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50% rabatt på Kapital, Norges ledende økonomiske tidsskrift
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Firmainformasjon
Firmanavn: Kapital
Adresse: Hegnar Media AS Postboks 222, Vinderen
Postnr og sted: 0319 Oslo
Telefon: 23296550
E-post: abonnement@kapital.no Send e-post
Hjemmside: http://www.kapital.no Besøk hjemmeside
Adresse: Hegnar Media AS Postboks 222, Vinderen
Postnr og sted: 0319 Oslo
Telefon: 23296550
E-post: abonnement@kapital.no Send e-post
Hjemmside: http://www.kapital.no Besøk hjemmeside
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First: Although like you I blame both sides in the conflict, that doesn’t mean the two sides are iietndcal. One major difference is that the physical needs, including medical care, of the Palestinians are unmet far more frequently and far more severely. I don’t think it’s reasonable to say that charitable aid towards Palestinians is only acceptable if it’s matched with equal aid for Israilis, when the needs are so unequal.Second: Yes, I do remember how the play ends, but apparently you don’t.This is how the play ends: The racist diatribe you mention (which is harrowing, and hard to hear) occurs. After which someone responds:Don’t tell her that.Tell her we love her.Don’t frighten her.That’s the end of the play. And given how incredibly short the play is, every line counts; it’s unfair to say the play ends on the racist diatribe, when it actually ends on with disagreement with the diatribe.:There’s a vast difference between making your audience uncomfortable and being anti-Semitic. To see anti-Semitism here is to construe erroneously the words spoken by the worst of Churchill’s characters as a statement from the playwright about all Jews as preternaturally filled with a viciousness unique among humankind. But to do this is, again, to distort what Churchill wrote. The monologue belongs to and emerges from a particular dramatic action that makes the eruption inevitable and horrifying.The play traces the processes of repressed speech. The violence forcing that repression comes initially from without; the monologue gives voice to a violence that’s moved inside. The play stages the return of the repressed, an explosion of threatened defensiveness that, unexpressed and unowned, has turned into rage. Encountering it is terrifying; we don’t want to own it. But that doesn’t mean we don’t recognize it.
Kommentar av Sharona den 16. september, 2012