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Remembrances, however, have a woman’s skin.
When you taste them with the tip of your tongue
they taste sweet
and have an exciting fragrance.
So there!

Beautiful as on a jug a painted flower,
heavy as our guilt that will not go away
— never can its memory decay.
At the end, at our final hour
we shall slumber in its bitter clay.

Beautiful as on a jug a painted flower
is the land that bore you, gave you life,
beautiful as on a jug a painted flower,
sweeter than a loaf from fresh-ground flour
into which you’ve deeply sunk your knife.

Countless times disheartened, disappointed,
always newly you return to it,
countless times disheartened, disappointed,
to this land so rich and sun-anointed,
poor like springtime in a gravel pit.

A scent-filled autumn sky: below it
a city with an ailing poet,
a window to the evening sun.
Here is a helmet, sword and gun.

This city, true, is not where I was born,
its rivers flow along without concern,
but once below a bridge there I had wept:
a pipe, a pen, a ring are all I kept.

It was autumn. Foreign troops
had occupied the vineyard slopes,
emplaced their guns among the vines, like nests,
and aimed them at the Gioconda’s breasts.

We saw a sad impoverished land,
soldiers without legs or hands
but not without a spark of hope,
the fortress gates were swinging open.

Deep-red apples curve down the royal trunk like a harp, fitted by autumn with cobweb strings, ring and sing, my player!

We are not from a land where oranges grow, where round Ionian columns climb the vine that’s sweeter than the lips of Roman women; ours but the apple tree, fiercely bowed down by age and fruit.

THAT crazed girl improvising her music.
Her poetry, dancing upon the shore,

Her soul in division from itself
Climbing, falling She knew not where,
Hiding amid the cargo of a steamship,
Her knee-cap broken, that girl I declare
A beautiful lofty thing, or a thing
Heroically lost, heroically found.

And blood and mire the sensitive body stain?
What matter? Heave no sigh, let no tear drop,
A-greater, a more gracious time has gone;
For painted forms or boxes of make-up
In ancient tombs I sighed, but not again;
What matter? Out of cavern comes a voice,
And all it knows is that one word "Rejoice!'

THE GYRES! the gyres! Old Rocky Face, look forth;
Things thought too long can be no longer thought,
For beauty dies of beauty, worth of worth,
And ancient lineaments are blotted out.
Irrational streams of blood are staining earth;
Empedocles has thrown all things about;
Hector is dead and there's a light in Troy;
We that look on but laugh in tragic joy.
What matter though numb nightmare ride on top,

Hymns of Thoth

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with the Stoic category of “what is up to us” (τὰ ἐφ᾽ ἡμῖν). For the Stoics, as for these early Greek-speaking Christians, this category delimits the extent of praiseworthy action, virtue, and vice since anything that is not up to us is beyond the purview of human moral agency

Gorgo

Grekernas gudar som omoraliska. inte ett nytt argument, men underhållande formulerat.

eforerna

What is the best kind of government?” a Spartan king was once asked. Back came his answer, unhesitatingly: “The one in which the largest number of citizens are able to strive with each other in virtue, without threatening the state with anarchy

Spartas tidiga historia

You should know I was not the first
to think the word forgive implied an
exchange, a deal. Bags, bills, palms.
After all it means, at its root, to give
completely. Or in some translations,
to abandon, as in a debt or grief.
With this knowledge, I entered
the world determined to prove that
giving and abandonment were the
same thing. All my life and now
to discover they just looked alike
as the shadows cast by mercy.

     (d)  Ideology as masking. Rather than being a question of truth or falsehood, ideology has to do with producing an effect—a “belief effect”—by means of concealing certain elements and displaying other ones. Ideology is not a value judgment.

(c)  Ideology as content. Only discursive genres and rhetorical strategies exist since there are no nonideological contents as opposed to ideological ones, in contrast to what the idea of opposing scientific discourse and political discourse would have us believe.

(b)  Ideology as representation. It is nt within the remit of semiotics 2 verify the validity of an ideology, its values, or its contents. Only a formal analysis may show z relativity of the concepts at stake in a given ideology because there are no representations in an abstract sense: they only arise from complex textual sts with a plurality of dimensions (that is, visual/audiovisual, gestures/images, images/text).

”(a)  The investment of the topological location of base/superstructure, where meaning is at the very basis of social reality, and there is no social functioning without meaning.
   

Lyotard’s celebrated definition of postmodernism as “incredulity toward master-narratives,” the alternative to which are petits récits, local language games—weak narratives, rather than robust, comprehensive, masterful ones

Author and translator are on an equal footing provided they acknowledge the peculiar nature of their relationship. A successful translation represents a clear advantage for both of them. The effective translator safeguards the author’s primary interest—the source text’s survival—by setting in motion a non-zero-sum hermeneutic process.

effetto-nebbia (the fog effect), The fog effect consists in a dreamy feeling of vagueness, where it is difficult to establish exactly when things in the story take place. Eco demonstrates how the different allusions to time create this fog effect since the reader is never able to establish exactly which time the narrator is referring to.

There is a big difference between metaphor and allegory. An allegory presents us with a sequence of actions that would not be difficult to interpret literally.

But there is another kind of expressivity of an entirely different order, which is that of a perfection of the manifestation itself.

Nonetheless, precisely by concealing the object and saying things about it, the signs illuminate it in some ways; they show its structure in perspective. This is the “power of falsehood”