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Francisco Boix, a photographer in hell

Francisco Boix (1920-1951) was a photographer and militant anti-fascist Catalan Unified Socialist Youth. During the English Civil War worked as a photographer in the magazine Juliol. In 1939 he went into exile in France where he joined a company of foreign workers integrated into the French army. In May 1940 was captured by German forces invaded France, like many English. The Nazi army was sent in early 1941 to the concentration camp of Mauthausen-Gusen, which killed two-thirds of the more than 7,000 English held there.

In Mauthausen, Boix worked most of his period of detention in the photo lab of the field that the Administration intended mainly for police use. Until 1945, managed to hide a large number of photographs showing aspects of the harsh reality of the field and practice of extermination of prisoners. Many of them also appeared the faces of the SS responsible for the field and high-ranking Nazi who visited him.

Boix was witnessed in 1946 in two trials against Nazi war criminals: In Nuremberg and Dachau.

Here you have a documentary that chronicles his life and his stay in the Mauthausen concentration camp, and the framework that had to be devised to hide the photos that would become key evidence in the various trials of Nazi war criminals in which he participated.

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Francisco Boix statements in the Nuremberg trials

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The role of Virgil in The Divine Comedy

In the Divine Comedy we find two main characters, Virgil, Dante's guide through Hell and Purgatory, and Beatrice, Dante's guide through Paradise. There are few who believe that Virgil would represent the right along this journey and Beatriz faith. However, this section will not try to analyze what is Virgil, but trying to analyze the reasons for choosing the Roman poet Dante, and Virgil image I had of the medieval world. Domenico

Comparetti gives us a clue about the reasons why Dante chose Virgil and not another, one of the features that come close to Dante's Virgil patriotism and love of intellectual truth. All this is easier to understand if we assume that Dante felt a special affection for Latino culture, " Latin All Glory glory feels as Italian" . This feeling, this kind of utopian political idea was based on Dante stated Virgilio. The problem for the Roman author, was that his ideal was too high to rule the Roman Empire. For him the world made sense, was order and dignity and carried a sense of history, something that no one has ever said, except the Hebrew prophets.

Paper, or at least one of the roles of Virgil along this comedy is to remember the heroes and myths of ancient poetry. Although Dante likes to read or edit, depending on your taste, the myths that were the subject of the most famous ancient poems, Virgil knows, interprets and explains without any problem. Is a representative of that ancient time and also very knowledgeable about it.

Dante peopled with characters the Hereafter, and they all have one thing in common: they are shadows, they are dead. Yet the most extraordinary thing about these characters is the treatment that has for them. Despite being born in the books characters, treats them as if they were real characters. Therefore all are judged to punishment or reward with Hell or Heaven.

Leaving aside the long list of characters of antiquity that Dante uses throughout his work and role plays Virgil in this environment, it should be noted, albeit briefly, the image they had of Virgil in the Middle Ages.

Virgilio was accepted by Christians, unlike other pagan writers, for his poetry. The poetic word inspired means that the speaker ignores some of what your message is going to mean for others. Once accepted as prophetic Virgilian Eclogue IV, Virgil was admitted as a proper reading for Christians. Do not think that this is a simple accident or a curiosity of literature. Virgilio is the link between the ancient world and the world was coming.

In any case, there is a particular medieval conception of Virgil makes a magician, mostly thanks to some legends. The Virgilio before us in The Divine Comedy still has some background of the legend of wizard and knows the road to hell, hell knows perfectly, deals with demons and has power over them, etc.

The Virgil takes Dante to his work is therefore partly inherited, but partly also acquired for himself, seeing in him certain values \u200b\u200bthat Roman author defended himself. In any case, it is curious that Dante put a pagan Virgil as an example of good moral and right reason, that it could serve as an example for Christians of the fourteenth century. In the same way was also a moral level model which can be reached every man, whether Christian or not, with God's help (of course).

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Lévi-Strauss: Structuralism and myth

Structure

structure concept

A structure is a scheme with possible changes, not just a set of different elements, must also have the ability to generate other systems or new models but they are equivalent to the previous. There is, therefore, a dynamic, a character generator. Example: Impossible Love, Romeo and Juliet, Tristan and Isolde, etc. A structure, therefore, is a system. What is important in a system are its elements, but the relations established between them: The items vary, but the system will remain the same, if not change the relations and functions.

fundamental features of the structure:

1-A structure is a set of related items so if you change just one element changes everything.

2-elements in a structure and system are not isolated, always be introduced into a larger system or higher (for example, the play "Romeo and Juliet" would be required to enter into legal philosophy and the role of families in the moment.) The relationship between systems is as follows: If you change the upper system, change the subsystems.

3-Prediction: if you change something, change something else in a particular way (X changes as Z).

4-If you make a model has to account for all phenomena that occur in it.

structure and myth The

structures are models, not empirical facts and relationships. It is an ideal image of the functioning of all myths. The structure is a system, a set of diversity in which each element plays a role with respect to other elements. They are all interrelated.

can predict the reaction of the model knowing the relationships and the laws of the systems. This is legislation that reorganized the field. The system is a structure that is never identified with the elements that compose it, but the correlation between them and the correlation they occupy. It may happen that several elements and the rules and the system remain identical. A varies, has a history. It has stability, but this is not final. The system is never closed completely (eg, the languages \u200b\u200bof neighboring languages \u200b\u200bassume terminology).

Mythology

There is only a myth

mythemes: The mytheme is the first part of a myth. Is the smallest unit of meaning (what language would be the word). The mytheme is repeated in many myths, but may have variations. Mytheme If some elements of change (in other myths which displayed this mytheme) other change in the chain. The mini mytheme is a complex system of elements included within the myth (which is a higher, wider).

Every myth can not be studied independently of the others. All myths are reduced to one (in America revolves around the issue of fire). All realities of myth have expanded the existing myths. The meaning is the set of this mythology, not a particular myth.

The myth transcends language

In language there are two levels: the phoneme (the unit Minimum nonsense) and phrases (meaningful unit). A mytheme (the smallest unit of a myth) holds many meaningful sentences is much richer. In a myth either appear much significance axis. The meaning is produced by the convergence of all these axes simultaneously and not by exclusion (as science does). Time ends myth.

disappears in mythic language the difference between signifier and signified, and so disappears the reference of the meanings. Thus the myth transcends all language is pure meaning, is not significant.

The myth has a surplus of meaning. Dice While we can not "translate" our language, which is an impoverished language.

Inertia of significant

myth is still telling the same way, although there are factors that no longer turn on, but in the past itself is understood. The elements of myth evolve by correlation: an element can assume the role of a second element, and the second element is weakened or take part of the role of a third element, etc.. The evolution of the elements is a stabilizing factor.

The changes are also mediated by rites (and others), if the ritual has not changed, for example, the myth will not change.

The myth does not reflect reality given the representation by torsion of the structure.

The Problem of history

abolishes the myth of history. Although it has the form of a story does not count as an event occurs and the consequences that flow from it. There are elements in the mythic story that dismantle the historical, its quality as an account of events. One of the basic procedures is repetition: the myth relies on cyclical events, so the singularity of the reported falls in value. There was an interest in common and repeatable when the cycle ends or resume. From the standpoint of history, the myth has the task of identifying the past and present, repeat the past.

abolishes the myth real history, as history discourse has been abolished. This is objected that some myths explain the origin of habits, customs, behaviors, rituals, etc, looking to collect historical events. Levi-Strauss argues that stories about derivatives, which are intended to include the perception of historical developments within the mythology.

If history denies denies the subject of history because the myth does not say who acts. The designations, including names, do not refer to specific individuals in history. Also, do not require authors mythemes, so the subject is not an explanatory factor of the story, and therefore expendable in anthropological science. The subject disappears.

Role: The subject is dissolved in roles, which are not identified with any personal identity.

In some societies, in which the myth has disappeared or has become a mere story can be said to have produced the collapse of the myth as semantic paradise.