Home > Topic > One result
1 " Marx was troubled by the question of why ancient Greek art retained an ‘eternal charm’, even though the social conditions which produced it had long passed; but how do we know that it will remain ‘eternally’ charming, since history has not yet ended? Let us imagine that by dint of some deft archaeological research we discovered a great deal more about what ancient Greek tragedy actually meant to its original audiences, recognized that these concerns were utterly remote from our own, and began to read the plays again in the light of this deepened knowledge. One result might be that we stopped enjoying them. We might come to see that we had enjoyed them previously because we were unwittingly reading them in the light of our own preoccupations; once this became less possible, the drama might cease to speak at all significantly to us.The fact that we always interpret literary works to some extent in the light of our own concerns - indeed that in one sense of ‘our own concerns’ we are incapable of doing anything else - might be one reason why certain works of literature seem to retain their value across the centuries. It may be, of course, that we still share many preoccupations with the work itself; but it may also be that people have not actually been valuing the ‘same’ work at all, even though they may think they have. ‘Our’ Homer is not identical with the Homer of the Middle Ages, nor ‘our’ Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a ‘different’ Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue, though not necessarily the same ones. All literary works, in other words, are ‘rewritten’, if only unconsciously, by the societies which read them; indeed there is no reading of a work which is not also a ‘re-writing’. No work, and no current evaluation of it, can simply be extended to new groups of people without being changed, perhaps almost unrecognizably, in the process; and this is one reason why what counts as literature is a notably unstable affair. "
― Terry Eagleton , Literary Theory: An Introduction
2 " One of the biggest obstacles on the path of peace, or even peaceful coexistence, between Israelis and Palestinians was placed by the international community and media when it redefined Hamas as an " organization." One result is that outsiders try to reach a solution based on the assumption that Hamas has structure and leaders. It does not. It has no " political wing" or " militant wing." Hamas is a loosely-knit band of terrorists. Its leaders are whoever has weapons, plans, and influence. Hamas is thuggish and cowardly. Those who fly the green flag are not military combatants. Nor do they represent, or care a whit, for the Palestinian people, as evidenced by their strategy of hiding in and fighting from schools, clinics, hospitals, and people's homes. After what passed for an election some Hamas terrorists were further redefined as politicians and diplomats, though they were neither politic nor diplomatic, evidenced by the fact that many " govern" from Israeli prisons. Prior to the Second Intifada, which began in 2000, Hamas had been emasculated and nearly eradicated by Yassir Arafat, who rounded up, disarmed, and imprisoned the terrorist " leaders," leaving its remaining members to return to their homes. Arafat ensured that members of Hamas had no place to hide among the Palestinian people. And that is the only way the terrorist cancer in Gaza will be excised today. In the absence of Arafat, the task falls by default to Israel, which would do better to enable the citizens of Gaza to purge themselves of Hamas and reward them for doing so than try to get rid of the bad apples by blowing up the barrel, if you'll excuse the mixed metaphor. "
3 " Only when men are connected to large universal goals are they really happy-and one result of their happiness is a rush of creative activity. "
4 " In 1962, I wrote a series about 42nd Street called 'Welcome to Lostville.' One result was that the young Bob Dylan read it and invited me to his first concert at Town Hall; the result was a kind of friendship that years later led to my liner notes for 'Blood on the Tracks.' "
