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Timothy Snyder At The New Republic: ‘Savagery’

Full review here.

Snyder reviews Paul Preston’s new book on the Spanish Civil War.

There was plenty of savagery to go around during the War, and the little I know I do from having spent time in Spain and getting to know a few people whose grandparents fought during that time.  The Valle de Los Caidos is seldom talked about, and for good reason (Franco used prison laborers from the other side in order to construct a monument to his fallen fellows).

Perhaps the more conservative, traditional, religious parts of the nationalist coalition weren’t prepared for some of the folks that made up Franco’s forces:

‘First, many of the soldiers fighting under the banner of Spanish nationalism against the Republic were Muslims, mercenaries from Spanish Morocco. Second, Christian soldiers were little interested in the application of ethics to their deeds.

Well, this is war and Franco did amass his army from the Spanish colonies in Morocco.  Yet as for the Republicans:

‘The most violent political force in the Republican zone were the anarchists, who fought against Franco but also opposed the Republic. Beyond the reach of the government, and bountifully armed, they were all but impossible to control. They ran the most murderous of the checas, including one squad that decorated their murder van with skulls and their uniforms with death’s heads’

The fight had been brewing for quite some time to get Spain on the path to “modernity” and “progress.”  Clearly, not everyone agreed how to get there or where they were going…as other European ideological conflicts and interests consumed the country:

‘And so the Republic itself, when it was re-established in 1931, was bound to provoke determined and articulate resistance. Its new constitution propagated a secular state, which angered the priesthood and the conservatives. The first government purged the officer corps, demoting many officers who had been promoted for their deeds in Morocco. But more infuriating still, it concerned itself with the fate of the peasantry, rather than leaving them under the authority of local notables.’

Our author wants to note that Preston’s book is careful to point out that the Nationalists were worse, however, which raised a bit of suspicion on my part:

‘Preston is concerned to show that violence from the Right was on a greater scale than violence from the Left during the Spanish Civil War. Contemporary accounts of atrocities came from Madrid, the Republican capital, where reporters and ambassadors could observe and criticize the actions of the Republic but not those of the rebels—with certain exceptions, such as that airdropped corpse. Preston reminds us that prevailing opinion in the British establishment (Churchill was a good example) held at the time that right-wing killings were relatively insignificant. But with the help of massive documentation recently published by Spanish historians, Preston shows that roughly 150,000 Spaniards were murdered on territories controlled by the rebel nationalists, compared with about 50,000 in the Republican zones’

Well, everyone has their interests while examining the conflict, but point taken.  Snyder goes on:

‘From Poland’s Galicia in the east to Spain’s Galicia in the west, conditions of radical inequality conspired with weak state institutions to turn the energy of capitalism against democracy by generating support for the far Left and the far Right, especially during the Great Depression’

Is “capitalism” really the bogeyman here, a handmaiden to both the anarchic revolutionaries and the fascist mercenaries with “democracy” lost in the shuffle?  Implicit in the review are certain assumptions about democracy, which seem pretty liberal by American standards.

In fact, this review is found in “the New Republic”, so, duly noted.

Related On This Site: Snyder is perhaps not a fan of libertarianism Timothy Snyder Responds To Steven Pinker’s New Book At Foreign Policy: ‘War No More: Why The World Has Become More Peaceful’

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Repost: A Goya Tour Of Madrid At The NY Times

Full slide show here.

“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”

See Also:  Goya’s Fight With Cudgels and Goya’s Colossus.  A very good Goya page here.

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A Few Lines By Antonio Machado

Antonio Machado has always been one of my favorites.  Sent in by a reader.

El ojo que ves no es
ojo porque tú lo veas;
es ojo porque te ve.

The eye you see is not
An eye because you see it
It’s an eye because it sees you.

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Repost: A Goya Tour Of Madrid At The NY Times

Full slide show here.

“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”

See Also:  Goya’s Fight With Cudgels and Goya’s Colossus.  A very good Goya page here.

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Repost-A Goya Tour Of Madrid At The NY Times

Full slide show here.

“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”

See Also: Goya’s Fight With Cudgels and Goya’s Colossus.  A very good Goya page here.

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From Law At The End Of The Day: ‘Torn Between Religion And Law In Spain’

Full post here.

“The Spanish newspaper El Pais reported on a movement that has been gaining much ground in the autonomous community of Catlunya this summer–the regulation of the veil within Catalan cities.”

How to deal with Islamic immigration in law, and the open expression of its traditions immediately recognized as symbols of the faith?

Catalunya, has its own language, Catalan, which I remember being promoted in the schools in addition to/perhaps against the Castillian Spanish that the Franco regime had often maintained…and brutally enforced.

I also recall that in parts of Spain, despite being one of the most Catholic countries in Europe in culture, tradition, and education, many Spaniards I knew were happy to expound how secular and modern the culture was…and in many ways it was…but perhaps that was a little optimistic with regards the economy.

Also On This Site:  Low European Birth Rates In The NY Times: No Babies?

Do you go so far as to strip the cross (or any religious symbol) from its meaning in law?: From The Strasbourg Observers: ‘Remembering Lautsi (And The Cross)’

What are some dangers of the projects of reason in the wake of the Enlightenment:  A Few Thoughts On Isaiah Berlin’s “Two Concepts Of Liberty”

Why do people who understand the depths of Nietzsche so often use him for modern secular/multicultural pursuits (aside from his God Is Dead arguments) despite his nihilism?:  A Few Thoughts On The Stanford Encyclopedia Of Philosophy Entry: Nietzsche’s Moral And Political Philosophy

Leo Strauss tried to tackle that problem, among others with the reason/revelation distinction, did he succeed?:  Harry Jaffa At The Claremont Institute: ‘Leo Strauss, the Bible, and Political Philosophy

Law At The End Of The Day:  From Kant to Fichte to…Right Now

080405_046 by *chiwai*.

A little further south in Spain, and many centuries ago.

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Repost-From YouTube: ‘The Style Of Francisco Goya’

The video’s about 6 minutes long.  Included is a pretty brief definition of modernism, but which highlights some of what I think makes Goya so accessible:

“…modernism is an artistic movement which follows the thought of humans being able to change their environment with science, technology and knowledge.  In short modernism results in the idea that we, as artists and as humans, should reject tradition…”

Now, there’s a lot to dispute in such a definition…you mean reject religious tradition…all tradition?  Surely you want painters to learn how to paint, and understand the technique and mechanics of their craft.  How much of modernism would be a product of/reaction to the Enlightenment?

Also On This Site:  Joan Miro: WomanGoya’s ColossusGoya’s Fight With Cudgels… Goethe’s Color Theory: Artists And ThinkersSome Quotes From Kant And A Visual Exercise

A Reaction To Jeff Koons ‘St John The Baptist’

Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton’s ‘The Art Instinct’

How might Nietzsche figure in the discussion (was he most after freeing art from a few thousand years of Christianity, monarchy and aristocracy…something deeper?), at least with regard to Camille Paglia.  See the comments:  Repost-Camille Paglia At Arion: Why Break, Blow, Burn Was Successful

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Goya’s Fight With Cudgels

Here is the painting.

As part of Goya’s black period, he seems to have been exasperated with his own lot as well as what he’d observed of the human condition.   The same fluid brushstroke style is there, the same dark tones (though the sky still seems a transcendent, slightly mystic blue and white) but the theme is dark….

Is this a painted over scene…the confused images of bitter old age and loss of memory that can come with it?   

Is it a faithful recording of the ignorance, fear and brutality he saw in Spain during his lifetime?

Here’s a quote from this excellent Goya page:

“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”

“La fantasia abandonada de la razon, produce monstruos imposibles: unida con ella, es madre de las artes y origen de sus marabillas.”

But what was reason for Goya? 

See also: A previous Goya’s Colossus post.

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John Williams: Asturias Leyenda

He’s got incredible technique.  The Moors (North African Arabs) conquered all but a small region of north-central Spain, and this song is in part about the origins (mythic) of more recent Catholic Spain. 

See also:  El Cid, The Reconquest, Isaac Albeniz, Andres Segovia

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Goya’s Colossus

A dark vision.

Later in his life, Goya’s black paintings come from a man in a dark time, having lived through the peninsular wars, Spain’s continued decline, and illness and deafness.  He was still a man, though, who used his talent to the end.

There’s something transcendant about that figure, at first I thought it was just a man, standing honorably against our condition, ready to confront the unknown….. with fists clenched…

But then I saw the blank eyes, more like a man abstracted into a godlike force, into which human fear and ignorance can be projected.

Here is a link to a good Goya page.

Addition:  More here on the painting…and here on the dispute as to whether or not it’s his.

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