No chance men! You can’t just easily pass by.

This woman makes me crazy! It is not surely something new for the whole world; She can make everybody crazy; even the Nazis. and she was a jew.

Just look at her, into her eyes if you dare as a man; I’d consider myself! Theses eyes are very dangerous for the muscular, if you have heard about infinity well that’s it. I will never stop you to be drown in, but just to know you’d never want to come back again. 😊👽💖

She is really one of the highest human (actually Hu-Woman) as I can remember ever seen in my memories; her eyes are hypnotizing; aren’t they?

I have actually once noticed her as a genius philosopher but newly I’ve heard about her again in the radio how she made all the Nazi men confused, I’d just thought; there she is; the Goddess. Why not, what have we, humans got less than Gods? In the all holly books it’s written; God made hu-wo-man as reflection her/himself. or as Shakespeare says as Hamlet;

What a piece of work is man, How noble in reason, how infinite in faculty, In form and moving how express and admirable, In action how like an Angel, In apprehension how like a god, The beauty of the world, The paragon of animals. And yet to me, what is this quintessence of dust? Man delights not me; no, nor Woman neither; Hamlet (1599-1602), Act II, Scene 2,)

Anyway, the Women rock, no doubt! here I present a nice article about this magic woman 😊 I hope you’d enjoy 💕🙏💖🙏

Hannah Arendt Explains Why Democracies Need to Safeguard the Free Press & Truth … to Defend Themselves Against Dictators and Their Lies

Two of the most trenchant and enduring critics of authoritarianism, Hannah Arendt and Theodor Adorno, were also both German Jews who emigrated to the U.S. to escape the Nazis. The Marxist Adorno saw fascist tendencies everywhere in his new country. Decades before Noam Chomsky coined the concept, he argued that all mass media under advanced capitalism served one particular purpose: manufacturing consent.

Arendt landed on a different part of the political spectrum, drawing her philosophy from Aristotle and St. Augustine. Classical democratic ideals and an ethics of moral responsibility informed her belief in the central importance of shared reality in a functioning civil society—of a press that is free not only to publish what it wishes, but to take responsibility for telling the truth, without which democracy becomes impossible.

A press that disseminates half-truths and propaganda, Arendt argued, is not a feature of liberalism but a sign of authoritarian rule. “Totalitarian rulers organize… mass sentiment,” she told French writer Roger Errera in 1974, “and by organizing it articulate it, and by articulating it make the people somehow love it. They were told before, thou should not kill; and they didn’t kill. Now they are told, thou shalt kill; and although they think it’s very difficult to kill, they do it because it’s now part of the code of behavior.”

This breakdown of moral norms, Arendt argued, can occur “the moment we no longer have a free press.” The problem, however, is more complicated than mass media that spreads lies. Echoing ideas developed in her 1951 study The Origins of Totalitarianism, Arendt explained that “lies, by their very nature, have to be changed, and a lying government has constantly to rewrite its own history. On the receiving end you get not only one lie—a lie which you could go on for the rest of your days—but you get a great number of lies, depending on how the political wind blows.”

Bombarded with contradictory and often incredible claims, people become cynical and give up trying to understand anything. “And a people that no longer can believe anything cannot make up its mind. It is deprived not only of its capacity to act but also of its capacity to think and to judge. And with such a people you can then do what you please.” The statement was anything but theoretical. It’s an empirical observation from much recent 20th century history.

Arendt’s thought developed in relation to totalitarian regimes that actively censored, controlled, and micromanaged the press to achieve specific ends. She does not address the current situation in which we find ourselves—though Adorno certainly did: a press controlled not directly by the government but by an increasingly few, and increasingly monolithic and powerful, number of corporations, all with vested interests in policy direction that preserves and expands their influence.

The examples of undue influence multiply. One might consider the recently approved Gannett-Gatehouse merger, which brought together two of the biggest news publishers in the country and may “speed the demise of local news,” as Michael Posner writes at Forbes, thereby further opening the doors for rumor, speculation, and targeted disinformation. But in such a condition, we are not powerless as individuals, Arendt argued, even if the preconditions for a democratic society are undermined.

Though the facts may be confused or obscured, we retain the capacity for moral judgment, for assessing deeper truths about the character of those in power. “In acting and speaking,” she wrote in 1975’s The Human Condition, “men show who they are, reveal actively their unique personal identities…. This disclosure of ‘who’ in contradistinction to ‘what’ somebody is—his qualities, gifts, talents, and shortcomings, which he may display or hide—is implicit in everything somebody says and does.”

Even if democratic institutions let the free press fail, Arendt argued, we each bear a personal responsibility under authoritarian rule to judge and to act—or to refuse—in an ethics predicated on what she called, after Socrates, the “silent dialogue between me and myself.”

Read Arendt’s full passage on the free press and truth below:

The moment we no longer have a free press, anything can happen. What makes it possible for a totalitarian or any other dictatorship to rule is that people are not informed; how can you have an opinion if you are not informed? If everybody always lies to you, the consequence is not that you believe the lies, but rather that nobody believes anything any longer. This is because lies, by their very nature, have to be changed, and a lying government has constantly to rewrite its own history. On the receiving end you get not only one lie—a lie which you could go on for the rest of your days—but you get a great number of lies, depending on how the political wind blows. And a people that no longer can believe anything cannot make up its mind. It is deprived not only of its capacity to act but also of its capacity to think and to judge. And with such a people you can then do what you please.

via Michio Kakutani

http://www.openculture.com/

Related Content:

Hannah Arendt on “Personal Responsibility Under Dictatorship:” Better to Suffer Than Collaborate

Hannah Arendt Explains How Propaganda Uses Lies to Erode All Truth & Morality: Insights from The Origins of Totalitarianism

Enter the Hannah Arendt Archives & Discover Rare Audio Lectures, Manuscripts, Marginalia, Letters, Postcards & More

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Greetings to all dear friends. I am sorry to begin my lovely day with a tragedy which you’d already know about it. It hit my heart when I heard it and couldn’t get out of my mind since then.

You know, I must share my feeling here with my friends because it is not a plane-crash as any others. Of course, it is true that every such an accident is a heartbreaking tragedy for everyone.

But this one is not the same for me like the others, not because they were mostly fellow citizens. It’s because of my absolute image of their very last thoughts.

Let me tell you a little about how my brother and I left (escaped) from Iran;

After I was arrested, one day when I came home from work, for my protest against an unfounded and groundless inspection on the Tehran streets, my family had succeeded to get me out after a couple of days, by paying a lot of many and I (with my brother Al) got ready to leave but when we reached to the transit, they have arrested us and the plane flew without us (as I remember, even the captain personally came into the transit to take us with, but no chance!) we had a suffering time thereafter but it is another story.

Anyhow, we had got a second try to leave, and I tell you how we spent the last minutes before the plane took off to get into the air; every second took like a lifetime for me till we were free!

You maybe understand now what I mean; their feelings when the plane took off the ground, they have lived in freedom just a very short time, then…

May bless their soul in peace 💖💖😢

A desirable dream ❤🙏

A great poetry winter ever 🙏🙏🌧

A beautiful song with a beautiful performance 💖👍✌🙏

I’m a born kid from 1954 and as I was born in Persian, I have a definitely different view on the events in 50’s and the 60’s decades.

it might sound strange to most friends in Europe and USA etc. but I can’t explain it.

I was fascinated of the new waves which were going on in the west. especially what would have doing with arts. including cinema;

http://Jean-Luc Godard; http://François Truffaut, http://Federico Fellini, http://Orson Welles, http://Vittorio De Sica, http://Alfred Hitchcock, http://Ingmar Bergman, http://Luchino Visconti etc.

Let’s look here at a great actress of those time; what a time; the golden time, RIP 💖💖

If the French New Wave hadn’t crashed over cinema in the 1950s and 60s, could any of the film movements since have come about? Without auteurs like François Truffaut, Agnès Varda, and most of all Jean-Luc Godard, could the French New Wave itself have happened? And without Anna Karina, would Jean-Luc Godard have become Jean-Luc Godard? Though he did make Breathless, his first and most enduring feature, without Karina, it wasn’t for lack of desire: when he tried to bring the still-teenaged Danish actress onboard the project after spotting her in a soap commercial, she turned down his offer because it would involve a nude scene. But she made less of an objection to political themes, demonstrated by her agreement to participate in Godard’s next movie, the controversial Le Petit Soldat.

In total, Karina would appear in eight of Godard’s films, including A Woman Is a Woman, My Life to Live, Band of Outsiders, Alphaville, and Pierrot le Fou — more than enough to make her the nouvelle vague‘s most captivating screen presence. This status has transcended culture and time, as evidenced by “Anna Karina’s Guide to Being Mesmerizing,” the short tribute video by the British Film Institute at the top of the post.

To Godard she was first an actress, then a muse; soon she became his wife, and then nearly the mother of his child. Godard, l’amour, la poésie, the above documentary on Godard and Karina’s professional and personal relationship, argues that her miscarriage became the implicit subject of My Life to Live. From then on their relationship, always described as “tumultuous,” deteriorated; they divorced in 1965, the year before their final collaboration, Made in USA.

“I can’t speak badly of him,” Karina says of Godard in a clip of an interview recorded much later. “He was my teacher, my love, my husband, my Pygmalion.” In her work with Godard, writes New Yorker film critic and Godard biographer Richard Brody, “Karina identified not with characters but with herself, perhaps even more fully on camera than in private life — to create an enduring idea of herself. Karina didn’t become the characters she played; they became her.” Throughout her career, she was thus “marked by the distinctiveness of those early performances, by their difference from all other performances, and she became a living emblem not only of herself but of the French New Wave and of the spirit of the nineteen-sixties over all.” As Brody notes, Karina went on to work with such cinematic luminaries as Luchino Visconti, Jacques Rivette, Rainer Werner Fassbinder, Raúl Ruiz, and Jonathan Demme.

She also became a filmmaker herself, directing Living Together in 1973 and the French-Canadian musical road movie Victoria in 2006, and in that same span of time published four novels as well. But since her death last month at the age of 79, it is Karina’s work with Godard in the early 1960s to which cinephiles have instinctively returned and most lovingly celebrated. Both she and he, each in their distinctive artistic fashion, embodied a short time in cinema when all rules seemed broken and all possibilities open. In Godard, l’amour, la poésie, the critic Jean Douchet, a colleague of Godard’s at Cahiers du cinéma, puts it differently: “They met, they fell in love, they broke up. End of story. They were a couple like many others, but it’s true that Anna Karina is magnificent in that period with Godard.” And as the French New Wave recedes farther into the distance, that magnificence will only intensify.

Originally; http://www.openculture.com/2020/01/how-anna-karina-rip-became-the-mesmerizing-face-of-the-french-new-wave.html

via; http://www.openculture.com/

Here please allow me to introduce a fascinating book by a great Psychologist and Jungian analyst Jeffrey Raff PhD; Let’s have a look at the feminine aspect of the Divine 🤗🙏💖

Author of the acclaimed Jung and the Alchemical Imagination, Jeffrey Raff continues his teachings in psychoidal alchemy with an in-depth look at the feminine aspect of the divine. Sophia is, in the esoteric teachings, the embodiment of Wisdom, the matrix from which God arose, and God’s heavenly consort and mirror. But, as Raff explains, she suffered a fall from this exalted state, corresponding to the obscuration of the feminine archetype in the patriarchal world. Without Sophia, God is not whole. It is our task to work with imagination to reunite Sophia and God. Raff explains the difference between fantasy, a product of the ego, and imagination, which comes from the soul. More importantly, he brings Sophia to life through a vivid analysis of an 800-year-old text,* The Aurora Consurgens*, as well as his personal experience with Sophia and active imagination. This process empowers us to become whole and realize our innate drive to unite with the divine.  via Introduction: The Wedding of Sophia The Divine Feminine in Psychoidal Alchemy by Jeffrey Raff series Jung on the Hudson Books

with a little help by C.G. Jung: Healing Descent https://www.facebook.com/CarlJungIndividuation/?__tn__=%2CdkCH-R-R&eid=ARBY8hIPDjOEsDT4mpUxeM3zyUcpHX_lJi2SHTAR7Hi99ZztubdzXiHnEBhPb4v0NUAMibSxvYlbBB_q&hc_ref=ARRX0JOoYaXOWrr7z_wfjhVHHOaX8rk59x8x48RsRd2hgOk6L2AmmpmysHscL7AIjKs&fref=nf&hc_location=group

And with my best thanks to the main admin; Craig Nelson 🙏💖

“I love them that love me”, Sophia, goddess of the collective unconscious, goddess of the lumen naturae; (‘For starting is a commitment & broken commitments are never healthy’):
“Here it is Sophia speaking as she promises to love any who come to her in love, and the ‘proof of love is the display of the work.’ Those who love do the work. Those who do the work do so for love. Anyone who has even imagined working with [inner] figures or penetrating the mysteries of union with such figures knows that success requires not only grace, but also the greatest of efforts. Thomas also quotes King Alphonsus, who said, ‘This is a true friend who deserteth thee not when all the world faileth thee.’ Such is the devotion required of us when we do [inner] alchemy, for as I have shown, there are few in our world who take spirit seriously, and even fewer who love and work with figures of the [inner world]. As Sophia earlier complained, all desert her and the wisdom of the world denies the existence of Wisdom itself, so that it takes a brave soul to buck collective opinion and do this work. Moreover, it takes sacrifice, for not only does the work require time and energy, it demands that the alchemist forbear control and learn to let the visionary world direct his or her every step. The alchemist does not control the process, nor can he or she direct it to his or her own goals. Instead, God and Sophia have their own agenda: union with each other, and nothing less than that suffices. If necessary, the alchemist must give up his or her own plans and ambitions to seek the goal of the coniunctio: ‘All that a man hath will he give for his soul, that is for this stone.’ This is not a work for the weak-willed or the faint of heart; we must be willing to give up everything for the sake of the Stone or we shall most likely fail. It is very popular these days to emphasize the need for grace, and it is true that we need the help of the inner.. entities to perform this work. Yet, as Sophia said, those that love her, she loves, and love is in the work. We must win the love of Sophia and of the [inner partner] by doing the necessary work, for though they both love from the beginning, they neither can nor will give themselves away cheaply. In my years of teaching, I have witnessed many students drop out and give up the work when the going got tough. Somehow they, and many like them, assume that good intention is the same as accomplishment, or that the spirits owe them something. The work is hard, the rewards are great, but only love supplies the courage and the dedication to see the work through the difficult times. As Thomas concludes, ‘For he who soweth sparingly shall also reap sparingly; and he who is not a partaker of the sufferings shall not be of the consolation.’”
Jeffery Raff, Wedding of Sophia
(I replaced with ‘inner’ Raff’s use of the term ‘psychoidal’ or ‘ally’, only because those terms are an education unto themselves. By those terms Raff refers to the highest levels achieved in Alchemy, that of the relationship with the ‘outer Stone’, one that truly exists, but outside the psyche, a quasi spiritual/physical entity similar to an angel or Carlos Castaneda’s “Don Juan”.)

https://www.amazon.com/Wedding-Sophia-Feminine-Psychoidal-Alchemy/dp/0892540664

I’d call it; The Origin! When I look at this Mask, I find how real is it just to show the expression of an ancient face.

By Marie Grillot with great thanks and also sincerely to Marc Chartier

via; https://egyptophile.blogspot.com/ translated from French.

This mummy mask is made of painted wood and cardboard. It represents a character with fine features, noble appearance. A magnificent wig “on the back”, textured in relief, advantageously frames her face. The finely braided hair covers most of the forehead and leaves in a gradient towards the shoulders. Two thick strands braided in a more “loose” way are brought along the neck and fall on each side in a completely balanced way. Only the lower part of the pierced ear lobe remains visible. The hairstyle is adorned with a large floral band, which blossoms in warm brown tones drawing towards red.

The face, treated in this same colour is perfectly symmetrical and rather round. The eyebrows, very long and arched, are painted black. The almond-shaped eyes are stretched, and the iris, round and black, stands out against the white of the luminous eye. The line of the eye-shadow extends to the hair. The nose, well-drawn, is of good proportions. The mouth with hemmed lips is closed.

The neck is decorated with a magnificent ousekh (Usekh or Wesekh) necklace. It alternates a substantial number of rows – more or less wide – of blue, green, red pearls, all in a sumptuous and dazzling “roundness” of tones… It should be noted that during the Ramesside period, “the frame cardboard masks have changed: the rear panel has disappeared and the masks consist of a shell protecting only the head and a rounded and extended front panel “.

This 48 cm high mask, dating from the 19th dynasty, comes from the tomb of Sennedjem in Deir el-Medineh. This village, which in ancient times was called “Set Maât her imenty Ouaset” (the “Place of Maât (Truth) in the West of Thebes”) was founded at the beginning of the 18th dynasty under the reign of Thutmosis Iᵉʳ. Surrounded by high walls, extended and enlarged several times, notably under the reigns of Thutmosis III and the first Ramessides, it housed the community of artisans who worked on the excavation and decoration of the eternity homes of the Valley of the Kings and the Valley of the Queens. For almost 500 years, “between 40 to 120 households” lived there in stone houses covered with a palm leaf roof, also have places of worship and their own necropolis.

The tomb of Sennedjem – which will be referenced TT1 – was discovered in January 1886 by ‘gournawis’.: Indeed, “in 1886, Salam Abu Duhi, a villager from Gournah, was granted a concession in an area of ​​Deir el-Medineh close to his home. After only a few days of excavations, Salam and three of his friends made a discovery spectacular: at the bottom of a still unexplored burial well, they found a wooden door whose ancient seals were intact. Salam immediately informed Maspero, who happened to be in Luxor for his annual inspection visit. ” (Hidden treasures of Egypt, Zahi Hawass (!) ).

Gaston Maspero’s correspondence with his wife Louise (Gaston Maspero – Letters from Egypt) gives us the extraordinary “live” adventure. So the great Egyptologist wrote to her on February 2, 1886: “They come to get me to go to the mountains: a tomb that we have been working on for eight days has finally been opened. It is a virgin!

It is a tomb of the XXth dynasty: the wooden door is still in place, and there have already been eleven mummies. “He continued his story on February 3:” The vault is approximately 5 m long by 3 wide. It is vaulted, with a very low vault and painted in the most vivid colours; unfortunately, the paintings and texts are only extracted from the book of the dead. It was filled to the top with coffins and objects: eight adult mummies, two children’s mummies … The mummies are superb, of a beautiful red varnish with very neat representations. ”

Finally, this “family” tomb will turn out to contain twenty bodies: “Nine of them had very beautiful anthropoid coffins, single or double, finely painted and varnished. These are Sennedjem, his wife Iyneferti, his son Khonsou and his wife Tamaket, his other children Parahotep, Taashsen, Ramose, Isis and finally, a little girl named Hathor. Rich funerary furniture accompanied them. ”

Eduard Toda y Güell, consul general of Spain in Egypt from 1884 to 1886, a friend of Maspero’s, was given the important task of clearing the grave. In the “Bulletin of the French Society of Egyptology” – 1988, Josep Padro reports: “In three days and with seven workers, (Toda) completely searched the tomb and carried out the transfer of its contents onboard the ‘Boulaq’, the vessel of the Antiquities service. Once the transfer was completed, (he) drew up an inventory of the funeral furniture on the boat, with the objects collected and the mummies before his eyes. Toda also took 15 photos himself in the tomb, with the technical assistance of Insinger, which are engraved after the plates which illustrate his memoir; and he copied and translated the hieroglyphic texts, with the help of (Urbain)Bouriant. ”

As for Gaston Maspero, he made a point of clarifying: “It goes without saying that we bought the fellahs half of their money: it cost us 46 guineas. Once we have chosen all that is good for the museum, the sale of mummies and superfluous objects will bring us at least 60 guineas, maybe eighty, who will go to the excavations of Luxor and the Sphinx. It will have been a good deal in all ways, good from the point of view scientific, since it gave us monuments of which we had no specimen, good from the financial point of view, since not only the objects will end up costing us nothing, but, that we will have earned enough money to practice new excavations. ”

This is how objects from the tomb which, in a way, “duplicated” were offered for sale. The Metropolitan Museum of Art, which then constituted its collection of Egyptian antiquities, showed great interest.

So, among the artefacts that went to New York, was this mask, this Khonsu. It has since been exposed there under the reference 86.1.4.

The eternity home of Sennedjem is one of those open to the public in Deir el-Medineh. It is particularly renowned for the beauty of the colourful and particularly well-preserved scenes that adorn its walls.

Marie Grillot

Sources:

” Mummy Mask of Khonsu ” (MET)

Gaston Maspero, Letters from Egypt, correspondence with Louise Maspero, Elizabeth David, Seuil, 2003

” Deir al-Medina ” (IFAO)

Hidden Treasures of Egypt, Zahi Hawass

Pharaoh Artists Louvre, NMR, 2002

” Eduard Toda, pioneer of Spanish Egyptology “

” Eduard Toda i Güell “

” Details of two mummies from the former collection Toda “

” Deir el-Medina, Tomb TT1, Sennedjem “

Josep Padro, “the French Society of Egyptology Bulletin” – 1988, No. 113, pp. 32-45

” An Artisan’s Tomb in New Kingdom Egypt ,” Catharine H. Roehrig, Department of Egyptian Art, The Metropolitan Museum of Art, october 2004

” Life Along the Nile: Three Egyptians of Ancient Thebes “: The Metropolitan Museum of Art Bulletin, v. 60, no. 1 (Summer 2002), Roehrig, Catharine H. (2002)

The tomb-builders of the pharaohs , Morris Bierbrier

” Current Research in Egyptology ” 17, Julia Chyla Karolina Rosińska-Balik, Joanna Debowska-Ludwin