Suck Phlegm Out Of Throat

The second day of read xD

Southern And Western Life Scam

Cliffs of concrete proposals to save the Province of Crotone

NO TO ABOLITION OF

Crotone Province

Dear Crotone, in light of the established Recently regarding the removal of some Italian provinces , I propose to create Agora 'VIRTUAL on this Blog, in which all, beyond the political color of belonging, help to suggest effective and concrete proposals aiming for survival of our institution between.
Meanwhile, remember that body, and really work if done without unnecessary waste, is of great importance especially for the functions assigned to it and planned, in particular, art. 267/2000 of 19 TU.

Largo proposals, then.

High, Soft Cervix During Period

But running st'Angelica? - IIA

How Much Woolite To Use In A Front-loading Washer

( published in: http://rivista.overleft.it/ )

QUESTIONS OF STYLE: FICTION, IMAGE AND TRUTH IN CORMAC McCARTHY


Franco Romano


"now crowded around the car several hundred people, and all spoke in a growing buzz. The sun was just above them. Seemed to hang there in a dazzling stillness, as if he had stopped, perhaps surprised to see those dolls still on the ground of mud that had been placed there long ago. The men on the bridge had begun to pull out the front door, some on tiptoe, to go and see the remains in the body of the wagon. "

The first novel from which this short quote is taken out of the dark is one of the first written by Cormac McCarthy.
In this scene, the protagonist is an initial crowd of men and women who approach in a chariot, on which something happened, it is the typical situation that is created after an accident or the scene of a crime.
The second protagonist is obviously the sun. It hangs, dazzling, motionless, astonished. Each of these adjectives, but apparently the two most obvious as the second and third, they are not at all if we consider the entire sequence. The last, also coupled to the first, triggering an expansion of meaning. The sun can be hung and surprised only if it becomes a metaphor for something else and this becomes clearer later in the song, where life gets a double metamorphosis. The first is that it is subjected, by implication, the sun itself, the second concerns the hundreds of people. This double transformation from sun god, and puppets for persons with mud, a short circuit, but not all.
The sun, McCarthy writes, was just above them. This description further clarifies why it is hung. Who can see this way and where you can see in this way? The experience of being directly above the other, unless it does not consider himself God, assumed to exist, the high towers, skyscrapers and the cameras hanging from their stand. The sun-god, really, therefore, is a sun-god-tower-camera, it takes from the whole scene, as in a film set. The multitude, who approaches the car, however, is made up of men in mud-puppets.
asymmetry accentuates the irony implicit in designating the human species with an expression that returns us to the biblical text. If, in fact, nature (the sun) and technical (the camera as a modern expression of the human capacity to build tools and implants) may change at any time and always shows the same power with historical and indecipherable as sphinxes that look from above - god-like human events, in total indifference to what happens, the puppets of mud are those that are and were. The only discernable difference between nature and development of technology (from the towers to the machine to be taken), is the immutability of the processes that affect them, the latter privilege that both share with the gods.
What they want to represent these few lines so intense and dense? A god tired of humans or a simple transposition of literary fiction of the nineteenth-century omniscient narrator in the new clothes of a camera all-encompassing? The fact is that this track seems so simple now reveals to us (we are at the beginning of his literary path), one of the stylistic elements of Cormac McCarthy: his special relationship with the image and the cinema. Of course there are other aspects
absolutely crucial here already in place, that the novelist will resume in all his works: the mutual indifference of nature and history, where the first is a sphinx without looking to intervene (the reference to Leopardi is a must), often shines a dazzling beauty and lives of a life of its own in humans also belong, but - it seems - no longer in a privileged position.
The immediate continuation, following the passage quoted, takes us into a scenario as typical of the narrative maccartiana: cruelty, indeed, even more, the wickedness of human behavior, a trait that goes beyond the violence in the strict sense. We leave this issue in a tight angle, because there are other novels, compared to this, where it becomes more crucial. Back

style. We always do out of the dark, some pages later.

Take a chair, he invited a woman.
Thanks.
The other was at the stove, and poked the fire, turning the ash gray and pale. Are not you married? Churches.
No ma'am.
... ... ... ... ..
Where is your son?
How?
I said where is your son.
I have none.
The child, the child crooned the old.
There is no child.

The peculiar characteristics of this dialogue leap to the eye: missing quotation marks that usually mark off a box on the other. The words of the two women run concurrently with the actions taken by the third woman who is in the room. Movement and speech can not be separated from each other, their mixture and the simultaneous elimination of almost all the devices rather specific to fiction writing, once again alluding to the cinema and also, in this case more clearly, this is a scene that takes place in an interior, the theater represented on stage.

Cinema, theater and literature.

If McCarthy is writing fiction since its origins steeped in theatrical and cinematic influences, runs immediately an obligation to tell how it is, very important issue because even a lot of contemporary fiction, especially Italian, inspired plenty of cinematic technique.
should, at this point, do a minimum of the history of relations between literature and cinema.
For a long period of time after its birth, the seventh art looted the literature, making some great novels, the ideal subject for films and screenplays. For some it was a real apotheosis: I am nineteen (eight of them in Italy), films whose subject Les Miserables by Victor Hugo, to say nothing of War and Peace, Anna Karenina, the Promised spouses. The narrative, or more child who was (I think even the Three Musketeers, The Count of Monte Cristo, The Citadel, etc.. and so on), was an inexhaustible reservoir.
Television, the Italian with the glorious tradition of the drama series, edited by world-class directors and actors just as prestigious, was once an instrument of undoubted promotion of literary taste, nurturing a whole generation, and which impact on book sales. It was quite normal, then, for the directors, please contact the writers for the screenplay. All this until the late '60s. Since then in the next decade we are seeing a movement in the opposite direction, which reaches its climax in recent times. You refer to the novel more often to the cinema and instead are increasingly rare filmmakers who work with writers: the couples-Cerami Benigni Wenders and Handke-are exceptions to Cristina Comencini, writer and director, another special case.

The first in Italy to write a novel technique with a very close, perhaps too, the script was Pasolini, with Theorem in 1969. Pasolini himself with oil, was preparing to sharpen his way with much greater awareness, unfortunately, tragically interrupted by his assassination.
The French nouveau roman, however, in previous years, had approached the movies. The Ecole du regard arose, in fact, as a poetic influence is capable of the narrative and cinematic technique: Jean-Luc Godard was at once a staunch supporter of the poetic, but also the one that the development brought to exasperation. Even some of the first descriptions alienating LeCleziò affected by these influences and the same can be said of Calvino's Palomar.

The narrative part of McCarthy's path toward a movie, without hypothesize a direct influence from the Ecole du Regard or other about him, partly because the distinctive features that make it different and they are too strong decisive.
McCarthy started his thinking to the myth of the frontier, thus defying the American cinema on his own land, that of the western genre, the most holliwodiano by definition, also anchored in that segment of American history that has its roots in a distinctively modern myth.
Secondly McCarthy welcomes grammar and syntax of the cinema all that can make it even more essential writing, removing any unnecessary frills or free wink to the reader.
This is enough to indicate the abysmal difference between the way of approaching the film from McCarthy, compared with the results yet, where it tries to mimic its effects. I am not speaking of the most cheesy and consumption that have little to do with literary writing, I mean, as example, as recently as one novel among them is certainly the most decent and its author one of the best writer of his generation: the first chapter of Sandro Veronesi's Quiet Chaos.
The crescendo that distinguishes it seems to be taken out of whole cloth by the sequence of the first twenty minutes of Indiana Jones (no no importance that the issues are different, so it's worse.)
The effect of this rapid pace on the reader is to take away my breath yes, but at the end, all the facts narrated, the concatenation of the same, too similar to the clichés of action movies and that would take away the tragic death of Lara, with which the chapter ends. We've seen in abundance of these sequences, what matters is the paradigm. In Indiana Jones, after a series of escapes, murders, twists, stunts of all kinds, quotations from other movies, when everyone is finally on the helicopter, it happens that a fake snake recreate a tense moment further, it is However, a joke (as if it were normal to joke like that after a dozen murders and so on), which ironically casts a retrospective light on everything that has been seen before. It was all a joke, not just the final part, we are inside the fences of the pre-adventure genre and the scene with Spielberg reminds us, in fact, he does not certainly want to suggest a tragic film.
Veronesi, however, I would like, but the sequence is so overloaded with plot twists at the end that it is tragically wrong, a trick used to ferry the reader to the second trick: the choice of Paladini, who decides to live in his car parked in front of the school of her daughter Claudia. From this second trick, he arrives at the third (the encounter with the woman rescued at sea, with predictable sex scene deferred.)
In the middle you have the feeling that the novel proceeds just waiting for the next big scene, and that the other meetings, many of which are discounted, however, are needed to fill a void.




TRUTH AND FICTION.

The art of course is always fiction, but according to a footnote definition that I have to paraphrase, there is a difference between truth and fiction, declaring that a fiction instead repeats itself with a sequence of special effects, whose sole purpose is to entertain.
Of course one could argue that drawing a sharp line between the fiction is difficult if not impossible, but it is possible to determine the similarities, because I think everyone intuitively understands the difference, if placed in front of a concrete example.
One, old, fiction that tells the truth is that which occurs in the Odyssey Homer, When Odysseus arrives at the court of Alcinous. With his customary guile, the hero blunt the investigations of the king with answers that elude all of his questions, but for this rise in Alcinous suspicion and even irritation. The hospitality is sacred, but he ponders to unhinge the defense of Ulysses, and one evening staged a real coup de theater. Nth dinner in honor of his guest, the king also called on Demodocus, an old blind singer (the same as Homer, according to legend) that sometimes entertains the court telling the stories of the Greeks. Ulysses, convinced in this way to perpetuate their camouflage even better, invite the singer to tell the story of the siege of Troy. When it comes to deception of the horse, However, faced with the reality of his actions do not, but the fiction of their theatrical staging, Ulysses bursts into tears and revealed to be the one who caused those deaths. Here the work an admirable example of how fiction can have a cathartic value, and then morph and truth. In fact, after the tears Ulysses will find the way open space for the return to Ithaca: the winds that so often were hostile to the drive home, but perhaps it is not only the inclemency of the sea, but of his inner storms that have finally place!

McCarthy's use of narrative fiction is, especially in his greatest works such as The Border Trilogy and The Road, is similar.
In the novels The Crossing, All the Pretty Horses, Cities of the plain, prosaic and fierce he makes the epic of the West by attacking the representation provided by the cinema sweetened holliwodiano: does it contrasts with a word and then stripped and anti anti-heroic epic, which describes detail until more raw, as in this passage from Blood Meridian:

Each of these young victims, seven even eight, had made a hole in the jaw and had been hung by the neck with broken branches of a mesquite . Naked eye without staring at the sky. Bald and pale and swollen, as a being of unimaginable larvae ...". 2

Another author, which ours can be approached, and Faulkner, masterful interpreter of the negative dynamics of the relations between whites and blacks in the American deep south.
There is a character that embodies all the others in the trilogy McCarthy: that of the court, always in Blood Meridian.
He is a man who can cram his speeches to literary quotations from the Gospels or even drawn from the Bible and looking at the human world from above, as a tragic hero of antiquity. In fact, it's a gang leader who gathers around him, misfits of all kinds. Set in the second half of the 800, in the border zone between the U.S. and Mexico, the novel is also based on a broad set of official documents. The actions of the gang do not serve any cause, are simply the expression of a cruelty that has no purpose and does not want to have, if not that of their sadistic power over others. The conquest of the frontier here becomes a pure forward and fill the space, occupying the territory, destroying any previous culture, beginning with that of the natives, found a corresponding law and is exhausted only in the amount of violence and terror that is capable to release. McCarthy creates an anti-heroic character, but does so by identifying a way radically different from that followed by a large part of twentieth-century European fiction. The latter tried to all'estenuazione derision, the parody has indeed demystify the hero, but ended up shut themselves up in the size of a desperate nihilism, sometimes sarcastic, often simply mocking.

With the novels This is not a country for old men, and subsequently left the McCarthy Road and West takes a leap of two hundred years time. The first of the two, however, succeeds in being too didactic: the transposition of the paradigm of contemporary American cruelty of the conquest of the West (as if to say that the ruthless rules of survival are still those), it is a bit ' Forced expression of a preconceived thesis too. In
The road, however, he comes to the contemporary with a completely different path, but that has to do with a genre once again, this time literary.
In the latter case it is the apocalyptic or dystopian genre, whatever you want, which is crammed with the fiction of the Anglo American 900, beginning with Orwell and Huxley, then moved to Golding (Lord of the Flies), to arrive Finally, in Ballard, Burroughs, Le Guin, Dick), sometimes this kind was also proposed in the cinema, with different results and sometimes ingenious as in Blade Runner.
McCarthy's novel, the main characteristics of this genre are taken to the extreme, but not because the author enlarges the catastrophic effects or their representation expression, but down because some contracts express or implied, on which the works of authors cited were based. The first of these agreements concerns the time.
The horizon of the great twentieth-century dystopias is always the future (even better in the future), even when the narrative time chosen is the past tense: in this sense, Orwell's 1984 text is the most emblematic. A second issue concerns the relationship between disaster and scientific prediction. Ballard, The underwater world that is perhaps the author who comes closest to the more apocalyptic novels of McCarthy, said the disaster in those terms (polar ice caps melting due to solar radiation) by projecting it inevitably into the indefinite future, locking at the same time within the walls of the science fiction genre.
The fiction which serves at least McCarthy is instead to assume that the catastrophe has already occurred, without explaining quite why: there is nothing in the novel, in fact, that we may provide some indication in this regard. The peremptory nature of the beginning (the first two or three pages) that provide the key and set the tone for the whole novel, testified in an impressive way.
A second element, combined with this, it creates in the reader the feeling of being inside the story and not screened in who knows what time to come. Consider for example this passage:

"The land was barren, eroded, gutted. Marshes scattered bones of dead creatures. Piles of waste indistinct. ... All without a shadow nor a precise outline. The road down into a jungle of vines shriveled. A marsh covered with a layer of dead reeds. On the horizon a dark haze that permeated and sky. In the late afternoon it started raining and continued holding his towel over his head, with the wet snow that hissed against the plastic. "3

The common lexicon, the simple adjective, simplicity and brevity of the periods, sometimes without any verb, but simply descriptive (Heaps of waste indistinct) give to the phrase maccartiana a strong communicative impact. If we isolate each period as if they were shots of a slow sequence shot in mid-plane or American, we can easily recognize in each of these scenarios, we have to observe every day: it is their slow accumulation that becomes disturbing because it settles in a reader mosaic that resembles the world in which we live already, but it makes us feel just a little 'gray and more aligned to its most extreme distress.
Even the players who inhabit this world, beginning with the two most important and that the father and son, are immersed in a social end, where there are few rational actions that can be made: the need for survival rests with to that of the defense. In this world skeleton unfolds the story of the harrowing and tragic journey of the two, until its conclusion. The path taken leads in the direction of California, namely the south and west, where he had completed the conquest and where it also begins the narrative of McCarthy.
The finish, in my opinion, moving, mysterious and cathartic, marks another evolution in the path of the author, but I do not want to talk about why would my wise far beyond issues of style that I wanted to put it to the reader.
conclude by mentioning only briefly, like a suggestion to read two other works that seem to go beyond the path shown here but that arise in my opinion as a final reflection on life by the American writer. The first, Sunset Limited, is more or less simultaneously in the street (I mean the writing is not the date of publication of two works in Italy). The second, but in fact above, you Suttrie, 1979.
Sunset Limited is a play that has as its protagonists a white (nihilist) and a black man, who has just saved from a suicide attempt under the train Sunset Limited, the literal translation and the English title very significant.
Suttrie, however, is the name of a protagonist who, having abandoned a life of bourgeois comfort and even his religious torment, he decides to live beside a river in a deserted hut. His company is the animals that inhabit the river and its surroundings, not domestic ones, but the most primitive: with them a plethora of misfits of all kinds, including the funny, weird and paradoxical Harrogate, a figure Halfway between wild animals and humanity, in the name that echoes the word Arrogance. In the river, in his debris, in those who inhabit the banks, seems to pour, as in a large bath, all the American epic. The trip from the road, many years later, culminating in a river, life there seemed to pulse as ever, mysterious and sublime at the same time, but not necessarily humans.

Bait Bus Gratuito Online

FATE, THE NATURE AND VIOLENCE IN CORMAC McCarthy

( published: http://rivista.overleft.it/ )

FATE, AND VIOLENCE IN THE NATURE
CORMAC McCarthy
counterpoint with the myth of the American West.



ADRIANO Voltolin





It 'pretty obvious that the work of McCarthy must be understood in the great epic of the American West: belongs to you because it is the last great poet, almost a literary counterpoint to Sam Peckinpah and Clint Eastwood's latest, with greater awareness of these, however, appear to indicate the direction in catastrophic dissolution, Stow Lake in the twentieth century, has always been ambiguity inherent in man the border. Of the Civil War, American culture has revived the most superficial and progress of anti-and confined by the South as some romance out of time, in addition to backwardness and industrial ideology. The West, historically, it was far enough away from the ideology of capitalist Europe and the literary and cinematic representation of his myth is always located in an area of uncertainty that takes sometimes reactionary tone and dull, as in the ugly - but famous - Gone with the wind (Gone with the Wind is the title of the Italian distributor) by Victor Fleming, but also question the most authentic characters in John Ford.
Cormac McCarthy is the extreme limit of Ford, the dissolution of ideological and historical era that is presented from the first, but finds its seeds already in the works of the second. McCarthy appears as if the truth of Hegel's Ford, the latter is, in psychoanalytic terms, the container only partially aware of the catastrophe reached by the work of Mc Carthy. The great heroes of the maturity of the John Ford as The Ethan searhcers (Paths wild) or Tom Doniphon The Man Who Shot Liberty Valance die and are destined to die because they can take the place of other men, as the lawyer Ransom Stoddard, who no longer use weapons to enforce the law but the law to impose civilian life. Stoddard is aware of the historical necessity of Doniphon and his efforts to advance the democratic idea of \u200b\u200bhelping fund the work out of poverty and to create a more peaceful life: that Stoddard then succumb in the face of politicians and businessmen without scruples, bandits who no longer use guns as a law, but the law like a gun is something that certainly is a source of regret for Ford. One who is really winning Doniphon is not, nor Stoddard: they are, to quote Nietzsche, the butts of stone in Washington as an evil all that is distant from their way of understanding the world and the progress of the province or small businessmen voracious and caricature, portrayed two categories in Cheyenne Autumn (The Big Trail), the last Ford westerns Morandini says a fresco in autumn, a rearguard action, not devoid of greatness.
Mc Carthy, as all the authors are able to master narratives, such as calling Franco Romano, touches many issues, but there seems to be able to show, in a work of counterpoint to the myth of the frontier, that the issues of violence, to the nature and destiny can clotted a number of issues that seem to be able to objectively suffer converging on them. From the last, destiny, because it allows us to grasp the meaning of the journey and love education of young people who forward on horseback toward the West. The fate




What has been described as the western most simple and essential part of John Ford, the work in which they show more clear his conception of the spirit of men who go out to conquer the West and their fate is Wagon Master (The caravan of Mormons) in 1950, work that is certainly owed The Big Trail (The Big Trail), the 1930 film by Raoul Walsh, who defined more plastic in the myth of the West. In the film, Ford will have two young cowboys, Travis Blue and Sandy Owens, who agree to lead a caravan of Mormons to the West. In the great journey the two will love the maturity and balance that will be given to them by overcoming many difficulties - the Indians, outlaws, a difficult and hostile nature - and the feeling of being actors in a major process of conquest and civilization to a land still largely unknown. A well-deserved prosperity that will be settled on the land and the work that will make it fertile, a pretty woman and loving their children and give them a future to their fate, are the future of Travis and Sandy. Ben
other perspective is that which draws McCarthy in Pretty Horses (All the Pretty Horses) and The Crossing (The Crossing). In the first two are still young, John Grady Cole and Rawlins that you submit in an initiatory journey to the West no longer, but to the south, the boundary of the Rio Grande and Mexico. In the second, two other young men, Bill Parham, with his brother Boyd, they also venture into Mexico combining their journey began with the desire to bring a young Mexican wolf to the mountains from which it comes. In both novels, set in the forties, we are witnessing a repeat. John Grady leaves the house built by his grandfather in 1872, when he, the eldest, was the only sighting of eight children in the twenty-five years of age. The other seven were all killed in a violent way, those who drowned, who died in a fire, those killed, as befits an era in which the harshness of nature is combined with a precarious or non-existent law. His grandfather had married and contemplating his possessions questioning the ways of God and the laws of primogeniture. His wife's grandfather had died without having children and then, years later, his grandfather had married the sister from whom he had one daughter, the mother of John Grady. So the name was Grady finished with the old underground. If the European culture of the twentieth century is a decline Dammerung which is reflected in an awareness of the tragic end, as in Thomas Mann Buddenbrok or Sleepwalkers trilogy of Broch, or only partially so different psychoanalytic nell'affannosa question in the characters of Italo Svevo, United States announces the sunset a repetition which, like all the reps - teach Marx and Freud - is always partial and results in, in reality, new complex scenarios. John Grady and Billy Parham are meanwhile not to new lands in the West, but to that which the Mexican revolution for American radical culture had always had an attitude of ideological sympathy, however, accompanied by a certainty of his own superiority strongly tinged with racism. Are not, however, in Mexico, the young American Mc Carthy, a mixture of a little irrational and violent passions that had seen Robert Aldrich (Vera Cruz, 1954) and Henry Hathaway in a film, again in 1954, distributed in Italy with title The Prisoner of mine, but that title was originally a much more significant: Garden of Evil. It 'just a garden of the devil that McCarthy's characters will be faced: some will find in Mexico, yet passionate and beautiful women, like Alexandra, and also the generosity and friendship, but it is violence, feelings of desertification in the rich and the hopelessness that allows them more in the poor and marginalized. Mexico Real is fierce, bloody and despotic that gave us Peckimpah, Wild Bunch is one that shows the other side of the revolution romantic and so clumsy that he liked the culture hemingweiana. Contrary to the heroes Fordiani to be established in the lands of the West, the boys will return to McCarthy in the U.S.. The reality we have experienced in the journey is not that the American dream but the nightmare that is the reverse: the dead will return home disappointed or even the young marines described by Kubrick in Full Metal Jacket. There are no more lands to explore, magnificent landscapes in which to fit, to support the democratic spirit: death, violence, injustice and ferocity populate the garden the devil, nothing else.

What is left of the myth of the frontier and has established a strong texture of the American dream is destined to a marginal and desperate, or directly to death. Mc Carthy here does not differ significantly from the tradition of American culture hero loner and loser, now placed in a time that does not have it anymore. But what appeared in the fifties and sixties, an omen dictated by the pessimism of - remember the role played by Leo Huberman and Paul Sweezy in the foreshadowing of what would have catastrophic design of counter American global ruling class in the sixties - Mc Carthy becomes in direct testimony and annihilation. That picture is worrying that the Monthly Review had shown us as possible, in McCarthy presents a definition far more brutal in that, if in the sixties and seventies, the youth protest against the Vietnam War, the revolt of Berkeley and ghettos of Chicago blacks could feed hopes for change, the U.S., Reagan and Bush, do not allow it anymore.
In the novels of McCarthy who is paradoxically ends up identifying with the social and ideological devaluation from which he suffers. Buddy Suttree, the protagonist of the novel, lives on the edge of a river on a barge, feeding on what is, and some scraps of catfish: the river is not a serene and soothing, but it's tainted by all sorts of waste and garbage. The blacks who live like him in this situation are the wrecks, waste, human process of production and enrichment. Lester Ballard is also a wreck, the loner who lives by hunting and ends up becoming a murderess and a rapist. A survivor out of time, sadly aware of your country is also Junior Bonner, the protagonist of the film Sam Packinpah, 1972 (Last Buscadero): a rodeo cowboy hurt in the body of a thousand falls, especially in the soul by brother businessman unscrupulous. Junior's father is a senior still full of charm, much less aware of his son, still secretly loved by his wife who takes her to be totally helpless. The bulldozers of the firm ground of his son shave his solitary hut while he still dreams to get to Australia and return the adventurous life that is his nature. A wreck is also the old cowboy Bite the Bullitt (Grit your teeth and go!) Of 1975 that will not hold the pace of hellish travel seven hundred miles on horseback made - the story is set in 1908 - to win the prize of two thousand dollars raffled by professional bettors. While dying, the old cowboy, recalled with nostalgia the thousands of works done in his life of adventure, wanted to win the race because who wins becomes famous, talk about the papers while the second does not remember any more. For American culture, even the most genuinely democratic, the ability to see the distortion of the myth as a direct result of economic practice and not a perversion operated by a brood of evildoers, however, separated from the social body as a whole, has always been a almost insurmountable obstacle. E 'Marxist analysis to enable the Monthly Review to identify the relationship of consequence between the destruction of the myth of the man who wins and makes it accessible and democratic territory or a property and the laws of capitalist production. McCarthy appears in this sense as the extreme limit of the culture American democratic. John Boorman had anticipated too many topics in Deliverance, 1972 (A Quiet Weekend of Fear): The mountain valley will be removed from the reservoir where the water is, as Lester Ballard, the human animals to be removed from the track history, a democratic culture, personified in the film from the intellectual of the East, will be swept along the surface of his hedonism, which will be sodomized by the mountaineers and also to the muscle and less superficial fascism of those who think suppressing physically exterminate the marginal like the third friend to be crippled by the violence of nature. If

Lester Ballard represents Suttree identification with those who attack you and destroy you, Anton Chigurgh personifies violence instead controaggressiva able to react to the ferocity of the persecution and with no less ferocity and with no less determination. Chigurgh is the man the West is now certain that the standardization is intended to get rid of all individuality and to crush the formless mush that characterizes it. In a passage from the novel, Chigurgh, talking about a coin that is no different from many other speaks of the separation from the thing ... as if the parties to a certain point in history they were interchangeable. The murders of Chigurgh are not the work done to have a blood money, but not the operation completed for a perverse enjoyment. As the psychoanalyst Wilfred Bion tells us, the emotion can be downloaded violent action. Chigurgh was a psychotic who feels the stifling of diversity and will react with extreme violence of those who do not want to suffocate or drown and violently shake the limbs. There is a character in the film as a western Chigurgh; what is closest is the Billy the Kid we proposed in 1973, Peckinpah (Pat Garrett and Billy the Kid). But while Billy is in a certain awareness of the violence of those who launched the business towards modernity and the betrayal of those who for money, like Garrett, it's been on the other hand, has lost Anton Chigurgh any reference to reality. Billy is still able to discern that his individual violence, carried out with the gun, the tradeoff is desperate marginalization and poverty reduction in violence brought about by a far more sophisticated and radical. Chigurgh does not know the reason for their violence, has no why. People like Billy, or as in the film Tom Horn in 1980 by William Wiard, they may still, as Walter Benjamin had written, invoke the identification of those who feel that the injustice and violence are banned in the hero-avenger a primordial ; Chigurgh, as every true personification of psychosis does not attract any sympathy, as they do not attract sympathy Moosbrugger, the murderess outlined by Robert Musil's Man Without Qualities or homicidal pedophile M Fritz Lang's masterpiece

The opposition to civilization with no hope of merchants in familiar Mc Carthy a third variant of exclusion and despair killing spree: the death of the lone cowboy. Sheriff Bell in No Country for Old Men, who died as Lewellyn Moss, a Vietnam veteran who had seized the money of drug traffickers almost casually, at the hands of Chigurgh, is the person most aware of the sunset of his world.
Bell is no different from the protagonists of films and books of American liberal culture. The hardness is not reprehensible in itself, that is the purpose of this qualification. Harry Morgan is the leading hard Hemingway smuggler and illegal contraband between Key West and Cuba to come up her right to live in a society that economic disaster was filled with outcasts like him. Not unlike Harry Morgan is proud of the young Tom Joad Grapes of Wrath by John Steinbeck, from which John Ford took the film of the same name, which is defended by force and even violence from the violence of violence. But Bell, Morgan and Tom Joad, although the latter two are also the result roosveltiana American literature, are heroes of the sunset, men who see their world come less as two old gunslingers that Sam Peckinpah shows us in Ride the High Country (Ride the High Country), but mostly as a cowboy star of anarchist and lonely Lonely Are The Brave (Lonely Are the Brave) descrittoci masterfully on a screenplay by Dalton Trumbo in 1962, followed by the sheriff that while he understands the reasons melancholy of the revolt, the cowboy manages to escape pursuit by climbing up with his horse into the mountains, but then die - or be irremediably injured - along with his young mare, frightened by the noise and lights in a rainy night , hit by a truck that transports and processes driven by a man burdened by debt and worries.
In a passage of No Country for Old Bell speaks of something similar a confusion that seems to warn him and who even seems to go unnoticed in American society and since the millennium:

Some time ago I read in the paper that some teachers had found a poll posted in the thirties a number of schools across the country. He was made a questionnaire on the problems of teaching in schools. And they found the forms filled out and sent from all over the country, the answer to the questions. And the most serious problems that were out were such that the students were talking in class and ran into the corridor. Or chewing gum. Or copied homework. Stuff like that. And then they took one of those modules was white, they had printed a bit 'copies and had been sent to the same schools. After forty years. Be ', here are the answers. Rapes, fires, murders. Drugs. Suicides. And I think about these things. Because most of the time, when I say that the world is going to hell, and race, people makes me half smile and told me that I am getting older. And that's one of the symptoms. But as I see one who can not understand the difference between rape and kill people and chew gum in class is made much worse than me. And forty years I'm not that much. Maybe in another forty people will open their eyes. Unless it is too late.

The revolt against the world forward is not possible for man West, in which the values \u200b\u200bin which its culture has grown, but it is also, finally, part of the culture of death who survives at their time. Do not complain about the old cowboy to Bite the Bullitt, like the old man does not complain Ather whose destiny is solitude el'inselvatichimento harder. The lone Shane, the protagonist of the eponymous 1953 film by George Stevens, theorizes the necessity of exclusion for those who, like him, has restored justice by force of arms, leave the valley to go away, perhaps to die as a result of wound received in battle the saloon with the farmers and their arrogant killer. The written law has taken the place of violence - A theme which will meet in Freud - and those still using the weapons to enforce the law is out of modernity.

The destiny of man the West is certainly tragic in its results, but it is also marked by solitude and remoteness throughout its trajectory. Franco Ferrini as well summarized in his monograph on John Ford:

In the world of John Ford, the woman, rather than the companion of man is usually the mother ... the hero Fordian seems to pay the woman the remoteness of their supervirilità attributes and their functions: the chivalric code of conduct and the assumption of an ascetic fate hinged on duty.

Mc Carthy does not deviate substantially from the misogyny of the traditional culture of the American West, but it shows more clearly the implications and desperate extremes, laying bare the root of a diversity of women and against which even Freud was partly stalled . In adventure racing towards the conquest, or into the sunset, the woman is necessary for the survival of the species, but is likely to be a burden for the civilized. Again we find an analogy between the culture of the American West and the thought of Freud for the latter fact the woman is the enemy of Kultur objectively as his attention to the family and children tend to steal the man to the tasks that society and the culture's award. The woman should be protected from enemies and the nature of the more hostile the more physically weak those who venture. The young woman Lewellin Moss is a concern because it may keep rocking on her Chigurgh violence, is therefore more easily attacked one side of his man in the same way it becomes more exposed when John Grady falls in love with Alejandra.
Man of the West is a loner, a solitary, because it can not be that way. The story is overwhelmingly public versus private, and their task is not to perform it at the price of distance from the woman and loneliness. So it is for Ethan in The Searchers by John Ford, who left that it was his brother, and settled farmer, to marry the woman who loved him. Tom Doniphone have the same destiny in The Man Who Shot Liberty Valance, Shane deliberately ignoring the love that seems to feed him, his wife of Joe Starrett, who also settled as a farmer's brother, Ethan, and Wyatt Earp in John Ford In My Darling Clementine (My Darling Clementine, 1946) that leaves not knowing if he will return after Clementine asked if he would wait and wait if the girl herself. The woman is, in essence, to be wonderful and that life guards. Not coincidentally in the extraordinary The road (The road) when, at the end of the novel, the child left alone after the death of his father, is a woman, the mother of other children, to embrace him and tell him that it is good to keep talking with his father, though dead because the breath of God is always the breath of God, even if it passes from man to man forever.
In the myth of the West, as in McCarthy's novels, do not miss the female figure opposite to that of the woman-mother and the woman-prostitute or otherwise of the woman destined to turn the male desire. These are women who have given up or had to give up the maternal role that the dominant culture has assigned them to assume that the good-hearted prostitute, Understanding men even in their detestable weaknesses. Thus, in Ford, the Chihuahua is the My darling Clementine, but above all by The Dallas Stagecoach (Stagecoach). Even McCarthy are former prostitutes like Joyce Suttree, but also women who light up with desire and usually overgrown men without women like Lester Ballard, and finally women who, like the Dallas Ford, are prostitutes, but also because their knowledge of men, are strong and generous, and eventually fall in love: so is the Magdalena which John Grady falls in Cities of the Plain (Cities of the Plane). If
in the western tradition the woman is between the mother and the prostitute, as in the worst stereotypes male, Mc Carthy eventually disarticulating each typing and to make far more disturbing relationship with women. It 's just double or recruitment of women as angelic as women to please make it less understandable, through a little peace' even grotesque, the irreducibility of the female to the male universe, the difference in establishing women as such. At the bottom of the loner, there is a violent man with women: Lester Ballard will become a rapist and necrophiliac and a cot, a brother of Rinthy, impregnates his sister and left the infant on the bank of the river to get rid of a burden that would hinder its desire to have only his sister-lover. Even Suttree had also abandoned his wife and son arousing resentment and contempt. When a woman is basically good, he again becomes a mother always ready to understand and justify the men - they take what they want, they are dirty, make noise in bed, but I love them - says a character in Martin Ritt's Hombre (1967 ), then the woman, to be understood as being different, has paradoxically been approved to be deciphered in the masculine culture. There are few female characters that are defined independently of men in western culture: memory and certainly the Vienna designed by Nicholas Ray in 1954 in Johnny Guitar, perhaps the most complex female character of all the western film. In a very different cultural climate, then there are the women proposed to us in western culture revisited by the sixty-eight, as the girl kidnapped by Indians and then "liberated" by soldiers in Soldier Blue (Soldier Blue) 1970 by Ralph Nelson or the character of the sexually repressed The reverend's wife in Little Big Man (Little Big Man) by Arthur Penn, also in 1970. There are no women protagonists in Mc Carthy as she was the Vienna of Ray, as if to mark a critical distance that is not given by the code of chivalry that women are essentially foreign or submissive. The culture of a loner, seems to suggest, Mc Carthy, is much closer to the rough criminal rapists appearing in Soldier Blue as in "Blood Meridian that simple ethics of the characters of Ford.
E 'misogyny and naive of the loner forced to make that friendship is a masculine myth of the architrave of the West, the woman can slip between two friends, but this does not hinder the friendship will be less masculine. One of them will win the contest with each other and have the girl, but it is a very sporting contest where the winner and loser pays homage to those found in this a reason that makes it even stronger friendship. So it's a film out by the Ford title She Wore A Yellow Ribbon (The knights of the north-west) where the two young officers are at war each other to get the girl played by Joanne Dru, but it is also the case for John Grady and Rawlins with Alejandra. It is not lack of people who wanted to see in a manly theme of latent homosexuality, had provoked a major outcry in 2005, the release of Ang Lee's Brokeback Mountain. The theme of the film was really interesting, not because he opened a hot topic and we ignore the myth of the West, but rather because they highlight a cause of male homosexuality today that is rather far from the interpretation of a classical Freudian question will not be exceeded caused by excessive Oedipal fear of castration. The two protagonists of the films are made continually troubled by wives who can not cope and who are often devalued. It is not uncommon today to find in the psychoanalytic clinical cases of male homosexuality, where the yield of the subject is not the father, or brother, invincible, but a major difficulty in relating to women who are no longer, as in the grand narrative of ' American West, the myths Indian women or girlfriends apprehensive about a future in which trust, or even the prostitutes who are these defeats because, as women, by a culture and a society too sexist and cruel. Homosexuality seems to be the result of narcissistic male solidarity in when the female is no longer legible in accordance with the usual syntax, but the myth of the West, in the same way that McCarthy, the friendship among men is rather the cornerstone on which you can hold the building of the conquest and social culture. The American West is much more similar to the civilization of which Freud speaks to military systems where homosexuality, carefully cultivated through the isolation of women warriors, the glue was a warlike spirit, as it was in Thebes or in the Janissary regiments in Turkey.


Violence

It would certainly be wrong to say that the theme of violence runs all the work of Mc Carthy. It permeates the situations and characters in a way that constitutes a kind inaggirabile. The protagonists of his novels can also be people who would not in itself much less violent criminals. Anton Chigurgh is a personification of violence in its most clear and desperate, but also a mental object which has been projected by the Constitution more intimate self-violence, not because it is an important and dramatic Western societies of today. Would not be violent characters John Grady, Bill and Buddy Parham Suttree, nor are Ab Jones, the black friend and Suttree who rebels against the violence of Tennessee cops and even less so is the black, together with the sole protagonist White, Sunset Limited, which, together with the woman who receives the child orphaned in The road is the only character who manages to see Mc Carthy a future, albeit in forms of cohabitation projected spills from a civilization that is definitely going up in smoke in the chimneys of Dachau. Ab Jones and Black must use violence to protect themselves from the violence of others, especially the whites and the whites win, that they want to eliminate social and racial hatred.
Violence, in McCarthy, something consubstantial to the company eight to twentieth century that expresses it. It can be deleted by a ideological repression, that is to say to the White Sunset Limited that the company he loved and that no longer exists is that of the arts, literature and beauty, but it remains the basis on which the company was founded we know and where we are all immersed. Violence in Mc Carthy has the same size of the dominant ideology in Marx: all are involved, but there are those who enjoy the fruits of its operations, as conquerors, and others who stand only harm as the conquered, the natives Americans, and the vanquished, the condition of almost all the main characters of Mc Carthy.

Like Freud, Benjamin and Schmitt, in Mc Carthy violence is not a degeneration of the legitimate power, but not necessarily coincide with either the power or with its practice. On the issue of violence
distance Mc Carthy from western myth is very great. Although some fluctuations in the film, like Cheyenne Autumn, John Ford violence is bad - sometimes a great evil - a power that is but its foundation in the health and vitality of a body which pursues social and institutional always ideal of progress and justice. Even Altman (Apache, 1954, The Last Apache is the Italian title, but also Buffalo Bill and the Indians or Sitting Bull's History Lesson of the 1976, released in Italy as Buffalo Bill and the Indians) and Peckinpah (Pat Garrett and Billy in the Kid, but also in Ride the High Country and The Wild Bunch) does not go far beyond Ford: American society is sick, deeply sick, but if the antibodies in order to safeguard its survival. Perhaps only in Ballad of Cable Hogue 1970 (The Ballad of Cable Hogue) Sam Peckinpah approaches to awareness of how McCarthy will approach two years after Altman's Ulzana's Raid (No mercy for Ulzana). The American vision of the conquest of the West get to see, at most, as well as in western movies footprint sessantottino already mentioned, which expresses violence in society, his inmost soul, and that its victims are not only the natives as Ulzana or Geronimo, but whites as Billy the Kid or Cable Hogue, useless waste of time that actually never was and instead of an ideology that was and seduced them. In
Mc Carthy terrible violence is the foundation of law. As Freud wrote to Einstein:

violence is broken by the union of many, the power of those who joined the law now stands in opposition to the violence of the individual. Thus we see that the right is the power of community. It 's still more violent, ready to turn against anyone who opposes them, working with the same means, intent on pursuing the same ends, the difference is really just the fact that it is no longer the violence of a single victory, but of a community.

The individual holding the violence goes against the rules of the community and must not be thwarted by this time, as Benjamin said, for ethical reasons, but because the tolerance would lead to a strengthening of this same violence and damage to the community. But not only the violence far the company since its founding moments: it also appears as the most immediate response of the individual in relation to what surrounds him and that is irredeemably hostile. Also in correspondence with Einstein, Freud said that human actions are hardly the work of a single motion drive, and when people move to war, there underpin a whole range of reasons: among these is certainly the aggression and the pleasure of destroying. The fact that the destructiveness is mixed with other pulses instead of noble and selfless nature, encourages their satisfaction.
E 'the judge's character that has the task of telling us what is the concept of violence in Mc Carthy. The war, he says - lasts over time and does not make sense to ask people why they think men can not really knowing what's in their mind because they have only, in fact, their minds to think. The war, and violence through which it expresses, is not only the source of all life but before the man and it is independent. He was born in violence and this can not in any way whatever. Mc Carthy here seems unwittingly supporting the most radical positions of Melanie Klein and his school on the destructiveness and envy as the origin of man and his story, more radically than Freud, the latter part of correspondence with Einstein had supported the ' incompatibility of civilization with war, he poses a question that Wilfred Bion and Kleinian more recent studies have highlighted: the human mind can not think think that within the terms of the thought itself. To think outside of thinking you should have the expressive tools available that go beyond, but within these would not be possible to think. The violence and destructiveness are consubstantial, is the fundamental thesis of Mc Carthy, man, there are bones and meat. Only in the abstract level can be separated, says the Judge, the generosity and altruism, but it is still brief moments of relief and, as Freud had thought about the dawn of World War I, or falsification of the truth. Perhaps, outside of psychoanalytic thinking more radically, only Giacomo Leopardi had shown us such a radical noting that no other animal outside man, it is the same as occide voluntarily.
War, says the Judge, is the most reliable form of divination because their lives freely only playing against another - the war is understood here as a duel - to get nothing if not supremacy, we are serious about the fate seen as unreasonable randomness does not exist. It is no longer the Hegelian struggle for life and death, but it's supremacy, the win their lives removing it to another account that has full of radical and fundamental freedoms. More Nietzsche Hegel, the judge found that the moral law is an invention of humanity to deprive the strong advantage of the weak. Man can not really shake off responsibility for their violence for it is the violent confrontation with others who may have known of themselves and their value:

Sports games involve skill and strength of the contenders, pride and humiliation of defeat of victory are in themselves sufficient for a stake pertain to the value of the antagonists and define them.

Cormac McCarthy is well aware of the inescapable guilt of the violence. None of his characters is immune because all games aspire to the condition of war, because it swallows up the post play, player, everything.
The counterpoint to the myth of the West on the theme of guilt from us, like a flash of blinding light, the truth spilled from Mc Carthy and John Ford. In The Man Who Shot Liberty Valance is Doniphon Tom, the old cowboy that starts at sunset, leaving the future and honor the woman and the young Democratic lawyer Stoddard, to kill Liberty Valance. Kills him hiding between the houses just before the outlaw kills in a duel Stoddard, a man brave enough to challenge a gunman in a duel, but totally unprepared to do so. Doniphon let everybody believe that Stoddard was to kill Liberty Valance: law and justice triumph thanks to a brave man, Stoddard, who will rightly political career supported and loved by all honest men. Doniphon Tom has taken the charge to kill it is because of this background that justice can triumph. The revelation of the truth would betray the spirit of justice because everyone would see what this is based. Stoddard elevates himself and his noble ideas on the shoulders of Doniphon which can only start, as the Judge, to be swallowed up with his game from the necessity of war. A dream of a patient in analysis with the sharpness of the representation depicts the junction between dream and Mc Carthy Ford. In the dream, a child, the patient, hoisted on the shoulders of Stalin, he plays basketball and is happy with his skill in putting the ball in the basket easily. The observation of the patient is that our whole being, even when you think from the violence and murder, and only taken by the beauty of a gentle game of babies happy, you heave on the shoulders of a criminal self that is very difficult to accept as a constituent part of their personality .
The judge has the grandeur of the great criminal. The extermination of the Apaches by the band's shows, like a nasty grin, what we all do and have done to win the West, but is carefully removed. The judge, as Doniphon, assumes the guilt of the assassination but, unlike them, does not think at all that the world is populated by lawyers Stoddard. The world is inhabited by the Philistines, as Marx would say, do unto others that do the dirty work for obscenely then enjoy the fruits. The Judge is, Chigurgh as a performer. His sharp clarity helps us to understand more than they do the confusion and psychotic Chigurgh this seems like one of those great criminals who sometimes identify themselves to the masses because they see in them, as Walter Benjamin noted, those who commit an act of justice paradox can reveal what the nature of power and its ideology of justice. At the time of Indian wars in the U.S., international public opinion saw the United States and Italy were the two that were operating with more technical military conquest and occupation in the territories recent annexation. For Italy, the reference was to the campaign against banditry in the south. Ninco Nanco was no less ferocious than Geronimo and Piedmontese soldiers did not differ that much from General Nelson Miles: Ninco Nanco became, as Carmine Crocco e. before them, Michele Pezza, Fra 'Diavolo, a mythical figure able to rebel, with ferocity, the arrogance of the conquering troops and the new order that they represented.
Unlike the American cinema of the sixty that revisits the myth of the West, Mc Carthy reveals there through the figure of Justice, what crimes and sadistic brutality is based mythology of conquest and frontier: the exhibition at the judge as to bottom of the desecration myth, remains the wonder of the discovery of violence. Mc Carthy Marx is not and has not studied the concept of primitive accumulation, but it is not even a liberal who imagines that the conquest could have done otherwise. The ferocity, the killing and injustice are the source not only of the annexation of territories to the west, but constitute the very condition of possibility. It is treated with justice and that you can make happy those who hunger for new lands and new wealth. Judge touch here on a nodal point of Schmitt's conception of politics. Taking in fact Hobbes, Carl Schmitt points out that the nomos was not only the law but also to take; the nomos, finally, is that the chicken farmer who lives under a good king in the table on Sunday. The law and the law may occur only after there has been a division. To this one can not subtract, Schmitt says, not even socialism: take, share, produce, and their order of succession. The liberal idea of \u200b\u200bincreased wealth through a continuous increase in production provides only the illusion of not having any problems in the distribution of wealth. Marx, in order to see Schmitt, differs radically from the socialism of Fourier, Proudhon and Sorel precisely as seen in the parable of the capitalist attempt to broaden the mass of goods increasingly refusing to note that the development is limited by definition and that is such an asset because it has generally a limited extent, which is easily seen today when you plan to privatize the water and the air itself is no longer able to reproduce itself sufficiently to offset air pollution. Even when the colonial territorial conquests and robberies are completed, Schmitt concludes:

Before you can distribute or redistribute the social product, the state must appropriate them, either through taxes and contributions, both through the distribution of jobs, both with depreciation or other direct or indirect.

what the judge had called an invention of mankind to damage the strong advantage of the weak, is thus presented as the neurotic inability to face reality for what it is and therefore the need to transform the perception to make it acceptable. Only in fairy tales there are donkeys caca-sequins, but must reach the most blatant lie of advertising to see calves happy to be steak and potatoes that are already there, when they are educated, shaped like a stick.


Nature

Franco Romano, a job in the style of McCarthy, about a mutual indifference between nature and history. In reality there are at least two different Mc Carthy kind of description of nature. One is more traditional concerns and desert landscapes and impressive of the borderlands between Texas and Mexico: the landscape they face John Grady and Bill Parham and is summarized in the Judge in a passage from Blood Meridian, which makes it isometric the natural landscape with the internal

A man seeks his destiny and nobody else, "the judge said. Willy-nilly. Any man had the opportunity to discover their fate, and therefore choose a location opposite the end would come only at the same reckoning in one lay the appointed time, because the destiny of every man is as big as the world lives, and contains him all opposites. This desert on which so many have been destroyed is vast and requires a big heart, but basically it is also empty. E 'harsh and arid. Its true nature is the stone.

The natural landscape is harsh and dry and it is in this bitterness that the dancer must move the real man who is entirely given to the blood of the earth, the warrior in short, that is intended to be dishonored and to be replaced by false dancers that will make a false dance. It 's also the landscape in which to move Moss, a hunter who accidentally incapperà the settling of accounts between drug traffickers:

He lowered the binoculars and sat studying the land. To the south the mountains in the distance barren of Mexico. The river canyon. To the west the land-colored terra cotta along the border. He spit a dry and wiped his mouth on the shoulder of the shirt of cotton.

Nature, terrible, but also one of the unfolding drama of the most genuine man - her compete with what is hostile - is one in which he was perfectly placed in the old Ather Tennessee:

If I were younger , they said, would go to live on those mountains. I would try a stream and build me a wooden house with a fireplace. And my honey bees would black mountain. And I do not care about anyone ... The old man sniffed the smell of intense land, mindful of other springs, other years are amazed at how people remember the smell ... not like the things you see. I still remember the smell of muskrat that he no longer felt for forty years. It even remembers the first time he had heard that typical sweet aroma, one morning, more than forty years before, he descended through the Short Creek, with white cotton fields and icy and the mist rising from the creek. Spring had just begun, the trapping season came to an end and he caught an old male with orange tail as big as a cat. The strong smell of moss had brought to mind something else, but never succeeded figure out what.

The stone, as the Judge, is the true nature of this first image of the landscape of Mc Carthy. It is hard, does not give anything and must be worked fiercely to be able to take something precious and vital.

The other image of nature that McCarthy gives us instead is that of the suburban landscape river Suttree. This is a second nature, certainly shaped by man in his nature to be a set of existing first and irretrievably compromised, mixed with waste of human life that it fits well into degradation are an essential part:

Below, the river began to widen in a coastal lagoon. Shoals of mud riddled with holes and vents as thick slices of liver affected by fascioliasis and a column of tree stumps as squid grayish Arena dried in the sun. Sarabande beaten by a dead crows that if they went quietly strutting and shimmering and shiny as glass birds black remains of a stranded carcass to another. Suttree disarmed the oars and slid toward the shore and stood up while the bow of the disgusting mud scraping, tipping the scales and finding the balance, until he jumped nimbly on the ground with the rope in his hand, tied in a knot with a root a hitch. Through the tall grass and climbed up the slope to the clinging sods of turf and reached the top he turned watching the river and farther to the city, along with a dark look that different world, the plots of arable land, houses, the bizarre nuances of the little metropolis against the green hills in the flower pot and the elbow of the river winding like a trench off from waste repositories except where the wind had granite surfaces glinting in the sun lightly. He walked along the crest of the banks through the sedge shaken by the wind disturbing little bird that rose fan, and glided in the air with their wings still. A toy tractor was advancing on a field in a plume of dust. The island was circled in the bottom mud. Suttree did bounce a piece of slate on the river surface. The stone skidded, flashed, disappeared. He got out and walked through a muddy bog, fording a tangle of thorny bushes, taking the side of a hill over the promontory dominated by the mansion, a relic of a great empire that dominated the naked, ruined and rotting in the middle of the patch of trees over the river and brooded on this ephemeral world with its sad windows off to throwing stones.

Nature lies beneath the eyes of Suttree is most certainly not one that a reader of Frankfurt Marx pointed out as the mediation of the natural society in which perhaps can be attributed to the nature of the old Ather and John Grady, but he is not even mediation of social nature . The second kind that have confronted mankind at the close of the twentieth century is an immense collection of waste that occurs equal to itself along the banks of the Tennessee, on the outskirts of Delhi or Rio or Palermo. There are, however, only wastes that are thrown in space, but real changes in nature - fish of warm seas in the Mediterranean Sea gulls near Milan, reduction of fifty per cent of Alpine glaciers - which make it impossible not only the concept of mediation social nature, but even that of mediation between two objects that are kept separate, it is only a con-fusion.
The transition between the dry and harsh nature and the decay of Suttree, offers it a author as absolutely far from Mc Carthy Giuseppe Tomasi di Lampedusa. Also in Tomasi di Lampedusa nature itself as something that has no middle ground between the softness of lascivious el'arsura damn fire when it snows. The contrast - as explained by the Prince of Salina to the British officers on a visit in his palace - in the splendor of the landscape, the impetuosity of light, and the squalor, the age, the dirt roads of access, is only apparent because one thing is derived from the other. The squalor of the nature contemplated in Suttree is connected to the arid nature, but also to some extent practicable as Ather teaches the hunter. The link, once again, will be Freud, and perhaps even Moreover, Melanie Klein.
Even John Ford gave us the image of a nature, that of Monument Valley, between Arizona and Utah, dry and rough. The American has a lot of movies set in this valley, which obviously was huge for him that space within which they could decline the human adventure of his characters, adventure for which you need a big heart. But there is a natural landscape in the western genre as is degraded into McCarthy: There is instead a reaction to the demise of the frontier myth that proposes a nature that looks like something that has been kept identical to itself even in its hostile otherness . It is found in Jeremiah Johnson (Jeremiah my scalp) of the 1972 Sydney Pollack, but especially in Dances with Wolves (Dances with Wolves) 1980 Kevin Costner, as well as, more and Costner, in the most recent Open Range (Borderland).

Freud, altogether, an idea of \u200b\u200bnature not too dissimilar to that of McCarthy and Ford. The harsh and hostile nature, he says in Civilization and its Discontents, is one of the reasons for unhappiness in life. It is this hardness is hostile, he suggests, in The Future of an Illusion, the origin of religion that looks like a primitive way to explain and justify ever-looming potential natural disasters. Far from an ecological point worded defensive nature of human aggression, Freud identifies however, wrote in a brief but very famous in 1915, sunset, a positive force of nature that is opposed to human destructiveness.
The transition from a nature understood, as Hegel said, is the idea of \u200b\u200bbeing in another form, a otherness with which a relationship is possible, is problematic. The form of otherness in which it shows the nature of McCarthy does not exclude the possibility of human action within it and not just in opposition. The
be able to take something from nature provides a good job that allows you to have food, minerals, precious materials they produce energy and so on as we had been shown, in the narrative of the conquest of the West, the figures of the hunters as Jeremiah Johnson and those of the peasants as Joe Starrett Shane. The cunning of the hunter and the farmer's work make it possible to have something valuable from the earth and nature. It is on the imaginary plane, to take something to someone who guards it jealously. Anthropologist Lawrence D'Angelo, author of a recent study on mining of diamonds in Sierra Leone, tells us that these diamonds belong to a miners debul, a devil. The ritual sacrifices of primitive people were tense to expiate the guilt of the violence implicit in the act of taking something to the land and nature. In the myth of Prometheus, Freud notes that the gods punish so fierce that he has dared to steal their fire to give it to men. Even today ritually central European hunters bring in prey to the mouth pulled down a branch of larch thus providing the animal picked up a meal that cancels out fantastically symbolic death. Freud was very clear that the domination of nature is the result of aggression:

.. influence is unmistakable that the progressive control of natural forces exerts on social relations of men as these always pose the instruments of power that gradually acquire the service of their aggressiveness, using them to each account's others. The introduction of metal, Bronze and Iron Age marked the end of entire civilizations and their social institutions. But

destructiveness, even in its most extreme form, that of war, is the thought of Freud in futility, will be overtaken and new beautiful things are created and admired for the force of life you never leave completely annihilate the destructiveness: the the beauty of nature, it comes back, after the destruction of winter.
The violent nature and magnificent, grandiose than hostile, McCarthy shows us can be better understood, in its extreme polarity, through the Kleinian concept of envy. The beauty of the wild appears itself as a mechanism of outward projection of the image of something that is intangible and closed in on itself. The draw precious things can then be seen necessarily as impiety. It 's a wickedness that can be justified by the need to survive and even desire to have its own, honoring conveniently, something good and precious, but this does not negate the beauty and richness can hardly be reconciled with The desire to possess. Attack and destroy the beauty and wealth is how, together, to express a feeling as destructive envy while attempting, in a work of Sisyphus, to set aside the premises. You do not envy what is ugly and lifeless.

A boy in treatment due to a modest failure, another child of God, was ecstatic and told me the chance to make a good food in the most arid. The camel in the desert, he had read, buried water to ensure their life. The water, he added, when flows from the falls, falling, it is free from heavy metals that has collected in the previous route becomes more alive. The Germans even in World War II, were able to draw fuel from coal.

Civil Malpractice Complaint

Arringo zooms! born Bibliotake, blog for the library Class-IIA

As a result of this school year, Arringo open a new blog where you'll find the review for us guys on the books that we read. We will try to do reviews and original with our feelings that encourage reading. The blog is still under construction so sorry if you find a few things or if it is not really complete us while we're working on ...

Will Ashwini Oil Helps In Hair Regrowth

Conference "Sistri: Control System Traceability of the Wastes "- Saturday, May 29, 2010 - Lido Hotel Cliffs of Croton-

Picozzi & Morigi Firm and
AIGA Chamber of Croton

are pleased to invite you to the conference

"Sistri: control system of traceability of waste "

Saturday, May 29, 2010

of Rocks Hotel Lido

Viale Magna Grecia - Crotone
from 9:00 am to 14:00

Introduction:
Attorney Natalina Giungato - AIGA President Chamber of Croton

Greetings institutional
Mr. Salvatore Iannotta - President of the Bar of Crotone
Dr. Fortunato Roberto Salerno - President Unioncamere Calabria
Mr. Peppino Vallone - Mayor of Crotone
Mr. Zurlo Stanislaus - President of the Province of Crotone
Dr. Francis Pugliano - Councillor for the Environment of the Calabria Region

Speakers and topics
Prof. Salvatore Mazzamuto - Professor of the Faculty of Law, University of Roma Tre
"Sources of Sistri discipline, purpose profiles and objective "

Honors Dr. Eugene - President of the National Committee of the National Environmental Management
"Sistri organization, functions of the National Environmental Managers, Sistri and transport companies"

Prof. Giuseppe D'Ippolito - President of the Regional Section, Calabria, Dawn Environmental Managers
"Sistri, functions of the Regional Section of the Dawn Environmental Managers, application problems"

coffee-break 11:30
resume work-12.00

Dr. Roberto Conforto - President and CEO of Computer Solution SpA .
"registration Sistri - operation and interoperability of business management systems"

Mr. Domenico Colosimo - Head Dir Environmental AIGA Crotone
"The parties responsible for the registration and facoltizzati Sistri"

Mr. Flocco Lidia - environmental experts, the Association of Picozzi & Morigi
"Sistri liability and penalty system"

Conclusions:
Mr. Natalina Giungato - President AIGA Chamber of Croton

Participation is free subject to availability .
For reasons of capacity of the room should confirm their presence at the following numbers: 349-7622887 / 328-614945

Thank you for your patronage economy:

Crotone

Province of Crotone

Environment Department of the Calabria Region

Unioncamere Calabria

Why Does My Scrotum Shrink

money as crucial BETWEEN ECONOMICS REAL ECONOMY AND SYMBOLIC

Sunday, May 9 at 17:30 at the headquarters of the Cultural THEATRE IDEAS, in Antonello da Messina 8 in Rome,

presentation CRITICS SOCIETY OF PSYCHOANALYSIS.

will be present:

ADRIANO Voltolina, analyst and president of the company.
Franco Romano, a writer and vice president of the SPC.

addition to the program of the company during the evening will be one of the themes tackled the subject of recent seminars and publications by the SPC:

money as crucial BETWEEN ECONOMICS AND REAL-symbolic economy.

The Society of Critical Psychoanalysis considers the theory of Freud and those after him have continued the work, in particular Melanie Klein, Wilfred R. Bion, Jacques Lacan, as a way of looking at the individual considering the node where it falls in the intertwining of personal and social discomfort.
In line with this original approach, the Company does not share a vision of psychoanalysis, now widely spread, which tends to consider only a therapeutic technique and to enroll in health technologies.
wants, instead, restore and enhance the theoretical and clinical aspects that make it a science that explores the psychological forces operating in humans, as individuals and in men in their social groupings.
For this reason, part of the Society of Critical Psychoanalysis not only psychoanalysts but also scholars from other disciplines who are recognized in this reading of Freud's theory and that complement their specific field of research with psychoanalytic concepts.