tag:blogger.com,1999:blog-19360670.post2404413522639495297..comments2024-03-25T03:20:57.659-04:00Comments on My Daily Struggles: Theme and Variations: Etosha National Park and Schizoid StatesMy Daily Struggleshttp://www.blogger.com/profile/12785498459884222234noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-19360670.post-54157175237689216592010-04-27T05:28:51.855-04:002010-04-27T05:28:51.855-04:00Etosha national park in northern Namibia is one of...Etosha national park in northern Namibia is one of the largest wild game preserves on the African continent. It provides one of the best wildlife viewing opportunities in Africa. <a href="http://www.travelafrica360.net/etosha-national-park-africas-most-intriguing-wildlife-sanctuary.html" rel="nofollow">Etosha wildlife</a> consists mainly African big five supported by other species of animals.Paraghttps://www.blogger.com/profile/06252372041858393646noreply@blogger.comtag:blogger.com,1999:blog-19360670.post-67579905130074874672010-02-27T16:21:46.300-05:002010-02-27T16:21:46.300-05:00Significant Moments
The apparent reliving of a lo...<b>Significant Moments</b><br /><br />The apparent reliving of a lost past in terms of grasping at the illusion of ecstasy can only represent a falsification of memory for the purpose of defence. And the dry, brittle memories of an emotionally arid childhood are as fearsome as those of more openly violent abuse.<br /><b><i>J. Moussaieff Masson and T. C. Masson, Buried Memories on the Acropolis: Freud’s Response to Mysticism and Anti-Semitism. </i></b>My Daily Struggleshttps://www.blogger.com/profile/12785498459884222234noreply@blogger.comtag:blogger.com,1999:blog-19360670.post-62299017440739299452010-02-27T16:19:31.256-05:002010-02-27T16:19:31.256-05:00Significant Moments
No doubt, the taboo of a moth...<b>Significant Moments</b><br /><br />No doubt, the taboo of a mother-representative goddess figure has several determining causes but the slow process of alienation was certainly due to the chief cause to which other factors later contributed. This primary cause was the relation to the soil, the land, and that early bitter disappointment produced by its aridity resulting in famine. . . .<br /><br />The relation of a people to the soil is pattern forming in the same way that an individual is related to the mother. It is the mother who feeds the infant. . . . <br /><br />The Hebrews daydreamed of Canaan, promised to them as a Lady Bountiful, as a country overflowing with milk and honey. Here was the picture of a freely giving foster-Mother, of the "good earth" in contrast to the original land that had become parsimonious and mean. . . .<br /><br />[T]he bitter experience of that earliest period, the drying up of the soil of their original homeland, did not prevent those tribes from forming and worshipping<br />the figure of a mother-goddess, but the repercussions of that primal experience led to an ambivalent attitude toward her, to an inherited vacillation between attraction and repulsion. This conflict of opposite forces resulted finally in the removal and<br />the taboo of a mother-goddess.<br /><b>Theodor Reik, <i>Curiosities of the Self.</i></b>My Daily Struggleshttps://www.blogger.com/profile/12785498459884222234noreply@blogger.comtag:blogger.com,1999:blog-19360670.post-28366476215454922902010-02-27T15:18:57.072-05:002010-02-27T15:18:57.072-05:00The complete Alex Ross article is at:
http://www....The complete Alex Ross article is at:<br /><br />http://www.therestisnoise.com/2004/08/emparsifalem_at.htmlMy Daily Struggleshttps://www.blogger.com/profile/12785498459884222234noreply@blogger.comtag:blogger.com,1999:blog-19360670.post-90634173619957173632010-02-27T15:13:00.432-05:002010-02-27T15:13:00.432-05:00Does Alex Ross know what he's talking about?
...<b>Does Alex Ross know what he's talking about?</b><br /><br /><i>Schlingensief Parsifal at Bayreuth<br /><br />"Nausea"</i><br /><br />by Alex Ross<br /><br />The New Yorker, Aug. 9 and 16, 2004.<br /><br />"A ray of light: the Grail is fully radiant. A dove floats down from the dome above.” These are Richard Wagner’s stage directions for the maximally transcendent final moments of “Parsifal,” his last opera. Christoph Schlingensief’s production at the Bayreuth Festival last week gave us instead two dead rabbits, their rotting bodies intertwined, their images projected on a screen above the stage. We then saw a sped-up film of one rabbit decomposing, its body frothing as the maggots did their work. I’ve seen a lot of stupid, repulsive, irritating, befuddling, and boring things on opera stages over the years, but Schlingensief’s dead-rabbit climax was something new: for the first time, I left a theatre feeling, like, ready to hurl.<br /><br />The trouble with this sort of provocation is that if you criticize it, even with an involuntary emetic reflex, you end up playing a role that the instigator has written for you. You are cast as the reactionary, the sentimentalist, the sort of person who requires a kitschy white dove, as if white doves and rotting rabbits were the only options. You are suspected of harboring Fascist tendencies. When Endrik Wottrich, the tenor who sang Parsifal, disavowed Schlingensief’s attempt to <b>transplant the action to Namibia, </b>the director accused him of having uttered racist slurs. No matter that the staging was full of hackneyed “darkest Africa” imagery, with several singers done up in inky blackface; the provocateur will always have the upper hand against the provoked.My Daily Struggleshttps://www.blogger.com/profile/12785498459884222234noreply@blogger.com