"I was a poet and a grand gentleman, I fell in love;"*
I fell in the pit
I couldnt wake up
My wings were broken
And I crawled and crawled and caught the reed
and piping the songs of eternal sorrows.
'Even in sorrow life is sweet; life is sweet".*
*(Dostoevsky,Notes From Underground)
বুধবার, ২৮ নভেম্বর, ২০১২
মঙ্গলবার, ২৭ নভেম্বর, ২০১২
On Silences and Loneliness
Silence and loneliness are my continuous partner.
I photographed them with me many a long years back!
When I have the two, I don't need any.
I'm desperately alone in the crowd-
And I'm crowded with silences and loneliness.
I learned not to mind the silences.
8:21pm, Sun 18 11 12
@ My Cave of Hera
"Cliffs are lonely" -
Dr. Monmohan Singh
Prime Minister, India
I photographed them with me many a long years back!
When I have the two, I don't need any.
I'm desperately alone in the crowd-
And I'm crowded with silences and loneliness.
I learned not to mind the silences.
8:21pm, Sun 18 11 12
@ My Cave of Hera
"Cliffs are lonely" -
Dr. Monmohan Singh
Prime Minister, India
সোমবার, ২৬ নভেম্বর, ২০১২
Who Are Friends
Friends are those who keep his anger aside from his friend
Friends are those who understand misunderstandings
Friends are those with whom no network needed
They talk by the vibration
They see themselves closing eyes
They feel themselves without being in touch
Friends are those who never say goodbye
Friends are those who don't make one anger the last
They accept such angers, misunderstanding may come again and again.
09:36pm, Mon 19 11 12
Friends are those who understand misunderstandings
Friends are those with whom no network needed
They talk by the vibration
They see themselves closing eyes
They feel themselves without being in touch
Friends are those who never say goodbye
Friends are those who don't make one anger the last
They accept such angers, misunderstanding may come again and again.
09:36pm, Mon 19 11 12
শনিবার, ২৪ নভেম্বর, ২০১২
Age of Heroes, Heroism, Code of Conduct and their Urge for Immortality
It was a great age of heroes and warriors. They deserved special place in the society. And all other persons of the society used to see them in an admirable eyes. And the heroes also had to maintain certain code of conducts. They had to come into the rescue of the race and nation when any crisis or danger fell upon them. They even went outside their country to win more glory by fighting with the enemies of the neighboring countries.
In doing so heroes risked their life to the maximum.
They even ended up with their valuable life. After their death the ritual used to go for many days and all of the members of the society used to take part in the mourning process. The greater the hero was the greater the monument would be. The monuments were built nearby the sea so that far away from the land they could be seen by people on the sea. Their urge for immortality and name and fame was noteworthy and clearly manifested in their works.
In doing so heroes risked their life to the maximum.
They even ended up with their valuable life. After their death the ritual used to go for many days and all of the members of the society used to take part in the mourning process. The greater the hero was the greater the monument would be. The monuments were built nearby the sea so that far away from the land they could be seen by people on the sea. Their urge for immortality and name and fame was noteworthy and clearly manifested in their works.
বুধবার, ২১ নভেম্বর, ২০১২
Nostalgic
All the characters from my childhood hovered around me today(yesterday) in my dream.
Iqbal, my comrade and a dashing cricketar
Delu, the cool batsman, gentle, slow but steadfast,
Tipu, the swift runner the rebel against me ,
They came to me with the ball, bat and stamps,
asked me to be hurry-
"Hurry up! It's time! Hurry up ! It's time!"
Time is going,
Lets go captain!
Lets go captain!
Time is now
Lets play hard
Lets play tough
Lets play fine.
The opposition/enemy is in the field now-
09:36am, Mon 12 11 12
Iqbal, my comrade and a dashing cricketar
Delu, the cool batsman, gentle, slow but steadfast,
Tipu, the swift runner the rebel against me ,
They came to me with the ball, bat and stamps,
asked me to be hurry-
"Hurry up! It's time! Hurry up ! It's time!"
Time is going,
Lets go captain!
Lets go captain!
Time is now
Lets play hard
Lets play tough
Lets play fine.
The opposition/enemy is in the field now-
09:36am, Mon 12 11 12
মঙ্গলবার, ২০ নভেম্বর, ২০১২
Beowulf : Socio-political Scenario Presented in it
Beowulf has often been mined for historical information. Rather more rarely have historians applied their expertise to the elucidation of the poem's literary qualities.
Recent scholarship has tended to see Beowulf as less romantic and more sophisticated than earlier scholarship did; it has de-emphasized folklore, mythology, and legendary history as preferred contexts for reading Beowulf in favor of the social and political life of Anglo-Saxon England itself.
The evidence of the Anglo-Saxons' own interest in the poem lies chiefly in the manuscript itself. It is of the late tenth or early eleventh century, a long time after the composition of the poem, which is usually thought to have taken place no later than the eighth century.
The way in which battles and war, the favourite occupation of our antiquity, are described deserves our attention before all else. There is something glorious in every battle-scene. Wolf, eagle and raven with joyous cry go forward in the van of the army, scenting their prey.
In Old English poetry the wolf, the eagle and the raven occur as satellites of battle some sixteen times in all. Wherever they come they convey the expectation of slaughter.
The Beowulf poet uses the same imagery at the end of the speech which near the end of the poem foretells the destruction of the Geatish nation now that Beowulf is dead.
The society, as in all heroic poetry, is aristocratic; there is no attempt to envisage a whole people. Even within its limits the picture is fragmentary, and we have but a partial account of matters connected with warfare, the business and occupation of king and retinue. There is no description of their habitual acts and employment. Except incidentally there is no reference to hunting, riding in contest, amusements and the like; the ordinary facts of life are taken for granted, likewise the familiar surroundings.
The hall is not described nor its contents. Feasting is mentioned, so unlike Homer, except in the most general terms. Drinks, especially wine, are just named, and wine was common in sixth-century England, known but hardly common in Scandinavia. The vessels too are named only in a general way, sincfaet, sele-ful, wunderfatu. Richly ornamented and costly bowls were certainly known, but the commoner sort of dish does not come in at all; nor does silver or glass, though a costly Anglo-Saxon goblet of glass was made, valued and exported. Everything specifically indicated is gold. Tapestries are mentioned...
Recent scholarship has tended to see Beowulf as less romantic and more sophisticated than earlier scholarship did; it has de-emphasized folklore, mythology, and legendary history as preferred contexts for reading Beowulf in favor of the social and political life of Anglo-Saxon England itself.
The evidence of the Anglo-Saxons' own interest in the poem lies chiefly in the manuscript itself. It is of the late tenth or early eleventh century, a long time after the composition of the poem, which is usually thought to have taken place no later than the eighth century.
The way in which battles and war, the favourite occupation of our antiquity, are described deserves our attention before all else. There is something glorious in every battle-scene. Wolf, eagle and raven with joyous cry go forward in the van of the army, scenting their prey.
In Old English poetry the wolf, the eagle and the raven occur as satellites of battle some sixteen times in all. Wherever they come they convey the expectation of slaughter.
The Beowulf poet uses the same imagery at the end of the speech which near the end of the poem foretells the destruction of the Geatish nation now that Beowulf is dead.
The society, as in all heroic poetry, is aristocratic; there is no attempt to envisage a whole people. Even within its limits the picture is fragmentary, and we have but a partial account of matters connected with warfare, the business and occupation of king and retinue. There is no description of their habitual acts and employment. Except incidentally there is no reference to hunting, riding in contest, amusements and the like; the ordinary facts of life are taken for granted, likewise the familiar surroundings.
The hall is not described nor its contents. Feasting is mentioned, so unlike Homer, except in the most general terms. Drinks, especially wine, are just named, and wine was common in sixth-century England, known but hardly common in Scandinavia. The vessels too are named only in a general way, sincfaet, sele-ful, wunderfatu. Richly ornamented and costly bowls were certainly known, but the commoner sort of dish does not come in at all; nor does silver or glass, though a costly Anglo-Saxon goblet of glass was made, valued and exported. Everything specifically indicated is gold. Tapestries are mentioned...
সোমবার, ১৯ নভেম্বর, ২০১২
Truth is a Fearful Friend
Truth is a fearful friend
It drives away all of your closer friends-
Your dear family, your friends so dear, your friends of past, present and even future
You turn into a solitary reaper
'as solitary as that of a savage.'
Harvesting your own crops-
ploughing, digging, collecting, gathering with the same hands
day and night
morning and evening
waking and sleeping.
'Every decent man of our age must be a coward and a slave.
That is his normal condition.'
11:48pm, Mon 19 11 12
Drafted @ Central Library
Edited @Lalbagh
It drives away all of your closer friends-
Your dear family, your friends so dear, your friends of past, present and even future
You turn into a solitary reaper
'as solitary as that of a savage.'
Harvesting your own crops-
ploughing, digging, collecting, gathering with the same hands
day and night
morning and evening
waking and sleeping.
'Every decent man of our age must be a coward and a slave.
That is his normal condition.'
11:48pm, Mon 19 11 12
Drafted @ Central Library
Edited @Lalbagh
My Favorite Company
08:21pm, Sun 18 11 12
Silence and loneliness are my continuous partner.
I photographed them with me many a long years back!
When I have the two, I don't need any.
I'm desperately alone in the crowd-
And I'm crowded with silences and loneliness.
I learned not to mind the silences.
@ My Hera Guha
*Cliffs are lonely said Monmohan Singh...
11:20pm, Sun 18 11 12
On Sleep
02:38pm, Sun 18 11 12
Sleep is a very gentle and beautiful guest
Keep your door open whenever she comes!
Let her never go without your humble hug
She is shy
Might leave you for long
If you dishearten her.
She is to be caressed as the newly married wife!
Sleep is a very gentle and beautiful guest
Keep your door open whenever she comes!
Let her never go without your humble hug
She is shy
Might leave you for long
If you dishearten her.
She is to be caressed as the newly married wife!
বুধবার, ১৪ নভেম্বর, ২০১২
Henrik Ibsen: A Doll's House :: Notes
A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view.
George Bernard Shaw opined on "A Doll's House" that "When he(Torvald) goes on to tell her (Nora) that commercial dishonesty is generally to be traced to the influence of bad mothers. All her illusions about herself are now shattered. She sees herself as an ignorant and silly woman, a dangerous mother, and a wife kept for her husband's pleasure merely; but she clings all the harder to her illusion about him: He is still the ideal husband who would make any sacrifice to rescue her from ruin.
The final disillusion comes when he , instead of at once proposing to pursue this ideal line of conduct when he hears of the forgery, naturally enough flies into a vulgar rage and heaps invective on her for disgracing him. Then she sees that their whole family life has been a fiction: their home a mere doll's house in which they have been playing at ideal husband and father, wife and mother.
So she leaves him then and there and goes out into the real world to find out its reality for herself, and to gain some position not fundamentally false, refusing to see her children again until she is fit to be in charge of them, or to live with him until she and he become capable of a mere honorable relation to one another.
Muriel C. Bradbrook (1909-1993) in her analysis in "A Doll's House: Ibsen the Moralist" suggests that Nora slowly discovers the fundamental bankruptcy of her marriage. Bradbrook calls it "eight years' prostitution".
She also shows the true extent of Torvald's possessiveness and immaturity. As Bradbrook says, the true moment of recognition in the Greek tragic scene occurs when Nora sees both herself and Torvald in their true nature. She does understand that she has lived by what Virginia Woolf called "the slow waterlogged sinking of her will into his."
In act-1, no less than six different episodes bring out the war that is secretly waged between his masculine dictatorship and her feminine wiles:
So when the crush comes, she cries, " I have been living with a strange man."
The climax of the play comes when Nora sees Torvald and sees herself; it is an anagnorisis, a recognition. Nora says, "I have made nothing of my life... I must stand quite alone...it is necessary to me..."
Whilst the Ibsenites might have conceded that Torvald is 'Art', they would probably have contended that Nora is 'Truth'. Nora, however, is much more that revolting wife. She is not a misantropist or a fighting suffragette, but a lovely young woman who knows that she still holds her husband firmly infatuated after eight years of marriage..
Leaving of Nora: In leaving her husband Nora is seeking a fuller life as a human being. She is emancipating herself. Yet the seeking itself is also a renunciation, a kind of death-" I must stand alone".
She is as broken as Torvald in the end. But she is a strong character and he is a weak one. She was putting herself outside society, inviting insult, destitution, and loneliness. She went out into a very dark night.
George Bernard Shaw opined on "A Doll's House" that "When he(Torvald) goes on to tell her (Nora) that commercial dishonesty is generally to be traced to the influence of bad mothers. All her illusions about herself are now shattered. She sees herself as an ignorant and silly woman, a dangerous mother, and a wife kept for her husband's pleasure merely; but she clings all the harder to her illusion about him: He is still the ideal husband who would make any sacrifice to rescue her from ruin.
The final disillusion comes when he , instead of at once proposing to pursue this ideal line of conduct when he hears of the forgery, naturally enough flies into a vulgar rage and heaps invective on her for disgracing him. Then she sees that their whole family life has been a fiction: their home a mere doll's house in which they have been playing at ideal husband and father, wife and mother.
So she leaves him then and there and goes out into the real world to find out its reality for herself, and to gain some position not fundamentally false, refusing to see her children again until she is fit to be in charge of them, or to live with him until she and he become capable of a mere honorable relation to one another.
Muriel C. Bradbrook (1909-1993) in her analysis in "A Doll's House: Ibsen the Moralist" suggests that Nora slowly discovers the fundamental bankruptcy of her marriage. Bradbrook calls it "eight years' prostitution".
She also shows the true extent of Torvald's possessiveness and immaturity. As Bradbrook says, the true moment of recognition in the Greek tragic scene occurs when Nora sees both herself and Torvald in their true nature. She does understand that she has lived by what Virginia Woolf called "the slow waterlogged sinking of her will into his."
In act-1, no less than six different episodes bring out the war that is secretly waged between his masculine dictatorship and her feminine wiles:
So when the crush comes, she cries, " I have been living with a strange man."
The climax of the play comes when Nora sees Torvald and sees herself; it is an anagnorisis, a recognition. Nora says, "I have made nothing of my life... I must stand quite alone...it is necessary to me..."
Whilst the Ibsenites might have conceded that Torvald is 'Art', they would probably have contended that Nora is 'Truth'. Nora, however, is much more that revolting wife. She is not a misantropist or a fighting suffragette, but a lovely young woman who knows that she still holds her husband firmly infatuated after eight years of marriage..
Leaving of Nora: In leaving her husband Nora is seeking a fuller life as a human being. She is emancipating herself. Yet the seeking itself is also a renunciation, a kind of death-" I must stand alone".
She is as broken as Torvald in the end. But she is a strong character and he is a weak one. She was putting herself outside society, inviting insult, destitution, and loneliness. She went out into a very dark night.
রবিবার, ৪ নভেম্বর, ২০১২
Ulysses
The length of Ulysses is a crucial part of Joyce's achievement, the creation of this unknown man, who is not a flat character, nor even a rounded character, but a real person. By the adjective 'real' I mean only that Joyce gives his readers more information about Bloom than any other character in the history of literature. We know him better than we know most of our friends.
Complexity and mass are the keys to Joyce's fiction, a fiction that questions cliches of every kind..
Saul Bellow in one of his interviews to 'Paris Review' strangely describes 'Ulysses' as a "masterpiece of confusion"-an eccentric opinion.
T.S. Eliot published his influential, agenda-setting essay in 1923, 'Ulysses, Order and Myth': 'Mr Joyce's parallel use of the Odyssey has a great importance. It has the importance of a scientific discovery... It is simply a way of controlling, of ordering, of giving a shape and significance to the immense panorama of futility and anarchy which is contemporary history.'
Craig Raine(Introduction)
Complexity and mass are the keys to Joyce's fiction, a fiction that questions cliches of every kind..
Saul Bellow in one of his interviews to 'Paris Review' strangely describes 'Ulysses' as a "masterpiece of confusion"-an eccentric opinion.
T.S. Eliot published his influential, agenda-setting essay in 1923, 'Ulysses, Order and Myth': 'Mr Joyce's parallel use of the Odyssey has a great importance. It has the importance of a scientific discovery... It is simply a way of controlling, of ordering, of giving a shape and significance to the immense panorama of futility and anarchy which is contemporary history.'
Craig Raine(Introduction)
Proteus: Intellectual Complexities
Proteus: Intellectual Complexities
Perhaps the most intellectually complex episode is in section 1, chapter3, "Proteus". Joyce scavenges the whole history of European scholastic philosophy to provide weapons for his young artist, Stephen Dedalus, in his battle to capture the transitory flux of reality.
Joyce relates this intellectual struggle to Homer's story of how King Menelaus wrestled information from the slippery only "shape-shifting" sea king, Proteus.
Bewildered by a myriad obscure references and complex patterns of language, ever shifting like the sea, the first-time reader may be tempted to give up.
A moment comes indeed when language seems to break down into meaningless misprinted shapes.
Listen: a four worded wave speech: seesoo, hrss, rsseeiss, ooos.
Do take Joyce's advice. Listen! For this is the miraculous moment when Stephen captures the voice of the sea itself in words of his own making- the crash of a wave and the foam retracted through the shingle.
Say it over to yourself. It is like putting a shell to your ear, as a child does to hear the sea.
Notes taken from "Introducing Joyce" by David Norris and Carl Flint
Perhaps the most intellectually complex episode is in section 1, chapter3, "Proteus". Joyce scavenges the whole history of European scholastic philosophy to provide weapons for his young artist, Stephen Dedalus, in his battle to capture the transitory flux of reality.
Joyce relates this intellectual struggle to Homer's story of how King Menelaus wrestled information from the slippery only "shape-shifting" sea king, Proteus.
Bewildered by a myriad obscure references and complex patterns of language, ever shifting like the sea, the first-time reader may be tempted to give up.
A moment comes indeed when language seems to break down into meaningless misprinted shapes.
Listen: a four worded wave speech: seesoo, hrss, rsseeiss, ooos.
Do take Joyce's advice. Listen! For this is the miraculous moment when Stephen captures the voice of the sea itself in words of his own making- the crash of a wave and the foam retracted through the shingle.
Say it over to yourself. It is like putting a shell to your ear, as a child does to hear the sea.
Notes taken from "Introducing Joyce" by David Norris and Carl Flint
Double Coding
Double Coding
Double Coding*Continuation of modern techniques and sth else(traditional building)
*Modern didn’t communicate effectively with its ultimate users
*Didn’t make effective link with the city and history
*Post modern architecture professionally based and popular as well
*Based on new techniques and old patterns
*Double coding simply means both-
elite/popular,new/old–and there are compelling reasons for these opposite pairings
*Post modern architects use contemporary technology as well as facing current social reality
*Yet all the creators who could be called postmodern keep sth of modern sensibility-some intention which distinguishes their work from that of revivalists-whether this is irony,parody,displacement,complexity,eclecticism,realism or any number of contemporary tactics and goals.
*Post modern double meaning:the: The continuation of modernism and its transcendence.
বৃহস্পতিবার, ১ নভেম্বর, ২০১২
Marshall McLuhan: Understanding Media -Notes from it
Marshall McLuhan is famously known for his coining the word 'Globalization'.
Here I will try to take some notes from his very essential book "Understanding Media".
(Routledge publication,1964)
The book is divided into two parts, of which the first part has seven chapters and twenty six for the second part.
The introduction begin with a report from 'The New York Times' that is of a 'small mouse' who (presumeably had been watching television) allegedly reported of attacking a little girl and her 'full grown cat' ...'Both mouse and cat survived, and the incident is recorded here as a reminder that things seem to be changing'.
The 1st chapter of the part-1 is titled as "The Medium is the Message". "Many people would be disposed to say that it was not the machine, but what one did with the machine, that was its meaning or message......machines altered our relations to one another and to ourselves"
The chapter-2 is titled as "Media Hot And Cold"
Chapter 4 is "The Gadget Lover" and subtitled 'Narcissus as Narcosis'.
'It is from the Greek word 'narcosis', or numbness...The nymph Echo tried to win his love with fragments of his own speech, but in vain. He was numb. He had adapted to his extension of himself and had become a closed system'.... With the arrival of electric technology, man extended, or set outside himself, a live model of the central nervous system itself.
Chapter-7: Challenge and Collapse
The Nemesis of Creativity
"...Archimedes once said, 'Give me a place to stand and I will move the world.' Today he would have pointed to our electric media and said, "I will stand on your eyes, your ears, your nerves, and your brain, and the world will move in any tempo or pattern I choose."
*************
Now lets go to the Part-2
Chapter 8: "The Spoken Word" Flower of Evil?
Chapter 9: The Writ Word
An Eye for an Ear
...Civilization is built on literacy because literacy is a uniform processing of a culture by a visual sense extended in space and time by the alphabet. In tribal culture, experience is arrange by a dominant auditory sense-life that represses visual values.
Chapter 11: Number
Profile of the Crowd
..In the theater, at a ball game, in church, every individual enjoys all those others present. The pleasure of being among the masses is the sense of the joy in the multiplication of numbers...
" you feel better satisfied when you use well-known brands."
Chapter12: Clothing
Our Extended Skin
... Privacy, like individualism is unknown in tribal societies, a fact that Westerners need to keep in mind when estimating the attractions of our way of life to nonliterate peoples.a.
Clothing, as an extension of the skin, can be seen both as a heat-control mechanism and as a means of defining the self socially.
Chapter13 Housing
New Look and New Outlook
If clothing is an extension of our private skins to store and channel our own heat and energy, housing is a collective means of achieving the same end for the family or the group.
... Many readers are familiar with the way in which James Joyce organized Ulysses by assigning the various city forms of walls, streets, civic buildings, and media to the various bodily organs. Such a parallel between the city and the human body enabled Joyce to establish a further parallel between ancient Ithaca and modern Dublin, creating a sense of human unity in depth, transcending history.
Baudlaire originally intended to call his "Fleurs du Mal, Les Limbes", having in mind the city as corporate extensions of our physical organs... The city as amplification of human lusts and sensual striving had for him an entire organic and psychic unity.
14) Money
The Poor Man's Credit Card
15) Clocks
The Scent of Time
18)The Printed Word
Architect of Nationalism
20) the Photograph
The Brothel-without-Walls
21) Press
Government by News Leak
22) Motorcar
The Mechanical Bride
29) Movies
The Reel World
30) Radio
The Tribal Drum
31) Television
The Timid Giant
33) Automation
Learning a Living
Here I will try to take some notes from his very essential book "Understanding Media".
(Routledge publication,1964)
The book is divided into two parts, of which the first part has seven chapters and twenty six for the second part.
The introduction begin with a report from 'The New York Times' that is of a 'small mouse' who (presumeably had been watching television) allegedly reported of attacking a little girl and her 'full grown cat' ...'Both mouse and cat survived, and the incident is recorded here as a reminder that things seem to be changing'.
The 1st chapter of the part-1 is titled as "The Medium is the Message". "Many people would be disposed to say that it was not the machine, but what one did with the machine, that was its meaning or message......machines altered our relations to one another and to ourselves"
The chapter-2 is titled as "Media Hot And Cold"
Chapter 4 is "The Gadget Lover" and subtitled 'Narcissus as Narcosis'.
'It is from the Greek word 'narcosis', or numbness...The nymph Echo tried to win his love with fragments of his own speech, but in vain. He was numb. He had adapted to his extension of himself and had become a closed system'.... With the arrival of electric technology, man extended, or set outside himself, a live model of the central nervous system itself.
Chapter-7: Challenge and Collapse
The Nemesis of Creativity
"...Archimedes once said, 'Give me a place to stand and I will move the world.' Today he would have pointed to our electric media and said, "I will stand on your eyes, your ears, your nerves, and your brain, and the world will move in any tempo or pattern I choose."
*************
Now lets go to the Part-2
Chapter 8: "The Spoken Word" Flower of Evil?
Chapter 9: The Writ Word
An Eye for an Ear
...Civilization is built on literacy because literacy is a uniform processing of a culture by a visual sense extended in space and time by the alphabet. In tribal culture, experience is arrange by a dominant auditory sense-life that represses visual values.
Chapter 11: Number
Profile of the Crowd
..In the theater, at a ball game, in church, every individual enjoys all those others present. The pleasure of being among the masses is the sense of the joy in the multiplication of numbers...
" you feel better satisfied when you use well-known brands."
Chapter12: Clothing
Our Extended Skin
... Privacy, like individualism is unknown in tribal societies, a fact that Westerners need to keep in mind when estimating the attractions of our way of life to nonliterate peoples.a.
Clothing, as an extension of the skin, can be seen both as a heat-control mechanism and as a means of defining the self socially.
Chapter13 Housing
New Look and New Outlook
If clothing is an extension of our private skins to store and channel our own heat and energy, housing is a collective means of achieving the same end for the family or the group.
... Many readers are familiar with the way in which James Joyce organized Ulysses by assigning the various city forms of walls, streets, civic buildings, and media to the various bodily organs. Such a parallel between the city and the human body enabled Joyce to establish a further parallel between ancient Ithaca and modern Dublin, creating a sense of human unity in depth, transcending history.
Baudlaire originally intended to call his "Fleurs du Mal, Les Limbes", having in mind the city as corporate extensions of our physical organs... The city as amplification of human lusts and sensual striving had for him an entire organic and psychic unity.
14) Money
The Poor Man's Credit Card
15) Clocks
The Scent of Time
18)The Printed Word
Architect of Nationalism
20) the Photograph
The Brothel-without-Walls
21) Press
Government by News Leak
22) Motorcar
The Mechanical Bride
29) Movies
The Reel World
30) Radio
The Tribal Drum
31) Television
The Timid Giant
33) Automation
Learning a Living
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