Commedy

Il paesaggio italiano è da secoli un soggetto privilegiato della rappresentazione artistica. Fin dal Trecento, ad esempio con Giotto e Ambrogio Lorenzetti, venivano raffigurate le campagne e le città italiane sulle pareti di chiese e palazzi pubblici. L’idea di paesaggio artistico raggiungerà il suo apice tra XVIII e XIX secolo grazie all’influenza del Romanticismo, per arrivare, nel XX secolo, alle sue raffigurazione più metafisiche con le opere di Giorgio De Chirico. Con l’avvento del cinema, il paesaggio diventa strumento per ricostruire la storia, la cultura e la geografia della Penisola. Il cinema italiano assume il ruolo di testimone dell’evoluzione del paesaggio nazionale, mostrando tutte le tappe che l’Italia ha percorso nell’ultimo secolo: costruzione, ricostruzione, industrializzazione, immigrazione verso il Nord, abbandono delle campagne, espansione delle periferie urbane e nascita di nuovi quartieri residenziali.

The Oslo Freedom Forum is supposed to be about Human Rights, but further exploration reveals a Neo-Con Regime Change agenda.

Adored comedian Jimmy Dore, invited participant of the ‘Human Rights Foundation’, poses some questions to the organizers of the ‘Oslo Freedom Forum’, a “spectacular human-rights festival” (The Economist; Wikipedia). They are: Thor (Leonardo) Halvorssen (Mendoza), a “human rights activist” (Wikipedia), whose “oppinions have appeared” in many mainstream newspapers (Wikipedia), and the former world chess champion Garry Kasparov, the “chairman for the Human Rights Foundation”, who “chairs its International Council”, “a member of ‘The Other Russia’, a coalition opposing the administration and policies of Vladimir Putin” (Wikipedia).  The answers of these ‘honest’ activists are horrifying….

Matchless revelation! And following great analysis on highest level! Checkmate for Jimmy!

https://www.youtube.com/watch?v=fhhyNm5rhHc

Odkri­tje portreta Antona Tomaž­a Li­nharta i­n zastopanost Li­nharta i­n Prešerna v Macu­novem i­n Mi­kloši­čevi­h beri­li­h. Li­nharta so zamolčevali­, Prešerna so cenzuri­rali­, pa vendar je njuno leposlovno delo preži­velo vse te udarce zgodovi­ne i­n je še zdaj ži­vo i­n polno aktualni­h sporoči­l.

The reception of the humoristic art of Luigi Pirandello in Greece

        The study deals with the reception of the artistic and cultural power of Luigi Pirandello’s theatrical works in Greece, during the years 1900-2018. In the years following the First World War, Pirandello's plays began to attract an enormous amount of attention in Greece. The word pirandellisme was coined to denote what at the time seemed to be Pirandello's philosophy. The humoristic philosophy of Pirandello was based on the relativity of all things, the unfathomable multiplicity of personality, and a mute skepticism that had an intimate relationship to an overall sentiment of pessimism.
The philosophy of Pirandello’s art still remained in our days a force within the Greek theatre, attracting admiration, criticism and, most important, the attention of new generations of directors and dramatists.

This article argues that the conventional conceptualization in political science of politics is problematic, that it is overly narrow and constrained. This is because it excludes a range of actions like satire and humour which have come to play an increasing role in inspiring and provoking powerful political emotions and in informing the political agenda.
Drawing on the work of critical scholars it is argued that emotion, ethics and art can be deeply political.  Moreover, new forms of media have encouraged new-old forms of political action often at the hands of young people who hitherto have been marginalized from the public sphere. Digital technology enables the production of user-generated content, opening new spaces for information, the exchange of ideas and mobilization.
This article highlights the work of the young German satirist Jan Böhmermann to demonstrate how expressive art is playing a major role in shaping public opinion, in contesting power elites and informing political debate.  In short, use Böhmermann’s 2015 satire depicting Greco-German relations in the midst of a financial crisis and fears of loan defaults to argue for a broader understanding of politics that is inclusive of activities conventionally deemed non rational.