepest fears folded into a single, nonsupernatural tale. One the one hand, the Jews yearned to turn a strange landscape into a home that physically expressed the most deeply held Jewish value, that of Torah scholarship; so, too, did they dream of Gentile neighbors who would not merely tolerate, but actually honor, their presence in the country. On the other hand, they lived in constant terror of persecution, and doubted their ability to uphold the chain of tradition embodied in other, more established Jewish societies. By casting itself into an unspecified past, one in which no facts can be verified, the founding legend of Poland’s Jewish community becomes as improbable as the Ellis Island story—and as compelling.

...If all founding myths share the hopes and fears that characterized the Jewish historical experience in exile, then each legend also served its own community’s particular needs.

Yet these founding myths are not only about adapting to the demands of a new country. They are also about creating continuity with a specific “old” country: the Nation of Israel. One important component of all these legends is their connection to classic Jewish writings and images. The Polish story is particularly vivid in this respect. The idea of texts being transmitted supernaturally—flying through the sky, for example—has numerous resonances in early sources. One recalls God commanding the prophet Ezekiel to ingest a scroll, or R. Hanina ben Tradyon’s assertion, when wrapped in the burning Torah scroll that results in his martyrdom, that “the parchment is burning, but the letters are flying free!” Texts hanging from trees remind us of Psalm 137, which describes the Jewish exiles in Babylonia hanging their harps on branches, unwilling to sing songs of Jerusalem while their captors taunt them. Furthermore, the image of Polish Jews studying in a cave calls to mind the story of R. Shimon Bar Yohai and his son studying Torah in a cave while hiding from Roman persecutors, and the legends of diaspora Jews who return to Jerusalem in the messianic age through underground caverns. Some legends of Jewish Poland even describe this same cave at Kawenczynek as containing an underground passage to Israel.

...Sociologically, there is no question that the Ellis Island myth serves the same purpose of previous diaspora founding legends: allowing the community to express its highest aspirations and to face its greatest fears. True, the story seems to emphasize the severance of American Jews from their past. But the repeated telling of the story, and the emphatic belief with which American Jews have been taught to accept it, is itself the enactment of that continuity that older legends established through means more suited to their time and place. And as with these earlier myths, one cannot fully appreciate their power or purpose without likewise understanding their non-Jewish, co-territorial contexts. For in America—a nation famous for its lack of loyalty to burdensome, Old World conventions, in which everyone may invent himself anew—the very act of repeating a family story over the course of generations is itself a kind of resistance to Americanization.

American culture’s uniqueness lies in the fact that it does not force, but rather invites, immigrants to “remake” themselves—that is, to shed their past identities and pursue the future of their dreams. The goal of independence from Europe and all that it signified—its history as well as its social, economic, and cultural norms—was, after all, the basis of the American Revolution. Indeed, the “American dream,” with its assumption of potential upward social mobility, is based not on mere capitalism, but rather on the more profound idea that “it doesn’t matter where you come from.” Jews, like all other immigrant groups, were drawn to America precisely by this promise of freedom and opportunity that no other country in their history had ever offered them. But for Jews whose identity depends on the ritualized, intergenerational process of remembrance, the American emphasis on dissociation posed an existential threat to the Jewish communal future.

Consider, then, the motivations of those Jewish immigrants to America who created the myth that their names were changed against their will. Deeply aware of the significance of Jewish names, yet determined to help both themselves and their descendants blend in with their non-Jewish neighbors, they ultimately shed their conspicuous links to an Eastern European past. But—and this is the clincher—this was not a choice they were proud of. And so, by inventing a story that depicts their name change as beyond their control, and transmitting this story to their descendants as historical fact, these immigrants and their offspring sent a powerful message to future generations: I did not shed my Jewish identity intentionally. And despite the values of the country in which we are living, I hope that you won’t, either. This, then, expresses both the greatest hope and the greatest fear of American Jews: that their descendants will preserve their Jewish identity in a culture whose open objective has long been to invite them to forget it.

An expression of this tension inherent in the American Jewish experience can be seen in one of the many jokes that spun off from the Ellis Island myth: A flustered Jewish immigrant is asked for his name and responds in Yiddish, “Sheyn fargesn” (“[I] forgot already”)—only to find himself permanently saddled with the Irish-sounding moniker “Sean Ferguson.” This joke, along with its many straight-faced equivalents, is precisely the type of “name midrash” that Haya Bar-Itzhak describes in her ethnography of Jewish Poland. It is, as she writes, a multi-lingual pun that interprets a proper noun in the co-territorial language “not as a random and arbitrary set of phonemes, but as a concatenation that conveys a meaning in a Jewish language,” and that “Judaizes” the name in the process. The “Sean Ferguson” joke is even more rooted in the challenge presented to Jews by American culture, since at its core is the idea of forgetting—and, more pointedly, the idea that forgetting is itself an act for which a Jew and his descendants are punished (the assumption being, of course, that a Jew saddled with an Irish name has been unambiguously cursed).

In truth, then, the Ellis Island name-change story, while ostensibly about the unmaking of Jewish identity, are just the opposite: they are a process of Judaizing Gentile names by attributing to them a Jewish linguistic history. Making a name like Rogers into one that, secretly, has its roots in Rogarshevsky recalls how the word Poland was “revealed” as a Hebrew phrase in disguise. And it is precisely here, in the experience of exchanging one world for another, that we find the Ellis Island name-change story’s profound links to ancient Jewish texts and the greater pattern of Jewish history.

...What matters, rather, is the sentiment that the midrash captures, and the way this sentiment was expressed in the lives of Jews for centuries thereafter. This includes hundreds of thousands of American Jews whose ancestors may have changed their names but whose lies taught their descendants what was really worth keeping.

“History,” Gerson Cohen points out in his discussion of the Four Captives story, “is always shown to conform to a pattern”—not because such a pattern exists, but because historians and storytellers impose such a pattern on the facts (or invent the facts, when necessary). Cohen makes it clear that “it is this very orderliness of history that Ibn Daud finds a source of consolation, a source of hope that history will yet vindicate the Jewish hope for redemption.” By placing the Ellis Island name-change story into the continuum of diaspora myth making, we are no doubt doing just what Ibn Daud did, and for the same reason. We are claiming, rightly or wrongly, that history conforms to a pattern, in an attempt to console those who fear that the American Jewish community is in fact an anomaly in the Jewish people’s millennia-long continuity...

[Please read Dara Horn’s full, ridiculously well-researched and sourced, piece at Azure Online. It adds necessary color and history of other founding myths of our diaspora communities and how it all ties together to form Jewish history.]

#jewish history #white supremacy #assimilation #long post #dara horn #jewish identity

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derechoshumanostratados · 2 years ago

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La lista de Schindler

Película basada en hechos reales. Oskar Schindler es un empresario alemán, afiliado al Partido Nazi que, tras la invasión de Polonia, durante la Segunda Guerra Mundial, llega a un acuerdo económico con el director de un campo de trabajos forzados para usar en su fábrica trabajadores judíos (sin salario y en condiciones de esclavitud). Poco a poco va tomando conciencia del proceso de genocidio de los judíos por parte de los nazis y cambia de actitud. Una película que intenta mostrar con toda la crudeza el Holocausto y cómo hubo algunas personas que intentaron impedirlo.

La persecución que sufrieron los judíos durante la Segunda Guerra Mundial era fruto de una ideología racista, En la película, los judíos son tratados como seres inferiores, desposeídos de la dignidad propia de todos los seres humanos.

En la Polonia invadida por los nazis, sacudida por las persecuciones contra los judíos, el empresario Oscar Schindler intentará salvar a sus obreros del acoso a que se ven sometidos por las autoridades. Cuando la situación se complica, Schindler elabora una lista con el nombre de los operarios que desea llevar consigo, salvándolos así de la muerte en los campos de exterminio.

Schindler observa que está rodeado de jerarcas nazis y de inmediato empieza a hacerse notar invitando a todos a un trago, con esto, logra que todos los que están en el bar se sientan cómodos con su presencia y luego de varias copas se hace tomar fotos con los jerarcas nazis para que ellos tengan un recuerdo de su gratitud en esa noche. Luego, Schindler se dirige al Judenrat (consejo judío de Cracovia) buscando al contador judío Itzhak Stern (Ben Kingsley), a quien le pide que lo contacte con importantes empresarios judíos para que estos sean sus inversionistas y puedan comprar una empresa de metales que se encontraba en bancarrota, si Itzhak Stern le hacia este favor, Schindler estaba dispuesto a darle la gerencia de su empresa .

Los inversionistas acceden a la idea de Schindler y este ordena de inmediato a Itzhak Stern que contrate mano de obra judía para su empresa ya que era más barata que la polaca y sus ganancias serian mayores. Schindler acordándose del aprecio que se gano de los jerarcas nazis aquella noche en el bar, les envía regalos para que estos sean compradores de sus productos, en efecto su plan funciona. Un día mientras sus obreros se dirigían del gueto (Lugar donde tenían prisioneros a los Judíos) hacia la empresa para empezar con sus labores, estos fueron detenidos por soldados nazis y obligados a limpiar la nieve, un soldado al ver que uno de los obreros era manco decide acecinarlo porque lo cree ineficiente, además de perder un obrero Schindler pierde un día de trabajo, y por estas razones decide quejarse ante un jerarca nazi para pedirle que esto no vuelva a suceder.

Pasado el tiempo llega Amon Goeth a Cracovia, general nazi que se le encarga de administrar el gueto. Un día parte del gueto se vería sumida en caos y terror debido a que Amon (Ralph Fiennes )ordena la liquidación de los judíos que no trabajaran para empresas nazis, esto es observado por Schindler desde un terreno elevado de aquel sitio, esta es una actitud repudiada por Schindler. Luego de convivir con Itzhak Stern y ver injusticias cometidas contra los judíos, Schindler empieza a tener aprecio por ellos y a tratar de ayudarlos. A Amon se le ordena trasladar a todos los judíos del guetto a Auschwitz (campos de exterminio), Esto alarma a Schindler, ya que sus obreros iban a ser ejecutados, por lo que decide comprarle a Amon a cada uno de sus trabajadores, con la condición de que estos manufacturaran armas de guerra, Luego de esto Schindler realiza una lista con Itzhak Stern , rescatando así a 1100 judíos pero a su vez gastándose gran cantidad de su fortuna.

Schindler y sus judíos se trasladaron a Brunnlitz donde trabajan durante 7 meses realizando armas de muy baja calidad, hasta que su empresa queda en la quiebra ya que nadie compraba sus productos. Llega la noticia del fin de la guerra, Schindler libera a sus judíos y por ser miembro del partido nazi es obligado a huir , Amon es ejecutado y Schindler es homenajeado años después por los judíos declarado como un hombre justo, culminando el film con la muerte de este gran héroe.

película nos habla sobre el derecho a la libertad de cualquier persona y sobre la prohibición de la esclavitud, pero también sobre el derecho a la libertad de expresión, ya que los esclavos no podían hablar ni opinar, ni mucho menos acceder a una educación

En la película se ve como se violaban los derechos a las personas, que eran consideradas inferiores por su color, su orientación sexual y su religión.

Esta película nos muestra tan sólo una probadita de la gran masacre vivida en Polonia durante el Holocausto, en los años 40’s del siglo XX, durante la Segunda Guerra Mundial. Es interesante pensar como a veces los humanos nos hacemos una idea equivocada de las personas sin antes conocerlas. Esta película habla acerca de la situación política en Europa y el maltrato étnico del Régimen Nazi hacia los judíos, mostrando lo mejor y lo peor que una persona puede dar de sí mismo. Oscar Schindler parecía ser uno de “los malos” de la película, pero conforme va transcurriendo el tiempo, se puede notar su interés por los judíos. Ya que se opone al régimen.

Me pareció una película muy trágica en donde nos pone a recapacitar lo cruel que podemos llegar a ser las personas, solamente por una política o creencia. También nos deja la gran enseñanza de que todos los seres humanos podemos cambiar, y dependiendo de cómo sean nuestros actos así mismo la vida nos compensara. Esta película anula cualquier derecho humano conocido, empezando por el más básico que es el derecho a la vida. Los campos de concentración son un claro ejemplo de cómo se vulneran y se destruyen cualquier derecho humano. Todos los seres humanos nacen libres e igualdades en dignidad y derechos y, dotados como están de razón y conciencia, deben comportarse fraternamente los unos con los otros.

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bthenoise · 6 years ago

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Congrats To The Grammys For Finally Getting Their Rock & Metal Category Figured Out

Following a pretty up-and-down rollercoaster ride the past few years, the Recording Academy has seemingly gotten their stuff together when it comes to their rock and metal categories.

After dealing with an embarrassing year last year where Avenged Sevenfold publically called out the prestigious institution for their lack of support to the metal community, apparently, someone at the Academy was paying attention as this year’s nominees might be one of their best in quite some time.

For Best Metal Performance, the Grammys see a lot of new faces including Between The Buried And Me, Deafheaven, High On Fire and Trivium as well as scene staples Underoath (Underoath were previously nominated back in 2006 for Best Short Form Music Video).

As for Best Rock Performance, previous nominees like Arctic Monkeys, Cris Cornell (rest in peace) and Halestorm are accompanied by the likes of Greta Van Fleet and, surprisingly and well-deserved, FEVER 333.

Another fantastic nomination comes in the Best Rock Song category. Sandwiched between well-known household names like Ghost, Twenty One Pilots, and St. Vincent is Bring Me The Horizon and, for the second time, Greta Van Fleet.

All in all, as much as we bash on award shows for their lack of support towards our hard rock and metal community, this year the Grammys got it right. Were there other artists that deserved a nomination? Of course there were. But considering how things have been in the past (Leonard Cohen Best Rock Performance 2018, Beyonce Best Rock Performance nominee 2017, Tenacious D Best Metal Performance 2015, etc.), we’ll take it.

To check out the full list of nominees to prepare you for the 61st annual Grammy Awards which will take place on Sunday, February 10th, be sure to look below.

Best Rock Performance

“Four Out Of Five” —Arctic Monkeys “When Bad Does Good” — Chris Cornell “Made An America” — The Fever 333 “Highway Tune” — Greta Van Fleet “Uncomfortable” — Halestorm

Best Metal Performance

“Condemned To The Gallows “— Between The Buried And Me “Honeycomb” — Deafheaven “Electric Messiah” — High On Fire “Betrayer” — Trivium “On My Teeth” — Underoath

Best Rock Song

“Black Smoke Rising” — Jacob Thomas Kiszka, Joshua Michael Kiszka, Samuel Francis Kiszka & Daniel Robert Wagner, songwriters (Greta Van Fleet) “Jumpsuit” — Tyler Joseph, songwriter (Twenty One Pilots) “MANTRA” — Jordan Fish, Matthew Kean, Lee Malia, Matthew Nicholls & Oliver Sykes, songwriters (Bring Me The Horizon) “Masseduction” — Jack Antonoff & Annie Clark, songwriters (St. Vincent) “Rats” — Tom Dalgety & A Ghoul Writer, songwriters (Ghost)

Best Rock Album

Rainier Fog — Alice In Chains M A N I A — Fall Out Boy Prequelle — Ghost From The Fires — Greta Van Fleet Pacific Daydream — Weezer

Record Of The Year

“I Like It” — Cardi B, Bad Bunny & J Balvin “The Joke” — Brandi Carlile “This Is America” — Childish Gambino “God’s Plan” — Drake “Shallow” — Lady Gaga & Bradley Cooper “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage “The Middle” — Zedd, Maren Morris & Grey

Album Of The Year

Invasion Of Privacy — Cardi B By The Way, I Forgive You — Brandi Carlile Scorpion — Drake H.E.R. — H.E.R. Beerbongs & Bentleys — Post Malone Dirty Computer — Janelle Monáe Golden Hour — Kacey Musgraves Black Panther: The Album, Music From And Inspired By (Various Artists)

Song Of The Year

“All The Stars” — Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA) “Boo’d Up” — Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters (Ella Mai) “God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “In My Blood” — Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters (Shawn Mendes) “The Joke” — Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile) “The Middle” — Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha & Anton Zaslavski, songwriters (Zedd, Maren Morris & Grey) “Shallow” — Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper) “This Is America” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)

Best New Artist

Chloe x Halle Luke Combs Greta Van Fleet H.E.R. Dua Lipa Margo Price Bebe Rexha Jorja Smith

Best Pop Solo Performance

“Colors” — Beck “Havana (Live)” — Camila Cabello “God Is A Woman” — Ariana Grande “Joanne (Where Do You Think You’re Goin’?)” — Lady Gaga “Better Now” — Post Malone

Best Pop Duo/Group Performance

“Fall In Line” — Christina Aguilera Featuring Demi Lovato “Don’t Go Breaking My Heart” — Backstreet Boys “‘S Wonderful” — Tony Bennett & Diana Krall “Shallow” — Lady Gaga & Bradley Cooper “Girls I Like You” — Maroon 5 Featuring Cardi B “Say Something” — Justin Timberlake Featuring Chris Stapleton “The Middle” — Zedd, Maren Morris & Grey

Best Traditional Pop Vocal Album

Love Is Here To Stay —Tony Bennett & Diana Krall My Way — Willie Nelson Nat “King” Cole & Me — Gregory Porter Standards (DELUXE) — Seal THE MUSIC…THE MEM’RIES…THE MAGIC! —Barbra Streisand

Best Pop Vocal Album

Camila — Camila Cabello Meaning Of Life — Kelly Clarkson Sweetener — Ariana Grande Shawn Mendes — Shawn Mendes Beautiful Trauma — P!nk Reputation — Taylor Swift

Best Alternative Music Album

Tranquility Base Hotel + Casino —Arctic Monkeys Colors — Beck Utopia — Björk American Utopia — David Byrne Masseduction — St. Vincent

Best Rap Performance

“Be Careful” — Cardi B “Nice For What” — Drake “King’s Dead” — Kendrick Lamar, Jay Rock, Future & James Blake “Bubblin” — Anderson .Paak “Sicko Mode” — Travis Scott, Drake, Big Hawk & Swae Lee

Best Rap/Sung Performance

“Like I Do” — Christina Aguilera Featuring Goldlink “Pretty Little Fears” — 6LACK Featuring J. Cole “This Is America” — Childish Gambino “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage

Best Rap Song

“God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “King’s Dead” — Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny McKinzie, Mark Spears, Travis Walton, Nayvadius Wilburn & Michael Williams II, songwriters (Kendrick Lamar, Jay Rock, Future & James Blake) “Lucky You” — R. Fraser, G. Lucas, M. Mathers, M. Samuels & J. Sweet, songwriters (Eminem Featuring Joyner Lucas) “Sicko Mode” — Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean, Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, John Edward Hawkins, Chauncey Hollis, Jacques Webster, Ozan Yildirim & Cydel Young, songwriters (Travis Scott, Drake, Big Hawk & Swae Lee) “Win” — K. Duckworth, A. Hernandez, J. McKinzie, M. Samuels & C. Thompson, songwriters (Jay Rock)

Best Rap Album

Invasion Of Privacy — Cardi B Swimming — Mac Miller Victory Lap — Nipsey Hussle Daytona — Pusha T Astroworld — Travis Scott

Best Music Video:

“APES***” — The Carters, Ricky Saiz, video director; Mélodie Buchris, Natan Schottenfels & Erinn Williams, video producers “This Is America” — Childish Gambino, Hiro Murai, video director; Ibra Ake, Jason Cole & Fam Rothstein, video producers “I’m Not Racist” Joyner Lucas & Ben Proulx, video directors; Joyner Lucas, video producer “Pynk” — Janelle Monáe, Emma Westenberg, video director; Justin Benoliel & Whitney Jackson, video producers “Mumbo Jumbo” — Tierra Whack Marco Prestini, video director; Sara Nassim, video producer

Best Music Film:

“Life in 12 Bars”— Eric Clapton, Lili Fini Zanuck, video director; John Battsek, Scooter Weintraub, Larry Yelen & Lili Fini Zanuck, video producers “Whitney” — (Whitney Houston), Kevin Macdonald, video director; Jonathan Chinn, Simon Chinn & Lisa Erspamer, video producers “Quincy” — Quincy Jones Alan Hicks & Rashida Jones, video directors; Paula DuPré Pesmen, video producer “Itzhak”— Itzhak Perlman, Alison Chernick, video director; Alison Chernick, video producer “The King” — (Elvis Presley), Eugene Jarecki, video director; Christopher Frierson, Georgina Hill, David Kuhn & Christopher St. John, video producers

#The Grammys #Underoath #FEVER 333 #Bring Me The Horizon #Between The Buried And Me #The Fever 333

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private-tours-in-israel · 3 years ago

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Nordau Hotel. The building was designed and built as a hotel by architect Yehuda Megidovich in 1925 for its first owner: Mr. Adolf Davis. It was later purchased by his relatives, Lea and Itzhak Marcus. The building was designed in the Central European eclectic style with a hotel on its two upper floors, with a commercial floor at ground level. As part of the building and preservation work, a wing that appeared in architect Megidovich's original plans but never built, was completed. The building and preservation work was designed and planned by the late Mrs Lea Marcus, of blessed memory who passed away during the planning), and carried out by her five sons: Moshe, Ran, Shimon, Amnon and Edli Marcus. In 2015, the building was purchased by Ori Hayot Enterprises Ltd, who completed the preservation work on the building. Architectural design and preservation: Amon Bar Or Architects. Lead architect: Sivan Abergel. Interior architects. Sabrina Ceola and Ofir Asias. Building and preservation was completed in 2016. (at Hotel Nordoy) https://www.instagram.com/p/CcGRKqGNDRX/?igshid=NGJjMDIxMWI=

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armeniaitn · 4 years ago

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Letters to the Editor: August 5, 2020: Propagandizing for the enemy

New Post has been published on https://armenia.in-the.news/politics/letters-to-the-editor-august-5-2020-propagandizing-for-the-enemy-43229-04-08-2020/

Letters to the Editor: August 5, 2020: Propagandizing for the enemy

Propagandizing for the enemyWith the headline “Netanyahu: Annexation is still on the agenda” (August 4), the reporters are apparently still buying into our enemies’ propaganda line – if not stating an outright lie!It’s also laughable, as the article starts by quoting the prime minister himself saying that Israel may still apply sovereignty.It has been pointed out by many columnists in The Jerusalem Post that the term “annexation” is a misnomer. The proper term is “applying sovereignty” or applying Israeli law to the areas mentioned in the Trump peace plan.So why does the Post continue to mislead the entire world by putting the word “annexation” in the headline?The article itself mentions the terms applying sovereignty or law no fewer than nine times. Nowhere is the word “annexation” mentioned – except when quoting the French foreign minister.AVRAHAM FRIEDMAN Ganei Modi’in PHYLLIS HECHT Hashmonaim The Trump and Netanyahu monstersIn “Callous inhumanity” (August 4), Heather Stone manages to cramp into her short article demonizing US President Donald Trump words and slurs including: he is callous, inhumane, inept, narcissistic, ruthless, prostrated himself, enables hate, emboldens violence, depraved indifference, doesn’t value the lives of civilians, soldiers or schoolchildren and more. Guess what? The writer is the Chair of Democrats Abroad – Israel. Does she really believe that this type of “political hate journalism” will influence anybody to change their voting preferences to Democratic? Rather the opposite. The article is hysterical, largely unsubstantiated and says nothing about real issues of concern, such as the Bernie Sanders and Elizabeth Warren approach to Israel and the takeover of the Democratic Party by the radical anti-Israeli left wing. YIGAL HOROWITZ Beersheba Regarding Ehud Olmert’s latest article (“Police vs. the citizens,” (July 31), my previous letters regarding Olmert’s “yellow journalism” have not been published, but enough is enough! What kind of excuse for commentary is “until Netanyahu leaves and with him his delusional wife and deranged son!” This is not journalism, it is simply dirty revenge. I do not remember anyone attacking Olmert’s family using such words during his terms in office. While Olmert evidently hopes that Netanyahu will soon disappear into the depths of the sea or some other place, we might recall that Maasiyahu Prison served well enough for Olmert. The author of this letter was never the prime minister of Israel, but has also never been imprisoned for any criminal offence.PROF. KENNETH KOSLOWE Petah Tikva I rubbed my eyes three times before re-reading “Yair Netanyahu given tweeting restraining order” (August 3). I had to make sure that my eyes were not deceiving me.To censure a son for defending his father would, in normal circumstances, be ridiculous, but here, when the man is being constantly vilified, cursed, slandered, witch-hunted and judged guilty before trial, it is unforgivable.Let your readers (and the honorable judge of the Jerusalem Magistrates Court) put themselves in the position of young Netanyahu, watching every day and all hours of the day and night how a mob led by mobsters (protest leaders Gonen Ben Itzhak, Yishai Hadas and Haim Shadmi) screams through the streets of our capital city, unable to digest the fact that their philosophies (nay – their motives) do not represent the majority of our citizens, as shown decisively in all the elections of the last 30 years. Unable to defeat the older Netanyahu by fair means, they have descended to the foul means of incitement to riot. What would you do, if not stand up to defend your father? Well, if you would not, then you are all either lying to yourselves, or just plain degenerate.You may not agree with or even condone his coarseness of tongue and forthright manner of reacting, but just think how hurt this young man is seeing the father whom he has venerated for so many years and felt pride in his tremendous achievements for the benefit of the people of Israel and the unprecedented upswing of diplomatic prestige in the international sphere that he orchestrated – seeing him torn to pieces by our “unbiased” media and unfettered mobsters.LAURENCE BECKER Jerusalem Could someone please explain to me (and to other bewildered people) why the government allows demonstrations of tens of thousands, where social distancing is a bad joke, and we can only have 20 or so people at my son’s wedding at the end of the month? What is the logic behind this rule?Perhaps we should call it a demonstration, (but for love and happiness). Then we will get a permit for the 300 we wanted to have.And it won’t be violent.BATYA BERLINGER Jerusalem Inclusion confusion“US Jews opposing Israeli policy must be included in Jewish unity talks” (August 2), comes from the extreme Left, as indicated by its use of the anti-Israel pro-Palestinian loaded terminology such as “occupation.” Writer Ilan Bloch claims “millions” of American Jews who are “deeply engaged with Israel see its actions as going against the essence of Judaism itself.”Really? Does the writer have any solid evidence to support these wild assertions? Deeply engaged? Really?Are these “millions” really knowledgeable about Judaism? How many of the alleged “millions” had anything remotely resembling a Jewish education?There were so many untruths and distortions in the article that discredit it, but the basic point the author seems to be making is, “You may disagree with us profoundly but please don’t ignore us or forget us.”To which the only reasonable answer can be, “So don’t try to impose your outdated irrelevant political and fundamentally non-Jewish secular positions and beliefs on us.”DR. JOSEPH BERGER Netanya Disengaged and enragedRegarding “Disengagement was ‘absolute mistake” says mission commander” (July 31), the anniversary of the expulsion of the Jews from the 21 communities comprising Gush Katif on Tisha Be’av 2005) seems to bring out chest-thumpers who confess their wrongdoing. Contrite retired generals (like Gershon HaCohen featured in this article), politicians and policy makers join the ever-growing list of those who admit their folly, their fateful and fraught mistakes that led to the forceful disgorging of 8,500 law-abiding civilians.Indeed, prime minister Ariel Sharon and his government (including then foreign affairs and finance minister Benjamin Netanyahu) all bear shame for supporting and executing what was arguably the greatest tragedy in modern Israeli history. In fact, it was an orchestrated and stinking maneuver featuring Likud and their cynical coalition partners, assisted by a gleeful Supreme Court.How does a catastrophe like that occur? Where are the checks and balances crucial to democracy?But beyond skewed governmental decisions, where were the common sense and basic decency that dictate that the innocent get support and protection, while the terrorists get a good thrashing?Personally, I’ve had enough of the hand-wringing politicians and leaders who, like clockwork, annually cry “Peccavi.”Israel deserves better. We must make our leaders take responsibility for their actions, through mandated accountability and transparency. To the point, laws need to be put into place, a Freedom of Information Act that gives ordinary citizens the right to pry open – unhindered and in a timely manner – government archives. Existing, empty laws that shield corrupt leaders under one pretense or another are less than worthless.Enough of the chest-thumpers. It’s time for public action.ZEV BAR EITAN Nof Ayalon UNReal UNRWA remarksRegarding “New UNRWA head to ‘Post’: No glorifying terrorists in our schools” (July 30), who does Phillippe Lazzarini, the incoming commissioner-general of the United Nations Relief and Works Agency (UNRWA) think he is fooling? UNRWA schools are using PA textbooks. Even if a teacher doesn’t praise people like Dalal Mughrabi (who was involved in the 1978 Coastal Road massacre in Israel that killed 38 Israelis, 13 of them children) in the classroom, what is to stop the students from reading about them on their own?And if UNRWA obeys UN protocols, why has UNRWA abetted Arab nations in maintaining apartheid in the Middle East? I refer, of course, to the differentiation between people claiming descent from Arabs who fled Palestine generations ago and people who don’t make that claim. Members of the former group have been sitting in refugee camps in Syria, Lebanon, Jordan, Gaza and the so-called West Bank for several generations. Although living among people with whom they share language, religion and ethnicity, they have not been given citizenship in the Arab countries and they will not be given citizenship in any (actual) Palestinian state that the leaders of the PA and/or Hamas may ever deign to establish.TOBY F. BLOCK Atlanta Accentuate the positiveIn “A Different Country” (August 3), Herb Keinon presents a positive side of our state of affairs. As a mother and grandmother of young men who have served in special military units, I was especially touched by the mention of the reservists celebrating the weddings of their two comrades. I was reminded of the wedding of our son 26 years ago who had served in the first “Duvdevan” unit. Dancing enthusiastically with him in a large circle were his army buddies. One could feel the closeness and love emanating from the group. Our son was the only one who had a kipah on his head. Till this day, the former soldiers of that unit have kept in contact with each other and never miss an opportunity to meet on momentous family occasions. How heartwarming it is to see the love between people who rise above their differences of faith, status, political affiliation and find a way to express respect and affection for each other. The media would do well to focus on another reality in Israel that is not permeated with overwhelming hate. TZILA RABINOWITZ Jerusalem So sayeth SethRegarding “Seth Rogen: Herzog misrepresented our conversation” (August 4), Seth Rogen should know that the more he says the worse he makes it. Now is the time to shut up. Like many other “liberal” Hollywood Democratic Jews, learning to say his lines does not give him any special knowledge or abilities in any other field, including Israel. To say that Israelis often joke about Israel doesn’t cut it either. In the pre-PC days, famous Jewish comedian Henny Youngman used to joke about his wife: “Take my wife – please” or “My wife said, ‘For our anniversary I want to go somewhere I’ve never been before.’ I said, “Try the kitchen.” That’s comedy – but if someone tries saying it about my wife, suddenly it’s not funny.Consequently, if Rogen, the player of many “stoner” roles, wants to redeem himself, then he should follow the example of both his parents and work unknown in a kibbutz in Israel for a few years – and then come and talk. But we all know that ain’t gonna happen.DAVID SMITH Ra’anana Arguing for ArmeniaAs a grandson to survivors of the Armenian Genocide, I read Herb Keinon’s piece (“How can Israel navigate the divide between Azerbaijan and Armenia?” July 30) with great interest. Keinon tries to explain Israel’s current dilemma in dealing with two allies who are in conflict through the lens of realpolitik, but what he fails to point out is that this goes beyond politics. Armenians and Jews share a common history sadly defined by persecution and genocide. That’s why it’s so surprising that Israel feels that it needs to be neutral while Azerbaijan tries to finish through their unprovoked aggression what Turkey tried to do to Armenia more than 100 years ago. Then again, it’s also incredible that Israel has yet to recognize the Armenian Genocide. Foreign relations and human rights should not be mutually exclusive. This shouldn’t be too complicated for Israel. They can stand with Armenia, a country and people that have been victims of oppression and who promote democracy, or be aligned with a country ruled by an authoritarian and be on the wrong side of history. Political expediency should play no role in this debate. Of all countries, Israel should know that all too well, given that it was founded in the wake of genocide. The choice is really simple. STEPHAN PECHDIMALDJI San Ramon, CA On targetRegarding “Iron Dome intercepts Gaza rocket fired towards southern Israel” (August 4), the Gazans have now fired nearly a hundred rockets at Israeli civilians so far this year (an average of one every other day) and thousands since 2000 – more than the total number of rockets the Nazis shot at Britain in all of World War II.Thank God for Iron Dome; the only damage this time was to vehicles from the shrapnel, but the Gazans still have thousands of missiles pointed at us and Hezbollah has even more. It amazes me that this ongoing evil war crime gets virtually no mention in the world press and no condemnation from civilized countries or from the UN.May God and/or the IDF continue to protect us – especially in light of the fact that “Israelis near borders still don’t have access to shelters” (August 4) – and punish the evildoers.I. COHEN Sderot Read original article here.

#Armenia #Armenians #Politics

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allicaj · 7 years ago

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Music Playlist Meme

Put your music on shuffle and write the first 10 songs that come on, then tag others to do the same.

I was tagged by @ohsotiny, THANK YOU (❁´▽`❁)*✲ﾟ*

GAY BAR | Neko Punch (I like it a lot the original, but this is just as good (๑꒪▿꒪)*)

Brush On Silk | Yo-Yo Ma / Itzhak Perlman / John Williams (from Memoirs of a Geisha OST)

Shangai Babe | YEN TOWN BAND

Why So Lonely | Wonder Girls

Groove Tube | Flipper’s Guitar

return road | Ayumi Hamasaki

Sunday Morning | Maroon 5

Future Lover ~Mirai Koibito~ | Miliyah Kato

Merry Christmas, Mr. Lawrence - FYI | UTADA

K2G | PUFFY

@paltafeliz @serenitytouched @ahkaraii @raendown @mouseymightymarvellous

#tag game #music #me

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chassidbreslev · 5 years ago

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Maguen David

Seu reconhecimento como símbolo exclusivamente judaico é um fato relativamente recente já que, na Antigüidade e mesmo durante a Idade Média, várias civilizações além da nossa usavam o hexagrama como símbolo místico ou puramente decorativo.

Mas desde o século XIX a Estrela de David tem sido o símbolo mais usado entre os judeus de todas as partes do mundo. Usada por várias comunidades e instituições de todas as tendências, este símbolo pode ser visto em fachadas de sinagogas, assim como em seu interior, sobre o hechal (Arca Sagrada) , em parochet (cortina que cobre a Arca), em lápides e inúmeros outros objetos religiosos.

Durante uma das épocas mais terríveis da história do povo de Israel, quando praticamente toda a Europa estava sob o jugo nazista, estes obrigaram todos os judeus a usar uma estrela amarela nas vestes. Queriam transformar a Estrela de David em um símbolo de vergonha e de morte, mas para os judeus tornou-se um símbolo de sofrimento e heroísmo e da esperança coletiva de todo um povo.

A criação do Estado de Israel fez com que o símbolo marcado pelo sofrimento renascesse junto com a Nação Judaica. O Estado de Israel, o primeiro Lar Na-cional judaico após 2.000 anos de diáspora, ostenta na parte central de sua bandeira uma Estrela de David de cor azul

Para se traçar a origem da Estrela de David na história judaica devem-se levar em consideração dois aspectos. Primeiro, a evolução histórica do nome e do símbolo, que, como veremos mais adiante, ao que tudo indica, em seus primórdios não tinham ligação entre si. Segundo, a interpretação mística do Maguen David.

Evolução histórica

Desde a Idade do Bronze, utilizaram-se estrelas de cinco e seis pontas como decoração ou como elemento mágico, sendo encontradas em ruínas de civilizações tão diferentes e tão distantes como a Índia, a Mesopotâmia ou a Grã-Bretanha. Na Índia, por exemplo, algumas datam de cerca 3.000 anos antes da era comum. Há, ainda, hexagramas em igrejas medievais e bizantinas. No Islã era considerado um símbolo muito importante. A estrela de seis pontas também fazia parte dos emblemas de várias nações e atualmente pode ser vista na bandeira da Irlanda do Norte.

Mas antes de analisar sua evolução histórica, devemos ressaltar alguns aspectos importantes. A tradução literal do termo Maguen David não é Estrela de David, mas sim Escudo de David. O termo “escudo” ou maguen é muito usado nas orações e não se refere à estrela de seis pontas, mas é uma forma poética de referência a D’us, ou seja, à Sua proteção onipotente.

No Talmud, D’us é chamado “Escudo de David” (Pesachim, 117b). Ao afirmar que D’us é o “Escudo de David”, nós o reconhecemos como sendo o único Protetor do rei David e, conseqüentemente, também o nosso. Reconhecemos, assim, que foi unicamente graças à proteção e bênção Divina que o rei David conseguiu suas grandes vitórias militares. A cada Shabat, após a leitura da Haftará, reiteramos este conceito ao dizer “Abençoado sejas Tu, meu D’us, Escudo de David”.

Não está muito claro, porém, como o conceito de D’us como “escudo” acabou entrelaçando-se com a estrela de seis pontas. Há inúmeras suposições, entre as quais uma que afirma que o escudo do rei David era triangular e sobre ele estava gravado o “Grande Nome Divino de 72 Letras” juntamente com as letras hebraicas m(מ), k(ק), b(ב) e y(י) (as letras da palavra Macabi).

Outra suposição é que o símbolo tenha surgido na época de Bar Kochba, no período de 132-135 da era comum. Segundo esta teoria, os judeus que lutavam contra as forças romanas adotaram escudos mais resistentes, em cujo interior foram colocados dois triângulos entrelaçados. Alguns estudiosos, entre os quais Rabi Moses Gaster (grã-rabino sefaradita da Inglaterra, de 1887 a 1918, e líder sionista), acreditavam que havia uma estrela de seis pontas gravada nas moedas cunhadas na época de Bar Kochba.

Ainda no Talmud (Gittin 68a) esta escrito que o rei Salomão possuía um anel no qual estava gravado o “Nome Divino de 72 Letras“ e que este anel o protegia contra as forças negativas. Porém, mais uma vez não é dada nenhuma descrição adicional. Muitas vezes o pentagrama – a estrela de 5 pontas – chamado de “Selo de Salomão”, termo usado tanto no Islã como em algumas comunidades judaicas, era usado no lugar do Maguen David. A estrela de cinco pontas também era considerada um símbolo de proteção Divina, mas no meio judaico seu uso acabou sendo abandonado.

O mais antigo artefato judaico com um hexagrama de que se tem notícia é um selo encontrado em Sidon, datado do século VII antes da era comum. Apesar de, na época do Segundo Templo, os símbolos judaicos mais comuns serem o shofar, o lulav e a menorá, foram encontrados pentagramas e hexagramas em vários achados arqueológicos. Um exemplo é o friso da sinagoga de Cafarnaum (século II ou III da era comum) e uma lápide (ano 300 da era comum), encontrada no sul da Itália.

Idade Média

O uso ornamental de estrelas tanto de cinco como de seis pontas estendeu-se durante a Idade Média aos países muçulmanos e cristãos. Entre os muçulmanos o uso do “Selo de Salomão”, como proteção, era muito difundido. Alguns reis, como o de Navarra, usavam a estrela de seis pontas em seu selo. O hexagrama é encontrado em igrejas e catedrais, assim como em sinagogas, como a de Hameln (Alemanha, 1280) e a de Budweis (Boêmia, século XIV). Iluminuras de manuscritos hebraicos medievais contêm hexagramas sem que lhes sejam atribuídos qualquer nome.

O mais antigo texto que faz menção ao Maguen David como o escudo protetor usado pelo Rei David pode ser encontrado em um alfabeto místico que remonta ao período gueônico e era utilizado pelos sábios asquenazitas do século XII. Mas, neste caso, acreditava-se que o que estava gravado no escudo era o Grande Nome Sagrado de 72 letras. O termo Maguen David ainda não estava ligado à estrela de seis pontas e não está claro o que teria provocado a substituição do “Grande Nome de 72 letras” pela figura geométrica. Depois desta época, o uso do Maguen David tornou-se difundido em manuscritos medievais como proteção.

Também são da Idade Média os primeiros amuletos de proteção em que aparece o hexagrama. Entre os séculos X e XIV, são encontrados em mezuzot.

Mas até o século XII, o termo Maguen David não tinha ainda um vínculo com a estrela de seis pontas, já que havia várias hipóteses sobre o que estava gravado no escudo que o rei David usava nas batalhas. Por exemplo, segundo a obra de Rabi Isaac Arama, Akedat Itzhak (século XV), o que estava gravado no escudo do rei era o Salmo 67 disposto em forma de menorá.

Mas é no texto cabalístico Sefer ha-Guevul, de autoria de um neto de Nachmânides, do início do século XIV, que podemos encontrar o mais antigo testemunho do uso do termo em relação à estrela de seis pontas. O hexagrama aparece duas vezes nesse texto, sendo chamado em ambas de Maguen David.

Já a partir do século XIII, na Espanha e na Alemanha, são encontrados manuscritos bíblicos nos quais partes da messorá – tradição oral - são escritas em micrografia, em forma de hexagrama. E até o século XVI, os sábios cabalistas acreditavam que o Escudo de David não deveria ser desenhado com simples linhas geométricas. Deveria ser composto com determinados Nomes Sagrados e suas combinações, segundo o padrão dos manuscritos bíblicos, nos quais as linhas eram compostas com textos da messorá.

O uso oficial

Foi no século XIV, em Praga, capital da Boêmia, que o Escudo de David foi usado pela primeira vez de forma oficial para representar uma comunidade judaica. No ano 1354, o rei Karel IV concedeu à comunidade judaica o privilégio de ter sua própria bandeira. No fundo vermelho, foi colocado o hexagrama, a Estrela de David, em ouro. Documentos referem-se a este símbolo como sendo a “bandeira do rei David“. Em Praga, a estrela de seis pontas – sempre chamada de Maguen David – passou a ser usada tanto em sinagogas, como no selo oficial da comunidade e em livros impressos.

O símbolo logo se difundiu e, a partir do século XVII, tornou-se o emblema oficial de várias comunidades judaicas e do judaísmo em geral. Em Viena, em 1656, foi usado em uma pedra que marcava o limite entre os bairros judeus e cristãos, junto com uma cruz. Ao serem expulsos de Viena, os judeus levaram o símbolo para outras localidades para onde se transferiram, a Morávia e Amsterdã. Em 1799, a Estrela de David foi usada para representar o povo judeu em uma gravura anti-semita. Em 1822, ao ser agraciada com um título de nobreza pelo imperador austríaco, a família Rothschild a usou em seu brasão.

Foi considerada, assim, um símbolo especificamente judaico no decorrer dos séculos XVIII e XIX na Europa Central e Oriental, espalhando-se pelas comunidades judaicas da Europa Ocidental e do Oriente Médio. Quase todas as sinagogas exibiam a Estrela de David, algumas em sua fachada; outras instituições, como as sociedades beneficentes, usavam o símbolo em seus documentos. Segundo um dos grandes rabinos deste século, o Rabi Moshe Feinstein, o rei David usava o Maguen David, o símbolo de seis pontas, para que o Todo- Poderoso o protegesse nas batalhas. O movimento sionista a adotou como emblema de sua bandeira e do primeiro número do periódico sionista de Theodor Herzl, Die Welt. Os fundadores de Rishon L’Tzion também a colocaram em sua bandeira, em 1855. A Estrela de David tornara-se o símbolo de novas esperanças e de um novo futuro para o povo de Israel.

Mas foram os nazistas que lhe conferiram uma nova dimensão. Em 1933, Hitler, ao decidir que os judeus deveriam usar uma marca em suas roupas para que pudessem ser facilmente reconhecidos, escolheu a “Estrela Judaica” – como era chamado, em tom pejorativo pelos nazistas, o Maguen David. Ao querer fazer deste um distintivo da vergonha que acompanharia milhões em seu caminho para a morte, tornou-o símbolo de um povo. Símbolo de sofrimento e morte, mas também de esperança.

Quando o Estado de Israel escolheu como emblema do novo Estado judaico a menorá, manteve o Maguen David na bandeira nacional. Atualmente, a Estrela de David é o símbolo de uma nação independente. É o símbolo de um lar nacional para todo e qualquer judeu.

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