|Louis was a king, and our republic is established; the critical question concerning you must be decided by these words alone. Louis was dethroned by his crimes; Louis denounced the French people as rebels; he appealed to chains, to the armies of tyrants who are his brothers; the victory of the people established that Louis alone was a rebel; Louis cannot therefore be judged; he already is judged. He is condemned, or the republic cannot be absolved. To propose to have a trial of Louis XVI, in whatever manner one may, is to retrogress to royal despotism and constitutionality; it is a counter-revolutionary idea because it places the revolution itself in litigation. In effect, if Louis may still be given a trial, he may be absolved, and innocent. What am I to say? He is presumed to be so until he is judged. But if Louis is absolved, if he may be presumed innocent, what becomes of the revolution? If Louis is innocent, all the defenders of liberty become slanderers. Our enemies have been friends of the people and of truth and defenders of innocence oppressed; all the declarations of foreign courts are nothing more than the legitimate claims against an illegal faction. Even the detention that Louis has endured is, then, an unjust vexation; the fédérés, the people of Paris, all the patriots of the French Empire are guilty; and this great trial in the court of nature judging between crime and virtue, liberty and tyranny, is at last decided in favor of crime and tyranny. Citizens, take warning; you are being fooled by false notions; you confuse positive, civil rights with the principles of the rights of mankind; you confuse the relationships of citizens amongst themselves with the connections between nations and an enemy that conspires against it; you confuse the situation of a people in revolution with that of a people whose government is affirmed; you confuse a nation that punishes a public functionary to conserve its form of government, and one that destroys the government itself. We are falling back upon ideas familiar to us, in an extraordinary case that depends upon principles we have never yet applied.|
Nor will it evolve with the times.
Little known fact: Children's graffiti began the Syrian Civil War. A group of boys imitated the sights of defiant Tunisians and Egyptians on their TVs and tagged their school with anti-Assad slogans. Quickly they were rounded up and tortured. The uprisings began as protests to children's torture. Le Monde Diplomatique writes about the secret wars. http://mondediplo.com/2012/09/02syria Frontline takes you on an hour through the basics of the Syrian nightmare - first a razor sharp front-line battle story, then the narrative. http://www.pbs.org/wgbh/pages/frontline/battle-for-syria/
The Guardian on Televisa's role in electing the favorited P.R.I. candidate in the upcoming national election. Their exclusive:
Televisa refused to meet the Guardian to discuss the allegations. It first ignored requests for comment, then proposed a meeting with legal counsel present. When the Guardian submitted a list of eight questions with a small sample document attached, a spokesman cancelled the meeting, saying the documents had not been not been submitted in a "timely" fashion.
I still have my dog-eared copy of Andrew Sarris's The American Cinema, and I used it efficiently to sift through Lightly Likeable and Strained Seriousness, but let's be careful to bury the dean of the auteur theory. This is the reviewer that began checking out of the American scene with his unapologetic pan of 2001: A Space Odyssey in 1968, the same year his key text arrived. Coincidence? While the experimental cinema of the 60s was being merged with serials and John Ford and Kurosawa within the blockbusters of the 70s, Sarris was far more hypnotized by accented sit-coms like Erich Rohmer, 'realist' portrayals like Agnes Varda and self-conscious fare like Jaques Rivette. It's likely Sarris's full-view of American Cinema ended in 1968 (huh, just as the studio system was ending). He essentially abdicated full knowledge of the forces driving the studios, becoming more selective in the American scene. Sarris, though crucial to revising the perception of Lang, Welles, Stroheim, Dmytryk, Sirk, Losey, Tashlin, McCarey, Sturges, Roach, Keaton, and particularly Ford etc. may have spent the longest period of his career in coda-mode, where he seemed to have found his tastes inspired more by Europeans.
is the Cooper Skull, a hunted bison from 10,500 B.P. whose skull was then painted with a red zig-zag and placed at the capturing point of the hunt. This predates bow and arrow. Atlatl points used here in the hunting of both Clovis and Folsom periods originate in quarries 100 miles in every direction from the site. Read Leland Bement on his unusual find, click on the interactive skull.
Top: With the Curios, Bottom: In the Studio (1909)
From the Wm Cody Collection