Saturday 4th of December 2021

bending history...




















I have it under no authority that Bender the robot of Futurama is based on Остап Бендер  — a Russian character otherwise know as Ostap Bender, or Ostap-Suleyman-Berta-Maria-Bender-Bey or even Bender-Zadunaysky, until his name settled on Ostap Ibragimovich Bender.



Bender, the fictional Russian character, is a con man. Bender in Futurama is a con-artist robot. Bender is an attractive, resourceful crook, full of energy while operating within the law. Bender knew 400 relatively legal ways to make the population part with their money. He is known as "The Great Combinator” which became a catch phrase in the Russian language… I think I made my point, apart from the word “attractive” — though for lady robots, Bender would be a romantic push-over. He’d melt his gear box in two seconds...


This came to me in a dream, and verified by Wikisomething in regard to the Russian character. This is officially cleared by the Ministry of laughter of Soviet rule, 1920-something. Really? Russian Humour is special and needs a special language: Russian and some Vodka. Ask Elon (See: vodka engineered...).


Mikhail Mikhailovich Bakhtin (Михаи́л Миха́йлович Бахти́н) was a Russian philosopher, literary critic and scholar who worked in literary theory, ethics, and the philosophy of language. His writings, on a variety of subjects, inspired scholars on different views ranging from Marxism, semiotics, structuralism, religious criticism and disciplines such as literary criticism, history, philosophy, sociology, anthropology and psychology. Bakhtin was famous for debates on aesthetics and about literature in the 1920s, but forgotten, to be rediscovered by Russian scholars in the 1960s.


Bakhtin was also the philosopher of heteroglossia — the study of diversity of "languages" (meanings and sub-lingos) within a single language — and of carnival on the footsteps of fun and irreverence that gave birth to the tricks and deceptions of Ostap Bender created by Ilf and Petrov, of which Bakhtin was very fond of…


So there. One of the piece of satire, most appreciated by Bakhtin, was written in French, principally by a certain Pierre Pithou, at the end of the 16th century. I know, we’re moving about a lot, but stay with me… 


Imagine your country has been torn apart by religious wars and popular unrest between Catholics and Huguenots. This is the Kingdom of France from 1562 to 1598. 36 bloody years in which the same god is supporting both sides, In which the most atrocious torture and death methods are used, even if the word sadism has not been invented yet, in which the bodies are piling up in the streets. The smell, the threat of pandemic plagues, the sights, the dirt, the sounds of alarms and of victory/defeat trumpets, the sound of occupying (Spanish and Flemish) soldiers' feet on the pavers — a bit like that of the Cybermen in Dr Who — everything would send fear down your spine, unless you question your own will to live, but die anyway you do from hunger… Welcome to Paris… And this was way before the Bastille. Way before Balzac described the torrid squalor of this city, or the commune revolution… and way before 1961 when the Algerians were thrown in the river Seine and drowned because they had not learned to swim… More than 40 official deaths recorded and possibly more than 400… This was way before the revolution of 1968… But we’re getting ahead in looking at the dark past of this beautiful city that lost its crown jewel roof… The Notre-Dame fire...


What attracted Bakhtin was something called La Satyre Ménippée… nothing to do with satyrs (or goat-people) but with sharp and eloquent satire. Quite a few people contributed to the work. 


The Satire Ménippée or La Satyre Ménippée de la vertu du Catholicon d'Espagne was a political and satirical work in prose and verse that mercilessly parodied the Catholic League and Spanish pretensions during the Wars of Religion in France, and championed the idea of an independent but Catholic France. The work was a collaborative effort of various functionaries, lawyers, clerics and scholars. It appeared at a time that coincided with the ascendance of Henry IV of France and the defeat of the League.


The title derives from the classical Greek and Roman literary genre "menippean satire", a form of carnivalesque literature in a free-form mixture of prose, verse and dialogue. Mikhail Bakhtin called the Satyre Ménippée "one of the greatest political satires of world literature”.



Pithou's contribution in one paragraph (Translation by Jules Letambour) is cutting:


O Paris, which is no longer Paris, but a cavern of wild beasts, a citadel of Spaniards, Walloons and Neapolitans, an asylum and safe retreat for thieves, murderers and assassins, will you never feel your dignity and remember who you were, at the cost of what you are! Do you never want to be cured of this frenzy which for a legitimate and gracious King, engendered for you fifty kings and fifty tyrants? Here you are in irons! Here you are in the Spanish Inquisition, a thousand times more intolerable and harder to endure for spirits born free and frank, such as the French nation, than the cruelest deaths of which the Spaniards do know! You could not endure a slight increase in taxes and levies and a few new edicts which did not matter to you at all, and you now endure having your houses plundered, ransomed till you bleed, imprisoning the Senators, hunt and banish your good citizens and councillors, hang them, and kill your principal magistrates! you see it, and you endure it! You not only endure it, but you approve of it, and praise it, and wouldn't dare to do otherwise! You could not support your King, so easygoing, so easy, so familiar, who had become a fellow citizen and bourgeois of your City, which he enriched, which he embellished with sumptuous buildings, adding forts and superb ramparts, a city adorned with honourable privileges and exemptions! What am I saying, could you endure? It’s much worse: you hunted him out of his City, his house, his bed! What hunted? You chased him! What? Pursued? You murdered him, canonised the murderer, and made bonfires of his death! And you see now how much this death has benefited you, because it is the cause that another rose in his place, much more vigilant, much more laborious, much more warrior, and who will know how to hold you tighter, as you have, to your chagrin, already experienced.


In came Henry IV...


Take this, satirists of the world. We’re just amateurs… We need sharper knives...

Paris, 1961...

The character of Bart is an anagram of brat. Matt Groening was going to name the character Matt, but he realised that would be a giveaway, so he decided to name him Bart. 

Gus thinks that Bart is also the short version for Barnaby (rather than Bartholomew) if we go by the Australian political exemplar. Both Bart and Barnaby sound a bit like FART, one is short and brief, the other is a longer modulated version, ending in a whisper akin to tinnitus. Barnaby coming back to lead the Nationals has been described by the Murdoch media as "a dog returning to its own vomit..." which was the milder of many other horrid descriptions...


A nastier character than Bart Simpson, Barnaby Joyce and Bender "Robotinowitz" was MAURICE PAPON...


The Paris massacre of 1961 occurred on 17 October 1961, during the Algerian War (1954–62). Under orders from the head of the Parisian policeMaurice Papon, the French National Police attacked a demonstration by 30,000 pro-National Liberation Front (FLN) Algerians. After 37 years of denial and censorship of the press, in 1998 the French government finally acknowledged 40 deaths, although there are estimates of 100 to 300 victims.[1] Death was due to heavy-handed beating by the police, as well as mass drownings, as police officers threw demonstrators into the river Seine.

The massacre was intentional, as substantiated by historian Jean-Luc Einaudi, who won a trial against Papon in 1999 (Papon had been convicted in 1998 of crimes against humanity for his role under the Vichy collaborationist regime during World War II). Official documentation and eyewitness accounts within the Paris police department suggest that Papon directed the massacre himself. Police records show that he called for officers in one station to be "subversive" in quelling the demonstrations, and assured them protection from prosecution if they participated.[2]

Forty years after the massacre, on 17 October 2001, Bertrand Delanoë, the Socialist Mayor of Paris, put up a plaque in remembrance of the massacre on the Pont Saint-Michel.[3][4] How many demonstrators were killed is still unclear. In the absence of official estimates, the plaque commemorating the massacre reads, "In memory of the many Algerians killed during the bloody repression of the peaceful demonstration of 17 October 1961". On 18 February 2007 (the day after Papon's death) calls were made for a Paris Métro station under construction in Gennevilliers to be named "17 Octobre 1961" in commemoration of the massacre.[5][6]


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Free Julian Assange Immediately ∑∑∑∑∑∑∑!!!!!

suddenly, they remember...

We have mentioned this above, in July 2021:


"It was a miracle I was not thrown into the Seine," Algerian Hocine Hakem recalled about an infamous but little-known massacre in the French capital 60 years ago.

Around 30,000 Algerians had taken to the streets of Paris in a peaceful protest against a curfew, and calling for independence nearly seven years into the war against French rule in North Africa. 

The police killed hundreds of protesters and dozens of others were thrown into the River Seine, making it one of the darkest pages of France's chequered colonial history. 

Mr Hakem was 18 at the time and was telling his story to the L'Humanité newspaper decades after the event, which was little reported at the time. He was among about 14,000 Algerians arrested during the operation.

The government of the day censored the news, destroyed many of the archives and prevented journalists from investigating the story. Contemporary news bulletins reported three deaths, which included a French national. It was not covered in the international press.

Brigitte Laîné, who was a curator at the Parisian archives, said in 1999 that some official documents survived revealing the extent of the killings. "There were a lot of bodies. Some with the skulls crushed, others with shotguns wounds," she said.


One photo captured the chilling sentiments of the time, showing graffiti scrawled along a section of the Seine's embankment saying: "Here we drown Algerians." 

This is the title of French historian Fabrice Riceputi's new book which details how one man - researcher Jean-Luc Einaudi - tirelessly sought to gather eyewitness testimony, publishing his account 30 years after the police massacre.

It is now believed that between 200 and 300 Algerians were killed that day. 

A total of 110 bodies washed up on the banks of the River Seine over the following days and weeks . Some were killed then dumped, while others were injured, thrown into the cold waters and left to drown. 

The youngest victim was Fatima Beda. She was 15 and her body was found on 31 October in a canal near the Seine.



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