– “Cuando yo uso una palabra – dijo Humpty Dumpty en un tono desdeñoso – quiere decir lo que yo quiero que diga… ni más ni menos.
“Capitalismo” no equivale en estas líneas a “libre mercado”, ni a “libre iniciativa”, ni a “propiedad privada”. De hecho, la propiedad privada, la libre iniciativa y la libertad en general se encuentran cada vez más limitadas por las condiciones reales impuestas por el régimen del capitalismo absoluto.
A method that received energy as the prospect of incorporation into Italy dissipated under pressure through the Allies as well as Italian authorities’s indecision. Prompted from the syndicalist revolutionaries who surrounded D’Annunzio, the “Constitution of Fiume” (the Carnaro Charter) is easily the most fascinating aspect of Fiume’s legacy, insofar mainly because it signifies an primary contribution to political principle. The Carnaro Charter contained pioneering things—the limitation with the (until then sacrosanct) appropriate to private assets, the complete equality of women, secularism in schools, complete liberty of worship, a complete process of social protection, steps of immediate democracy, a mechanism of steady renewal of Management and a program of companies or representation by sections on the Group—an concept that might turn into a fortune.
Em um dado momento, Humpty Dumpty utiliza palavras com um significado aparentemente alheio ao conteúdo da conversa. Quando Alice o critica, o diábrand segue da seguinte forma:
Rising from chaos to be a wave of youth, fascism belonged to a groundbreaking era in which, in the confront of previous challenges, new options have been emerging.
de cambiar nuestra vida cotidiana y de “crear un mundo nuevo en el inside del viejo”. Y como traca remaining, el profesor antisistema entona un himno a la responsabilidad personal, particular person e intransferible como único
A pesar de su brillo, es preciso no dejarse engañar por los valores – nos viene a decir Schmitt–. Toda la teoría de los valores no hace más que atizar e intensificar la lucha, antigua y eterna, de las convicciones y los intereses.
No other voice sang of war with this kind of rapture as that of D’Annunzio. No other oratory prepared so many compatriots, because of the glory and seduction of text, to destroy and die. No other apostle of war was so desirous to assume, in his own flesh, the results of what he preached.
That is certainly why It could be a slip-up to belittle D’Annunzio for a dilettantish aesthete turned revolutionary. Or to depoliticize him and consider—as his perceptive biographer Michael A. Ledeen seems to point out—that what is significant in Fiume is not the content however the design, and that no concrete ideological place emerges from Fiume.
Ένα ολοκληρωμένο μανιφέστο εναντίον του σύγχρονου Ιανού, της (νεο)φιλελεύθερης Αριστεράς, ενός πολιτικού υβριδίου που συνενώνει κάτω από μία κοινή - λίγο-πολύ - αφήγηση τις βασικές αρχές του μεταμοντερνισμού και της παγκοσμιοποίησης. Ο Εριγκέλ, αντλώντας από μία πλούσια βιβλιογραφία αναλύει μία προς μία τις δοξασίες του ψευδοθρησκευτικού Νεοφιλελευθερισμού, δομημένες όλες στην ψευδαίσθηση ότι ο μοντέρνος Άνθρωπος δεν γνωρίζει φυσικά όρια και παραδοσιακούς περιορισμούς αλλά μπορεί να κάνει ότι θέλει.
The existing moment “is never a degree, but a crossroads; Every single current immediate actualizes the totality of your past and empowers the totality of the future.” Therefore, the previous is rarely an inert datum; and when it manifests itself Down the road it does so within an ever new, at any time unfamiliar kind.
Arrogancia. El Bien y el Mal es lo que la nación indispensable y sus adláteres deciden que sea, lo que ellos decreten en sus “guerras culturales”, en su cultura-basura. El Bien es lo que digan sus ONGs y sus fundaciones, siempre al dictado de sus amos.
D’Annunzio deemed them as “vulgar imitators, potentially handy, but unfortunately brutal and primitive inside their means of contemplating.” And between all people who turned their gaze to D’Annunzio ended up the Italian communities about the Adriatic coast who hoped to get “redeemed” by their incorporation in the mother nation. D’Annunzio, for his section, promised them that he will be with them “to the tip.”
Lying on his back, and among soreness Adriano Erriguel and nightmares, he composed his poem “Notturno” (“Nocturn”). The prospect of blindness was for him an occasion for overcoming, rather than dejection. He confessed himself content while in the greatness of his loss—the blind in action ended up considered as the aristocracy from the wounded—and he loved the sharpening of his senses of Listening to and scent.