Sunday, September 25, 2016

Shakespeare's The Tempfeminest

Saturday, September 24, 2016

Martin Luther as "The Fool"

Fool as Luther.
The images on the 22 Tarot trumps are derived from Medieval "triumphs," or edifying floats that were used in religious processions. Theories that they are mystic symbols from ancient Egypt or whatever are nonsense. The 56 "pip cards" of four suits were added later to create a popular card game. It was only much later still that someone decided to employ the evocative illustrated deck in fortune telling.

Fortune telling is a very bad idea.

The "wicked pack of cards" remains compelling, however, because many of the cards are symbolic expressions of psychological features. The Moon, for example, is beloved in poetry because it is such a perfect illustration of the subconscious. T.S. Eliot alludes to Tarot in The Wasteland, but takes much artistic license, inventing cards out of whole cloth.

Around the turn of the 20th century, some Victorian English occultists tackled the subject with the obsessiveness, creativity and wackiness characteristic of their time and place. Although they were not the first to do so (France has long been ground zero for Tarot) they attempted to make the symbolism obvious. The coincidence that Tarot has the same number of cards as the letters of the Hebrew alphabet (which doubles as numbers) was too good to pass up.  Eventually, Tarot was seen as a kind of shorthand encyclopedia of the occult. Never mind that occultists could never entirely settle on the same attributions.

Fortune telling is the sin of superstition. How ironic that religious imagery would be expropriated in this manner.

Perhaps The Fool has seen more variations than any other card. It is a unique card, bearing the integer zero. Originally, The Fool was a beggar being chased off by a dog. Sometimes it is a wolf, and sometimes whatever it is, is biting him. Artist Pamela Coleman Smith executed Victorian occultist Arthur E. Waite's vision that fixed the images in both popular and esoteric cultures. In their The Fool, he is gayly stepping off the edge of a cliff while a little white dog frolics at his heels.

Much more benign than an attacking wolf, although perhaps a wolf attack would alert him to the danger of ignoring the real world!

The Tarot is nothing, if not ironic.

The most interesting version of The Fool the Bear has found is the one pictured. The Fool is none other than Martin Luther. The Bear thinks this is hilarious, and if The Devil's Picture Book can have a legitimate use, this is it. The wolf is apparently drawing up short of the edge. Luther is reading his truncated version of the Bible.  Perhaps the rest of it is in his bindle. The Bear isn't sure about the watch, unless it is a "cheap and unreliable watch." In any event, he has his watch, out, but is not looking at it. 

The Bear sees a man who is no longer oriented in space and time. A proud man who thinks the law of gravity does not apply to him. A man whose eyes are fixed on the best of books, as John Bunyan's pilgrim would say, but oblivious to the rest of the story.

Thursday, September 22, 2016

Bear Found an Old Photograph of Him

PROGRAMMING NOTE: Although Judging Angels is finished - "it's over, but has it ended?" - there will always be a tweak here and there, at least for an obsessive Bear.  So, there may or may not be anything new here before October First: submission day. And the Bear's and Red Death's anniversary: 40 years. (Ginger Rogers wished she were Red Death.)

The Bear and Ginger Rogers both worked for RKO in the 1930s. He surprised her on the set one day (which is probably why she looks terrified, and appears to be pushing the Bear's paw away with her right hand). Later, though, we met again at one of Howard Hughes' parties, and the Bear introduced her to his style of dancing.

Ginger did not like Communists. (In fact, her mother Lela testified before HUAC.) We had that in common, which is ironic, since the Bear had been awarded the honor of Hero of the Bolshevik Revolution through an almost comic series of misunderstandings.

Ginger always said the Bear was a better dancer (in his own way) than Fred Astaire.

Hollywood  was a tremendously corrupting environment for an innocent B movie Bear. He does not know if any of his movies even survived. He certainly hopes not. He was never able to convince directors that Bears were not found in Africa.

Much later, Ginger was kind enough to provide the Bear with
the autograph he had failed to obtain earlier.

Wednesday, September 21, 2016

Bear's Postmodern Academic Journal Article (Hint: Look Anyway)

Awesome publicity photo of Jack Dreeda or something like that.

The Bear does not want everyone to think he is just a buffoon. Here is a scholarly article he wrote on language and sexual identity and stuff.

Not really, but you might get a kick out of it. Especially if you are an Umberto Eco fan and recognize the name Derrida. (Be sure to note that in the comments, so we can all be impressed!) This is from the famous post modern essay generator. It is utter gibberish made up of jargon, and fake scholarly quotes by real figures - in other words, it is indistinguishable from real articles of this nature. In fact, one was submitted to a journal, and got published.

Yep. Editors of a journal could not tell the difference and published it for real.

No worries. The Bear does not write literature. He writes crowd-pleasing yarns with smokin' women and smokin' guns, using simple words and as many familiar tropes as he can cram into 160,000-ish words. Subplots? Confusing to the reader. Character arcs? Who cares? You want plot, I got your plot. Boy meets girl, boy loses girl, boy gets girl back. In chapter two people start dropping. 46 chapters later, they're still dropping.

Oh. It's a Catholic psychological thriller. Because the characters think sometimes. ("Man, she's smokin'," thought Bill as he killed another bad guy with his .48 pistol with poison bullets.)

Isn't that right, beta readers. Hello?

Batailleist `powerful communication’, cultural subcapitalist theory and

The bear


1. Expressions of defining characteristic

The main theme of Cameron’s[1] essay on Batailleist
`powerful communication’ is not theory as such, but posttheory. In a sense, von
Ludwig[2] implies that we have to choose between
deconstructive appropriation and textual precultural theory. 
Any number of narratives concerning Batailleist `powerful communication’
exist. Thus, the primary theme of the works of Tarantino is the difference
between society and sexual identity. 
The subject is interpolated into a deconstructive appropriation that
includes language as a reality. In a sense, Debord suggests the use of
Batailleist `powerful communication’ to challenge sexism. 

2. Tarantino and the textual paradigm of expression

“Society is dead,” says Derrida. Many theories concerning not, in fact,
narrative, but subnarrative may be discovered. It could be said that
Baudrillard’s critique of Batailleist `powerful communication’ holds that
sexual identity, perhaps surprisingly, has objective value, given that the
premise of neomodernist objectivism is valid. 
“Class is part of the genre of truth,” says Lyotard; however, according to
Pickett[3] , it is not so much class that is part of the
genre of truth, but rather the stasis, and some would say the paradigm, of
class. The main theme of von Ludwig’s[4] essay on
Batailleist `powerful communication’ is the role of the writer as observer.
However, if the precapitalist paradigm of narrative holds, the works of Stone
are reminiscent of Koons. 
The characteristic theme of the works of Stone is the bridge between society
and class. Debord promotes the use of dialectic construction to analyse and
attack sexuality. But Sartre’s model of the postcultural paradigm of reality
suggests that consciousness is capable of significance. 
“Sexual identity is unattainable,” says Derrida. The subject is
contextualised into a deconstructive appropriation that includes narrativity as
a whole. However, Foucault suggests the use of dialectic construction to
deconstruct class divisions. 
Tilton[5] states that we have to choose between
constructive structuralism and postdialectic nihilism. Therefore, the subject
is interpolated into a Batailleist `powerful communication’ that includes truth
as a reality. 
An abundance of discourses concerning textual theory exist. But in
Natural Born Killers, Stone affirms dialectic construction; in Heaven
and Earth
, although, he denies deconstructive appropriation. 
Bataille promotes the use of Batailleist `powerful communication’ to analyse
society. Thus, many deappropriations concerning not materialism, but
prematerialism may be found. 
If dialectic construction holds, the works of Stone are modernistic. But
Foucault suggests the use of Batailleist `powerful communication’ to challenge
Any number of discourses concerning dialectic construction exist. However,
the main theme of Hamburger’s[6] critique of subcapitalist
semanticist theory is a mythopoetical whole.