Genre: Dutch Hiphop / R&B
Kruloh Ghabri is a Dutch artist of Moroccan origin who combines vocals and rap to her own music style. She is known for the single ” Krachtige Zang ” with over a million youtube views. Kruloh is seen as one of the most underrated MC’s in the Dutch Hip Hop scene . She left a strong impression with her performance in both Zonamo Underground, as with 101 Barz of the BNN broadcast .
“From Bohemia and 19th century European romanticism, this film looks back through history to uncover the beginning of “new vision” thinking in Western civilization and its links to what is now called counterculture. From 1830’s Paris to New York City’s Greenwich Village at the turn of the 20th century, it follows the paths which brought Europe’s most rebellious voices to America. Includes profiles of William Blake, Victor Hugo, Theophile Gauthier, Charles Baudelaire, John Reed and Woody Guthrie.”
“Maha in Sanskrit means big and bharata refers to the great emperor Bharat, whose empire was known as Bharata varsa, and covered the entire world approximately five thousand years ago.
The center of this empire was the region known today as India.
As such, all aspects of India’s millennial (Vedic) culture are compiled in this important epic of the history of mankind.
This episode explores the myth of the Mahabharata, laying out the very roots of Indian mythology, religion and history.
The world’s greatest and longest know epic poem with 100,000 verses exceeds the Bible and all of Shakespeare’s plays put together.
The myth tells of the founding of civilisation and a protracted battle between the two wings of a royal family: the Pandavas and the Kauravas, bitterly opposed in a struggle for life and death.”
Slavoj Žižek. From the myth to agape. Journal of European Psychoanalysis. No. 8/9, p. 3-20, 1999. (English).
all of below written by Slavoj Zizek
Back in the late 1960s and 70s, in the heyday of the Lacanian Marxism, a lot of Lacan’s French followers were attracted by his anti-Americanism, discernible especially in Lacan’s dismissal of the ego-psychological turn of psychoanalysis as the ideological expression of the “American way of life.” Although these (mostly young Maoist) followers perceived Lacan’s anti-Americanism as the sign of Lacan’s “anticapitalism,” it is more appropriate to discern in it the traces of one of the standard conservative motifs: in today’s bourgeois, commercialized, “Americanized,” society, the authentic tragedy is no longer possible, which is why great conservative writers like Claudel tried to resuscitate the notion of tragedy in order to return dignity to human existence… It is precisely here, when Lacan endeavors to speak in favor of the last vestiges of old authenticity barely discernible in today’s superficial universe, that his words sound as (and are) a heap of ideological platitudes. However, although Lacan’s anti-Americanism stands for what is most “false” and ideological in his work, there is nonetheless a “rational kernel” in this ideological motif: the advent of modernism effectively undermines the traditional notion of tragedy and the concomitant notion of the mythical Fate which runs human destiny.
Hamlet Before Oedipus
When we speak about myths in psychoanalysis, we are effectively speaking about ONE myth, the Oedipus myth – all other Freudian myths (the myth of the primordial father, Freud’s version of the Moses myth) are variations of it, although necessary ones. However, with the Hamlet narrative, things get complicated. The standard, pre-Lacanian, “naive” psychoanalytic reading of Hamlet, of course, focuses on Hamlet’s incestuous desire for his mother. Hamlet’s shock at his father’s death is thus explained as the traumatic impact the fulfillment of an unconscious violent desire (in this case, for the father to die) has on the subject; the specter of the dead father which appears to Hamlet is the projection of Hamlet’s own guilt with regard to his death-wish; his hatred of Claudius is an effect of Narcissistic rivalry – Claudius, instead of Hamlet himself, got his mother; his disgust for Ophelia and womankind in general expresses his revulsion at sex in its suffocating incestuous modality, which arises with the lack of the paternal interdiction/sanction…
So, according to this standard reading, Hamlet as a modernized version of Oedipus bears witness to the strengthening of the Oedipal prohibition of incest in the passage from Antiquity to Modernity: in the case of Oedipus, we are still dealing with incest, while in Hamlet, the incestuous wish is repressed and displaced. And it seems that the very designation of Hamlet as an obsessional neurotic points in this direction: in contrast to hysteria which is found throughout all (at least Western) history, obsessional neurosis is a distinctly modern phenomenon. Continue reading