Kirk Douglas

Kirk Douglas

BILL HARTLEY salutes a Hollywood hero

Very few stars from the great days of Hollywood are still with us. One who is and who has entered his eleventh decade is Kirk Douglas, who on December 9th celebrates his 101st birthday. Given his long and hugely successful career it seems strange that his centenary wasn’t marked by a season of his pictures on one of the television channels. There are many which would make a refreshing change from the usual fare served up, since they date back to the era of great film dramas backed up by high quality scripts.

Despite this a straw poll among colleagues who span a range of ages reveals that for the majority it is his action man roles for which Douglas is best remembered. The two mentioned most often were, The Vikings (1958) and of course Spartacus (1960). Both are excellent pictures and a good way of passing a wet Saturday afternoon, which is when they seem to crop up most often on television. In his prime, Douglas had the physique for these roles and he was effective alongside those other macho actors of his era Burt Lancaster (with whom he collaborated on seven occasions) and, of course, John Wayne. Continue reading

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Poland, Defending Christendom

Matejko, Christianisation of Poland, Credit Wikipedia

Poland, Defending Christendom

Gregory Slysz gives us chapter and verse

Leftist commentators in both Poland and abroad have expressed bafflement and alarm about the current position adopted by the Polish government on a host of cultural and political issues. Its refusal to receive thousands of Islamic migrants in breach of the EU’s migrant relocation programme and its reforms to the post-communist judiciary have elicited accusations of impending tyranny and dictatorship not to mention threats of EU sanctions. Has all this finally revealed Poland’s incompatibility with Western culture? Has its pretence of being part of the Western world been shattered? Yet once the finger pointing is put aside a more complex scenario emerges that harbours insights not only into Poland’s national identity but also into the future of Western civilisation itself. Could these accusations be turned on their heads? Has not Poland, through its steadfast defence of its sovereignty and Christian heritage, a greater claim to being a champion of the West’s cultural legacy than its self-proclaimed liberal defenders? Here one can add other Eastern European states, including Russia, which are also increasingly at odds with contemporary cultural trends and agendas in the West.

As Western liberal establishments grapple with the self-inflicted disasters of their post-modernist and multicultural experiments, they wax lyrical about the importance of preserving Western values in a bid to avoid societal disintegration. Of course, none among them can agree on what these values actually are, given that everything is considered relative. The key problem that they face is that what once passed for universal Western values was rooted in the Judeo-Christian inheritance of moral certainly, faith, family and national heritage. Attempts to recast these values in secular garb focus on commercial-juridical-technical elements to the exclusion of religion.[1]

However, shorn of its religious roots, the Judeo-Christian heritage is an empty shell. And the more that Western societies stray from their founding principles the more civilizational division is reinforced, as is so evident, between the nation-states of Eastern and Western Europe, as well as within western European societies amid tension between traditionalists and cultural relativists. Continue reading

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Mourning Sickness

Mourning Sickness

 Lucia di Lammermoor; tragic opera in three acts, music composed by Gaetano Donizetti, libretto by Salvadore Cammarano, based on Sir Walter Scott’s novel The Bride of Lammermoor, directed by Katie Mitchell, conductor Michele Mariotti, Royal Opera, 30th October 2017, reviewed by LESLIE JONES

Jealousy and a thirst for bloody revenge were evidently family characteristics at Ravenswood Tower. For as Lucia herself informs us, a Ravenswood once stabbed his sweetheart to death at the Fountain of the Siren. Indeed, the poor girl’s ghost continues to haunt Lucia as does the ghost of her mother. This production is something of a “Gothic nightmare”, to quote Mary Ann Smart’s apt phrase in the official programme (‘Case Study or Gothic Nightmare?’)

Salvadore Cammarano’s libretto cried out for a feminist interpretation, although, as Diana Wallace observes, the “persecuted heroine” was already a well established trope (official programme, ‘Gothic Histories and Gothic Heroines’). Evidently men use and abuse women and ultimately drive them mad. The intrepid Edgardo, the Master of Ravenswood, once saved Lucia from a raging bull. Continue reading

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A Farewell to Patriarchy

Man in restraint chair; by H. Clarke; 1869
Credit: Wellcome Library, London. Wellcome Images

A Farewell to Patriarchy

Women vs Feminism: Why We All Need Liberating from the Gender Wars, Joanna Williams, 2017, Emerald Publishing, 318pp., paperback, £14.99, reviewed by Ed Dutton

The sexual harassment scandal surrounding the film maker Harvey Weinstein has placed women’s rights squarely in the spotlight. The ‘Me too’ campaign, which has been spread across social media, seems to imply that women need ‘feminism’ more than ever. They are, at best, victims of testosterone-fuelled micro-aggressions: being stared at, leered at, objectified – in a way that would never happen if they were men. The feminist fight for equality will never be won until precisely these kinds of sexist behaviours are banished to the past.

However, in Women vs Feminism, education lecturer Joanna Williams insists, au contraire, that ‘There’s never been a better time to be a woman’ and that today’s feminism has nothing to do with achieving quality, because a calm analysis of the statistics indicates that it has already been pretty much achieved. Modern day feminism, Williams argues, is a totalitarian ideology, through which its proponents aim to achieve power. Continue reading

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Welcome to Canada

Robert Dziekanski, CBC

Welcome to Canada

Mark Wegierski considers a Canadian cause célèbre

Ten years ago, on October 14, 2007, Robert Dziekanski, a forty-year-old Polish immigrant to Canada, met his death at Vancouver Airport. Having arrived at the airport, he waited in the airport’s enclosed baggage area. His mother was in another part of the airport, and was erroneously told that he hadn’t arrived, and she then left the airport. After waiting for over ten hours, Robert understandably became angry, and started to make a ruckus. The over-zealous RCMP airport police rushed in and Tasered him a number of times, resulting in his death from a heart attack. One is struck by how pointless his death was.

This tragic death of Robert Dziekanski, which is still sometimes discussed in the Canadian media, leads the author to certain uneasy thoughts about the place and future of the Polish-Canadian community in Canada, as well as about allegedly “compassionate” Canada. Continue reading

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Rape Seed

I Vespri Siciliani, painting by Domenico Morelli

Rape Seed

Les Vêpres Siciliennes; Grand Opera in five acts, music composed by Giuseppe Verdi, libretto by Eugène Scribe & Charles Duveyrier, sung in French with English surtitles, directed by Stefan Herheim, conducted by Maurizio Benini, Royal Opera, 12th October 2017, reviewed by LESLIE JONES

Les Vêpres Siciliennes, Verdi’s first new commission for the Paris Opéra, was premiered on 13th June 1855. Given its French audience, it had a somewhat provocative theme, to wit, “Sicilian nationalist fervour in the face of French oppression” (Sarah Hibberd, ‘The Creation of Les Vêpres siciliennes’, official programme). Indeed, the French occupying forces in Sicily are depicted throughout as drunkards and libertines who treat the local women as the victor’s spoils. In this, the first revival of Stefan Herheim’s 2013 Royal Opera production, the French Governor Guy de Montfort (baritone Michael Volle) sets the tone by raping a Sicilian woman (on stage). In due course, she will give birth to his illegitimate son Henri (tenor Bryan Hymel) enabling Verdi to address the putative conflict between loyalty to father and loyalty to fatherland. Continue reading

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Canadian Conflict, a War Game Perspective

Canadian soldiers train at Hohenfels, Seth Robson/S&S

Canadian Conflict, a War Game Perspective

Mark Wegierski considers Canadian Civil War, first published
40 years ago

Canadian ‘Civil War’: Separatism vs. Federalism in Modern Canada was a board wargame published in 1977 by Simulations Publications, Inc. (SPI), then the premiere gaming company. On the game’s cover-sheet, it is called “A Political Simulation Game”, and it is said that “the time is: 15 November 1976.” This is a game with mostly political, rather than military conflict, played on an abstract map, where the four different factions struggle with each other. These are the Federalists (Red counters); the Provincial Moderates (Orange counters); the Provincial Autonomists (Green counters); and the Separatists (Blue counters). The color of the Provincial Moderate counters is not meant to suggest the Orange Order. There is a three-player variant for the game (called “The Quiet Revolution”, without the Separatist Player); but the game works best in the four-player version. It does not work as a two-player or solitaire game.

The game components include the distinctive SPI plastic game box and cover-sheet; a 28-page rulebook; a sheet of 400 die-cut, half-inch counters, printed on both sides; a 17” x 22” abstract map; 56 “Political Opportunity” Cards (including Event cards, Election cards, and Crisis cards); four player-aid sheets; and a small six-sided die. The highly abstract map (or “Game Display”) is meant to model conflicts of power structures in Canada, without being a geographic map of Canada. The counters represent various constituencies, pressure-groups, provincial influence markers, and counters for the premiers of the provinces, and the Prime Minister. Each of the factions (colors) represented replicates the same set of counters, so the country-wide conflict can be properly represented. There are also 84 counters representing Canada’s land army, including the militia. They are only used in an “end-game” situation, when a “National Emergency” may be called. The military counters are printed red on the front, and blue on the back (with the same numerical values) – representing their allegiance to either the Federalist or Separatist cause. The Canadian military units are the only strictly military component of the game. Continue reading

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Catalonia, on the Brink

Catalan Independence Protest

Catalonia, on the Brink

Gerry Dorrian considers the roots of the current crisis

Political geography tends to fracture across historical fault lines. In 2015, the University of Oxford’s DNA map of Britain revealed the continuing existence of the millennium-old Landsker Line separating English and Welsh-speaking people in Pembrokeshire, as well as the sharp division between genetic groups in Devon and Cornwall running down the border between the two counties, again 1,000 years old.1

Writ large, the best-known example was the Iron Curtain, which sundered Germany roughly down the line dividing in medieval times western lands where peasants could own property (for a time) from lands where they could not,2 and continued down the Roman Empire’s easternmost stable border, inherited later by Charlemagne,3 which also divided the realms of Latin and Cyrillic text, and the division between western and Orthodox Christianity.4 From the late eighteenth century onwards, Yugoslavists envisaged their supranational Slavic state straddling this line:5 it didn’t end well. Continue reading

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Epistle to the Romans, part 1

Salvador Dali, Crucifixion (Corpus Hypercubus)

Epistle to the Romans, part 1

A new translation by Darrell Sutton of Paul’s timeless text

Introduction

October 31, 1517 was a fateful day in early-modern German history. For it was on that date that Martin Luther (1483-1546) published his Ninety-five Theses on the Power of Indulgences. In honor of the 500th year anniversary of the German Protestant Reformation, and to mark subsequent transformational events that occurred at that time among Roman Catholics, a new translation of seminal chapters 1-5 in the Latin Vulgate text of Romans, is proffered to readers. Paul’s epistle to the Romans is a key component-text of western civilization: the bulk of eastern Europe was untouched by these reforms. Romans became the main theological treatise for Christians of the later Renaissance era and of the Post-Reformation period, the interpretation of which instigated divisions between leaders, brought about schisms in nation-states and ignited strife in families. Adherents of a form of Erasmian reform Catholicism shunned the more militant views espoused in the Counter-Reformation. They forged ahead in another direction: Chrysostom’s (AD349-407) homilies on the text of Romans were more agreeable to them than the construal of Augustine (AD354-430). The internecine debates over Romans’ subject matter paved the way for so much of the harm and the good that was done in the name of religion. Continue reading

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ENDNOTES, 7th October 2017

Norman Tower Front, Malling Abbey

ENDNOTES, 7th October 2017

Frank Bridge Cello Sonata etc. at Music@Malling, reviewed by STUART MILLSON

‘Music is always important but even more so in difficult times. It brings people together to share what is good and enduring and underscores what we value.’ So writes Alan Gibbins, Chairman of Music@Malling held in the Kent town of West Malling and now in its seventh year. An event that is very much at the heart of the community (with many educational and outreach events to its credit), the Festival attracts Britain’s brightest performers in a repertoire that embraces Bach, Kodaly, Reger, Nielsen and many English composers.

The mediaeval Pilsdon Barn, situated behind a traditionally Kentish rag stone wall in the grounds of St. Mary’s Abbey, is becoming a well-known venue for classical music. For their concert on the 30th September, Chamber Domaine (Thomas Kemp, violin; Adrian Bradbury, cello; Sophia Rahman, piano) presented a number of works from the year 1917. Beginning with Frank Bridge’s deeply-felt and autumnal Cello Sonata, the ensemble also performed the lyrical Piano Trio No. 2 by John Ireland, a short piano waltz by Stravinsky, and the Chaconne Op. 31 by Carl Nielsen. Continue reading

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