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The film "Beauty and the Beast" (2017): Dangerous trends
Review of the movie "Beauty and the beast" (2017) of the project What is good.
1 Harmful love line (-)
2 The goodie in the similitude of devil (-)
3 Homosexualism (-)
4 Zoophilia (-)
5 Discreditation of men masculinity and women femininity (-)
6 Hyper-individualism and negative image of society (-)
7 "Discussion" of mother's deaths (-)
8 Public nakedness (-)
9 Summarize
The "Beauty and the Beast" – a modern screen adaptation of a cognominal Disney cartoon (1991), released on February 23, 2017.
The plot is well-known: a handsome, but cruel and self-centered prince finds himself in a refuge of an old woman, under cover of who hides a powerful witch and turns him into a horrible beast. Only mutual love can break the spell, which further develops between him and the captured beauty.
In the given article about the new version of "Beauty and the beast" we, firstly, are going to briefly repeat, what the main plotline, which fundamentally stayed the same, teaches. Then we are going to focus on themes/trends, which have not been in the cartoon, and which mostly give the tone in the new movie, and also show us, what to expect from the "Disney" company later.
Harmful love line (-)
So, what is the plot of "Beauty and the beast" in brief? There is a cruel prince, who is unable to love. A witch comes to him with so to say "examination"-checking. The prince shows his cruelty to the witch, and she turns him into a beast, which symbolizes mental fall and degradation of the hero. The beast is being given the condition for turning back to the prince again, i. e. for the personal progress and spiritual rise – to fall in love and get love in turn. The beast captures a beauty, a splendid girl. The beauty and the beast fall in love with each other. A celebration of love and "happy-end" – the beast reaches the mental progress and turns into the prince back. What is wrong with this plot?
The problem is in the second part of the condition of devolution from the beast to the prince – to receive the love back. The improvement of the prince is tied to a compulsory getting love back from the one, who he is in love with. This algorithm does not correspond to the reality in several moments.
First of all, it is impossible to take responsibility for the other person's feelings to you. By giving the prince the condition not only to finally fall in love with somebody, to change for the better, but also compulsory to get love in return, the witch asks from the hero an impossible responsibility for the love of the other person towards him. In reality one can carry on the responsibility only for one's own feelings (=a right condition to fall in love), and the other person's feeling, no matter how strange in would sound, does not depend on us (= a wrong condition to get the love in return).
Secondly, apart from the fact that the second part of the condition is impracticable – it is unnecessary. Correction and atonement is always tied to the essence of the mistake. Since supreme forces punish the prince for his cruelty and inability to love, the progress is in changing exactly these moments. Since the prince has been punished for his hard hearth, the correction of the hero lies in learning how to love, to soften – which would allow him further making correct actions, which he could not do in the beginning towards the fairy. The character of the prince-beast is fully being transformed by the fact that he could fall in love with someone and has shown it with his actions (=the beast releases the beauty to her father because of his love to her). This already lifts the spirit of the hero up, as it is necessary, and atones for his mistake, caused by the inability to love. At the moment, when the hero lets his beloved Belle go, he, by meaning, is already worth turning back into the prince.
– Also getting the love in return as a necessary condition for the reborn from the beast to the prince misinforms the viewer towards the fact, where the real "key" to the transformation of a person is being hidden. A mental transformation of a person – is a result of his personal actions, decisions, thoughts, feelings. An experienced feeling of someone towards a person-"beast" – is not the real power for him on the way of his transformation. Yes, in case someone falls in love with the "beast", can play a certain role for him on the way of development into the "prince" (=for changing and mental progress), but the feeling of the other is never, as here, a critical condition in a question of a personal transformation. The real key to this – is straight into a person. The power of a person to the transformation of his "beasts" into "princes" (disadvantages into virtues) is always in his hands. And the condition that the love of the beauty to the beast – is a compulsory moment in reborn in the prince, as if wrongly carries over half of the power of the beast to the beauty. 50% of responsibility for his progress (=for turning into the prince) is being carried outwardly, shifted to the beauty. This is a radically false algorithm, which misleads a viewer and engrains the false idea, that someone's love – is a decisive force and a half of a success in correction of his mistakes.
– Through the behavior of the beauty, who was granted with the false decisive power to changing the beast into the prince, a viewer in positive light is being transmitted a destructive role model of codependency. The codependency – is a jamming of a person (usually a woman), as if in shifting dunes, in an endless striving to "save" her partner from problems, which he makes for himself and which are under control of himself. A "rescuing" behavior of wives of alcoholics, drug-users, never resulting in their recovery – is a bright example of the described phenomenon. The story of "Beauty and the beast" translates a false-positive view of such codependent relationships and represents that love to a "beast" (=a person with personal psychological problems, bringing him to a serious decay) – is supposedly half of a success in terms of his change of heart into the "prince" (=a man of worth). This is the most dangerous appeal for young spectatresses, which prepares for them the "groundwork" to entering further into such codependent relationships with a sincere belief that only their love will supposedly change a "beastly" person.
– If the story of "Beauty and the beast" taught its audience the good, then psychological algorithms in it from the side of the prince-beast (cruel, egoistic person, unable to love, who needs to work on himself) and from the side of the beauty (a girl, looking for a partner) would have been written closer to the real life. The "key" for transformation of the beast then would have been in his individual work on himself – in upbringing in himself the ability to love without a compulsory condition of a response love. And the love from the beauty to him (the response love, for which the beast can't be anyhow responsible in front of the higher forces, and which is not the sacred power to his transformation, unlike his own actions and feelings) would have been presented not by the condition of transformation of the beast into the prince, but its happy consequence. In other words the happy love of the heroes would have developed after personal work of the beast on himself, leading him to devolution into the prince.
– Because of the temporary condition of transforming response love the story from the very beginning develops absolutely unedifying. The beast captures the beauty, i.e. figuratively violates her, and convulsive and forced attempts to "organize" the love of the beauty to the beast start, in order the second condition of the fairy would have been executed. Bewitched servants variously "pander" and curry favor with Belle, to make her somewhat quicker fall in love with their master. All these look absurd and do not correspond to normal life objective laws. The power of people to their transformation is always in their hands, but not in hands of someone else (=the beauty in the given story). An exterior love to the person – as it has already been mentioned is not a problem solution of his one or another "enormity". And, of course, relationships, being built on the basis of violence and freedom restriction of one person from another, which also figuratively carries the story "Beauty and the beast", – are not the way of love.
– The "Beauty and the beast" is the bright example of the truth, that the only subject of love is not enough to make the story good and instructive. If the story tells about love, this does not mean, that under it can be put any meaningful chaos – in spirit "Heroes love each other. This is Love indeed!" In mass-media "This is Love indeed!" covers whatever turns up, which hypnotizes the audience and "feeds" it with such ideas, which in the pure state it would never have accepted. In manipulative info-products love often "covers" lust, flaws, inclination to evil, betrayal etc. In the "Beauty and the beast" the audience in the guise of love is being presented the row of psychological substitutions (taking the responsibility on other's feelings/love of one person as a decisive condition of transformation of the other/happy relationships on the base of violence etc.), which forms a screen image of deeply pathologic relationships that, when faced in real life, would lastly seem happy and fabulous.
The goodie in the similitude of devil (-)
The new version of this anyway unedifying story even more redoubles by the fact, how exactly the beast is pictured. It is easy to notice, that as a positive, romantic hero we have factually the devil. The new image of bewitched prince in all parameters corresponds to the classical picture of this "character": typical horns, climbers, fangs, fur… In one of the scenes it has even been made that the beast looks "bloodstained" (when fouls with food during the dinner with Belle), which confirms the real meaning at the back of the hero's image.
Allowance of a positive hero with such an appearance – is not accidental, but fully deliberate step from the producers, since it is obvious, that that beast can be pictured differently, but the company has chosen exactly such visual row, and it has been created by art directors long and religiously. Also at the given moment one can say, that the positive image of the devil has been systematically promoted by "Disney" company. Apart from the "Beauty and the beast" this image can be seen in more early company's products – in the movie "Maleficent" (2014) and in the cartoon "Tinker Bell and the Legend of the NeverBeast" (2014).
In all there pictures the appearance of the main heroes is tied to the moral "The beauty hides inside" or "You can't tell a book by its cover". However, with the accented devil-like appearance of the hero the idea "The beauty hides inside" turns into explicit manipulation of mind and promotion evil as good. The "download" of a positive content in classical, strong images of evil serves the supply of these images and negative meanings, historically attached to them, as positive.
Already the only one devil-like image of the prince, the romantic hero, makes the story some simulacrum of a horror, which is absolutely unfit to watch. It is simply scary to watch the scenes with the beast.
Homosexualism (-)
The next trend in the "Beauty and the beast" (2017) – is promotion of positiveness of homosexualism, moreover, rather explicit and straightforward.
We want to remind you that earlier "Disney" company has already been promoting the positiveness of homosexualism through its production, but this was done by hidden methods – through implications, metaphoric language and images. The hidden, unofficial promotion of LGBT-values can be seen in two very similar cartoons about hard, rejected by society "sister's" love: "Secret of the Wings" (2012) and "Frozen" (2013), and also in the movie "Maleficent" (2014) and party in the cartoon "Moana" (2016).
In the "Beauty and the beast" the positiveness of homosexualism is being translated through the story of Le Fou, an open gay, about who the movie director Bill Condon, also an open gay, informed the audience in advance. What is the essence of the plot line of Le Fou, and how exactly the positiveness of homosexualism is being promoted through him?
The plot line of Le Fou consists of two parts.
1) Evolution from evil to good
One part of Le Fou's story is in his moral progression. At first, Le Fou by meaning is on the evil's side, helping negative Gaston in his deeds, however, from the very beginning of the story it is denoted, that this character is positive in many ways. Le Fou shows himself as sensitive, empathetic, polite and caring person – as towards Gaston, so towards the others (for example, same Belle – when citizens threw about washed by her clothes, Le Fou tells Gaston, that the girl needs help). Gradually Le Fou comes to understanding, that he can't support Gaston anymore (=be on the evil's side), since this contradicts with his humanism inclinations.
After Gaston ties Belle's father in the forest and throws to the wolves, Le Fou comes forward to a dilemma, to confirm the truth to people, that Gaston – is a murderer, what he would have liked to announce due to his humanism, or to lie in order to support the master. Le Fou has moral excruciations and lies to people (=stays yet on the evil's side). However, after Gaston finally shows his helper, that he is cruel and soulless – uses Le Fou as a "living shield" in a fight and leaves in trouble, while he has always rescued Gaston, Le Fou finally makes his moral choice and finally turns to the good side. He accidentally saves Mrs. Potts, a positive character, and makes a decision to fight on the side of castle's servants against evil Gaston and his troops. In the final Le Fou appears along with the other positive characters in the whole meaning glory of good.
Therefore, one part of Le Fou's story contains morale – listen to the voice of your conscience, be humanly towards people, fight on the good side.
2) Gay-line from the unhappy love to the happy one
The second part of Le Fou's story is devoted, one can say, to realization of homosexuality "on practice" – to achievement of same-sex love.
Apart from the fact, that Le Fou is the helper of evil Gaston, he is also in love with him. The film director has openly spoken about it, and this is being demonstrated in the story – through the behavior of Le Fou towards Gaston (constant attempts to touch, hugs, massage etc.), expressive glances and corresponding phrases (for example, that he lives for Gaston's sake). A row of moments visually highlight, that Le Fou "yearns" after Gaston, as in the original cartoon has "yearned" a trio of idolatresses. Here Le Fou and three idolatresses are put as competitors in fight for his favor (ambiguous words of Le Fou to the trio "Some hope, young ladies!"). Also for the corresponding gay-identification Le Fou is allotted by typical "affectedness" (feminine behavior), and he has the corresponding sensitive, "bluish" voice.
The love of Le Fou to Gaston happens to be unhappy, since he is in love with Belle, and also, as it has already been said before, is dishonorable and evil person, unlike Le Fou himself. Gaston, who as the story went has regressed from "bad" to "even worse", dies in the finale. His helper, who went to the good side, finds a new love – a man, who in one of the scenes was pictured happy in a woman's dress, i.e. with deviations in gender questions. Since the ending is tied on demonstration of a row of happy beloved pairs – Belle and the prince, Lumiere and Plumette, prima donnas and maestros, Mrs. Potts and her husband – Le Fou with this man also are presented by meaning as a happy couple.(It is interesting, that among happy beloved couples one is inharmonious – they are Cogsworth and his wife. The role of Cogsworth, who according to the plot is unhappy with this marriage, has Ian McKellen, a famous gay. And straight after the demonstration of unsuccessful heterosexual couple with gay McKellen, is shown a sad Le Fou, who is yet dancing with a woman, but soon will find an inspiring alliance with a man. The meaning of the "message" is clear – some men need a man, and the alliance with a woman is "unsatisfactory" for them).
In doing so, the second part of the story of Le Fou carries out the morale that homosexualism is normal and positive and should be necessarily "realized" in a way of finding a happy same-sex love.
The described two parts of Le Fou story (evolution + love gay-drama) are joined together and spill over into the whole story about progressive, highly-moral, everyway positive gay, who for his endeavors in the vineyards of good is being encouraged not something, but namely by happy same-sex relationships.
It is important to mention, that homosexualism in a norm is associated with amorality. Here the plot gay-line is deliberately released side by side with the plot line about morality (evolution of Le Fou), creating a precisely opposite situation in audience's mind: homosexualism = morality.
The movie engrains the image of gays as highly-moral people (=on the analogy with Le Fou's development), who should necessarily realize their "specialty" in order to be happy (=same-sex happy couple Le Fou and the "man in a dress" as an award for positiveness of Le Fou). Also the understanding that gays should "look over" partners and find the suitable one (=Le Fou switches from inappropriate relationships with Gaston to appropriate relations with the "man in a dress") is being translated.
As it has already been said before, "Disney" company for the last five years has been secretly promoting LGBT-values among their audience, children and teenagers. The methods of promotion of sexual deviations now became open, meaning that one can be sure that further this ideological policy will become even more open and intense. It is unpleasant to say, but the movie "Beauty and the beast" has let to understand, that homosexualism – is not the worst thing, "Disney" promotes in frames of sexual orientation subject. The society from now obviously expects the promotion such perversion as zoophilia by "Disney". Further on this matter.
Zoophilia (-)
A very scary meaningful moment in the film – a clear promotion of zoophilia. This concerns relationships of bewitched Lumiere and Plumette.
It is easy to notice, that the relationships of Lumiere and Plumette are shown in sexuality context. When the heroes at first appear together on the screen, they start to demonstrate that "flamingly" love each other. Between them sounds an ambiguous dialogue, pronounced in corresponding passionate tone: "I bet everything in order to kiss my Plumette" – "Dear, I have burnt myself so many times of your fire" – "Your presence itself inflames me". After what Cogsworth "withdraws" them, assuming that they are not alone, and passion expression is inappropriate; Belle turns embarrassedly. Any sexualisation does not fit in products, aimed at children – but here everything worsens by the fact, that at explicit sexualisation in heroes' relationships Lumiere is expressed hominized, and Plumette appears as an animal – a bird (see the picture).
The story each time explicitly emphasizes an audience's attention on their specific pair namely in the context of that between them is the same, displayed earlier "flaming" love. At that it is absolutely obvious, that both heroes could be pictured either humanized, or their relationships could not have to be pictured in the sensibility and sexuality context (which do not fit in a children's fairy tale). However, it is being demonstrated exactly so: a visual couple a person/an animal – who are tied with passionate love. Again, it is clear that the picture has been long prepared, and the graphics has been drawn scrupulously. So there is no accident here.
It is important, that this is already, at least the second occasion of zoophilia in "Disney" production. The first one was in "Frozen" (2013) cartoon and touched Kristoff hero and his deer Sven. In one of the scenes Kristoff, lying together with the deer, sings a song with the words "Deers are better, than people". A bit later in the trolls' song, devoted to love, ambiguously has been mentioned, that between Kristoff and his deer there is "something that goes beyond natural laws' frames".
One time – could be an accident. The second time – already systematicity. Now it is clear that a monstrous direction of zoophilia in "Disney" production will, one way or another, do the rounds further. Possibly, along in mass-media will be planted a "civilized" vision of this question, and the term "zoophilia" will be replaced on a euphemism. It is rather possible, that zoophilia will be called "pansexuality" – a sexual orientation, when a sexual object can be perceived as anyone/anything. On the West this term is already actively expanded.
Discreditation of men masculinity and women femininity (-)
The next negative trend in the "Beauty and the beast", which we would like to mention – is a discredit of masculinity in a man and femininity in a woman.
Firstly, about masculinity. It is not hard to notice, that evil Gaston – is the only one masculine men character in the story of the "Beauty and the beast". Gaston – is brave, strong, outstanding and respected man, who heroically went through the war. And what the story translates to the audience through such masculine men type? That the masculinity in a man – is negative.
The courage and power of Gaston is deliberately brought by the creators of the story ad absurdum and inseparably combined with many flaws and disadvantages – stupidity, meanness, narcissism, greed etc. His heroism practically happens to be fake and "blown" – as has been mentioned in one of the episodes, Gaston's participation in the war was not a noble work in the name of Country, but an inhuman enjoyment of blood, foray, impunity (Le Fou's words to Gaston – "Breath, think of good, remind war, blood… Widows…). So the only one image of a strong and masculine man in the film, the Country's defender – is being pictured deeply demonized and translates the audience a vision of the masculinity in a man, on the analogy with many Gaston's disadvantages, vicious and wrong.
Gaston with his masculinity is being proposed by the movie creators as an anti-example of a man. Alongside is given a row of supposedly right men examples – positive passive feminine men heroes: passive painted prince Adam, who, as we talked about earlier, has been wrongly taken away the power under his transformation, and who obediently waits, when somebody will love him and save / feminine, right gay Le Fou / the right gay in a woman's dress / weak humorist Lumiere, who was beaten up by Belle in one scene, and then she carried him in her hand… The whole gallery of safe, non-masculine men characters to choose for the audience's identification. Be anyone – infantile prince with a make-up, waiting for love, a moral gay with a bow or in a dress, a dancing candlestick-comic – but not only be as Gaston – strong, initiative, self-conscious, Country defender… Don't be masculine. The movie leads the male audience to tens of ways for self-identification, offering a future man femininity or androgyny. A men masculinity in the "Beauty and the beast" is presented by abnormal evil and anti-example.
Same happens with feminine images. A row of episodes in the movie, as in the case of Gaston and masculinity, demonize displays of women femininity, exhibiting it as an anti-example for spectatresses.
The femininity in women is displayed retarded and wrong in a song of Belle in a town. It is being pictured, that the main heroine is surrounded by many feminine women, who do classical women's businesses (wash, cook etc.), and also wear corresponding feminine clothes (ruching, caps, pink color etc.). But it is being put in such a way, that everybody consider exactly Belle, who in this version of the "Beauty and the beast" carries an image of androgyny girl-boy, a feminine beauty. The moment, when strongly feminine secondary heroine, worker of hats shop, sings that Belle, despite her – is a beauty, looks paradoxically. However, this is the view of femininity, which is being translated to the audience for memorizing: feminine women – are backward and bad. The correct woman on analogy with Belle should be masculine or asexual – in the spirit of a teenager, who still looks Emma Watson, playing the main role in the film.
Further women femininity is being laughed at and discredited through the image of three Gaston's idolatresses. In this version their type has changed in comparison to the cartoon of 1991. If earlier they carried out a sexualized image of prostitutes, now they are "sugary" girls in pink, whose femininity in view of exaggeration is being displayed stupid and derisive. The moment, where Gaston's horse soils them with mud, demonstrates the message from the movie creators – femininity in women is bad and useless.
Another moment of discredit the women femininity – is a creation by prima donna the first outfit of Belle. When Madame de Garderobe meets Belle, she dresses her in a feminine pink dress, which deliberately reduced to an absurdity and looks heavy and awkward. Belle looks stupid in this outfit, can't move and gets out of it as from the trap. The message from the movie creators is still the same: femininity towards women, who this outfit symbolizes – is an awkward crap, from which one needs to get out from. Later with the help of details of this dress, Belle is trying to escape from the castle, i.e. the idea is being proved out again – from women femininity one needs to escape, as from a horrible captivity.
And as in the case of bad masculine Gaston and good feminine gays, the price, Lumiere – feminine characters in the movie are being displayed either as anti-examples (Gaston's idolatresses, inhabitants of the town), or just a faceless background (Madame de Garderobe, Plumette, Mrs. Potts). Through the main heroine is offered an example to follow, almost deprived of femininity.
In general, the new version of the "Beauty and the beast" looks like some wonder-room of gender pathologies – the suffering prince-beast in a make-up / effeminate Le Fou / bogey of men masculinity Gaston / the beauty, looking like an angular teenager / the sugary trio of feminine girls / the guy in a dress…
Under all these gender mess is situated a wish of the movie creators to hide the truth, that the real power and an endless source of energy for a man – in his masculinity, and for a woman – in her femininity. And the philosophy of gender rearrangements, which Hollywood so eager is trying to cultivate in the society – is a stable aspiration to deprive people of one of the main sources of power.
Hyper-individualism and negative image of society (-)
The next trend – is not new in the "Beauty and the beast" (2017), but "inherited" from the original cartoon. Yet it is worth mentioning again. The question is in promotion of hyper-individualism and a negative perception of a society.
As it was in the cartoon of 1991, the new version of the "Beauty and the beast" displays the same picture of a unique, elevated beauty in a hopelessly stupid, dull society, from which she definitely needs to separate and run somewhere in a "great future". Everyone around Belle, the beauty and the brain, at the pleasure of scenarists appear to be as one – sluggish, retarded, unpleasant, sodden in a "stupid" living. The main heroine is some "different" and better than the others. It is being displayed, that she is the only one in the town reads books, has inventor's inclinations and dreams about seeing the world. A very "probable" image of the society, isn't it? Nobody likes books, nobody invents anything, nobody dreams about something great except one single young girl.
Such story building – a beautiful, smart, unique heroine vs. horrible, grey, stupid society – teaches the viewer to perceive oneself, one's society and one's role in it accordingly. As is well-known, most of teenagers, on which mainly is aimed such movie – are very scrupulous towards their individuality, society's flaws and misunderstanding, which they may cause in adults. And such films as the "Beauty and the beast", demonstrating a contradiction of a chosen, hyper-positive hero and a "dull crowd", which bears the image of the society one needs to escape from – praise the described experience of a teenager and nurture in her even bigger confrontation with the environment. The "Beauty and the beast" translates a pseudo-norm of perception of oneself as a superior individuality, as the best, and other people and a whole society – as hopeless retarded "town", where she needs to run somewhere away from.
This is one of the most dangerous ideas of the film, since it is very simple, and insensibly "lies" on a natural experience of a young person, increasing her opposition to the world. If each person consolidates in presented in the movie view of the world in a spirit of "I'm – a unique beauty, and the rest – is dull crowd", then the society will quickly turn in a concourse of isolated from each other people, standing in a constant aimless confrontation and scattering their energy to no purpose, whereas it could be unified in common higher aspirations.
"Discussion" of mother's deaths (-)
Another trend – are mother's deaths, scenes with which in the film are literally being "savored", as it has been in recent Disney's "Cinderella" (2015).
In the original cartoon the "Beauty and the beast" (1991) the subject of mothers has been briefly presented. This is a famous moment with multi-child mother-pig, and also with a hidden negative reaction of Belle towards the idea of motherhood, about which Gaston tells her. Both are called up to translate the viewer a corresponding negative perception of the motherhood.
In the new version of the story the negativeness of the motherhood is being translated mainly another way (even though the moment of discussion of the motherhood subject of Belle and Gaston is left, but slightly edged – Belle says that she is not yet ready for the motherhood, and Gaston – is no bargain to her). For transmission of a negative motherhood vision in the film the new characters are being presented, who have been absent in the cartoon – they are mothers of the two main heroes, Belle and the prince. The mothers are being presented… in order to be killed straight after. Two corresponding scenes at that are pictured very brightly and accented, as if in frames of some sadistic fetish.
It is obvious, that such fetishism concerning mother's deaths – is rather conscious. Indeed the most products of "Disney" company are of expressed anti-family direction. Parents of Disney's heroes often either die, or are shown as fools in comparison to their children, or simply are evil (as, for example, in "Frozen" or "Maleficent"). The "discussion" of mother's deaths – is just another fragment in task-oriented anti-family informational activity of the company.
Public nakedness (-)
And the last trend we are going to discuss – is promotion of public nakedness through the main heroine of the story.
Several moments show the corresponding appeal from the movie creators:
– Emma Watson insisted on Belle walks without a corset. The corset was an undergarment back then. All actresses except for Emma in the film were in corsets,
– Belle also constantly wears a hoicked up pinafore, demonstrating drawers, which are an analogous of underwear,
– In the final scenes Belle throws off her yellow dress, staying in a lingerie dress – i.e. the main heroine again by-play appears in front of the audience in an underwear,
– During the film's premiere there was a leakage of "intimate photos" of Emma Watson, which from all appearances has been purposefully organized – since this supports the trend of nakedness, which is actively expressed in the movie.
It is also needs to be mentioned, that the trend of public nakedness lately is being planted in other movies – for example, in the recent "Ghost in the Shell", where the main heroine – is a cyborg, looking like a naked woman.
Not all film's ideas are discussed in the article, but those, which are presented, (harmful love line / main hero in character of devil / promotion of homosexualism and zoophilia / discredit of masculinity in men and femininity in women / hyper-individualism and negative image of society / "discussion" of mother's deaths / promotion of public nudity) – are determinative and show, that the movie is absolutely useless to watch.
A small row of positive ideas (respectful relationships of Belle and her father / positive image of father / heroine's interest in reading and inventing / common interests of Belle and bewitched prince / non-resistance to evil is punishable (servants' plot line) – by no means reweight negative ideas and does not save the movie, that's why it is unnecessary to discuss them.
In Gaston's tavern visitors assumingly drink alcohol / in the song "You are our guest" vine is being mentioned, and the heroine also assumingly drinks vine.
The relationships of bewitched Lumiere and Plumette are presented in a context of sensibility and sexuality / slight sexualisation in relationships of Belle and the beast (expressed in the scene of a dance, where Belle unnecessarily "inductively" looks at the beast).
The film is literally sodden with violence. Two scary scenes with wolves attach / captivity of father of the main heroine by the beast / captivity of the main heroine by the beast / beast's aggression towards Belle (scene of dinner invitation) / Gaston beats up Maurice and leaves in the forest for the wolves / scene of fight between citizens and Castilians / fight between Gaston and the beast.
The film "Beauty and the beast" – is a "wreath" of ideological fall of "Disney" company:
– Love line of the story contains a row of physiological substitutions and algorithms, contradicting with real life, and that's why anti-instructive for the audience. The beast represents a mentally fallen person with a cruel heart, who needs to learn how to love and soften in order to become the prince again (=mental progress). However, instead of one correct condition to learn how to love – the beast is given two conditions: to love and to get love in return. The second condition is not instructive for several reasons: 1) the beast can't anyhow be responsible in front of the higher forces for feelings of the other person to him; 2) if the beast has been punished for the cruel heart – then his atonement lies in correction of straight this moment, and getting love in return from somebody – apart from the fact that this is not the task, he can be responsible for, but also an unnecessary task; 3) feelings of one person (Belle in the film) – can't be the crucial power in transformation of the other person (the beast). The "real" key to a person's transformation – is directly inside him. His own actions, thoughts, feeling mentally transform a person.
Also heroes' relationships develop on the basis of violence and freedom restriction of one person of another (the beast captures Belle, and their relationships develop as part of the captivity).
The union of the main heroes, effectively, contains an image of an unhappy relationships – where one person (=the beauty) false and also forcible sets to save and change the other (= transformation of the beast into the prince) from the problems, born and supported by himself. These are so-called codependent relationships, locked in a vicious circle of pseudo-saving.
– The main positive hero, the bewitched prince, carries out an image of the devil, which presents negative meanings, historically tied to this image, as positive.
– Through the plot line of Le Fou is being promoted the normality and positiveness of homosexualism (Le Fou's homosexualism is pictured "as the way it is" and encouraged in the end of the story by acquisition of a suitable man-partner). Also in the viewer's mind is being created an association homosexualism = morality (gay Le Fou from the very beginning of the story is presented as a strongly positive person and even more morally progresses as the story goes, for which he is being encouraged with a happy same-sex relationships in the end),
– Lovers Lumiere, bewitched in a human's image, and Plumette, bewitched in an image of an animal, carry a positive image of zoophilia (a visual couple human/animal is pictured – whose relationships are sexualized and bounded with passionate love),
– In the film men masculinity is being discredited (the plot line of evil Gaston, whose masculinity is presented repellent and negative, together with his other disadvantages). Also women femininity is being discredited (through negative images of three Gaston's idolatresses, citizens of the town, and also through the image of feminine dress-trap). The movie promotes complicated gender images as behavioral examples (feminine gay-men, passive, feminine prince, "tomboyish" Belle),
– The negative image of a society is presented (Belle's town is pictured in the spirit of dull, helpless crowd) and the philosophy of hyper-individualism and superiority of a person over the society (the main heroine strikingly withstands her society and exceeds it),
– The movie "discusses" images of mother's deaths forming a negative perception of motherhood,
– Through the main heroine is being promoted the fashion for public nudity,
– None of the small row of positive ideas (respectful relationships of Belle and her father / positive image of father / heroine's interest in reading and inventing / common interests of Belle and bewitched prince / non-resistance to evil is punishable (servants' plot line) – do not overweigh negative ideas of the film and do not change its destructive message.
Eugenia Kumryakova
Translated by Daria Egorova
<a href="https://what-is-good.com/tv/films/the-film-beauty-and-the-beast-2017-dangerous-trends/"><img src="https://what-is-good.com/wp-content/uploads/2014/0/oc_r.png"/></a>
17.04.2017 — No comments ↓ Published in Films	| Views:
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There is a fundamental difference between the Muslim Brotherhood and ISIS. It stems from the fact that ISIS presents a uniformly radical agenda, internally consistent and uncompromising, whereas the Brotherhood adjusts its discourse for expediency's sake in accordance with the considerations of the moment. With respect to human rights, for example, ISIS shows no deference to the principles of human rights as espoused by the likes of the United Nations and international NGOs. The Brotherhood, by contrast, engages the human rights discussion in order to win sympathy and stigmatize its opponents. And over time, the Brotherhood alters the emphasis — from religion to socio-cultural matters to nationalism to the struggle against corruption — though its global ambitions remain the same.
How does the Brotherhood shape its discourse?
In the case of Palestine, Hamas — as the Palestinian branch of the Brotherhood — first adopted the language of religious advocacy, between 1988 and 1994, before shifting to religious nationalism — between the year of the establishment of the Palestinian Authority (1994) and the year of its victory in the Palestinian parliamentary elections (2006). That twelve-year period saw a new focus on anti-corruption and "reform." But after failing in its first experience of governance, it returned to a purely Islamic discourse, describing the encirclement of Gaza as a test by God, demanding that the Palestinians show patience and recognize Hamas as the sole representative of God on Earth, in order to "win" both in this life and the afterlife.
In the case of Egypt, the Brotherhood used to criticize the regime for refraining from confronting Israelis and not supporting the Palestinians. But when Israel attacked Gaza in 2012, the Brotherhood-led Egyptian government did not hold itself to its own standard. It resisted the measure sometimes adopted in times of war by Arab governments that recognize Israel — to request that the Israeli ambassador depart the country — instead leaving it to Egyptian demonstrators to storm the embassy, forcing the ambassador to leave. It appears that at the time, the Brotherhood had eschewed its longtime focus on Palestine and was promoting a discourse of reform and anti-corruption measures.
The Brotherhood is the grandparent of most jihadist movements today: Ayman al-Zawahiri was a Brotherhood member, and Osama bin Laden's mentor, Abdullah Azzam, was a longtime Brotherhood stalwart too. Abu Mus'ab al-Zarqawi followed a similar trajectory — and according to Brotherhood cleric Yusuf al_Qaradhawi, so did Abu Bakr al-Baghdadi.
A fundamental paradox one finds among the leading jihadist groups today is their adoption of the latest video and social media technology to relay a profoundly anti-modern message. How does a given movement reconcile the tension between the medium and the message?
The Brotherhood has adopted a discourse that indulges the conventions and sensibilities of the modern era. Through social media and other online platforms, from Facebook pages to news Web sites, the movement makes arguments against its opponents, promotes its ideas, and portrays itself as a victim of internal and external conspiracies. ISIS, for its part, has made no such adjustment. Through cutting-edge communications technologies, it relays an uncompromising message, making no pretext of rhetorical concession to Muslims of other ideological streams, let alone non-Muslims.
Which discourse represents the more serious threat?
Alas, both ultimately aspire to the same global jihadist vision, and both oppose the nation-state and the region's many sub-national identities.
Dr. Mohammad Abu al-Rob is a Palestinian media research specialist.
Next June's Upshot: Slow Expansion on the American Job, What about the Labor's Fate?


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Radcliffe Institute Panel Unpacks 2018 Midterm Election
Asma Khalid, a political reporter for NPR, introduces panelists at an event discussing the 2018 midterm elections Tuesday afternoon in the Knafel Center at the Radcliffe Institute. By Kathryn S. Kuhar
By Rebecca S. Araten and Juliet E. Isselbacher, Contributing Writers
Four panelists — coming from academic, political organizing, and consulting backgrounds — discussed the unprecedented number of female candidates in this year's midterm elections with an audience of more than 100 Harvard affiliates and Boston area residents Tuesday.
The event, entitled, "The Meaning of the Midterms: Who Counted? Who Voted?" took place in the Radcliffe Institute's Knafel Center as this year's Kim and Judy Davis Dean's Lecture.
Asma Khalid, a political reporter for National Public Radio, moderated the panel discussion, which focused on recent voter turnout, the changing electorate, and the 2020 presidential election.
The event's speakers included Aimee Allison, president of the political organization Democracy in Color; Sarah Lenti, a political consultant; Katherine J. Cramer, a professor of political science at the University of Wisconsin-Madison; and Robert O. Self, a professor of American history at Brown University.
Government Professor Daniel Carpenter, director of the social sciences program at the Radcliffe Institute, said he chose the panelists out of a desire to look at the elections from a wide variety of standpoints, like "people looking at voter conversations, people looking at data, people looking about history, people looking at ethnography."
"So it was really just an attempt to diversify the conversation," Carpenter said.
Khalid opened the panel by acknowledging how widespread and exhaustive media coverage of the midterm elections has been, but said she believed there was still plenty to learn.
"Candidly, I think some of us feel we've been in this rut in reporting on the midterms for so many months," she said. "But I think there are lots of lessons to learn about what happened in 2018, that can help us try to decipher what will happen in 2020."
Allison's takeaway from the midterms was that "women of color won the elections." Though all women candidates of color, like former Georgia gubernatorial candidate Stacey Abrams, may not have secured the seats for which they ran, they still managed to "reinvent the playbook" for a game in which their "opponent is the referee," she said.
In her remarks, Allison said Abrams had people on the ground, knocking on doors and registering eligible voters, instead of accepting the electorate as a static body and running television ads to reach her base.
Fellow panelist Lenti, who left the Republican party in 2016 for what she called "obvious reasons," had a takeaway that some audience members said they found sobering. She explained that the results of midterm elections have not historically determined the winning party in the next presidential election.
"Despite the fact that the Dems just won the midterms, [Trump] might win in 2020," she said. "Midterm results have little to no bearing on upcoming presidential elections."
Sarah E. Freedman, a Boston resident who attended the panel, said she felt disheartened by Lenti's assessment of potential political realities.
"It was very upsetting to hear that it's just as likely [Trump] will be president and that the midterm elections mean absolutely nothing," she said.
Other attendees said they believed the panel came at an important moment to continue conversations around the midterm results and their ramifications.
"I feel like right after elections, all the coverage is just about how it was revolutionary in terms of women in power and how Democratic states won, but I feel like because it's been weeks after, there is more analysis now and more significance about why it matters, other than it just happened," Boston University freshman Carina Y. Wang said.
Allison said she is hopeful about the prospects of women of color in the 2020 elections.
"Women of color, who showed such tremendous power at the polls, I believe will lead, because they're creating a country of love and justice and belonging," Allison said.
PoliticsRadcliffe InstituteEvents2018 Election
Bipartisan IOP Panel Assesses Impact of Midterms on American PoliticsMidterms See Mass. Incumbents Re-elected, Democrats Win Control of HouseKennedy School Faculty Donated Overwhelmingly to Democrats Ahead of 2018 MidtermsAt Harvard Event, Nancy Pelosi Calls for United Approach to Midterm Elections

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text:
Penguins goalkeeping a concern
By Glenn Kaplan, Contributing Writer
Photo courtesy of/ Las Vegas Review Journal
Pittsburgh Penguins goaltender Matt Murray was once again diagnosed with a concussion last Sunday, and he will be out indefinitely. Murray has given up 11 goals so far in two games played this season. The Penguins current record is 2-0-1 with five points.
Goalie Casey DeSmith has started the last two games for them and has looked pretty good for them. He is 27 years old and will be a free agent at the end of the season.
This is Murray's second concussion in eight months and is already the third concussion in his NHL career at just 24 years old. This is already a major concern for him and the Penguins organization going forward.
Murray played a big role in the 2016 and 2017 championship runs. In the 2017 NHL Expansion Draft, they decided to protect Murray instead of Marc-Andre Fleury. The fanbase in Pittsburgh loves Fleury and many of them think that the Penguins made the wrong decision by keeping Murray instead of Fleury.
Those people need to be patient and see what transpires still. There has to be a reason why the Penguins never traded away goaltender Tristan Jarry. Jarry was a second-round pick in the 2013 NHL Draft and many thought he was going to be Fleury's successor, but because of Murray's emergence, Jarry hasn't had the opportunity to have that role.
Jarry is 23 years old and he is capable of being a starting goalie at the NHL level. While that holds true, the Penguins like to keep him down at the AHL level so that Jarry can get reps and not sit on the bench. Jarry has a two-way contract this season and next season he can only be on Pittsburgh's roster or he will be placed on waivers.
If Murray continues to be injury prone, the Penguins might have to fall to plan b in Jarry and it wouldn't be a bad thing either. He is more athletic than Murray is, but Murray also has a calm demeanor and won them two Stanley Cups.
They are both restricted free agents after the 2019-2020 season. A lot will happen between now and then, but this is a story that will be occurring throughout this season and next season.
InCasey DeSmith, Matt Murray, National Hockey League, NHL, Pittsburgh Penguins


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In a perfect world, there would be a uniformed style of coaching when it came to pitchers. I think this way because there are so many different coaches out there teaching so many different things. It's hard, very hard, to know which way will work best for a pitcher. Sadly, there is always going to be a debate on various topics regarding pitching mechanics and pitches in general. In my mind, there is clear cut right and wrong when it comes to pitching. Right and wrong mechanics. A right way to get to the top. A right way to become an elite pitcher. This philosophy is not shared by a lot of my coaching colleagues.
An example of this is the dropball. On my website in the VERY near future, I will have a clip of the contrasting styles taught with throwing the drop. In fact, I already have one clip where I talk about the mechanical differences between the "peel" and "turn over" drops. For some reason, the "turn over" drop seems to be the most popular way that young female pitchers are taught. I really cannot think of any men's pitcher that has a successful turn over drop and uses it consistently. The fact is, the peel drop produces MUCH faster rotation on the ball and is a much more natural delivery.
Moreover, from the batters perspective, when a pitcher throws the "turn over" drop, the her pitching mechanics have to be altered to be the ball to go downward. Striding out MUCH shorter than on any other pitch AND having an entirely different follow through give the batter a distinct advantage in seeing the pitch early. The peel drop follow through looks (or should look) very, very similar to every other pitch that the pitcher can throw. Altering the mechanics of the pitcher to throw one pitch, regardless of which pitch it is, can do a lot of damage! Loss of rhythm, timing, etc. can all take place, not to mention tipping off the batter what pitch is coming. At the 10, 12 and maybe the 14 and under age groups, this may not be much of an issue. But, I'm of the belief that I should train my students how to be an ELITE pitcher from day one of training. Therefore, I show them the peel drop ONLY from the start. It is counterproductive to teach a pitcher one style, then alter it entirely later on as they progress and making them virtually have to start all over.
While doing a recent pitching clinic in Ohio, I was demonstrating the differences between the 2 drop ball styles. One of my business partners from SOFTBALLONE.COM, Cara Johnson-Hirsh, who is a former Division 1 college player, played in the Women's Pro league, and coached 3 years of college (and is now an accomplished hitting instructor) said how she and other hitters would literally salivate while watching opposing pitchers warm up who did the "turn over drop". Not only could they easily see the change in motion but, the velocity was considerably less.
There really is no deep dark secret when it comes to the peel drop. And while I've made no secret that I am totally 100% against the "fastball" that many young girls are taught, the irony is that most girl's fastball that they are taught is, in reality, a peel drop! The difference in the pitch is simply the release point. The rotation and mechanics of the pitch are the same as 99.99999% of the "fastballs" I've seen. It has just simply never made any sense to me to teach someone to throw a fastball, which stays straight, when they could be throwing the drop, which changes planes. Both pitches can be thrown strikes, at corners, etc. And with the drop, even the slightest movement can be enough to keep the batter from getting a solid part of the bat on the ball.
An additional advantage of throwing the peel drop, which goes hand in hand with keeping the mechanics looking the same for all pitches, is being able to throw a LOW RISE with a great deal of success. The idea behind the low rise is for the batter to think the ball is going to drop, then it sneaks in for a strike at the knees. However, if the pitcher has entirely different mechanics for the drop, then the low rise will lose a lot of it's effectiveness. Keep in mind, the low rise can be used as a strike but, it's not really designed for a "go to" pitch when behind in the count. Mistakes with low rise balls lose many games! It is truly a pitch that is a compliment of the drop.
When the pitches and mechanics look the same for every pitch, (rise, drop, change up) it's much easier to keep the batters guessing and even off balance.
Thanks to all of you who sent well wishes for the birth of my son on April 20th. Alex and his mom are doing great and keeping me up at night. Again, I want to apologize for all thecanceledd clinics and lessons I've had during the past little while. The final days of the pregnancy and emergency C-section birth have kept me home taking care of Mom and the little guy. I'm ready to begin scheduling clinics again, all over the country and world. I'm currently in the process of booking some clinics in Thailand, Cayman Islands, Aruba, and Mexico in addition to playing my own season schedule. So… if you or your organization is interested, please drop me a line so we can begin planning! In addition, we are shooting for an August release for my mechanics video. The girls at Softballone.com are doing an INCREDIBLE job on this, I've seen some footage and it is truly unlike any other video out there. I HIGHLY recommend Softballone.com for anyone wanting a professional filming/editing for college recruitment tapes, etc. You will not be disappointed! Having softball backgrounds, state of the art equipment and a tremendous amount of "know how", Leslie and Cara know exactly what to film and how to do it for the best results.
Now after the 3rd verse, I realized I could afford these things so I had to stop singing to him. And it dawned on me, how did we go from a Mocking bird to a Diamond mine? That's a big jump! Moreover, why was I gonna buy a diamond ring when I could just go get the entire Diamond mine? Hmmmm, the things I think about at 3am with a baby crying!!!!!!!


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Neurosurgery ›
Epilepsy ›
Epilepsy (seizures) (seizures) — Deep brain stimulation (DBS) with implanted neurostimulator ›
Epilepsy (seizures) (seizures) — Deep Brain Stimulation (DBS) With Implanted Neurostimulator: treatment in the Best Hospitals of Germany
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Prof. Dr. med. Peter Vajkoczy
Department of Adult and Pediatric Neurosurgery
The Department of Adult and Pediatric Neurosurgery offers the full range of accurate diagnostics and surgical treatment of diseases of the central and peripheral nervous system. The department's surgeons annually perform over 5,000 surgical interventions, which indicates their high professionalism and tremendous experience. The key attention is paid to the treatment of cerebrovascular diseases, diseases of the spine and spinal cord, brain and skull base tumors, peripheral nerve lesions, cerebrospinal fluid circulation disorders, as well as pain therapy (functional neurosurgery). The treatment of neurosurgical diseases in children and adolescents is carried out by a specially trained team of experts.
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Prof. Dr. med. Thomas Gasser
location_onGermany, Bonn
Department of Neurosurgery and Interventional Neuroradiology
The Department of Neurosurgery and Interventional Neuroradiology is a modern maximum care medical facility, which offers the full range of diagnostic and therapeutic services in the field of neurosurgery. It provides the first-class treatment of diseases of the brain, bone marrow, spine, blood vessels and peripheral nerves. The successful treatment outcome is facilitated by the high professionalism of doctors and the cutting-edge technical equipment.
Prof. Dr. med. Jürgen Beck
University Hospital Freiburg
location_onGermany, Freibung
The Department of Adult and Pediatric Neurosurgery offers the full range of surgical treatment of diseases of the brain, spine, spinal cord and nerves in adults and children. The department keeps pace with new trends in medicine, as well as contributes significantly to their development. Therefore, the most modern diagnostic and therapeutic methods are available here. An individual approach to each clinical case is crucial to ensure optimal treatment results with the preservation of all neurological functions.
Prof. Dr. med. Volker Seifert
location_onGermany, Frankfurt am Main
According to the Focus magazine, the Department of Adult and Pediatric Neurosurgery ranks among the top German medical facilities specializing in the surgical treatment of brain tumors! The department offers the full range of diagnostics and surgical treatment of diseases of the central and peripheral nervous system. A specially trained team of pediatric neurosurgeons provides treatment for various neurosurgical pathologies in children. During the treatment, the doctors use state-of-the-art equipment, in particular, imaging-guided neuronavigation, functional imaging (fMRI), intraoperative mapping, intraoperative videoangiography, etc.
Prof. Dr. med. Ralf-Ingo Ernestus
University Hospital Würzburg
location_onGermany, Würzburg
The Department of Adult and Pediatric Neurosurgery offers the diagnostics and treatment of the entire spectrum of neurosurgical diseases. The department specializes in the treatment of brain tumors, vascular diseases and intracerebral hemorrhages, spinal diseases, deep brain stimulation, etc. Special competence lies in the field of pediatric neurosurgery. The department offers the very latest highly accurate and minimally invasive treatment methods.
Prof. Dr. med. Hartmut Vatter
9.2/10from 150 Votes
Department of Neurosurgery
The Department of Neurosurgery offers the full range of surgical treatment of diseases of the nervous system and belongs to the largest medical facilities of this kind at the national level. The department has 4 state-of-art operating rooms where more than 2,700 interventions are performed annually. It has the progressive surgical equipment, for example, intraoperative monitoring, neuronavigation, tools for performing minimally invasive operations, which provide the most effective and reliable therapy. The department has earned the reputation of the Center of Competence in the field of tumor surgery of the nervous system and spine.
Prof. Dr. med. Gabriele Schackert
University Hospital Carl Gustav Carus Dresden
location_onGermany, Dresden
Department of Adult and Pediatric Neurosurgery, Epilepsy Surgery, Spinal Surgery
The Department of Adult and Pediatric Neurosurgery, Epilepsy Surgery, Spinal Surgery offers the full range of diagnostics and surgical treatment of diseases of the brain, spinal cord and peripheral nerves at the highest international level of modern medicine. The department has four high-tech operating rooms, in which more than 2,400 surgical interventions are performed annually. Surgery to treat tumors of the nervous system in childhood and adulthood is of particular interest to the department's specialists. In addition, the department's medical team has unique clinical experience in the surgical treatment of epilepsy, spinal pathologies and deformities, as well as neurovascular pathologies. The department's doctors have a perfect command of advanced surgical techniques, for example, navigational surgery, intraoperative neuromonitoring, hybrid surgical techniques, which are the basis of successful clinical practice. State-of-the-art computer-assisted systems allow neurosurgeons to plan each stage of surgical intervention as accurately as possible, thereby guaranteeing its high efficiency and safety.
Prof. Dr. med. Manfred Westphal
University Hospital Hamburg-Eppendorf
location_onGermany, Hamburg
The Department of Adult and Pediatric Neurosurgery offers the diagnostics and comprehensive treatment of neurosurgical pathologies, including tumors of the central and peripheral nervous system. The department is the leading Center of Neurosurgery in Northern Germany and is responsible for the implementation of new algorithms for the treatment of patients with brain tumors. To this end, there is an active participation in the international researches and the development of new surgical methods, for example, operations in the waking state. Close interdisciplinary cooperation also contributes to the achievement of optimal treatment results.
Prof. Dr. med. Christian Rainer Wirtz
University Hospital Ulm
location_onGermany, Ulm
The Department of Neurosurgery offers the full range of surgical interventions for the treatment of diseases of the central and peripheral nervous system. The department is one of the largest medical institutions of this kind in Germany. The doctors of the department provide patients with the high-quality medical care of university level, and also take an active part in the experimental fundamental studies and clinical trials to develop new treatment methods.
Prof. Dr. med. Andreas Unterberg
The Department of Adult and Pediatric Neurosurgery offers the full range of diagnostics and treatment of diseases of the central and peripheral nervous system. The medical institution occupies a leading position in this sector in Europe. The neurosurgeons of the department have at their disposal four high-tech operating rooms, in which more than 3,500 interventions are performed annually. Active clinical and experimental research activities, as well as close cooperation with national and international reputable research centers, promote the introduction of innovative treatment techniques that are available only in a few clinics in the world.
Prof. Dr. med. Ulrich Sure
University Hospital Essen
location_onGermany, Essen
The Department of Adult and Pediatric Neurosurgery offers the widest range of surgical interventions for the treatment of diseases of the central and peripheral nervous system, including stereotactic surgery and endoscopy. With more than 2,400 operations every year, the department has a unique experience, which allows it to provide the high-quality medical care even in extremely complex clinical cases. The key focus of the department is pediatric neurosurgery. In addition to the high professionalism of doctors, the treatment success is facilitated by exclusively advanced medical equipment, for example, neuronavigation systems and intraoperative fluorescence navigation.
Prof. Dr. med. Christian Strauss
University Hospital Halle (Saale)
location_onGermany, Halle
The Department of Neurosurgery offers the full range of diagnostics and surgical treatment of diseases of the nervous system. All operating rooms are equipped with the cutting-edge technology, which provides the most reliable and effective treatment of neurosurgical pathology. The department employs competent neurosurgeons with rich clinical experience and deep expert knowledge, who have in their arsenal many modern therapeutic methods.
Prof. Dr. med. Jörg-Christian Tonn
Department of Adult and Pediatric Neurosurgery, Spinal Surgery
The Department of Adult and Pediatric Neurosurgery, Spinal Surgery offers the full range of diagnostic examinations and surgical treatment of diseases of the central and peripheral nervous systems. The team of the department's neurosurgeons successfully performs operations for pathologies of the brain and spinal cord, spine, neurovascular pathologies, pituitary diseases, and epilepsy. The doctors specialize in surgery for malignant brain tumors. The department is part of the Gliome Competence Center Network and the German Cancer Aid. The department uses the latest minimally invasive microsurgical techniques, navigation systems, intraoperative systems, and other advanced technical resources that allow for an optimal therapy result. The department has 84 beds for its patients, 10 of which are intended for intensive care. Medical care is based on an individual approach with due consideration of the patient's specific clinical data and needs. The specialists working at the medical facility always devote enough time to personal communication with their patients and do everything possible so that they receive effective treatment and maintain a decent quality of life.
Prof. Dr. med. Bernhard Meyer
The Department of Adult and Pediatric Neurosurgery, Spinal Surgery offers the full range of services in these fields and specializes in the surgical treatment of diseases of the brain and spinal cord, peripheral nervous system and spine. The important areas of the department's clinical activity also include neuro-oncology, vascular neurosurgery and pediatric neurosurgery. The treatment is provided in four state-of-the-art operating rooms equipped with all the necessary facilities. The department admits about 2,700 inpatients and 4,100 outpatients annually. The team of the department's neurosurgeons is distinguished by high professionalism, and performs many operations using sparing minimally invasive surgical techniques. Navigation systems, intraoperative monitoring devices, 5-ALA fluorescence are successfully used during the surgical treatment. Each operation is carefully planned using advanced navigation devices (under the guidance of CT and MRI scanning). In general, the department's surgeons annually perform more than 4,000 neurosurgical interventions, and therefore they are justifiably proud of their unique clinical experience and treatment results.
Prof. Dr. med. Hans-Jakob Steiger
The Department of Adult and Pediatric Neurosurgery offers the full range of services in the field of diagnostics and surgical treatment of diseases of the nervous system in patients of all age groups. The department was founded in 1947 and during this time it has won the reputation of one of the largest and leading neurosurgical medical institutions in Germany. It performs about 3,000 surgical interventions every year. Also, the department treats and examines more than 15,000 inpatients and outpatients annually.
Prof. Prof. h.c. Dr. med. Walter Stummer
University Hospital Muenster
location_onGermany, Muenster
According to the Focus magazine, the Department of Neurosurgery ranks among the top German departments specializing in the treatment of brain tumors! The department offers the full range of diagnostics and surgical treatment of diseases of the central and peripheral nervous system. The department specializes in the treatment of injuries, tumors and malformations of the skull, brain, spinal cord and nerves, vascular anomalies, spinal nerve root compression syndromes, etc. The department also has advanced experience in the treatment of pain syndromes, epilepsy and motor disorders. The medical services are distinguished by the highest quality, confirmed by the internationally recognized certificates.
Ahmed G., Egypt
Ahmed G., Egypt, University Hospital Rechts der Isar Munich, December 2019.
William E., USA
William E., USA, November 2018, University Hospital Saarland Homburg, Dr. Winkler.
Olga B., Kazakhstan
Olga B., Kazakhstan, January 2021, Clinic of Advanced Biological Medicine Frankfurt am Main, Dr. med. Gerhard Siebenhüner.
Diana I., Russia
Diana I., Russia, December 2021, University Hospital of Ludwig Maximilian University of Munich, Dr. med. Eberhard Lurz.
William E., USA, November 2018, University Hospital Saarland Homburg, Prof. Dr. med. Samer Ezziddin.
Tatiana K., Russia
Tatiana K., Russia, December, 2019, Prof. Dr. med. Jürgen Ennker, HELIOS Clinic Krefeld.
Fiona C., Ireland
Fiona C., Ireland, July 2021, Clinic of Advanced Biological Medicine Frankfurt am Main, Dr. med. Gerhard Siebenhüner.
Ali Abdurahman A., Saudi Arabia
Ali Abdurahman A., Saudi Arabia, April, 2017, Asklepios Childrens Hospital in Sankt Augustin, Prof. Dr. med. Boulos Asfour.
Asklepios Children`s Hospital Sankt Augustin
Zein B., Egypt
Zein B., Egypt, January 2021, Martha-Maria Hospital Munich, Prof. Dr. med. Heinrich Fürst.
Sughra G., Pakistan
Sughra G., Pakistan, August 2021, University Hospital Frankfurt am Main, Prof. Dr. med. Thomas Vogl.


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Home › Art 2023
Oedipus and the Sphinx by Gustave Moreau
The French painter Gustave Moreau is the great artist of symbolist painting. A creator capable of painting images overflowing with aesthetic and decorative effects. He can be seen here or in any of his other works. But besides that, his art is loaded with literature, legends, meanings, and obviously symbols. And obviously, in this field, the world of biblical stories and the most classical mythology became great sources of inspiration for his paintings.
Oedipus and the Sphinx by Gustave Moureau
Let's take, for example, this oil painting of Oedipus and the Sphinx, painted in 1864 and currently in the Metropolitan Museum in New York. We have seen the sphinx, that peculiar being with the body of a lion, the wings of an eagle and the head of a woman, represented throughout the entire History of Art, especially in the Antiquity. Just remember the famous Great Sphinx next to the Pyramids of Egypt. But not only there. There are many representations of this mythological being also in India or in the ancient cultures of the Near East and Central Asia. Thus how on many occasions she appears accompanied by Oedipus, as for example in this pottery from Ancient Greece.
In fact the myth of the Sphinx and Oedipus must be related especially to classical Greek culture. the storyFantastic tells us that it was the Sphinx who helped Oedipus get rid of all his traumas, something that meant killing his father and ending up marrying his mother. This has not only inspired many artists, but has also been a model for psychiatrists and psychoanalysts who still talk about the Oedipus Complex today.
HereMoreauintroduces us to the Sphinx in her most enigmatic and trickster role. And it is that among her attributes was knowing how to handle words at her whim to achieve her goals. So she was at the same time a monster, but also a muse, a being capable of inspiration. And in that attitude the painter shows us. At the very moment when he throws a riddle at Oedipus, and if he solves it he can kill his father, become king of Thebes and marry his mother namedJocasta.
An enigma that Oedipus solved, and that was like a riddle: What animal walks on all fours at dawn, with two in the middle of the day, and when the sun sets it walks on three legs?
The man. As a baby he crawls, as an adult he walks upright, and when he is old he needs a cane
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Team members work on planting pineapples and installing plastic mulch at the center in Kindia, Guinea.
Project goal: Introduce novel technologies that will improve production practices and reduce postharvest losses in Guinea. These technologies will be delivered through a market-driven and youth-led Horticulture Training and Services Center in Kindia, Guinea.
Developing the horticulture sector in Guinea is an important part of improving the capacity of smallholder farmers to grow, eat, and market fruits and vegetables. For most Guineans, agriculture is both the main source of sustenance and of income, even if agricultural productivity is low. Increasing both household and commercial production, marketing, processing, and storage of fruits and vegetables leads to diversified cropping systems, diversified diets, and greater resiliency.
In a previous report for USAID, the Horticulture Innovation Lab identified major constraints to improving household and commercial production of fruits and vegetables. The report identified opportunities for investing in nutrition training, postharvest processing and handling, and food preservation. Farmers who succeed at horticultural production would benefit from training in postharvest handling, packaging and storage. Consumers would benefit from having access to better stored and better processed foods. Supporting crop diversification, investing in the seed system, and scaling-up labor-saving technologies would strengthen the horticulture sector across all wealth classes, genders, and Livelihood Zones.
Involving youth in agriculture has become a major focus in development as this provides opportunities for young people to build skills and exercise leadership in their communities. In addition, programs that involve universities, extension services, local organizations, government, schools and the private sector can be tremendous catalysts for change.
This project establishes a Horticulture Training and Services Center on the IRAG campus in Foulayah (the Centre Régional de Recherche Agricole de Foulayah) with leadership from young entrepreneurs who are part of the AVENIR program (Agents en Vulgarisation, Entrepreneuriat et Innovation Rurale, or "agents of extension, entrepreneurship and rural innovation") with Feed the Future Guinea Agricultural Services. The AVENIRs will serve as extension agents and establish revenue-generating training modules at the Horticulture Training and Services Center at IRAG that will feature appropriate technologies and best agricultural practices. Technologies featured include the CoolBot, drip irrigation, the UC Davis-designed chimney solar dryer, the DryCard, plastic mulch, and others. The center's promotion of these technologies aims to address horticultural production and storage needs, improve production practices and reduce postharvest losses in Guinea — with a focus on market-based solutions.
Establish technology demonstrations at the IRAG station to extend proven profitable technologies and practices to local agribusinesses.
Develop and implement training modules in horticulture-related postharvest and production, through a variety of media for extension via young entrepreneurial (AVENIR) agents and Peace Corps volunteers.
Sell technologies to farmers and other producers in the community, with the eventual goal of the center operating as a sustainable business.
Build institutional capacity at the center in conjunction with AVENIRS, Peace Corps and other local collaborators by bringing young, motivated individuals to the center; improving existing infrastructure to focus on agriculture production and postharvest services; expanding the institutional knowledge base through trainings and technologies dissemination; and making available new and innovative technologies to the agricultural station and surrounding communities.
*This project is a $480,000 buy-in from USAID/Guinea, managed by the Horticulture Innovation Lab, as part of the U.S. government's global hunger and food security initiative called Feed the Future.


HIGHLIGHTS: The Muskingum River Parkway and its 160-year-old navigation system were designated a National Historic Civil Engineering Landmark by the American Society of Civil Engineers in July 2001. Along with such majestic institutions as Hoover Dam, The Empire State Building and the Golden Gate Bridge, the Muskingum River's 10 hand-operated locks are now recognized as one of America's great engineering accomplishments.
In its day, the system of locks and dams that extends 112 miles through southeastern Ohio, helped open the state and the entire Midwest to trade and development. Today, it serves the needs of more than 7,000 recreational boaters each year who come to fish, picnic and play in the scenic Muskingum Valley. The area has been placed on the National Register of Historic Places and will be recognized as the Muskingum River Navigation Historic District.
This hike starts at the bike trail which is located on Ellis Dam Road about 0.3 miles before you reach the campground and parking area. There is a small pullout suitable for one or two cars where there is a sign that marks the trail. It is about a half mile from Ellis Dam Road to the railroad trestle and back along a paved path that is designed for bikers but also usable by hikers. There are excellent views of the Muskingum River from the trestle.


TOP FLOOR FLAT in modern block opposite trees of Queens Park. Very convenient for travelling into town centre and out of town. LARGE LOUNGE WITH BALCONY. SMARTLY PRESENTED AND NO FORWARD CHAIN.
Flat 15 is the largest flat in the block, on the second floor which is accessed via both stairs and passenger lift.


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in: Les Landau/Director, Bryce Zabel/Writer, Mel Efros/Producer,
Thania St. John/Producer
Kal-El (Lois & Clark)/Appearances
Lois Lane (Lois & Clark)/Appearances
James Olsen (Lois & Clark)/Appearances
Perry White (Lois & Clark)/Appearances
Jonathan Kent (Lois & Clark)/Appearances
Martha Kent (Lois & Clark)/Appearances
Catherine Grant (Lois & Clark)/Appearances
Bureau 39/Appearances
Jason Trask (Lois & Clark)/Appearances
Metropolis/Appearances
Daily Planet/Appearances
Kansas/Appearances
Smallville, Kansas/Appearances
Kent Farm/Appearances
Green Kryptonite/Appearances
Jimmy Olsen's Signal Watch/Appearances
Kryptonian Rocket/Appearances
Lois & Clark: The New Adventures of Superman (TV Series) Season 1
Articles in need of summaries
Lois & Clark: The New Adventures of Superman (TV Series) Episodes
Lois & Clark: The New Adventures of Superman (TV Series) Episode: The Green, Green Glow of Home
"The Green, Green Glow of Home"
Lois & Clark: The New Adventures of Superman
Les Landau
Bryce Zabel
Mel Efros
Thania St. John
"Smart Kids"
(October 31, 1993) "The Man of Steel Bars"
(November 21, 1993)
The Green, Green Glow of Home is an episode of season 1 of Lois & Clark: The New Adventures of Superman. It premiered on November 14, 1993.
Synopsis for "The Green, Green Glow of Home"
This article is a stub. You can help DC Database by expanding it.
Appearing in "The Green, Green Glow of Home"
Featured Characters:
Superman (Clark Kent)
Supporting Characters:
Perry White
Martha Kent
Sheriff Rachel Harris (Single appearance)
Antagonists:
Bureau 39 (Final appearance)
Jason Trask (Final appearance; dies)
Multiple unnamed agents
Other Characters:
Wayne Irig (Single appearance)
Carol Sherman (Single appearance)
Salt Lake City (Mentioned only)
Wichita (Mentioned only)
Kent Farm
Green Kryptonite (First appearance)
Signal Watch (First appearance)
Vehicles:
Kryptonian Rocket
No notes.
No trivia.
Images from Lois & Clark: The New Adventures of Superman (TV Series) Episode: The Green, Green Glow of Home
Episodes of Lois & Clark: The New Adventures of Superman (TV Series)
Images from Lois & Clark: The New Adventures of Superman (TV Series)
Gallery for the Lois & Clark: The New Adventures of Superman (TV Series) series
Les Landau/Director
Bryce Zabel/Writer
Mel Efros/Producer


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2021 Annual Impact Report
home builds hope
Sponsors & Funders
welcome from our board president
It goes without saying that since early 2020, we have all been put to the test, navigating through the ever-changing impact of the COVID-19 pandemic and its variants on our lives. I am immensely proud of our Habitat for Humanity of New Castle County team for supporting each other and our operations through the pandemic and pivoting as needed by creating ways to continue to provide hope and affordable housing for families in New Castle County.
With your support, Habitat has been able to stay at the forefront of affordable homeownership for more than three decades, completing construction or renovation of over 280 homes in New Castle County. We remain steadfast in our vision of a world where everyone has a decent place to live. We are counting on your support now more than ever.
Read Chip Rossi's Full Letter
home builds equity
Habitat sits at the intersection of housing and race. Homeownership is the primary way families build wealth and equity that can be passed on to future generations. However, BIPOC (Black, Indigenous, and People of Color) have been kept from purchasing homes and building equity due to racist housing policies. Our affordable homeownership opportunities provide a hand up for families that have been systemically discriminated against.
***While we focus on creating equitable housing solutions for BIPOC, we recognize that affordable housing is a GLOBAL issue and are committed to the vision that EVERYONE deserves a decent place to live regardless of age, race, ethnic origin, gender identity, or religious belief.
"To be a homeowner means everything to me and my daughter. It's a lifelong dream I've always had and now I finally have something to pass along to her when she starts a family of her own." – Nema Bass, Habitat Homebuyer
home builds health
Amidst the emotional roller coaster of the COVID-19 pandemic, HFHNCC (with your support) has helped make your health and the health of your home a priority. We recognize that the quality and access to decent, stable affordable housing is a key social determinant of your health. And we plan to continue to invest in building healthier lives through housing.
This year we were able to help 95 families in need of critical home repairs, including 22 families who were affected by Hurricane Ida, shelter in place and stay safe, warm, and dry. In 2022, we plan to provide critical repairs to at least 70 homes in need.
home builds community
At HFHNCC, we recognize that thriving neighborhoods are essential to the well-being and future outcomes of our families and communities. In 2021, we have continued to work side by side with residents and organizations to further assess and address the critical needs of your community.
This year, our Neighborhood Revitalization team partnered with Republic Services for two Rock the Block events. Our primary focus is beautifying the landscape of your community and listening to your concerns for safety in your homes.
home changes lives
"Home means a stable place to grow with my children mentally, emotionally, and financially without wondering if I will have to move or being afraid to become homeless with my children. A home means a new blessed and rewarded way of life from now on."
Griselda and her two sons have never had a stable place to call home. Constantly moving between the homes of family and friends to an apartment with her sons and a roommate, Griselda turned towards HabitatNCC with her aunt's recommendation.
Upon being accepted into the homeownership program, she burst into tears to be able to better provide for her children. Griselda is currently working towards providing that 3 bedroom home with a backyard where she can "build memories and form stronger family bonds".
impact on our partner families
are no longer receiving government assistance
report their children's grades have improved by 1-3 grade letters
have improved physical, emotional, and social wellbeing
report they are eating healthier
a thank you from Kevin
Greetings, friends,
I hope you and your loved ones are staying healthy and safe. Looking back over the past year, we were able to accomplish so much despite the on-going challenge of Covid. We continue to provide meaningful impact for new homeowners, homeowners struggling with needed repairs, and neighborhoods long neglected. We thank you for your steadfast support of our mission and work.
This year, we celebrated our 35th anniversary since our founding in 1986. We dedicated seven new homes known as Amala Way on Bennett Street in Wilmington, as well as three more homes renovated in Simonds Gardens. We installed more than 100 Ring Doorbells to keep households secure in Wilmington. We facilitated disaster cleanup after Hurricane Ida working with more than 70 residents to get their electricity and gas back on, and to do critical repairs for 22 homes. And we completed 287 critical home repairs—more than ever before, and also 18 pre-weatherization repairs as a contractor.
Despite the challenges of this year, we can still find joy and blessings around us, and we look to 2022 with hope. Thank you for your commitment to Habitat and helping us make sure that everyone has a safe, decent place to live. Together, we build homes, communities, and hope.
shining bright spots in the community during COVID
october 23, 2021 - we "rocked the block" distributing 100 Ring Video Doorbells
our neighborhood revitalization team, Republic Services, and many volunteers like you distributed and installed 100 Ring Video Doorbells to residents in Northeast Wilmington.
september 30, 2021 - we celebrated the home dedication of four new homeowners
you helped us celebrate and hand over the keys to the new Habitat homes in Amala Way I to Nema, Marlise, Lucinda, and Antonia.
september 16, 2021 - our annual golf outing
Despite the many uncertainties of the pandemic, many of you were excited to join us on the green for our annual golf outing and helped us raise over $55,000.
july 31, 2021 - we showered Azaria, Cheris, and Darnise with housewarmings gifts
Azaria, Cheris, Darnice, and their families felt the love as we showered them with many home necessities to help them settle into their new Habitat homes.
july 17, 2021 - we "rocked the block" for a community cleanup around Johnston Park in Northeast Wilmington
our neighborhood revitalization team, Republic Services, and many volunteers spent their Saturday cleaning up and beautifying your local neighborhood in Northeast Wilmington.
june 2021 - celebrating 35 years and dedicating three new homes
June 3, 2021 – we celebrated our 35th anniversary continuing the tradition of our annual breakfast by organizing the event for people to have the choice to attend either in-person or virtually.
June 16-18, 2021 – 3 new homeowners received the keys to their new Habitat home (Azaria, Cheris, and Darnice)
february 2021 - we were selected for Republic Services' National Neighborhood Promise Grant
Between 2021-2022, we will be hosting 3 "Rock the Block" events focused on the Northeast neighborhood of Wilmington.
january 2021 - we launched the new "Healthy Homes Initiative"
Thanks to commitments from Barclays and Welfare Foundation, we partnered with Sussex County Habitat for Humanity to provide home repairs to families affected by COVID-19.
stay up to date on what's happening
audited financials - FY19/20