۱۳۹۱ تیر ۲۸, چهارشنبه
۱۳۹۱ تیر ۲۴, شنبه
Of runes and men
In the first of a series of articles on the troubled relationship between the left and culture, Maciej Zurowski investigates reactionary musical counterculture and looks at the anti-fascist response
Warning! Attention, everybody! It looks like for the first time since the 80s, London’s ethnic communities must fear for their safety when certain rock bands come to town. As the Love Music, Hate Racism website warns us in bold letters, the Slimelight club in Islington, North London has booked a “set of acts with fascist ties” for October 2011. These include Peter Sotos, who “has written tributes to Joseph Mengele (also known as the Angel of Death in Auschwitz) and whose self-produced fanzine contains references to ‘Nazi triumphs’, with frequent and lurid references to the abuse of children and women.”[i] Scary stuff.
Weekly Worker issue 917 - June 07 2012
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Bolshevism and revolutionary social democracy
Lars T Lih completes his series of articles on Lenin's view of the party question by examining the context in 1920 of `Leftwing` communism
Lenin’s pamphlet ‘Leftwing’ communism - his last work of more-than-article size - was written in spring 1920 in order to be distributed to the delegates of the 2nd Congress of the Communist International, or Comintern. The message that Lenin intended to send cannot be understood apart from the particular circumstances of this event.
Letters
Stop sneering; State of denial; No go-to guy; Sectarianism; No free speech; Linke update;
Last-chance saloon closing for business
Spain`s `total emergency` could bring down the entire euro zone, argues Eddie Ford
The New Iranian Cinema
Politics, representation and identity
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Ed: Richard Tapper. IB Taurus London, 2002
Iranian cinema is triumphant in the international film festival circuit. The Iranian cinema is in deep crisis. Both are true and interlinked realities about film and film-making in Iran today. This remarkable book goes some way to explain this apparent paradox.
In its early days the Islamists were intensely opposed to the cinema which they saw as spearheading the Shah and the West’s cultural assault on the country. Hamid Naficy expresses it as subscribing to a ‘hypodermic theory’ of ideology, the mere injection of which transforms an ‘ethical’ being into a corrupt ‘subject’. Perhaps the most vivid, and repulsive, illustration of this hatred is the torching of Cinema Rex in Abadan when over 600 of the trapped audience burned to death. In the course of the revolution 195 of the 525 cinemas were demolished - 32 in Teheran alone.
Yet within less than two decades Iranian cinema is being hailed as the new wave, earning laurels at one international film festival after another and labelled by the director of the New York Film Festival in 1992 as “one of the most exciting in the world today”. What caused this transformation form pariah to the pedestal?
Sex workers are doing it for themselves
“Because sex workers shouldn’t be dead to be on film”, argued the promo blurb for London’s first Sex Worker Film Festival. And who aside from Henry of Portrait of a Serial Killer could disagree? Organised by the Sex Worker Open University, a “grassroots collective” of sex workers, academics and activists, the declared goal was to challenge the stereotypical representations of strippers and hookers as vulnerable “fallen angels” or “shallow, manipulative and without ethics”. Sandwiched between donation appeals and Q&A sessions with activists, the sold-out event presented 11 shorts and drew in a diverse, polysexual crowd to East London’s Rio Cinema.
A PEOPLE'S HISTORY OF THE UNITED STATES by Howard Zinn
Chapter 1: COLUMBUS, THE INDIANS, AND HUMAN PROGRESS
Arawak men and women, naked, tawny, and full of wonder, emerged from their villages onto the island's beaches and swam out to get a closer look at the strange big boat. When Columbus and his sailors came ashore, carrying swords, speaking oddly, the Arawaks ran to greet them, brought them food, water, gifts. He later wrote of this in his log:
They ... brought us parrots and balls of cotton and spears and many other things, which they exchanged for the glass beads and hawks' bells. They willingly traded everything they owned... . They were well-built, with good bodies and handsome features.... They do not bear arms, and do not know them, for I showed them a sword, they took it by the edge and cut themselves out of ignorance. They have no iron. Their spears are made of cane... . They would make fine servants.... With fifty men we could subjugate them all and make .
۱۳۹۱ خرداد ۴, پنجشنبه
LABOUR IN IRISH HISTORY
In her great work, The Making of Ireland and its Undoing, the only contribution to Irish history we know of which conforms to the methods of modern historical science, the authoress, Mrs. Stopford Green, dealing with the effect upon Ireland of the dispersion of the Irish race in the time of Henry VIII and Elizabeth, and the consequent destruction of Gaelic culture, and rupture with Gaelic tradition and law, says that the Irishmen educated in schools abroad abandoned or knew nothing of the lore of ancient Erin, and had no sympathy with the spirit of the Brehon Code, nor with the social order of which it was the juridical expression. She says they `urged the theory, so antagonistic to the immemorial law of Ireland, that only from the polluted sinks of heretics could come the idea that the people might elect a ruler, and confer supreme authority on whomsoever pleased them'. In other words the new Irish, educated in foreign standards, had adopted as their own the feudal-capitalist system of which England was the exponent in Ireland, and urged it upon the Gaelic Irish. As the dispersion of the clans, consummated by Cromwell, finally completed the ruin of Gaelic Ireland, all the higher education of Irishmen thenceforward ran in this foreign groove, and was coloured with this foreign colouring
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