Saturday, December 31, 2016

Ride To The Nightsky and Back


My Journey To The Stars

I Immaterialize
And Slowly Drift
Into the Unknown
With the Cold Winds with Soul
The Wintery Plains Lie Untouched
I Ride on My Elements
Towards the Stars Unseen
A Quest
For Knowledge
In the
Astral
Luminous
Stench Intensifies
As I
Near a Spectral Sphere
After a Hundred
Men's Lifetime
In Analyzing
I learn
To Consume
The Sphere
Of Immense Power
And To
Become Immortal
Darkness Hate and Winter
Rules the Earth when I Return
War
Between Races
A Goal Is Reached
Chaos, Hate

BURZUM January 1992

Monday, December 26, 2016

Signs of Endtimes





During 2016, and as far i can remember more than any other year before, I read, heard or saw somewhere about Ancient Hellenic archaeological excavations that oftenly turned into a very important discoveries. I found it quite remarkable how frequently I was receiving such news. From the archaelogical point of view 2016 in Hellas had a wide range of findings. 
To the majority of the modern men probably this means nothing. However to some others, this means a lot! Not only enriching our knowledge and view about our ancestral past, but it shows also that in this dark times where everything  (spiritually and physically) around falling apart, a deeper view into our past will strengthen our conviction that everything in nature is cyclical. What will follow after the decay of our times will remain to be seen....


After all, the graves, the temples, the monuments are here to remind it us more clearly than ever! 

If you have the same intrest as I do. Here I collected the links of the most, if not all archaeological discoveries for 2016.

JANUARY:

FEBRUARY:

MARCH:


APRIL:

MAY:

JUNE:


JULY:





AUGUST:



OCTOBER:



NOVEMBER:

DECEMBER:




Wednesday, December 21, 2016

High Night of Bright Stars


High Night of Bright Stars
Original : Hohe Nacht der Klaren Sterne by Hans Baumann
English translation by Monica Mainardi for THULE ITALIA

Sublime night of clear stars
That as far bridges
Connect our hearts
At the deepest immensity.
Sublime night of huge fires,
that shine on all the mountains,
because today the land must be renewed
like a newborn baby!

Mothers, for you are all fires
And all these stars;
Mothers, in the depths of your hearts
Beats the heart of the world to come!

 
See also:


Saturday, December 17, 2016

William Butler Yeats - Eκδόσεις Κλέος


ΝΕΕΣ ΕΚΔΟΣΕΙΣ ΑΠΟ ΤΗΝ


 "Οι εκδόσεις Κλέος αποτελούν την υλοποίηση μιας παλαιότερης ιδέας ορισμένων μελών της Φοιτητικής Λέσχης Φανταστικής Λογοτεχνίας προκειμένου η λέσχη μας, πέρα από το περιοδικό «Φανταστική Λογοτεχνία», την ραδιοφωνική εκπομπή και τα ηλεκτρονικά μέσα ενημέρωσης που διαθέτει, να προχωρήσει στην δημιουργία και ενός εκδοτικού σκέλους. Ο Σταμάτης Μαμούτος αποφάσισε να αναλάβει προσωπικά αυτό το εγχείρημα... και κάπως έτσι, οι εκδόσεις Κλέος έλαβαν υπόσταση τον Δεκέμβριο του 2016.

 Στόχος των εκδόσεών μας είναι η κυκλοφορία στην ελληνική γλώσσα λογοτεχνικών, θεωρητικών αλλά και επιστημονικών έργων με θεματικές που αφορούν το πεδίο του Ρομαντισμού. Ρομαντικοί και νεορομαντικοί συγγραφείς βρίσκονται στο επίκεντρο του ενδιαφέροντος της εκδοτικής μας προσπάθειας και είναι αναμφίβολο ότι σε αυτή την προσπάθεια η παλιά, αληθινή λογοτεχνία του φανταστικού έχει περίοπτη θέση.

Ελπίζουμε πως οι κυκλοφορίες των εκδόσεών μας θα τέρψουν τους αναγνώστες και θα συμβάλουν στην προβολή της ρομαντικής βιβλιογραφίας. Μιας ρομαντικής βιβλιογραφίας η οποία μέχρι σήμερα δεν έχει βρει την θέση που της αντιστοιχεί στο ελληνικό εκδοτικό στερέωμα.

Ο Ιρλανδός νομπελίστας Γουίλιαμ Μπάτλερ Γέητς είναι ο πρώτος συγγραφέας τον οποίο επιλέξαμε να παρουσιάσουμε στους αναγνώστες μας. Ο Γέητς συγκαταλέγεται ανάμεσα στους κορυφαίους λογοτέχνες του 20ου αιώνα, έχοντας γράψει ποιητικές συλλογές, διηγήματα, θεατρικά έργα αλλά και δοκίμια. Το βιβλίο του Ιρλανδού συγγραφέα που κυκλοφόρησε από τις εκδόσεις Κλέος είναι «Το Μυστικό Ρόδο». 

  
Πρόκειται για μια συλλογή διηγημάτων ρομαντικής φανταστικής λογοτεχνίας, που ξεκινά με ένα ποίημα. Πρωτοκυκλοφόρησε το 1897 όταν ο Γέητς βρισκόταν στην ωρίμανση της πρώτης λογοτεχνικής του εποχής.  Ήταν τότε που οι ρομαντικές του καταβολές είχαν αρχίσει να μπολιάζονται με επιρροές του Συμβολισμού ενώ και τα υπόλοιπα κεντρικά γνωρίσματα της πνευματικής του συγκρότησης, όπως το ενδιαφέρον για τον αποκρυφισμό και για την ιδεολογία του ιρλανδικού εθνικισμού, αναδύονταν στο επίκεντρο των ενδιαφερόντων του. Αναμφίβολα «Το Μυστικό Ρόδο» αποτελεί ένα δείγμα της παλιάς, καλής λογοτεχνίας του φανταστικού. Μιας λογοτεχνίας του φανταστικού που τείνει να ξεχαστεί κάτω από τους ογκώδεις τόμους των «νεοfantasy» γραφιάδων, με τους οποίους γεμίζουν ράφια και τηλεοπτικούς χρόνους οι διαχειριστές της αντιρομαντικής αγοραίας ελίτ των καιρών μας.

Όπως μαρτυρά κι ο ίδιος ο Γέητς, στον φιλοσοφικό πυρήνα του «Μυστικού Ρόδου» υφίσταται η ιδέα της σύγκρουσης μιας ιδεαλιστικής πνευματικής τάξης με τις βάρβαρες δυνάμεις του κόσμου της υλικής εμπειρίας. Μια αντιπαράθεση, δηλαδή, του ιδεαλισμού με τον υλισμό. Οι εκδηλώσεις του ιδεαλισμού μπορούν να ανιχνευτούν εντός αυτών των διηγημάτων σε ποικίλες και διαφορετικές περιπτώσεις της ιρλανδικής παράδοσης. Ο ιππότης που θυσιάζεται για το κοινό καλό, ο απαγορευμένος έρωτας ενός γενναίου παλαιστή με μια λογοδοσμένη αρχοντοπούλα, ο αγιασμένος αλαφροΐσκιωτος που κάνει θαύματα, ο πάμφτωχος και απόκληρος βάρδος. Σ’ αυτές και σ’ άλλες ακόμη περιπτώσεις η πέννα του Γέητς αναδεικνύει την αύρα των δυνάμεων του ουρανού και των αρχετύπων.

Το μυστικό Ρόδο συμβολίζει την ουσία του Θείου. Το εξομολογείται εξάλλου και ο ηλικιωμένος ιππότης του δεύτερου διηγήματος αυτής της συλλογής, που φέρει τον τίτλο «Αφήνοντας το Ρόδο». Πολλοί, βέβαια, είναι εκείνοι που θεωρούν ότι ο συμβολισμός είναι τριπλός και πέρα από τον Θεό συμπεριλαμβάνει την αγαπημένη του Μαντ Γκον και την πατρίδα του την Ιρλανδία. Και μάλλον έχουν δίκιο καθώς ο Γέητς σε όλη την διάρκεια της ζωής του περιέβαλε με θεία αφοσίωση τόσο την αγαπημένη του όσο και την πατρίδα του.


Ευελπιστούμε ότι οι αναγνώστες μας, ακροβατώντας ανάμεσα στα βελούδινα πέταλα και στον αγκαθωτό κορμό του «Μυστικού Ρόδου», θα απολαύσουν ένα λογοτεχνικό ταξίδι στα μυθικά πεδία της ιρλανδικής παράδοσης και θα γνωρίσουν την «σκηνή» των Ιρλανδών νεορομαντικών των τελών του 19ου αιώνα.  

  Ενημερωθείτε για τις εκδόσεις Κλέος στο ιστολόγιο www.kleospublications.blogspot.gr

Μπορείτε να αγοράσετε «Το Μυστικό Ρόδο» ζητώντας το στα mail flefalo@gmail.com και kleospublications@gmail.com


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Tuesday, December 13, 2016

Et in Arcadia Ego part II - Lovecraft's Tree

 
By 
Howard Phillips Lovecraft
 
 
“Fata viam invenient.”

On a verdant slope of Mount Maenalus, in Arcadia, there stands an olive grove about the ruins of a villa. Close by is a tomb, once beautiful with the sublimest sculptures, but now fallen into as great decay as the house. At one end of that tomb, its curious roots displacing the time-stained blocks of Pentelic marble, grows an unnaturally large olive tree of oddly repellent shape; so like to some grotesque man, or death-distorted body of a man, that the country folk fear to pass it at night when the moon shines faintly through the crooked boughs. Mount Maenalus is a chosen haunt of dreaded Pan, whose queer companions are many, and simple swains believe that the tree must have some hideous kinship to these weird Panisci; but an old bee-keeper who lives in the neighbouring cottage told me a different story.
 
 
Many years ago, when the hillside villa was new and resplendent, there dwelt within it the two sculptors Kalos and Musides. From Lydia to Neapolis the beauty of their work was praised, and none dared say that the one excelled the other in skill. The Hermes of Kalos stood in a marble shrine in Corinth, and the Pallas of Musides surmounted a pillar in Athens, near the Parthenon. All men paid homage to Kalos and Musides, and marvelled that no shadow of artistic jealousy cooled the warmth of their brotherly friendship.
 
 
 
But though Kalos and Musides dwelt in unbroken harmony, their natures were not alike. Whilst Musides revelled by night amidst the urban gaieties of Tegea, Kalos would remain at home; stealing away from the sight of his slaves into the cool recesses of the olive grove. There he would meditate upon the visions that filled his mind, and there devise the forms of beauty which later became immortal in breathing marble. Idle folk, indeed, said that Kalos conversed with the spirits of the grove, and that his statues were but images of the fauns and dryads he met there—for he patterned his work after no living model.
So famous were Kalos and Musides, that none wondered when the Tyrant of Syracuse sent to them deputies to speak of the costly statue of Tyché which he had planned for his city. Of great size and cunning workmanship must the statue be, for it was to form a wonder of nations and a goal of travellers. Exalted beyond thought would be he whose work should gain acceptance, and for this honour Kalos and Musides were invited to compete. Their brotherly love was well known, and the crafty Tyrant surmised that each, instead of concealing his work from the other, would offer aid and advice; this charity producing two images of unheard-of beauty, the lovelier of which would eclipse even the dreams of poets.
 
 
With joy the sculptors hailed the Tyrant’s offer, so that in the days that followed their slaves heard the ceaseless blows of chisels. Not from each other did Kalos and Musides conceal their work, but the sight was for them alone. Saving theirs, no eyes beheld the two divine figures released by skilful blows from the rough blocks that had imprisoned them since the world began.
At night, as of yore, Musides sought the banquet halls of Tegea whilst Kalos wandered alone in the olive grove. But as time passed, men observed a want of gaiety in the once sparkling Musides. It was strange, they said amongst themselves, that depression should thus seize one with so great a chance to win art’s loftiest reward. Many months passed, yet in the sour face of Musides came nothing of the sharp expectancy which the situation should arouse.
Then one day Musides spoke of the illness of Kalos, after which none marvelled again at his sadness, since the sculptors’ attachment was known to be deep and sacred. Subsequently many went to visit Kalos, and indeed noticed the pallor of his face; but there was about him a happy serenity which made his glance more magical than the glance of Musides—who was clearly distracted with anxiety, and who pushed aside all the slaves in his eagerness to feed and wait upon his friend with his own hands. Hidden behind heavy curtains stood the two unfinished figures of Tyché, little touched of late by the sick man and his faithful attendant.
 
As Kalos grew inexplicably weaker and weaker despite the ministrations of puzzled physicians and of his assiduous friend, he desired to be carried often to the grove which he so loved. There he would ask to be left alone, as if wishing to speak with unseen things. Musides ever granted his requests, though his eyes filled with visible tears at the thought that Kalos should care more for the fauns and the dryads than for him. At last the end drew near, and Kalos discoursed of things beyond this life. Musides, weeping, promised him a sepulchre more lovely than the tomb of Mausolus; but Kalos bade him speak no more of marble glories. Only one wish now haunted the mind of the dying man; that twigs from certain olive trees in the grove be buried by his resting-place—close to his head. And one night, sitting alone in the darkness of the olive grove, Kalos died.
Beautiful beyond words was the marble sepulchre which stricken Musides carved for his beloved friend. None but Kalos himself could have fashioned such bas-reliefs, wherein were displayed all the splendours of Elysium. Nor did Musides fail to bury close to Kalos’ head the olive twigs from the grove.
As the first violence of Musides’ grief gave place to resignation, he laboured with diligence upon his figure of Tyché. All honour was now his, since the Tyrant of Syracuse would have the work of none save him or Kalos. His task proved a vent for his emotion, and he toiled more steadily each day, shunning the gaieties he once had relished. Meanwhile his evenings were spent beside the tomb of his friend, where a young olive tree had sprung up near the sleeper’s head. So swift was the growth of this tree, and so strange was its form, that all who beheld it exclaimed in surprise; and Musides seemed at once fascinated and repelled.
 
 
 
Three years after the death of Kalos, Musides despatched a messenger to the Tyrant, and it was whispered in the agora at Tegea that the mighty statue was finished. By this time the tree by the tomb had attained amazing proportions, exceeding all other trees of its kind, and sending out a singularly heavy branch above the apartment in which Musides laboured. As many visitors came to view the prodigious tree, as to admire the art of the sculptor, so that Musides was seldom alone. But he did not mind his multitude of guests; indeed, he seemed to dread being alone now that his absorbing work was done. The bleak mountain wind, sighing through the olive grove and the tomb-tree, had an uncanny way of forming vaguely articulate sounds.
 
 
 
 
The sky was dark on the evening that the Tyrant’s emissaries came to Tegea. It was definitely known that they had come to bear away the great image of Tyché and bring eternal honour to Musides, so their reception by the proxenoi was of great warmth. As the night wore on, a violent storm of wind broke over the crest of Maenalus, and the men from far Syracuse were glad that they rested snugly in the town. They talked of their illustrious Tyrant, and of the splendour of his capital; and exulted in the glory of the statue which Musides had wrought for him. And then the men of Tegea spoke of the goodness of Musides, and of his heavy grief for his friend; and how not even the coming laurels of art could console him in the absence of Kalos, who might have worn those laurels instead. Of the tree which grew by the tomb, near the head of Kalos, they also spoke. The wind shrieked more horribly, and both the Syracusans and the Arcadians prayed to Aiolos.
 
 
In the sunshine of the morning the proxenoi led the Tyrant’s messengers up the slope to the abode of the sculptor, but the night-wind had done strange things. Slaves’ cries ascended from a scene of desolation, and no more amidst the olive grove rose the gleaming colonnades of that vast hall wherein Musides had dreamed and toiled. Lone and shaken mourned the humble courts and the lower walls, for upon the sumptuous greater peristyle had fallen squarely the heavy overhanging bough of the strange new tree, reducing the stately poem in marble with odd completeness to a mound of unsightly ruins. Strangers and Tegeans stood aghast, looking from the wreckage to the great, sinister tree whose aspect was so weirdly human and whose roots reached so queerly into the sculptured sepulchre of Kalos. And their fear and dismay increased when they searched the fallen apartment; for of the gentle Musides, and of the marvellously fashioned image of Tyché, no trace could be discovered. Amidst such stupendous ruin only chaos dwelt, and the representatives of two cities left disappointed; Syracusans that they had no statue to bear home, Tegeans that they had no artist to crown. However, the Syracusans obtained after a while a very splendid statue in Athens, and the Tegeans consoled themselves by erecting in the agora a marble temple commemorating the gifts, virtues, and brotherly piety of Musides.
But the olive grove still stands, as does the tree growing out of the tomb of Kalos, and the old bee-keeper told me that sometimes the boughs whisper to one another in the night-wind, saying over and over again, “Οἶδα! Οἶδα!—I know! I know!”
 
 
 
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Friday, December 9, 2016

1933 - 1945 The NOW & THEN Series




 
"Ruiter Productons is a creative video production company based in The Netherlands that creates digital video content.

In 2007 Ruiter Productions has been founded by Jeroen Ruiter. In 1999 Jeroen started to create video productions as a hobby. In early years he simply edited the raw footage without music and only a few titles. Later on music and enhanced titles where added.

The most impressive achievements are the Now & Then series in which Ruiter Productions goes back to specific places playing an important role before, during and shortly after World War 2. Photo images of that period are used to let the viewer experience the time difference. The current series involve Nürnberg, Obersalzberg, München and Graz. Future release are planned."


Official Website:  http://www.ruiterproductions.nl/


THE SERIES

München - The Political Capital of Adolf Hitler


Nürnberg -The Reichsparteitage of Adolf Hitler


Graz -Stadt der Volkserhebung


Obersalzberg -The Mountain Retreat of Adolf Hitler


Previous Related Posts:
Hitler in Seinen Bergen