There are no known non-biblical references to a historical Jesus by any historian or other writer of the time during and shortly after Jesus's purported advent. As Barbara G. Walker says, 'No literate person of his own time mentioned him in any known writing.' Hellenistic Jewish philosopher Philo Judaeus of Alexandria (20 BCE-50 CE)-alive at the purported time of Jesus, and one of the wealthiest and best connected citizens of the Empire-makes no mention of Christ, Christians or Christianity in his voluminous writings. Nor do any of the dozens of other historians and writers who flourished during the first one to two centuries of the common era.
Grover Cleveland declined to participate in character attacks on Blaine . When presented with papers which purported to be extremely damaging to Blaine, he grabbed them, tore them up, flung the shreds into the fire, and decreed, "The other side can have a monopoly of all the dirt in this campaign.
Paul also never quotes from Jesus's purported sermons and speeches, parables and prayers, nor does he mention Jesus's supernatural birth or any of his alleged wonders and miracles, all of which one would presume would be very important to his followers, had such exploits and sayings been known prior to the apostles purported time. Turning to the canonical gospels themselves, which in their present form do not appear in the historical record until sometime between 170-180 CE, their pretended authors, the apostles, give sparse histories and genealogies of Jesus that contradict each other and themselves in numerous places. The birth date of Jesus is depicted as having taken place at different times. His birth and childhood are not mentioned in 'Mark, ' and although he is claimed in 'Matthew' and 'Luke' to have been 'born of a virgin, ' his lineage is traced to the House of David through Joseph, so that he may 'fulfill prophecy.' Christ is said in the first three (Synoptic) gospels to have taught for one year before he died, while in 'John' the number is around three years. 'Matthew' relates that Jesus delivered 'The Sermon on the Mount' before 'the multitudes, ' while 'Luke' says it was a private talk given only to the disciples. The accounts of his Passion and Resurrection differ utterly from each other, and no one states how old he was when he died. In addition, in the canonical gospels, Jesus himself makes many illogical contradictions concerning some of his most important teachings.
President Ronald Reagan used to speak of the Soviet constitution, and he noted that it purported to grant wonderful rights of all sorts to people. But those rights were empty promises, because that system did not have an independent judiciary to uphold the rule of law and enforce those rights.
It is sometimes said that one of the casualties of the general suspicion and mistrust that permeated the old Soviet Union was that the distinction between truth and other motivations to believe tended to break down. Upon hearing a purported piece of information, the reaction was not 'Is this true?' but 'Why is this person saying this? - What machinations or manipulations are going on here?' The question of truth did not, as it were, have the social space in which it could breath.
Power is a central issue in social and personal transformation. Our sources and uses of power set our boundaries, give form to our relationships, even determine how much we let ourselves liberate and express aspects of the self. More than party registration, more than our purported philosophy or ideology, personal power defines our politics.
Especially for upwardly mobile young females, declaring one's enthusiasm for Austen (whose heroines almost always move up in social and economic status as a result of the sterling marital alliances they form) has been a classic means of indicating one's purported good taste, good breeding, and good sense: I am an especially adorable member of the ruling class.
To an extent that undermines classical standards of science, some purported scientific results concerning 'HIV' and 'AIDS' have been handled by press releases, by disinformation, by low-quality studies, and by some suppression of information, manipulating the media and people at large. When the official scientific press does not report correctly, or obstructs views dissenting from those of the scientific establishment, it loses credibility and leaves no alternative but to find information elsewhere.
Having spent time around "sinners" and also around purported saints, I have a hunch why Jesus spent so much time with the former group: I think he preferred their company. Because the sinners were honest about themselves and had no pretense, Jesus could deal with them. In contrast, the saints put on airs, judged him, and sought to catch him in a moral trap. In the end it was the saints, not the sinners, who arrested Jesus.
Disco satisfied social as well as musical needs. Disco people got to dress up all the time and go to places ... where everybody sort of 'looked good' - and later, after an evening of chemical alteration, everybody looked even better, and the next thing they knew, they were getting The Blox Job. Punk, in the late seventies, purported to be a rebellion against this sort of silly behavior. Maniac bands started thrashing away in dingy little places with no decor, developing their own silly behavior. ... New wave evolved from punk, basically, by sterilizing its own safety pin.
South Africa, with US support, after the fall of the Portuguese empire, invaded Angola and Mozambique to establish their own puppet regime there. They were trying to protect Namibia, to protect apartheid, and nobody did much about it; but the Cubans sent forces, and furthermore they sent black soldiers and they defeated a white mercenary army, which not only rescued Angola but it sent a shock throughout the continent-it was a psychic shock-white mercenaries were purported to be invincible, and a black army defeated them and sent them back fleeing into South Africa.
The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.
Johann Conrad Dippel was a German theologian, alchemist and physician and is purported to be the individual on whom Mary Shelley based her book: 'Frankenstein: The Modern Prometheus'. Born in castle Frankenstein near Darmstadt in 1673. He studied Theology, Alchemy and Philosophy at the University of Giessen, acquiring his Master's degree in 1693. Later he turned to Hermetic studies and Alchemy in his quest to unravel the secrets of Nature. He created 'Dippel's Oil', an 'Elixir of Life', that promised of good health and extreme longevity, the Alchemist's Holy Grail, but did not live long enough to share his discoveries with the world. Mary Shelley's fertile imagination created a story and a legend which has become synonymous with the archetypal madman. It has slipped into the modern day psyche, through the medium of cinema, as a horror benchmark from which much speculation, and even more fiction has been weaved into the fabric of the story. Here is a recounting of how he created his 'Elixir', and the events leading up to this momentous moment and what motivated and drove him to the discovery of an eternal treasure, sought by mystics and alchemists alike. It is a tragic tale and will re-write the history books to vindicate and, at last, set the record straight for this much misunderstood man. He was cursed for having been born at a time when his genius was never fully appreciated and, because of this, the accounts of his life have left us with nothing more than fanciful stories of horror and degradation. This, thankfully, is no longer the case, no longer will he be vilified by popular fiction and can at last take his place in history as a visionary and healer, his true calling.." 'Frankenstein: The Lost Manuscript
There is a degree of emotional impact in the nature poetry of the eighteenth century which marks a shift in sensibility towards what came to be called 'the sublime'. The concept, from classical Greek, came to England through the French of Boileau, and reached its definitive explication in Edmund Burke's Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (1757-59). This is a key text of the times, displaying an emphasis on feelings and on imagination, which is almost the antithesis of the neoclassical insistence on form and reason. Burke's idea of the sublime goes beyond natural beauty (although the beauty of nature is very much a part of it) and goes into the realms of awe, or 'terror'. The sublime is, for Burke, 'productive of the strongest emotion which the mind is capable of feeling'. Terror, emotion, feeling: all these represent a break from the intellectual rigours of the Augustan age, and are in one sense a reaction against the new pressures of society and bourgeois concerns... The link between the sublime and terror is most clearly seen in the imaginative exaggeration of the Gothic novel - a form which concentrated on the fantastic, the macabre and the supernatural, with haunted castles, spectres from the grave and wild landscapes. It is significant that the term 'Gothic' originally had mediaeval connotations: this is the first of several ways of returning to pre-Renaissance themes and values which is to be found over the next hundred years or so. The novels of the 1760s to the 1790s, however, gave the term 'Gothic' the generic meaning of horror fantasy. The Castle of Otranto (1764) by Horace Walpole (son of the prime minister Sir Robert Walpole) was the first of this kind, and the sub-genre has flourished ever since... .. Like many texts of its times, Walpole's novel purported to be a translation of an ancient manuscript dating from the eleventh or twelfth century. There was a strange fashion for these mediaeval rediscoveries, Thomas Chatterton and James Macpherson (Ossian) being notable contributors to the trend. Whether this was a deliberate avoidance of boastful originality or an attempt to give the works involved some spurious historical validity is not clear. Peter Ackroyd's novel Chatterton (1987) examines the phenomenon.