Karl-Ludwig Poggemann says:
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“Don’t be deceived when they tell you things are better now. Even if there’s no poverty to be seen because the poverty’s been hidden. Even if you ever got more wages and could afford to buy more of these new and useless goods which industries foist on you and even if it seems to you that you never had so much, that is only the slogan of those who still have much more than you. Don’t be taken in when they paternally pat you on the shoulder and say that there’s no inequality worth speaking of and no more reason to fight because if you believe them they will be completely in charge in their marble homes and granite banks from which they rob the people of the world under the pretence of bringing them culture. Watch out, for as soon as it pleases them they’ll send you out to protect their gold in wars whose weapons, rapidly developed by servile scientists, will become more and more deadly until they can with a flick of the finger tear a million of you to pieces.”
__________________ Jean-Paul Marat _______
SOURCES:
madmikesamerica.com/2011/10/jean-paul-marat-and-occupy-wa...
www.goodreads.com/author/quotes/1175996.Jean_Paul_Marat
en.wikiquote.org/wiki/Peter_Weiss
The Persecution and Assassination of Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade (Die Verfolgung und Ermordung Jean Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade, Peter Weiss, 1963) English version by Geoffrey Skelton. Verse adaptation by Adrian Mitchell. Music by Richard Peaslee. Atheneum, 1981, ISBN 0-689-70568-9
Karl-Ludwig Poggemann says:
At the time of its creation, all contemporary sources clearly indicate that the painting was not to be dissociated, neither in its exhibition nor in its evaluation, from The Death of Lepelletier, the two functioning as a pair if not properly as a "diptych". Till David's death in 1825, it remained so, the two paintings sharing the same fate from success to oblivion. The unfortunate disappearance of The Death of Lepelletier does not allow us today to watch The Death of Marat the way David had planned it.
Die Bilder Davids von Le Peletier und Marat flankieren schließlich die Tribune der Nationalversammlung im Parlamentssaal im Palais des Tuileries und "mit ihren deutlich gezeigten Todeswunden gemahnten" sie einerseits "ihre lebenden Kollegen im Nationalkonvent (...) an die Verletzlichkeit des einheitlichen und unteilbaren Körpers, den sie insgesamt selber darstellten" (Traeger 1986, S. 185). Andererseits "bewirkten sie eine anschauliche Teilhabe der sterblichen Einzelkörper an der fortdauernden Integrität des 'Corps législatif '" (ebd.), dieses Legislativkörpers, der den Körper des Königs ersetzte. Im August 1793 werden schließlich – wie um den nachwirkenden Zauber der Königskörper endgültig zu bannen – die Königsgräber in Saint-Denis zerstört (vgl. Rader 2003, S. 82-83). Philip Manow Die politische Anatomie demokratischer Repräsentation* (p 151 /152)
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