L’associazione Utopia rossa considera suo fondamento politico il principio secondo cui il fine non giustifica i mezzi, ma nei mezzi si deve riflettere l’essenza del fine. Non ha programmi politici, come del resto non ne aveva la Prima internazionale. Nonostante le più diverse provenienze ideologiche dei suoi sostenitori, essa ritiene che l’anticapitalismo dilagato dopo l’inizio dell’Antirivoluzione russa (dicembre 1917) sia stato motivato fondamentalmente da idee precapitalistiche, cioè retrograde, e non da progetti di civiltà in grado di superare il capitalismo sviluppando ulteriormente i suoi modelli di democrazia. Ciò spiega anche il prevalere, nella storia della cosiddetta «sinistra», di simpatie per i regimi dittatoriali di ogni specie e colore. Utopia rossa si batte contro l’ulteriore diffusione di ideologie precapitalistiche vecchie e nuove (in campo politico, culturale, ecologico, religioso ecc.), come parte della sua battaglia per il superamento del capitalismo, se si vuole salvare la vita sulla Terra con la sua umanità. In questo senso la sua utopia continua ad essere rossa.

The Red Utopia association considers its political foundation to be the principle that the end does not justify the means, but that the means must reflect the essence of the end. It has no political program, just as the First International did not. Despite the diverse ideological backgrounds of its supporters, it believes that the anti-capitalism that spread after the start of the Russian Anti-Revolution (December 1917) was fundamentally motivated by pre-capitalist – that is, retrograde – ideas, and not by civilizational projects capable of overcoming capitalism and of further developing its democratic models. This also explains the prevalence, throughout the history of the so-called «left», of sympathies for dictatorial regimes of all kinds and colors. Red Utopia fights against the further spread of old and new pre-capitalist ideologies (in the political, cultural, ecological, religious, and other fields) as part of its battle to overcome capitalism, if life on Earth, including its humanity, is to be saved. In this sense, its utopia remains red.

PER SAPERNE DI PIÙ CI SONO UNA COLLANA DI LIBRI E UN BLOG IN VARIE LINGUE…

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mercoledì 7 giugno 2017

A PARIAH PEOPLE: A PLEA FOR HYAM MACCOBY AND HIS CRITICISM OF ANTI-SEMITISM, by Peter Gorenflos (in cooperation with Emanuel Rund)

IN DUE LINGUE (Inglese, Tedesco)
IN TWO LANGUAGES (English, German)

Barnes & Noble, 1998
The Disputation

Hyam Maccoby (1924–2004) became known to a wider audience in the US and the UK above all through his play The Disputation. This is about one of the publicly led disputations that took place in the Middle Ages between a rabbi and a Catholic priest with the purpose of moving the Jewish people to convert to Christianity. In the historically proven disputation of 1263 in Barcelona between Rabbi Moses ben Nahman and Catholic priest Pablo Christiani, which took place under the liberal regency of King James of Aragon, the Christian had no chance against the rabbi’s logically stringent line of argument. After this, the Dominicans propagated a distortion of what really happened and thereby forced Moses ben Nahman to reply. Despite promises to the contrary, he then, under pressure from the Pope, had to go into exile. Other, similar disputations often ended with a bloodbath carried out against the Jews and public burnings of the Talmud. The Inquisition was at the ready, supported by the Pope, who would soon gain considerable political influence. The play, directed by Bob Kalfin and starring well-known actor Theodore Bikel as the rabbi, was a great success and was subsequently adapted as a film by the BBC, with Christopher Lee as King James.
Only on the predominantly Catholic European mainland, the “continent”, is the ancient history expert, Talmud philologist and former librarian at the Leo Baeck College in London, Hyam Maccoby, almost unknown. His most recent position was a professorship Jewish Studies at the University of Leeds.

The Mythmaker

His central work, The Mythmaker (1986), did not appear in Germany until 20 years later. As a historian of the school called “the Jewish view of Jesus”, he documents and substantiates the proof, hardly new, that Jesus could not have been the founder of Christianity but was firmly anchored in Jewish society, which regarded the Torah and took on a leading role in the Pharisee movement. He had the Messianic aim of re-establishing the Jewish monarchy, freeing his land from the yoke of Roman occupation and then doing away with all military rule worldwide. This claim to be the King of the Jews – an open provocation to the Roman occupiers – landed him in prison and after sentencing by the Roman governor Pontius Pilate on the cross, where he and numerous other Jewish freedom fighters died a martyr’s death. Had he simply been one of the many unsuccessful aspiring Messiahs, he would soon have been forgotten, if it had not been for his direct adherents, the Nazarenes, who believed in his resurrection by means of a divine miracle and began to establish themselves as a Jewish sect within the Pharisee movement, led by their Jewish leaders Peter and James. Here, Maccoby develops the whole panorama of a society under the rule of the world power of Rome, he shows the various groups, the compromising sect of the Sadducees, one of whom was the high priest who acted as a chief of police for Rome, the Herodians as Quisling and titular kings, the militant Zealots and above all the Pharisees, well regarded among the people, who were the real leaders of the oppressed Jewish majority and guaranteed the spiritual survival of the Jews after the destruction of the Temple.

EIN PARIA-VOLK: PLÄDOYER FÜR HYAM MACCOBY UND SEINE ANTISEMITISMUS-KRITIK, von Peter Gorenflos (unter Mitwirkung von Emanuel Rund)

IN DUE LINGUE (Tedesco, Inglese)
IN ZWEI SPRACHEN (Deutsch, Englisch)

Ahriman-Verlag, 2013
Die Disputation

In den USA und Großbritannien ist Hyam Maccoby (1924–2004) vor allem durch sein Theaterstück The Disputation einer breiten Öffentlichkeit bekannt geworden. Hier geht es um eines, der im Mittelalter öffentlich ausgetragenen Streitgespräche zwischen einem Rabbi und einem katholischen Geistlichen mit dem Zweck, die jüdische Bevölkerung zur Konversion zum Christentum zu bewegen. In der historisch belegten Disputation von 1263 in Barcelona zwischen Rabbi Moses ben Nachman und dem katholischen Priester Pablo Christiani unter der liberalen Regentschaft des Königs Jakob von Aragon, hatte der Geistliche keine Chance gegen die logisch stringente Argumentation des Rabbis. Die Dominikaner verbreiteten daraufhin eine Verdrehung des wahren Ablaufes und zwangen Moses ben Nachman damit zur Gegendarstellung. Trotz gegenteiliger Versprechungen musste er daraufhin auf Druck des Papstes ins Exil. Andere, ähnliche Disputationen endeten oft mit einem Blutbad an der jüdischen Bevölkerung und der öffentlichen Verbrennung des Talmuds. Die Inquisition stand in ihren Startlöchern, gestützt vom Papst, der in Europa bald erheblich an politischem Einfluss gewinnen sollte. Das Theaterstück war unter der Leitung von Bob Kalfin und mit dem bekannten Theodore Bikel als Rabbi ein großer Erfolg und wurde von der BBC mit dem berühmten Christopher Lee als König Jakob sogar verfilmt.
Nur auf dem überwiegend katholischen, europäischen Festland, dem „continent“, ist der Altertumsgelehrte, Talmud-Philologe und ehemalige Bibliothekar des Leo Baeck College in London, Hyam Maccoby, fast unbekannt. Zuletzt hatte er einen Lehrstuhl für Judaistik an der Universität in Leeds inne.

Der Mythenschmied

Sein zentrales Werk The Mythmaker von 1986, ist erst 20 Jahre später in der Bundesrepublik erschienen. Als Anhänger der Historiker-Schule „die Sicht auf den Juden Jesus“, belegt und untermauert er hier die nicht ganz neue Vermutung, dass Jesus nicht der Gründer des Christentums gewesen sein konnte, sondern fest in der jüdischen Gemeinschaft verankert war, die Thora achtete und eine führende Rolle in der Pharisäer-Bewegung einnahm. Er hatte den messianischen Anspruch, die jüdische Monarchie wiederherzustellen, sein Land vom Joch der römischen Besatzung zu befreien und danach mit allen Militärherrschaften weltweit aufzuräumen. Dieser Anspruch, König der Juden zu sein – eine offene Provokation der römischen Besatzer – brachte ihn ins Gefängnis und nach der Verurteilung durch den römischen Statthalter Pontius Pilatus ans Kreuz, wo er, wie zahlreiche andere jüdischen Freiheitskämpfer, einen Märtyrer-Tod starb. Als einer der vielen erfolglosen Messias-Anwärter wäre er bald in Vergessenheit geraten, wenn da nicht seine direkten Anhänger, die Nazarener, gewesen wären, die an seine Wiederauferstehung durch ein göttliches Wunder glaubten und sich als jüdische Sekte innerhalb der Pharisäer-Bewegung unter ihren jüdischen Führern Petrus und Jakobus zu etablieren begannen. Maccoby entwickelt hier das ganze Panorama einer Gesellschaft unter der Herrschaft der Weltmacht Rom, er zeigt die unterschiedlichen Gruppierungen, die kompromisslerische Sekte der Sadduzäer, einer von ihnen der Hohepriester, der als Polizeichef für Rom agierte, die Herodianer als Titularkönige, die militanten Zeloten und vor allem die in der Bevölkerung hoch angesehenen Pharisäer, welche die eigentlichen Führer der unterdrückten, jüdischen Bevölkerungsmehrheit gewesen waren und nach der Zerstörung des Tempels das geistige Überleben des Judentums sicherten.

giovedì 7 aprile 2016

CELEBRATE DAVID KUNZLE’S 80TH BIRTHDAY

David, dear Redutopian struggling against the Goliath of indifference and inhumanity with the tools of art and mutual understanding, receive a long and big hug from all of your Redutopian, Guevarist and Internationalist friends. Consider us present at the party for your first 80 years of life.
the Editorial staff of Red Utopia

Caro David rossoutopico che lotti contro il Golia dell'indifferenza e della disumanità con gli strumenti dell'arte e della reciproca comprensione, ricevi un abbraccio fortissimo da tutti i tuoi amici rossoutopici, guevaristi e internazionalisti. Consideraci presenti alla festa per i tuoi primi 80 anni di vita.
la Redazione di Utopia Rossa

Querido David, rojoutópico que luchas contra el Goliat de la indiferencia y de la inhumanidad con las herramientas del arte y de la mutua comprensión: recibe un fuerte abrazo de parte de todos tus amigos rojoutópicos, guevaristas e internacionalistas. Consíderanos presentes en la fiesta por tus primeros 80 años de vida.
la Redacción de Utopía Roja

RED UTOPIA ROJA – Principles / Principios / Princìpi / Principes / Princípios

a) The end does not justify the means, but the means which we use must reflect the essence of the end.

b) Support for the struggle of all peoples against imperialism and/or for their self determination, independently of their political leaderships.

c) For the autonomy and total independence from the political projects of capitalism.

d) The unity of the workers of the world - intellectual and physical workers, without ideological discrimination of any kind (apart from the basics of anti-capitalism, anti-imperialism and of socialism).

e) Fight against political bureaucracies, for direct and councils democracy.

f) Save all life on the Planet, save humanity.

g) For a Red Utopist, cultural work and artistic creation in particular, represent the noblest revolutionary attempt to fight against fear and death. Each creation is an act of love for life, and at the same time a proposal for humanization.

* * *

a) El fin no justifica los medios, y en los medios que empleamos debe estar reflejada la esencia del fin.

b) Apoyo a las luchas de todos los pueblos contra el imperialismo y/o por su autodeterminación, independientemente de sus direcciones políticas.

c) Por la autonomía y la independencia total respecto a los proyectos políticos del capitalismo.

d) Unidad del mundo del trabajo intelectual y físico, sin discriminaciones ideológicas de ningún tipo, fuera de la identidad “anticapitalista, antiimperialista y por el socialismo”.

e) Lucha contra las burocracias políticas, por la democracia directa y consejista.

f) Salvar la vida sobre la Tierra, salvar a la humanidad.

g) Para un Utopista Rojo el trabajo cultural y la creación artística en particular son el más noble intento revolucionario de lucha contra los miedos y la muerte. Toda creación es un acto de amor a la vida, por lo mismo es una propuesta de humanización.

* * *

a) Il fine non giustifica i mezzi, ma nei mezzi che impieghiamo dev’essere riflessa l’essenza del fine.

b) Sostegno alle lotte di tutti i popoli contro l’imperialismo e/o per la loro autodeterminazione, indipendentemente dalle loro direzioni politiche.

c) Per l’autonomia e l’indipendenza totale dai progetti politici del capitalismo.

d) Unità del mondo del lavoro mentale e materiale, senza discriminazioni ideologiche di alcun tipo (a parte le «basi anticapitaliste, antimperialiste e per il socialismo».

e) Lotta contro le burocrazie politiche, per la democrazia diretta e consigliare.

f) Salvare la vita sulla Terra, salvare l’umanità.

g) Per un Utopista Rosso il lavoro culturale e la creazione artistica in particolare rappresentano il più nobile tentativo rivoluzionario per lottare contro le paure e la morte. Ogni creazione è un atto d’amore per la vita, e allo stesso tempo una proposta di umanizzazione.

* * *

a) La fin ne justifie pas les moyens, et dans les moyens que nous utilisons doit apparaître l'essence de la fin projetée.

b) Appui aux luttes de tous les peuples menées contre l'impérialisme et/ou pour leur autodétermination, indépendamment de leurs directions politiques.

c) Pour l'autonomie et la totale indépendance par rapport aux projets politiques du capitalisme.

d) Unité du monde du travail intellectuel et manuel, sans discriminations idéologiques d'aucun type, en dehors de l'identité "anticapitaliste, anti-impérialiste et pour le socialisme".

e) Lutte contre les bureaucraties politiques, et pour la démocratie directe et conseilliste.

f) Sauver la vie sur Terre, sauver l'Humanité.

g) Pour un Utopiste Rouge, le travail culturel, et plus particulièrement la création artistique, représentent la plus noble tentative révolutionnaire pour lutter contre la peur et contre la mort. Toute création est un acte d'amour pour la vie, et en même temps une proposition d'humanisation.

* * *

a) O fim não justifica os médios, e os médios utilizados devem reflectir a essência do fim.

b) Apoio às lutas de todos os povos contra o imperialismo e/ou pela auto-determinação, independentemente das direcções políticas deles.

c) Pela autonomia e a independência respeito total para com os projectos políticos do capitalismo.

d) Unidade do mundo do trabalho intelectual e físico, sem discriminações ideológicas de nenhum tipo, fora da identidade “anti-capitalista, anti-imperialista e pelo socialismo”.

e) Luta contra as burocracias políticas, pela democracia directa e dos conselhos.

f) Salvar a vida na Terra, salvar a humanidade.

g) Para um Utopista Vermelho o trabalho cultural e a criação artística em particular representam os mais nobres tentativos revolucionários por lutar contra os medos e a morte. Cada criação é um ato de amor para com a vida e, no mesmo tempo, uma proposta de humanização.