text:
Driving under Influence: Convictions
To ask the Secretary of State for Justice (1) how many (a) men and (b) women under the age of 18 were (i) proceeded against, (ii) found guilty and (iii) sentenced to immediate custody for offences of drink driving in each year since 1997; (285786)
(2) how many (a) men and (b) women have been (i) proceeded against, (ii) found guilty of and (iii) sentenced to immediate custody for a drink-driving offence in each year since 1997.
Claire Ward
Available information held on prosecutions and resultant convictions for driving under the influence of alcohol or taking drugs in England and Wales from 1997 to 2007 (latest available) are shown in the tables.
The data provided covers both drink and drugs offences combined, as they cannot reliably be distinguished separately.
Data for 2008 will be available in the autumn of 2009.
Table 1: Proceedings at magistrates courts, findings of guilt at all courts, sentenced to immediate custody, by gender, for persons under the age of 18 years for 'driving after consuming alcohol or taking drugs', England and Wales 1997 to 20071,2
Number of offences
Offence type: driving etc. after consuming alcohol or taking drugs
Proceeded against
Findings of guilt
Immediate custody
1 It is known that for some police force areas the reporting of court proceedings, in particular those relating to summary motoring offences, may be less than complete.
2 Every effort is made to ensure that the figures presented are accurate and complete. However, it is important to note that these data have been extracted from large administrative data systems generated by the courts and police forces. As a consequence, care should be taken to ensure data collection processes and their inevitable limitations are taken into account when those data are used.
Office for Criminal Justice Reform—Evidence and Analysis unit, Ministry of Justice
Table 2: Proceedings at magistrates courts, findings of guilt at all courts, sentenced to immediate custody, by gender, for all persons for 'driving after consuming alcohol or taking drugs', England and Wales 1997 to 20071,2


text:
Collected Essays
Radu A. Davidescu
Alain Resnais' Last Year at Marienbad and the Semiotic film Context
In a 1966 Cahiers du Cinéma essay, Christian Metz states: "To ignore Jean-Luc Godard or Alain Resnais in 1966 is practically to exclude oneself from the cinema, just as one would place oneself outside literature if one refused to take Robbe-Grillet or Michel Butor seriously in 1966"[1]. It might be interesting then, to observe how Metz's work on semiology can apply to the works of people that one simply 'cannot ignore' according to him. Thankfully, L'Année dernière à Marienbad (1961) was directed by Resnais and written by Robbe-Grillet, so it would seem only natural to look at how Metz's work applies to the film. While Robbe-Grillet is credited for the screenplay in Marienbad, the two works (screenplay and film) are nevertheless different entities. Leutrat talks about the 'two L'Année dernière à Marienbad' referring to Alain Robbe-Grillet's screenplay and Alain Resnais' movie as 'twin works, at once divergent and complementary'[2]. Since Metz's work doesn't directly apply to literature, but rather draws from it, I will concentrate primarily on the film part of L'Année dernière à Marienbad, with the occasional reference to Robbe-Grillet's work as needed. Since Resnais' work is in a way an interpretation, or translation, of Robbe-Grillet's work, it might also be useful to see how one work translates to another. Here again, semiology comes into play. As Irene Ferreria de Sousa points out in her essay about cinema and Literature, 'semiology is the best tool to analyze the art of cinema and intersemiotic translations'[3]. While not going into a full semiotic analysis of the film, I intend to show that a semiotic view of L'Année dernière à Marienbad is a good tool for analyzing the work but the film's apparent divergence from the standard semiotic formula is ultimately the most important element of said analysis.
To do this, I will start by looking at the aspect of time in the film and how this applies to the semiotic view of thereof. How do the elements of time shape its relation to the written work and how do they fit in a semiotic context. Following, I will look at the textual element of the film - how does Resnais' work interact with the various elements at play, be it the onscreen text (which there is very little of), the source text of the screenplay, the voice of the protagonists or the narration. Finally, I will conclude with a look at how the film fits within the semiotic formula - what (if one exists) is the crucial syntagma and how does Marienbad conform to or diverge from it.
To Begin, we can look at the element of time in L'Année dernière à Marienbad. Aside from the obvious presence in the title ('last year') that uses the past tense, the film deals largely with the characters' memories of time past that might or might not have happened. It deals with the past in such a way however, that it causes past to become one with the present, almost a part of it, to the point where the viewer is not sure anymore what happens now, or what happened then - last year- at Marienbad. This blurring of the lines between the past and the present is a perfect example of one of the fundamental differences between the written (textual) language and the filmic language. 'Whereas literature has a whole gamut of grammatical tenses which makes it possible to narrate events in relation to another, one might say that on the screen verbs are always in the present tense… by its nature, what we see on the screen is in the act of happening, we are given the gesture itself not the account of it.'[4] Despite this difference, filmmakers have come up with various devices to express passage of time or temporal relations - dissolves, calendar leafs and flashbacks/forwards are a few simple examples. Cinema, in a way, changes this inherent 'present tense' by methods that either hide it or allude to a different tense than the supposed 'present tense' of the filmic image.
L'Année dernière à Marienbad, however, does not use these methods. What little allusion to time that is done, is achieved through the textual element (mainly dialogue/monologue which will be discussed later in this text). Instead, the film presents scenes that happen in the past, future, or that never happened, in the same way that it presents the present. This does cause some disorientation. Metz refers to this as a 'cinema of tense uncertainty'[5] referring to the fact that we are never certain when the actions that we are watching are happening in relation to the others from the image alone. There are, in Marienbad the instances where X's voice recounts what we are seeing on the screen in the past tense, which appropriates the images a temporal relation. Despite this, however, the fact that we are not sure of the present during which X is saying these words (we do not see him start recounting the story and then see the images corresponding to the story) only serves to dislocate us further.
As for a syntagma associated with this kind of temporal relation, the most appropriate one according to Metz would be the autonomous shot and more specifically the subjective insert. I will discuss the subjective insert in greater depth later in the text, for now suffice it to say that the subjective insert ('image conveying not the present instance, but an absent moment experienced by the hero of the film. Ex: memory, dream, fear, premonition'[6]) is present throughout Marienbad. Most memorable ones are X and A's conversation by the bar (0'34'45") which is interrupted by the glass breaking/memory of A's white room (0'36'40") as well as the tracking shot through the corridors towards A's open arms multiple times (1'16'34"). What's important to note here, in both of these instances, is that while we are aware that the action in the 2 subjective inserts is not happening in the present time (the first is intercut with the conversation at the bar/glass breaking and the 2nd is accompanied by X's narration), we can't tell what time they are happening at for sure. They might both be memories of one of the protagonists, or they might not. They might be their fear that it happened or didn't happen the way they remember it or their unwillingness to remember it despite themselves.
Continuing on to the textual element of Marienbad we can begin by looking at the speech in the film. As observed previously, there is prominent narration throughout. Narration, unlike dialogue, can impose a meaning to the images, it can describe (in any tense not only the present tense) what is shown on the screen but it can also describe what is not seen. As Metz suggests, 'in order to get a better understanding of the talking cinema, one should study a certain type of "modern" film, particularly the work of the inseparable trio, Alain Resnais, Chris Marker, and Agnes Varda.'[7] Aside from the fact that Resnais regularly uses screenwriters that are already well established in the world of literature, the 'verbal, even openly "literary", element, is given great weight in the overall composition which is nevertheless more authentically "filmic" than ever.'[8] Simply put, in Resnais' film there is no compromise one way or the other. The 'authentically filmic' nature of the film is not sacrificed in favor of a more literary style, and vice versa - the literary nature is not compromised just because the film is 'filmic' (which I assume to mean of significance in the film-world as opposed to the literary world, in this case).
The reason why such a film should be studied, is because one would want to avoid a situation where the inferiority of one element (either the filmic or literary) would cancel the validity of the other. Having a film of great literary merit with not much 'filmic' merit would devalue it in the film-world, despite receiving acclaim in the literary-world, and vice versa. If we are to regard the literary values of a film, it is useful to look at a film that is strong on both counts. And indeed, such is L'Année dernière à Marienbad, where 'the image and text play a sort of game of hide-and-seek in which they give each other passing caresses. The sides are equal: Text becomes image, and image turns into text.' [9] While this might sound like one element is imposing itself on the other, nothing could be farther from the truth. Rather than imposing a literary quality on the image (thus invalidating or changing its significance) the text merges with the image and vice versa. What this results in is a perfect meld of both works of art - literary and filmic. It is this very nature that gives the work its very unique quality, as Metz states - 'the interplay of contexts gives the film its peculiar contexture'[10]
This contexture, however, requires a certain method in order to be achieved. When compared with other cinemas of the time, Metz refers to this cinema as a cinema of controlled diction characterized by a recitative approach. Comparing it to other cinemas of the time he makes the distinction between a 'cinema of passion' (Godard) and a cinema of premeditation and indirection (Resnais)[11]. This recitative approach is seen in Marienbad from the opening shot, with X's voice narrating over the images of the chateau's interior. This use of the off-screen voice is considered by Metz as a 'new form of aside' - a new way of communicating with the audience outside of the film that they are watching but coming from within it. Metz sees this new way as a 'revitalization of what used to be called "subjective images"'[12] which brings me to the final subject of this text, that is - the prominent syntagma in Marienbad, namely the 'subjective insert'.
I touched on the subject of the subjective insert syntagma briefly when discussing the notion of time in the film. Indeed, this type of syntagma is not only the most appropriate one for the temporal relation autonomous shots in Marienbad, but it is also the most prominent one in the film. When discussing its presence in films of the time, Metz states that 'its frequency has been doubly affected by modern cinematographic styles: With a Resnais…or a Fellini, it has multiplied, whereas in the films of the cinéma direct as well as in the fictional films influenced by the cinéma direct (those of Godard, for example), it has decreased'[13]. As previously discussed, the subjective insert appears at a relatively high frequency in Marienbad - but what does this frequency mean for the film. First and foremost, the subjective insert being an autonomous shot means that unlike the other types of syntagmas, it is composed of a single shot that constitutes a meaningful building block for the film (in contrast to the non-autonomous shots which are just parts of multi-shot autonomous segments).[14] While it is not impossible to convey meaning using a single shot, it is certainly more difficult to convey complex meanings, and one is restricted to a meaning focused on one single clear element (this of course does not apply to long shots à la Touch of Evil (1958) which would have more in common with a multi-shot autonomous segment despite technically being only one shot). The examples used previously have this same single-element quality to them - the glass smashes on the floor, A opens her arms in an embrace. While these are both meaningful to us they nevertheless have this very simple quality to them - we realize the glass smashed as a result of her bumping into the other woman at the bar, that she's opening her arms in an embrace, but we don't know more and we are never offered an explanation - they work by themselves as single mini-stories.
What is the effect of having more of these types of building blocks in a film than rather having more autonomous segments composed of many shots? Metz offers an explanation - he talks of this cinema that 'orders with meticulous patience a whole series of insistent, composed signs, not without making certain that their scrupulously unusual disposition will ensure a problematical and uncertain, although inevitably worked-at, deciphering;'[15] In short, having this kind of construction in a film gives it a problematic quality, one that requires deciphering, one that does not have an immediate meaning but rather one that asks the viewer to go beyond what's on the image or sound tracks to assign a meaning. It is a cinema that 'hesitates between ambiguity and riddle'[16] - it doesn't only require of the viewer to solve the riddle of meaning in the film, it also doesn't offer any sort of validation as to the accuracy of the solution - maybe the meaning-riddle's solution is the right one, but being of an ambiguous nature, it might also not be.
In this respect, what Resnais offers here is not so much the subjective insert (although one could read that into his film) but essentially a new type of syntagma - one that is potentially not documented by Metz and which doesn't necessarily follow one of his 8 possible autonomous segments. Similarly to his analysis of the Pierrot Le Fou (1965) sequence, where he identifies a passage 'that cannot be reduced to any one of [the 8 syntagmatic types] or to any variations'[17] of these types, one can see Marienbad as not directly employing the subjective insert but rather a modified, novel version of thereof. It is perhaps this novel type of syntagma that he was referring to when he was talking about the revitalization of subjective images[18].
To conclude, we have seen several aspects of Alain Resnais' L'Année dernière à Marienbad within the semiotic context. The first element was the time aspect and the whole notion of the tense (or lack thereof) in cinema. We have seen that despite the 'presentness of tense' in cinema, there is still an implied tense present in film in general and in Marienbad in particular. This tense is expressed using what, at first glance, seems to be the subjective insert syntagma. Following this, the textual nature of the film was taken into consideration - how does the text of the script interact with the filmic image and what meaning do they assign to each other? If anything, it gives the film a 'peculiar contexture' that is achieved through a recitative, that is to say narrated, nature and through a very controlled and premeditated cinema. Finally, we've seen that the temporal and textual elements give it a problematic and uncertain nature, albeit one that is intended and that is worked-at, encouraging ambiguity and difficulty in deciphering meaning. This quality of the film allows us to see that the uses of the subjective insert in the film are not so much the autonomous shot that Metz defined, but rather a new, perhaps yet undocumented, type of syntagma. It is in this inability to categorize, and apparently breakdown of Metz's theory that the film's greatest strength lies. This is not to say that it cannot be read according to the semiotic view, but the apparent difficulty in doing this and the problems that arise when attempting to do so are arguably the elements that give us the most insight into the film's nature.
[1] Metz, 1974, p187
[2] Leutrat, 2000, p52
[3] De Sousa, 1997, p611
[4] Robbe-Grillet, 1962, p12
[6] Metz, 1986, p46
[8] Metz, 1974, p55-56
[10] Metz, 1974, p56
[11] Metz, 1974, p199
[15] Metz, 1974, 200
Metz, C. (1974). Le cinéma moderne et la narrativité. Cahiers du Cinéma #185, 43-68,
republished in Film Language: A Semiotics of the Cinema. New York: Oxford University Press, p185-227
Leutrat, J-L. (2000). L'année dernière à Marienbad. London: BFI Pub
de Sousa, I.F. (1997). Cinema and literature: Theoretical studies. Semiotics around the world: synthesis in diversity: proceedings of the Fifth Congress of the International Association for Semiotic Studies, Berkeley, 1994. Berlin; New York: Mouton de Gruyter, p611-614
Robbe-Grillet, A. (1961). L'année dernière à Marienbad. Paris: Éditions de Minuit
Metz, C (1986). Problems of denotation in Fiction Film. Narrative, Apparatus, Ideology. New York: Columbia University Press, p35-65
Resnais, A. (Director). (1961). L'Année dernière à Marienbad [Motion Picture]. France, Italy: Argos Films
Metz, C. (1974). Le cinéma: langue our langage? Communications #4, 52-90, republished in Film Language: A Semiotics of the Cinema. New York: Oxford University Press, p31-91
Metz, C. (1974). Étude syntagmatique du film Adieu Philippine,
de Jaques Rozier. Image et Son #201, 81-97, republished in Film Language: A Semiotics of the Cinema. New York: Oxford University Press, p177-182
Posted by Radu D. at 1:44 PM 1 comments
Labels: alain resnais, contemporary film theory, film, film semiotics, film studies, last year at marienbad, semiology
Gangster Morals in the post-Godfather era
In the commentary for the DVD edition of the first season of The Sopranos, series creator David Chase refers to Martin Scorsese's Goodfellas (1990) as "The Koran"[1], expressing his admiration for Scorsese's work but also his usage of the film as a kind of 'guidebook' for all things Gangsters and Mafia. While Francis Ford Coppola's The Godfather is a sort of standard as far as modern gangster movies go, it is interesting to explore how films in the post-Godfather world deal with the subject. While Scorsese's Goodfellas set the initial tone of where Gangster movies were at and where they were heading, it wasn't until The Sopranos that the subject really infiltrated mainstream to the point that it has following the series' completion. By examining elements of both Scorsese's Goodfellas and Chase's The Sopranos, I intend to show that post-Godfather 'gangster' films not only blur the distinction between right and wrong, but they further use this blurring to show the severity of the subject in the social context in which it exists.
To do this, I will first examine the subject of comedy in action and violence - how and to what purpose is humour used in the gangster film context? Following this, I will turn to the subject of the family and more specifically the woman character. While gangster films are usually rather patriarchal, the woman's role has evolved and changed with time than the one it was in the Godfather days. Finally, I will look at the social aspect and the morality of the gangster film. How does the subject fit in (or doesn't) with today society's moral values? How does it abide by or go against them and what significance does this have to the blurring of the line between right and wrong?
To begin with I'll consider the subject of comedy. Both Goodfellas and The Sopranos contain their share of comedy in what is for all intents and purposes a relatively serious and severe subject matter. In Goodfellas the most obvious example is the scene in which Joe Pesci recounts his story to Ray Liotta and then inquires about the nature of his 'being funny' ("Funny How?"). As Kinder notes, Pesci's story 'may or may not be intentionally funny and purposely makes both [Ray Liotta's character] (and us) uncertain as to whether it's dangerous to laugh.' She refers to this as the double bind that makes us feel guilty when we laugh at the presence of humour in an otherwise serious and negative/morally objectionable matter.[2] The Sopranos on the other hand, has it's own brand of humour. 'Chase loves comedy. And "The Sopranos" rejoices in the strangest kind, from stupid jokes (Tony, Paulie, etc.) to malapropisms (Christopher, Little Carmine).' But in The Sopranos, like in Goodfellas, it is not used in vain, rather - the show 'leavens violence and sex with adolescent humor and malapropisms.'[3]
As we can see in both instances, humour is used to render relatively immoral and disturbing events in both cases as more accessible to the viewer and to diffuse the severity of the violent and immoral nature of the subject matter. On one hand, the viewer is prompted to laugh along with the characters or at the characters and enjoy the fact that they are laughing. On the other hand, they are laughing at material that is interspersed with elements of crime and violence that would otherwise evoke completely different reactions than laughter. So the humour serves not only to desensitize the viewer, but also to make them aware of this fact (assuming at some point they ask themselves 'should I be laughing at this?').
To continue on to the next subject - the family and the woman's role in the films. While The Godfather was very much family-centered, Goodfellas offers us a more practical and modern 'insider's look into the actual workings of a family involved in organized crime, even a small family like Henry's family.'[4] But while Goodfellas was a good start, The Sopranos becomes the epitome of family portrayal in the crime world. 'Before anything else -- "The Sopranos" is a show about family -- two of them. The amazing debut episode laid the foundation for the mirror-families theme; the next 12 pulled it apart, twisted it around, fractured it and pieced it back together.'[5] And indeed the parallels between the 2 families - the crime family and the biologic are there, but the more interesting parts are when the two do not align. On one hand we have something that most of us can relate and understand - the workings of a family - parents, children, relatives. On other hand there is the crime family - violence, crime, secrecy - and the two notions of the family conflict.
Perhaps the most crucial elements of both Henry's family and that of Tony are their wives. In discussing the issue of gender in Hollywood Action-Adventure, Steve Neal talks of the crucial role that women have in the success of the group as a whole[6], and indeed both Henry's and Tony's success is rooted in their wives' wellbeing. In fact, 'the women of "The Sopranos" all owe a debt to Karen Hill of "Goodfellas."' Braco's character served to redefine 'the stock character of the Mafia wife' and was by no means just a 'meek housewife'. Seltz shows this same attitude to be 'one of the key differences between most mob stories and "The Sopranos": Though the males drive most of the plots and do all of the killing, the females aren't helpless bystanders.[7] So while all this serves to break away from the patriarchal nature of the mob families of yesteryear and situate them in today's more equal opportunity world, it still doesn't hide the fact that it is still a crime family and their husbands are still cheating on them, still putting them and their children in danger and still treat them in a manner which, despite being relatively progressive, is nevertheless few years behind the rest of society.
Which brings me to my last subject, that is, how does this all fit in society? Well, we've seen the mobster's wives who have 'all made certain moral compromises - looking the other way sometimes when the men fool around, enjoying a good life paid for with blood money'[8] but how do these moral compromises fit in the society where the respective stories take place? The way they do is by the mere fact that they are not fiction and are actually choices that real people do in real life. As such, any contemporary gangster film has to show this aspect of the subject if it is to match-up to the standard set by The Godfather. As Scorsese himself points out 'there's no sense in making another gangster picture, unless it is as close as possible to a certain kind of reality, to the spirit of a documentary'[9]. And what is this reality that one should strive to be as close as possible to? In the case of Goodfellas (and to an extent The Sopranos) it's the reality of the American dream, but rather 'it's the American dream gone completely mad and twisted'[10] In this dream, 'it's impossible…to recognize what's important and what's not', for Henry in Goodfellas, the fact that there's an FBI helicopter that might be chasing him seems important, but 'the correct stirring of his tomato sauce seems just as important'[11]
What's more crucial however, is that we get enthralled in these decision making processes when viewing the respective works and we forget the larger picture. We think about whether Carmela should leave Tony or not in The Sopranos but we forget that at the end of the day, he is a murdering criminal whether she leaves him or not. Our moral choices start working on a different scale than the one we would normally operate on in everyday life. Much like the members of the crime families and their actual families in Goodfellas and The Sopranos, we are inclined to develop a sort of second moral scale, one in which there is still right and wrong, but which is ultimately operating under the greater 'wrong' side of non-mobster morality. The strength of having this kind of effect on the viewer is of course the fact that it makes them realize that they've begun thinking on this scale, and it brings about to a greater appreciation of the nature of the subject. Of course, there is also the case where the viewer does not come to this appreciation and becomes completely desensitized to the subject matter - which one would assume was the fear that prompted the initial ban on portraying of gangster characters as 'heroes' in pre-Godfather Hollywood.
In summary, we've seen how post-Godfather gangster films use the elements of comedy and family to blur the lines between right and wrong. We've observed the changing role of women and their significance in modern-day gangster films. Finally, we've seen the significance of this moral ambiguity in the society in which it operates and its effects on the viewer. Ultimately the interpretation and reaction to the way the subject is portrayed falls on the viewer that is exposed to it. While a negative effect might have been a concern in the pre-Godfather Hollywood, one would think (hope?) that with the increased complexity of film across time, so did the complexity of audiences has increased to the point where they can discern moral decisions presented to them versus ones they actually have to make themselves.
[1] Gabbard, 2002, p11
[2] Kinder, 2001, p79
[3] Goodman, 2007, pE1
[4] Scorsese, 1989, p155
[5] Stark, 2001
[6] Neale, 2004, 74
[7] Seitz, 2000
[10] Scorsese, 1989, p155
Gabbard, G.O. (2002). The psychology of the Sopranos : love, death, desire and betrayal in America's favorite gangster family. New York: Basic Books
Kinder, M. (2001). Violence American Style: The Narrative Orchestration of Violent Attractions. Violence and American Cinema. New York: Routledge, p63-100
Goodman, T. (2007, April 2). A tidy finish? Fahgeddaboutit. The San Francisco Chronicle, p.E1
Scorsese, M. (1989). Scorsese on Scorsese. London: Faber
Stark, J. (2001). The Sopranos - DVD Review. Salon.com Arts & Entertainment. Retreived December 8, 2007 from http://archive.salon.com/ent/movies/dvd/review/2001/04/04/sopranos/index.html
Neale, S. (2004). Action Adventure as Hollywood Genre. Action and Adventure Cinema. London; New York: Routledge
Seitz, M.Z. (2000). 'Soprano' women: Hear them roar. NJ.com: Star-Ledger Sopranos Archive. Retreived December 8, 2007 from http://blog.nj.com/sopranosarchive/2000/01/soprano_women_hear_them_roar.html
Posted by Radu D. at 8:28 AM 2 comments
Labels: film, film studies, gangster film, godfather, goodfellas, the sopranos
radu@radudavidescu.com
Collected Foto
Collected Views
Simple Complexity & Clear Confusion
Godard, Revolution and Representation
Eran Riklis' Lemon Tree and Gillo Pontecorvo's Battle of Algiers
Elia Suleiman's Divine Intervention
Hany Abu-Assad's Paradise Now
Paradise Now, Curfew and Divine Intervention
John Greyson's 14.3 Seconds
Themes of Subversion in Luis Buñuel's Los Olvidados and Subida al Cielo
Montage and character subjectivity in Alain Resnais' Muriel ou le temps d'un retour
Culture, Sexuality and Politics in Deepa Mehta's Fire
Visconti's Death in Venice
Themes of "momism", Communism and Conformity in 1950's American Cinema
Form and Meaning in Peter Rose's Secondary Currents and Michael Snow's So Is This
Identity Politics in Carol Reed's Odd Man Out and Neil Jordan's The Crying Game
A Critical Analysis of Mr. Smith Goes to Washington: A Film Directed by Frank Capra (1939)
Alan Parker's The Commitments (1991)
John Crowley's Intermission (2003)
Bob Quinn's Atlantean (1983)
Carol Reed's Odd Man Out (1947)
The Virgin of Jerusalem: A Byzantine Icon
Analysis of Robert S. Nelson's Living on the Byzantine Borders of Western Art
Cronenberg's Canada
David Secter's Winter Kept Us Warm (1965)
Nicolasito and Coffea Arábiga
irish film
canadian film
palestinian film
Elia Suleiman
Hany Abu-Assad
film semiotics
suicide bomb
1950's American cinema
Battle of Algiers
Coffea Arábiga
En un barrio viejo
Gillo Pontecorvo
ICAIC
John Greyson
Julio García Espinosa
Muriel ou le temps d'un retour
My Son John
Nicolás Guillén Landrián
Rashid Masharawi
Subida al Cielo
Tomás Gutiérrez Alea
contemporary film theory
cuban film
david secter
holy virgin
irish identity
israeli film
last year at marienbad
los olvidados
mexican cinema
momism
mr smith goes to washington
novgorod school
peter rose
religious icon
secondary currents
semiology
so is this
text film
virgin of jerusalem
winter kept us warm

redpajama_set_name: RedPajamaCommonCrawl


text:
Emma Forrest-Leigh, Associate Principal Digital & Creative Industries, is delighted to be holding the exhibition in the heart of the town centre and extremely proud of the art work and exhibits on show.
"Show Offs is a celebration of mid-year successes within the faculty," she said. "Each course is displaying a successful set of work from a chosen assignment that has taken place between September and this mid-year point.
"Work ranges from fashion to artwork, films, music, computer generated work and written pieces. Some learners are performing extracts of shows they have conducted in our theatre earlier in the year.
"We are delighted to be working in partnership with Freshney Place who have generously provided us with this platform for our learners to gain real feedback on their work and gain experience in curating an exhibition of their work, in preparation for our end of year show.
"We welcome visitors to come and visit the Show Offs pop up shop to view the work and find more about what we do in the Art School. In turn we also warmly welcome visitors to follow up their visit with an invitation to our end of year event and see how the mid-year work will have developed into the learner's final pieces.
"This event is annual and is part of a strong working relationship with Freshney Place, who will also be involved in a forthcoming partner Fashion Show. Together we are supporting the creative talent within our community."


text:
Bringing it home at the British GP
"It's back to action this weekend – and at my favourite track on the F1 calendar.
"For me, Silverstone has the ideal mix of fast and flowing sections, high-speed corners and a grippy surface. It is the perfect place to drive a modern-day Formula 1 car. I don't think you can beat the feeling of exhilaration when you hook up a good lap, right at the limit.
"I've gone well at Silverstone in the past. It's where I took my first Formula 2 victory in 2017, so it's a special track and I always enjoy the chance to drive there.
"It's also the home race for Williams, so we'll be looking to do well for everyone at Grove, and hopefully give the fans something to smile about. The British are mad for F1 and to have a capacity crowd of 140,000 there on race day should be incredible.
"Silverstone is something of a home event for me, too. Unfortunately, F1 can't make it to Canada again this year, but I've lived in London pretty much full time since 2015.
"The common language was a factor in choosing the UK as my European base – and I really like London. It is different from Toronto but it has a lot in common: it is multicultural, it has a very metropolitan feel, and has a city vibe that I like. When I first came to the UK I was based out in the countryside, and it didn't suit me. In London I feel a lot more at home.
"Home it might be, but I don't consider myself English. That was brought into focus at Sunday's European Football Championship final when being half Italian meant I had to break with the Williams majority and cheer for Italy.
"The final result wasn't the best for most of my team mates (sorry George) but I'll do my best to bring a good result home this weekend!"
https://www.nicholaslatifi.com/wp-content/uploads/2021/07/LAT089-Social-Silverstone-Hype-v2.mp4
Fri 14:30
Sat 12:00
SPR QU
Sun 15:00
All times local
GP Stats
52Laps
5.891KM
18Corners


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Hampshire Moorland
George Cole	(1810–1883)
Portsmouth Museums and Visitor Services
Photo credit: Portsmouth Museums and Visitor Services
This image is available to be shared and re-used under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives licence (CC BY-NC-ND).
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H 104.5 x W 150.5 cm
purchased from Messrs Mitchell, 1945
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Windsor Castle from the Thames Wednesbury Museum & Art Gallery
The South Downs Macclesfield Town Hall
Landscape near Pulborough, Sussex Kirklees Museums and Galleries
Carting Bracken Russell-Cotes Art Gallery & Museum
Cotehele Mill on the Tamar Portsmouth Museums and Visitor Services
Entrance to Portsmouth Harbour Portsmouth Museums and Visitor Services
Showery Weather Manchester Art Gallery


Join our expert from the Woodland Trust, John Fleetwood, to enjoy a 1 hour walking tree trail around a few of the notable trees of the centre of Norwich. Starting at The Forum, John will guide the group through the garden of St Peter Mancroft, around the Market and through part of the shopping area, eventually finishing at Chapelfield Gardens. Hear about the trees that so often go unnoticed as people go about their business in the city, learn why those particular trees are there, how old they are and how to work out their ages, as well as stories of their history in the city. There will be free illustrated maps to take away.


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Нестюковская — название населённых пунктов в России:

 Нестюковская — деревня в Вельском районе Архангельской области.
 Нестюковская — деревня в Верхнетоемском районе Архангельской области.

redpajama_set_name: RedPajamaWikipedia


"The only difference is the compensation"
BossFeed Briefing for March 27, 2017. A Senate committee held confirmation hearings last Wednesday on the nomination of Alexander Acosta to be the next Secretary of Labor. The US House of Representatives was scheduled to vote on a repeal of the Affordable Care Act last Thursday, and then last Friday, and now not for the foreseeable future. Later this afternoon the Washington State Legislature will hold a work session on portable benefits for app-based workers.
Starbucks baristas with Working Washington made national news when they called for an equitable parental leave policy. The company struggled to justify the difference in paid leave between corporate and store employees, offering the curious argument that "the only difference is the compensation".
The Home Depot is being sued over a case where a supervisor harassed, threatened, and then killed an employee. Although both were technically employed by a garden services contractor and weren't at work when the crime was committed, an appeals court ruled the suit could proceed on the grounds that the murderer used his supervisory authority to threaten the victim, and that this authority was granted in part by the Home Depot.
The Fiverr platform markets itself by celebrating the value of working past the point of exhaustion. The company was recently backed with $110 million in venture capital, and built on the idea of selling creative services for $5.
What's the opposite of the sky falling? Washington State voted to raise the minimum wage in November, wages rose significantly on January 1st… and unemployment just hit a 9-year low. The job market is even stronger in Seattle.
Is it wrong to hope he was fired? Former Secretary of Labor nominee Andy Puzder is now a former fast food CEO too. It's not clear whether or not he made a voluntary departure from his job running Hardee's and Carl's, Jr, but we can hope.
Support for paid family leave is remarkably strong, with surprisingly small partisan differences, according to a very-large-sample-size survey recently released by Pew Research. Any fan of stats, charts, sidebars, and crosstabs will find lots to love in this comprehensive report covering public sentiment; assessments of the impact on employers and the economy; cuts across gender, age, and class; and so much more.


This ceramics class is the perfect way to introduce yourself to throwing on the wheel. You will spend two hours learning beginner's throwing techniques from local ceramic artist Brianna Shimer and will create 2-3 pieces all your own. Bring your own snacks and drinks, get a little muddy, and enjoy the relaxed atmosphere with a friend, significant other, or just as a treat for yourself! Cost: $45.


Home About Universe Astrobiology Astronomy Beginners Gallery Info Missions Planets Search for life Could Bectaria From Earth Make It To Mars- And Survive There?
Could Bectaria From Earth Make It To Mars- And Survive There?
When we talk about natural life on Mars, we don't normally picture that it will be life that we (accidentally) transported there. But a vision of new studies looks at the option of how some bacteria from Earth could be capable to live — maybe even flourish — on Marsian surface. The three recent studies, all issued in Astrobiology by NASA JPL's Kasthuri J. Venkateswaran, concentrate on not just how the bacteria might make it to Mars, but also what would happen to it once it reached.
There are, obviously, procedures planned to keep spacecraft clear of contaminants. The problem, however, might be bacterial reproductive structure, which can be extremely hardy. While contact to harsh elements and UV radiation on Mars can kill many of them but some might still live. In a simulated Martian atmosphere, some bacteria in the study were able to survive at 18 months and unbelievably some had develop even harder than we they reached. Venkateswaran Said: "These surviving spores had higher concentrations of proteins associated with UV radiation resistance and, in fact, showed elevated UV resistance when revived and re-exposed on Earth."


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Airline offers new luxury cabins
Top-end customers can look forward to suites furnished with a full-flat bed and packed with the latest tech.
Singapore Airlines recently revealed the details of their new 'Singapore Airline Suites', which will be fitted as standard on the company's fleet of Airbus A380 super-jumbo jets when they begin flying at the end of 2017.
Each Airbus will include six of the luxury suites that boast 32-inch full HD televisions, tablets, mood lighting, leather furniture, personal wardrobes and full-flat single or double beds that can be stowed for bigger space.
Singapore Airlines where the first to offer high-end luxury air travel when it debuted the original version of its A380 suites around 10 years ago, but over the years the other airlines have caught up with the company – and in some cases, improved on their service. Many industry reporters believe that the improvements to their service are more than enough to put Singapore Airlines back at the forefront of luxury travel.
As the competition between airlines hots up, they're forced to come up with original features to encourage new customers. German airline Lufthansa has updated its in-flight entertainment program with live presentations and product testing, while the Hong Kong Brewing Company created the Betsy beer for the Cathay Pacific airline, which has been brewed to taste better at high altitudes. Can you think of anything the airlines could offer you to ensure you booked with them?
Website: www.singaporeair.com
Contact: www.singaporeair.com/en_UK/contact-us


What is couple counselling / marriage therapy?
Couple counselling is a form of psychological intervention where a couple consults a professional couples counsellor or marriage therapist together with a view to improving or changing aspects of their relationship. In this short article I will use the terms couples counselling and marriage therapy interchangeably.
Marriage therapy differs from individual therapy in that the couples counsellor's client is both parties. In individual therapy the counsellor's aim is to promote the best interests of the person consulting him/her but in counselling with couples the counsellor aims to address patterns of relationship between the couple that may be causing either or both parties distress.
Generally a couples counsellor will meet with both parties at the first meeting. Some marriage therapists prefer to meet with first one member of a couple and then the other and then meet the couple together in a third consultation. This is sometimes a useful way to begin as it gives each party an opportunity to clarify with the couple's counsellor what their expectations of marriage therapy are and to detail their concerns and fears about their relationship.
Generally couples counselling and marriage therapy are shorter term interventions – running between 6 and 10 sessions. Follow up appointments may be scheduled at longer intervals to maintain and feedback on changes that the couple may have made in their relationship.
A good couples counsellor or marriage therapist will be careful to ensure that (s)he has a thorough understanding of both member 's of the couple point of view. Couple therapists have training that empahsises that in an intimate relationship such as a marriage the couple's behaviour and communications mutually influence one another. Often, marriage therapists liken a relationship to a dance, the moves of the one complement and necessitate the moves of the other. The couple's counsellor will listen to the couple as they communicate with one another and as the marriage therapy progresses, will intervene to adjust patterns of communication or to disrupt patterns of the "dance" that are destructive or causing pain.
An effective marriage therapist may also make concrete suggestions as to how to handle specific situations.
Who may practice couple counselling and marriage therapy?
In general, psychologists, psychiatrists, social workers and registered counsellors are the practitioners of couple counselling. Mental health professionals such as these may only practice couple's counselling or marriage therapy if their training included a couple counselling or marriage therapy component.
Couples counselling is also practiced by la counsellors in church and volunteer contexts.
What problems can be dealt with in couples counselling and marriage therapy?
This list is by no means exhaustive. Couple counselling and marriage therapy can also be used to deepen and enrich relationships.
My partner doesn't want to see a couple counsellor or marriage therapist but I think we must. What do I do?
Try to find out the reasons for your partner's reluctance to attend a couple counselling. For some people there is still a stigma attached to seeing marriage therapist or couple counsellor. Sometimes there is a perception that coupe counselling forces people to expose feelings that they are unwilling to. Sometimes a partner may be unwilling to come to marriage therapy because they feel that the problem is not serious enough. Talk about it with your partner. If they are unwilling to talk or close the conversation down then write them a letter in which you stress your reasons for wanting to see a marriage therapist.
Whatever else happens, don't let your partner's unwillingness stop you from seeking professional assistance. Most couple counsellors and marriage therapists also offer individual therapeutic services. Make an appointment with someone who does both and go and see them on your own. Often this act lone is enough to spur an unwilling partner into coming to couple counselling.
I feel that the couple counsellor is more on my partner's "side" than mine. I'm thinking about dropping out of the marriage therapy.
This is something that may occur and as awkward as it is, discuss it with your couple counsellor. Tell them why you think this and what it is that the marriage therapist is doing that gives you this feeling.


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Search Thomas Fisher Rare Book Library, University of Toronto
Manuscript Collection MS COLL 00010E - Malcolm Lester Papers
CA OTUTF MS COLL 00010E
Malcolm Lester Papers
[198-]-[9-]. (Creation)
1 box (12.5 cm)
Lester, Malcolm
Malcolm Lester has devoted his career to bringing the work of both established and emerging writers to the world's attention. Managing Editor of Holt, Rinehart and Winston, and General Manager of Coles Publishing (the publishing arm of Coles bookstores), Past President of the Association of Canadian Publishers, he is best known as the President of Lester & Orpen Dennys, one of Canada's most distinguished publishers. The Literary Review of Canada named three of Malcolm Lester's books as among the most important Canadian books of the 20th century.
Thomas Fisher Rare Book Library, University of Toronto
Gift of Malcolm Lester, 2011
Collection includes primarily financial statements, correspondence and legal transactions related to the operations of the publishing house Lester & Orpen Dennys during the 1980s. It includes material related to Key Porter, Christopher Ondaatje, Pearson and Jack Shapiro.
Material may be requested in person at the Fisher Library Reference Desk, or in advance using our online stack retrieval request form: https://fisher.library.utoronto.ca/stack-retrieval-request
malcolm-lester-papers.pdf
Textual records
Lester, Malcolm (Creator)


CONDITIONS : Tidal current & wind requires planning.
Described by many as 'my best UK dive ever' this site rarely disappoints. Strong tidal currents maintain excellent visibility often in excess of 15m, bringing nutrient laden waters to sustain an incredible diversity of life. Everything from a proliferation of intricate nudibranch to the giants of the sea, minke whale and basking shark. The cliffs are cloaked with an abundance of soft corals in a rainbow of colours with numerous nooks and crannies offering safe haven to many crustacea including crayfish. Dogfish, octopus and shoals of pollock, wrasse and mackerel make this divesite a tiptoptasic underwater experience.


Following an objection to the issue of an export licence by my Department's expert adviser, the application to export the frame of the coronation crown of Queen Adelaide was referred, in the normal way, to the reviewing committee on the export of works of art. The reviewing committee consulted my Department, the Treasury Solicitor's Department and the Lord Chamberlain's Office on whether the crown frame constituted regalia. The reviewing committee was advised that the discarded crown frame could not be regarded as part of the regalia.
A decision on the export licence application has been deferred until after 24 January 1996 to give the opportunity for an offer to purchase the crown frame to be made at or above the fair market price of £425,000.
A summary of this case is contained in the annual report of the reviewing committee on the export of works of art 1994–95, which was placed in the Library of the House last 24 October. Decisions on the export licence applications for the frame of the imperial crown of George I and the frame of the coronation crown of George IV have also been deferred until after 24 January 1996 to enable purchase offers to be made.


The perfect gift for a Welsh partner on St Dwynwen's Day, Valentines Day or anniversary.
St Dwynwen's Day is the Welsh Valentines Day celebrated on 25th January. She is the Welsh patron saint of lovers, who faced forbidden love in the 5th Century. When God bestowed three wishes upon her, she wished Him to meet the hopes and dreams of all true lovers. This is why couples go to visit her church on the Island of LLanddwyn to have their relationship blessed.
The set includes a card for your 'cariad' (love) and a choice of fairy or dragon keyring, presented in gift box with red shredded tissue.


Denver is the perfect friend for any occasion. The contagious laughter and ability to make conversation about almost anything are signs of a forever friendship. Bring Denver along and you'll immediately feel more comfortable, in any environment.
The Denver features a full length zipper, mid-length fit and a full drawstring hood with elasticized hem and cuffs. Premium Fleece, 60% cotton, 40% polyester.
Effortlessly casual and cool, Riley is the best choice for standing out from the crowd, before school, at school and after school!
The Riley features a mid/high rise drawstring waist, a relaxed fit and side pockets.


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Mom who killed her 2 kids as part of 'God's plan' gets 120 years
June 28, 2019 | 1:20am
Connecticut AG probing Amazon's e-book business
Man convicted of killing classmate sues prison officials over medical care
Booze clues: Cops use Snapchat posts to bust liquor store robbery suspect
Connecticut cops charged over on-duty hotel rendezvous
NEW HAVEN, Conn. — A Connecticut woman convicted of killing her two children saying it was God's plan was sentenced to 120 years in prison without the possibility of parole.
LeRoya Moore, 39, was sentenced Thursday, following her conviction in March of two counts of murder for killing her 6-year-old daughter, Aleisha, and her 7-year-old son, Daaron, at the family's home in East Haven in 2015. For each count of murder, she received 60 years.
"It's a no win today, the sentence reflects the seriousness of the crimes but the children are still gone," New Haven State's Attorney Patrick Griffin said.
Moore's attorneys tried to use an insanity defense, saying she was in a psychotic state at the time but the three-judge panel rejected the defense in March.
Autopsies showed the children died from antihistamine intoxication, but a defense psychiatrist said Moore told him she drowned them while trying to "baptize them" after God told her she had to kill them. She also stayed in the house for three days with the bodies telling the police she "saved them."
Griffin added the drug used was Benadryl, an over-the-counter medication.
A Yale psychiatry professor testified at trial that Moore suffered from schizoaffective disorder during the killings and still suffered from it.
Moore will serve the sentences consecutively at York Correctional Institution, where she is housed now in East Lyme.
Moore's attorney was not immediately available for comment.
Filed under child endangerment , connecticut , deaths , prison , trials , 6/28/19
Dems spar over heath care, immigration on fiery second nig...
'The Tonight Show Starring Jimmy Fallon' Plummets to Fourth-Lowest Ratings Ever 'The Tonight Show Starring Jimmy Fallon' Plummets to Fourth-Lowest Ratings Ever


We have just launched a website of Advances in Skeletal Muscle Function Assessment (ASMFA) Journal. The site can be accessed on http://www.asmfajournal.org where you can find all details and information for authors. As we plan to publish an initial issue already in December 2016, we invite you to submit relevant papers ASAP.


You know when you have one of those a-ha moments? When something clicks and it just all makes sense? For me, those moments of clarity are few and far between. I'm usually the one who wavers back and forth and can't make a decision to save my life. Whether something small, like searching for the perfect dress, or a much more life-altering decision, like which college to choose for grad school, I always somehow wrestle with a million options. And yet, always find myself coming back to option number one.
The moment I walked through the front door of this house, I knew it was ours. The place we had been waiting to call home. All it took was one look. We opened the front door, and I just knew. A single glance at the entryway, hardwood floors, staircase, and fireplace… and my heart was officially stolen. And I'm honestly not even sure I had both feet through the front door yet. I gave Dan a look that he read like a book. He knew he was in trouble, because I was already sold. Mind you, this entire interaction took all of 7 seconds to occur.
So in the midst of all these renovations, when something doesn't go right or its been an extremely long day, I remind myself of that moment. That moment that took place exactly one year ago today. That moment that forever changed our life.
And I look forward to so many more.


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John Jay on the Biblical View of War
First Supreme Court Chief Justice
Founding Father John Jay (1745-1829) was appointed by President George Washington as the first Chief Justice of the United States Supreme Court. In addition to serving on the Supreme Court, Jay had a very distinguished history of public service. He was a member of the Continental Congress (1774-76, 1778-79) and served as President of Congress (1778-79); he helped write the New York State constitution (1777); he authored the first manual on military discipline (1777); he served as Chief-Justice of New York Supreme Court (1777-78); he was appointed minister to Spain (1779); he signed the final peace treaty with Great Britain (1783); and he was elected as Governor of New York (1795- 1801).
Jay is also famous as one of the three coauthors, along with James Madison and Alexander Hamilton, of the Federalist Papers, which were instrumental in securing the ratification of the federal Constitution.
John Jay was a strong Christian, serving both as vice-president of the American Bible Society (1816-21) and its president (1821- 27), and he was a member of American Board of Commissioners for Foreign Missions. In this series of letters, John Jay expounds on the Biblical view of war.
Whether war of every description
is prohibited by the gospel, is one of those questions on which the excitement
of any of the passions can produce no light. An answer to it can result only
from careful investigation and fair reasoning.
It appears to me that the gospel not only recognizes
the whole moral law, and extends and perfects our knowledge of it, but also
enjoins on all mankind the observance of it. Being ordained by a legislator of
infinite wisdom and rectitude, and in whom there is "no variableness," it must
be free from imperfection, and therefore never has, nor ever will require
amendment or alteration. Hence I conclude that the moral law is exactly the
same now that it was before the flood.
That all those wars and fightings
are unlawful, which proceed from culpable desires and designs (or in Scripture
language from lusts), on the one side or on the other, is too clear to require
proof. As to wars of an opposite description, and many such there have been, I
believe they are as lawful to the unoffending party in our days, as they were
in the days of Abraham. He waged war against and defeated the five kings. He
piously dedicated a tenth of the spoils; and, instead of being blamed, was blessed.
What should we think of a human legislator
who should authorize or encourage infractions of his own laws ? If wars of
every kind and description are prohibited by the moral law, I see no way of
reconciling such a prohibition with those parts of Scripture which record
institutions, declarations, and interpositions of the Almighty which manifestly
evince the contrary. If every war is sinful, how did it happen that the sin
of waging any war is not specified among the numerous sins and offenses which
are mentioned and reproved in both the Testaments?
To collect and arrange the many
facts and arguments which relate to this subject would require more time and
application than I am able to bestow. The aforegoing are hinted merely to
exhibit some of the reasons on which my opinion rests.
It certainly is very desirable
that a pacific disposition should prevail among all nations. The most effectual
way of producing it is by extending the prevalence and influence of the gospel.
Real Christians will abstain from violating the rights of others, and therefore
will not provoke war.
Almost all nations have peace or
war at the will and pleasure of rulers whom they do not elect, and who are not
always wise or virtuous. Providence has given to our people the choice of their
rulers, and it is the duty as well as the privilege and interest of our
Christian nation to select and prefer Christians for their rulers.
In my letter to you of the 16th
October last, I hinted that I might perhaps write and send you a few more lines
on the question, whether war of every description is forbidden by the gospel.
I will now add some remarks to
those which were inserted in my answer to your first letter. In that answer,
the lawfulness of war, in certain cases, was inferred from those Divine
positive institutions which authorized and regulated it. For although those
institutions were not dictated by the moral law, yet they cannot be understood
to authorize what the moral law forbids.
The moral or natural law was given
by the Sovereign of the universe to all mankind; with them it was co-eval, and
with them it will be co-existent. Being rounded by infinite wisdom and goodness
on essential right, which never varies, it can require no amendment or
alteration.
Divine positive ordinances and
institutions, on the other hand, being founded on expediency, which is not
always perpetual or immutable, admit of, and have received, alteration and
limitation in sundry instances.
There were several Divine positive
ordinances and institutions at very early periods. Some of them were of limited
obligation, as circumcision; others of them were of universal obligation, as
the Sabbath, marriage, sacrifices, the particular punishment for murder.
The Lord of the Sabbath caused the day to be changed. The
ordinances of Moses suffered the Israelites to exercise more than the original
liberty allowed to marriage, but our Savior repealed that indulgence. When
sacrifices had answered their purpose as types of the great Sacrifice, etc.,
they ceased. The punishment for murder has undergone no alteration, either by
Moses or by Christ.
I advert to this distinction between the moral law and
positive institutions, because it enables us to distinguish the reasonings
which apply to the one, from those which apply only to the other—ordinances
being mutable, but the moral law always the same.
To this you observe, by way of objection, that the law was
given by Moses, but that grace and truth came by Jesus Christ; and hence that,
even as it relates to the moral law, a more perfect system is enjoined by the
gospel than was required under the law, which admitted of an eye for an eye,
and a tooth for a tooth, tolerating a spirit of retaliation. And further, that,
if the moral law was the same now that it was before the flood, we must call in
question those precepts of the gospel which prohibit some things allowed of and
practiced by the patriarchs.
It is true that the law was given by Moses, not however in
his individual or private capacity, but as the agent or instrument, and by the
authority of the Almighty. The law demanded exact obedience, and proclaimed:
"Cursed is every one that contineth not in all things which are written in the
book of the law to do them." The law was inexorable, and by requiring perfect
obedience, under a penalty so inevitable and dreadful, operated as a
schoolmaster to bring us to Christ for mercy.
Mercy, and grace, and favor did come by Jesus Christ; and
also that truth which verified the promises and predictions concerning him, and
which exposed and corrected the various errors which had been imbibed
respecting the Supreme Being, his attributes, laws, and dispensations.
Uninspired commentators have dishonored the law, by ascribing to it, in certain
cases, a sense and meaning which it did not authorize, and which our Savior
rejected and reproved.
The inspired prophets, on the contrary, express the most
exalted ideas of the law. They declare that the law of the Lord is perfect,
that the statutes of the Lord are right; and that the commandment of the Lord
is pure; that God would magnify the law and make it honorable, etc.
Our Savior himself assures us that he came not to destroy
the law and the prophets, but to fulfill; that whoever shall do and teach the
commandments, shall be called great in the kingdom of heaven; that it is easier
for heaven and earth to pass, than one tittle of the law to fail. This
certainly amounts to a full approbation of it. Even after the resurrection of
our Lord, and after the descent of the Holy Spirit, and after the miraculous
conversion of Paul, and after the direct revelation of the Christian
dispensation to him, he pronounced this memorable encomium on the law, viz.:
"The law is holy, and the commandments holy, just, and good."
It is true that one of the positive ordinances of Moses,
to which you allude, did ordain retaliation, or, in other words, a tooth for
a tooth. But we are to recollect that it was ordained, not as a rule to regulate
the conduct of private individuals towards each other, but as a legal penalty
or punishment for certain offenses. Retaliation is also manifest in the punishment
prescribed for murder—life for life. Legal punishments are adjusted and inflicted
by the law and magistrate, and not by unauthorized individuals. These and
all other positive laws or ordinances established by Divine direction, must
of necessity be consistent with the moral law. It certainly was not the design
of the law or ordinance in question, to encourage a spirit of personal or
private revenge. On the contrary, there are express injunctions in the law
of Moses which inculcate a very different spirit; such as these: "Thou shalt
not avenge, nor bear any grudge against the children of thy people; but thou
shalt love thy neighbor as thyself." "Love the stranger, for ye were strangers
in Egypt." "If thou meet thy enemy's ox or his ass going astray, thou shalt
surely bring it back to him," etc., etc.
There is reason to believe that Solomon understood the law
in its true sense, and we have his opinion as to retaliation of injuries, viz.:
"Say not, I will recompense evil; but wait upon the Lord, and He will save
thee." Again: "Say not, I will do to him as he hath done to me. I will render
to the man according to his work." And again:" If thine enemy be hungry, give
him bread to eat; and if he be thirsty, give him water to drink; for thou shalt
heap coals of fire upon his head, and the Lord shall reward thee."
But a greater than Solomon has removed all doubts on this
point. On being asked by a Jewish lawyer, which was the great commandment
in the law, our Savior answered: "Thou shalt love the Lord thy God with all
thy heart, and with all thy soul, and with all thy mind. This is the first
and the great commandment, and the second is like unto it: Thou shalt love
thy neighbor as thyself. On these two commandments hang all the law and the
prophets." It is manifest, therefore, that the love of God and the love of
man are enjoined by the law; and as the genuine love of the one comprehends
that of the other, the apostle assures us that "Love is the fulfilling of
the law."
It is, nevertheless, certain, that erroneous opinions
respecting retaliation, and who were to be regarded as neighbors, had long
prevailed, and that our Savior blamed and corrected those and many other
unfounded doctrines.
That the patriarchs sometimes violated the moral law, is a
position not to be disputed. They were men, and subject to the frailties of our
fallen nature. But I do not know nor believe, that any of them violated the
moral law by the authority or with the approbation of the Almighty. I can find
no instance of it in the Bible. Nor do I know of any action done according to
the moral law, that is censured or forbidden by the gospel. On the contrary, it
appears to me that the gospel strongly enforces the whole moral law, and clears
it from the vain traditions and absurd comments which had obscured and
misapplied certain parts of it.
As, therefore, Divine ordinances did authorize just war,
as those ordinances were necessarily consistent with the moral law, and as the
moral law is incorporated in the Christian dispensation, I think it follows
that the right to wage just and necessary war is admitted, and not abolished,
by the gospel.
You seem to doubt whether there ever was a just war, and
that it would puzzle even Solomon to find one.
Had such a doubt been proposed to Solomon, an answer to it
would probably have been suggested to him by a very memorable and interesting
war which occurred in his day. I allude to the war in which his brother Absalom
on the one side, and his father David on the other, were the belligerent
parties. That war was caused by, and proceeded from, "the lusts" of Absalom,
and was horribly wicked. But the war waged against him by David was not caused
by, nor did proceed from, "the lusts" of David, but was right, just, and
necessary. Had David submitted to be dethroned by his detestable son, he would,
in my opinion, have violated his moral duty and betrayed his official trust.
Although just war is not forbidden by the gospel in
express terms, yet you think an implied prohibition of all war, without
exception, is deducible from the answer of our Lord to Pilate, viz.: "If my
kingdom were of this world, then would my servants fight," etc.
At the conclusion of the Last Supper, our Lord said to his
disciples: "He that hath no sword, let him now sell his garment and buy one,"
They answered: "Lord, here are two swords." He replied: "It is enough."
It is not to be presumed that our Lord would have ordered
swords to be provided, but for some purpose for which a sword was requisite;
nor that he would have been satisfied with two, if more had been necessary.
Whatever may have been the purposes for which swords were
ordered, it is certain that the use of one of those swords soon caused an event
which confirmed the subsequent defense of our Lord before Pilate, and also
produced other important results. When the officers and their band arrived,
with swords and with staves, to take Jesus, they who were about him saw what
would follow. "They said unto him: Lord, shall we smite with the sword?" It
does not appear that any of the eleven disciples who were with him, except one,
made the least attempt to defend him. But Peter, probably inferring from the
order for swords, that they were now to be used, proceeded to "smite a servant
of the high-priest, and cut off his right ear." Jesus (perhaps, among other
reasons, to abate inducements to prosecute Peter for that violent attack)
healed the ear.
He ordered Peter to put his sword into its sheath, and
gave two reasons for it. The first related to himself, and amounted to this,
that he would make no opposition, saying: "The cup which my Father hath given
me, shall I not drink?" The second related to Peter, viz., they who take the
sword, shall perish by the sword; doubtless meaning that they who take and use
a sword, as Peter had just done, without lawful authority, and against lawful
authority, incur the penalty and risk of perishing by the sword. This meaning
seems to be attached to those words by the occasion and circumstances which
prompted them. If understood in their unlimited latitude, they would contradict
the experience and testimony of all ages, it being manifest that many military
men die peaceably in their beds.
The disciples did believe and expect that Jesus had come
to establish a temporal kingdom. "They trusted that it had been he which should
have redeemed Israel." "They knew not the Scripture, that he must rise again
from the dead; questioning one with another what the rising from the dead
should mean." Even after his resurrection, they appear to have entertained the
same belief and expectation; for on the very day he ascended, they asked him:
"Lord, wilt thou at this time restore the kingdom to Israel?"
The order for swords, and the declaration that two were enough,
tended to confirm that belief and expectation, and to inspire a confidence
that he who had commanded the winds and the waves, and had raised the dead
to life, was able, as well as willing, to render the two swords sufficient
to vanquish his enemies. Could anything less than such a firm belief and confidence
have prompted eleven such men, and with only two swords among them, to offer
to "smite with the sword" the armed band, which, under officers appointed
by the Jewish rulers, had come to apprehend their Master?
Great must have been the
disappointment and astonishment of the disciples, when Jesus unexpectedly and
peaceably submitted to the power and malice of his enemies, directing Peter to
sheath his sword, and hinting to him the danger he had incurred by drawing it:
amazed and terrified, they forsook him and fled. This catastrophe so surprised
and subdued the intrepidity of Peter, that he was no longer "ready to go with
his Master to prison and to death."
It seems that perplexity,
consternation, and tumultuous feelings overwhelmed his faith and reflection,
and that his agitations, receiving fresh excitement from the danger and dread
of discovery, which soon after ensued, impelled him with heedless precipitation
to deny his Master. This denial proved bitter to Peter, and it taught him and
others that spiritual strength can be sustained only by the spiritual bread
which cometh down from heaven.
The Jews accused Jesus before Pilate
of aspiring to the temporal sovereignty of their nation, in violation of the
legal rights of Caesar. Jesus, in his defense, admitted that he was king,
but declared that his kingdom was not of this world. For the truth of this
assertion, he appealed to the peaceable behavior of his adherents, saying:"
If my kingdom were of this world, then would my servants fight, that I should
not be delivered to the Jews, but now is my kingdom not from hence."
Pilate, who doubtless well knew
what had been the conduct of Jesus, both before and at the time of his
apprehension, was satisfied, but the Jews were not. They exclaimed: "If thou
let this man go, thou art not Caesar's friend; whosoever maketh himself a king,
speaketh against Caesar." "We have no king but Caesar."
You and I understand the words in
question very differently. Is there the least reason to infer from the belief
and conduct of the disciples, that they were restrained from fighting by the
consideration that their Master's kingdom was not of this world? On the
contrary, did they not believe and expect that he had come to restore one of
the kingdoms of this world to Israel? The fact is, that they were ready and
willing to fight. Did they not ask him: "Lord, shall we smite with the sword?"
It was his will, therefore, and not their will, which restrained them from
fighting; and for that restraint he assigned a very conclusive reason, viz.,
because his kingdom was not of this world.
To the advancement and support of
his spiritual sovereignty over his spiritual kingdom, soldiers and swords and
corporeal exertions were inapplicable and useless. But, on the other hand,
soldiers and swords and corporeal exertions are necessary to enable the several
temporal rulers of the states and kingdoms of this world to maintain their
authority and protect themselves and their people; and our Savior expressly
declared that if his kingdom had been of this world, then would his servants
fight to protect him; or, in other words, that then, and in that case, he would
not have restrained them from fighting. The lawfulness of such fighting,
therefore, instead of being denied, is admitted and confirmed by that
declaration.
This exposition coincides with the answer given by John
the Baptist (who was "filled with the Holy Ghost") to the soldiers who asked
him what they should do, viz.: "Do violence to no man, neither accuse any
falsely, and be content with your wages." Can these words be rationally
understood as meaning that they should receive wages for nothing; or that, when
ordered to march against the enemy, they should refuse to proceed; or that, on
meeting the enemy, they should either run away, or passively submit to be
captured or slaughtered? This would be attaching a meaning to his answer very
foreign to the sense of the words in which he expressed it.
Had the gospel regarded war as being in every case sinful,
it seems strange that the apostle Paul should have been so unguarded as, in
teaching the importance of faith, to use an argument which clearly proves the
lawfulness of war, viz.: "That it was through faith that Gideon, David, and
others waxed valiant in fight, and turned to flight the armies of aliens";
thereby confirming the declaration of David, that it was God who had "girded
him with strength to battle; and had taught his hands to war, and his fingers
to fight."
The gospel appears to me to
consider the servants of Christ as having two capacities or characters, with
correspondent duties to sustain and fulfill.
Being subjects of his spiritual
kingdom, they are bound in that capacity to fight, pursuant to his orders, with
spiritual weapons, against his and their spiritual enemies.
Being also subjects and partakers
in the rights and interests of a temporal or worldly state or kingdom, they are
in that capacity bound, whenever lawfully required, to fight with weapons in
just and necessary war, against the worldly enemies of that state or kingdom.
Another view may be taken of the
subject. The depravity which mankind inherited from their first parents,
introduced wickedness into the world. That wickedness rendered human government
necessary to restrain the violence and injustice resulting from it. To
facilitate the establishment and administration of government, the human race
became, in the course of Providence, divided into separate and distinct
nations. Every nation instituted a government, with authority and power to
protect it against domestic and foreign aggressions. Each government provided
for the internal peace and security of the nation, by laws for punishing their
offending subjects. The law of all the nations prescribed the conduct which
they were to observe towards each other, and allowed war to be waged by an
innocent against an offending nation, when rendered just and necessary by
unprovoked, atrocious, and unredressed injuries.
Thus two kinds of justifiable
warfare arose: one against domestic malefactors; the other against foreign
aggressors. The first being regulated by the law of the land; the second by the
law of nations; and both consistently with the moral law.
As to the first species of warfare,
in every state or kingdom, the government or executive ruler has, throughout
all ages, pursued, and often at the expense of blood, attacked, captured,
and subdued murderers, robbers, and other offenders; by force confining them
in chains and in prisons, and by force inflicting on them punishment; never
rendering to them good for evil, for that duty attaches to individuals in
their personal or private capacities, but not to rulers or magistrates in
their official capacities. This species of war has constantly and universally
been deemed just and indispensable. On this topic the gospel is explicit.
It commands us to obey the higher powers or ruler. It reminds us that "he
beareth not the sword in vain"; that "he is the minister of God, and a revenger
to execute wrath upon him that doeth evil." Now, if he is not to bear the
sward in vain, it follows that he is to use it to execute wrath on evildoers,
and consequently to draw blood and to kill on proper occasions.
As to the second species of warfare,
it certainly is as reasonable and as right that a nation be secure against
injustice, disorder, and rapine from without as from within; and therefore
it is the right and duty of the government or ruler to use force and the sword
to protect and maintain the rights of his people against evildoers of another
nation. The reason and necessity of using force and the sword being the same
in both cases, the right or the law must be the same also.
We are commanded to render to our government, or to our
Caesar, "the things that are Caesar's" that is, the things which belong to him,
and not the things which do not belong to him. And surely this command cannot
be construed to intend or imply that we ought to render to the Caesar of
another nation more than belongs to him.
In case some powerful Caesar should demand of us to
receive and obey a king of his nomination, and unite with him in all his wars,
or that he would commence hostilities against us, what answer would it be
proper for us to give to such a demand? In my opinion, we ought to refuse, and
vigorously defend our independence by arms. To what other expedient could we
have recourse? I cannot think that the gospel authorizes or encourages us, on
such an occasion, to abstain from resistance, and to expect miracles to deliver
A very feeble unprepared nation, on receiving such a
demand, might hesitate and find it expedient to adopt the policy intimated in
the gospel, viz.: "What king, going to war against another king, sitteth not
down first and consulteth whether he be able with ten thousand to meet him that
cometh against him with twenty thousand; or else he sendeth an embassage, and
desireth conditions of peace "—that is, makes the best bargain he can.
If the United States should
unanimously resolve never more to use the sword, would a certified copy of it
prove to be an effectual Mediterranean passport? Would it reform the predatory
rulers of Africa, or persuade the successive potentates of Europe to observe
towards us the conduct of real Christians? On the contrary, would it not
present new facilities, and consequently produce new excitements, to the
gratification of avarice and ambition?
It is true that even just war is
attended with evils, and so likewise is the administration of government and of
justice; but is that a good reason for abolishing either of them? They are
means by which greater evils are averted. Among the various means necessary to
obviate or remove, or repress, or to mitigate the various calamities, dangers,
and exigencies, to which in this life we are exposed, how few are to be found
which do not subject us to troubles, privations, and inconveniences of one kind
or other. To prevent the incursion or continuance of evils, we must submit to
the use of those means, whether agreeable or otherwise, which reason and
experience prescribe.
It is also true, and to be
lamented, that war, however just and necessary, sends many persons out of this
world who are ill prepared for a better. And so also does the law in all
countries. So also does navigation, and other occupations. Are they therefore
all sinful and forbidden?
However desirable the abolition of
all wars may be, yet until the morals and manners of mankind are greatly changed,
it will be found impracticable. We are taught that national sins will be
punished, and war is one of the punishments. The prophets predict wars at so
late a period as the restoration of the Israelites. Who or what can hinder the
occurrence of those wars?
I nevertheless believe, and have
perfect faith in the prophecy, that the time will come when "the nations will
beat their swords into plowshares, and their spears into pruning-hooks; when
nation shall not lift up sword against nation, neither shall they learn war any
more." But does not this prophecy clearly imply, and give us plainly to
understand, that in the meanwhile, and until the arrival of that blessed
period, the nations will not beat their swords into plowshares, nor their
spears into pruning-hooks; that nation will not forbear to lift up sword
against nation, nor cease to learn war?
It may be asked, Are we to do
nothing to hasten the arrival of that happy period? Literally, no created being
can either accelerate or retard its arrival. It will not arrive sooner nor
later than the appointed time.
There certainly is reason to
expect, that as great providential events have usually been preceded and
introduced by the intervention of providential means to prepare the way for
them, so the great event in question will be preceded and introduced in like
manner. It is, I think, more than probable, that the unexpected and singular
cooperation and the extra ordinary zeal and efforts of almost all Christian
nations to extend the light and knowledge of the gospel, and to inculcate its
doctrines, are among those preparatory means. It is the duty of Christians to
promote the prevalence and success of such means, and to look forward with
faith and hope to the result of them.
But whatever may be the time or
the means adopted by Providence for the abolition of war, I think we may,
without presumption, conclude that mankind must be prepared and fitted for the
reception, enjoyment, and preservation of universal permanent peace, before
they will be blessed with it. Are they as yet fitted for it? Certainly not.
Even if it was practicable, would it be wise to disarm the good before "the
wicked cease from troubling?" By what other means than arms and military force
can unoffending rulers and nations protect their rights against unprovoked
aggressions from within and from without? Are there any other means to which
they could recur, and on the efficacy of which they could rely? To this
question I have not as yet heard, nor seen, a direct and precise answer.
Source: The Correspondence and Public Papers of John Jay, Henry Johnston,
editor (New York: G. P. Punam's Sons, 1893), Vol. IV, pp. 391-393, 403-419, letters
to John Murray, October 12, 1816 and April 15, 1818. [John Jay's writings are
available on CD-Rom
from WallBuilders]
By WallBuilders|2017-03-16T14:45:53-04:00December 29th, 2016|Categories: Historical Writings|0 Comments
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Mark Richard Eck
Mark Richard Eck Eaton, OH - Mark Richard Eck, 91, formerly of Eaton, OH, passed away Saturday night, February...
Mark Richard Eck Mark Richard Eck Eaton, OH - Mark Richard Eck, 91, formerly of Eaton, OH, passed away Saturday night, February... Check out this story on pal-item.com: http://pinews.co/2mwsnq9
Richmond Published 12:00 a.m. ET Feb. 28, 2017 | Updated 1:19 p.m. ET Feb. 27, 2017
Eaton, OH - Mark Richard Eck, 91, formerly of Eaton, OH, passed away Saturday night, February 25, 2017. Born January 4, 1926 in Middletown, OH, he was a son of the late Ferdinand Percival Eck and Agnes Elizabeth (Maier) Eck.
A veteran of WW II, he served with the US Army from 1944 - 1946. Mr. Eck was a farmer in Gasper Twp., Preble County for many years, and also had worked at Westvaco, Frigidaire and Harrison Radiator, retiring in 1991. He was a member of the Eaton United Church of Christ and the Preble County Farm Bureau. In addition to his parents, he is preceded in death by brother Robert F. Eck and infant sister Kathleen Eck.
Survived by sons Richard Stephen Eck and wife Teresa Ann of Springboro, OH; and Mark Douglas Eck and wife Thea of Irving, TX; granddaughter Victoria Marie Eck of TX; and 4 great grandchildren.
Friends may call on the family from 12:00 - 2:00 PM Saturday, March 4, 2017 at the Robert L. Crooks Funeral Center at Preble Memory Gardens - 3377 US Rt. 35 - West Alexandria, OH. Funeral services will begin at 2:00 PM with Pastor Roger Stine presiding. Burial Preble Memory Gardens Cemetery. www.rlcfc.com.
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