My Fav Resources Rok Mejak
Pozimi na podeželju zadiši iz prekajevalnic in sušilnic mesa … piš vetra ali steber dima z obetom prvovrstnega mesa včasih iz svežega zraka za domač štedilnik privabi še tako zagrizene ljubitelje narave.
Režija: Matjaž Pograjc; Ustvarjalci in izvajalci: Betontanc in Umka.LV
(Primož Bezjak, , Branko Jordan, Rok Mejak, Andris Kalnozols, Daša Doberšek (Andreja Kopač) , Marcis Lacis, Katarina Stegnar, Gints Širmelis-Širmanis)
Glasba: Silence in Ugis Vitins; Lutke in objekti: Barbara Stupica;
Cena vstopnic: 10€/7€ (študenti, dijaki, upokojenci)
Tudi našega kuharja Marka je po Istri vodil nos in našel je domačo prato – rahlo sušen in začinjen ombolo (svinjski kare brez kosti), ki ga bo popekel in stregel s kislim zeljem. Hrana, ki prežene jesensko melanholijo ali pa nas opremi z energijo za dolg sprehod in nabiranje jesenskega listja.
The symbolism of the sea
Sea can also be seen as a great symbol of Golding’s novel. Experiences at sea infuse the flow and currents of many of Golding’s novels and his first one, Lord of the Flies, is very representative of the role the sea plays in the life of people and can be perceived as a profound examination of the relationship between the sea and the human beings.
Posted by Rok Mejak
The situation is, of course, taken from R.M. Ballantyne’s Coral Island (1957) and the boys are wrecked on an isolated tropical place, bordered on its four corners by the ocean. At first, the sea represents pleasure, holiday, relief and reassurance. The deep bathing pool with its ledge of pink granite is warmer than blood, a huge bath, and it comforts Ralph and Piggy. They are persuaded that a ship will soon come to rescue them, possibly captained by Ralph’s father, a commander in the Navy. Familiar authority governs the seas. For English boys, Britannia rules the seas. No island is unknown. The Queen is believed to have a room full of maps, on which every island is drawn. Sooner or later, paternity and adult security will appear to rescue the castaway boys.
This is, indeed, what happens in the end. The beginning of Ralph’s confrontation with Jack and his hinters is when the fire is left to go out, a ship passes by, and a slaughtered wild pig is the antithesis of orderly rescue. Finally, when savagery has taken over and Ralph himself has become the quarry and victim, he is saved by the sudden appearance of naval officer, deus ex nave, landing in his cutter from a trim cruiser in the distance. Ralph weeps for the end of innocence and the darkness of man’s heart and the death of Piggy, but he survives because of the necessary authority of those who must navigate on the oceans.
The reef is also the second barrier to the sea that creates a preliminary Eden for the wrecked boys. Inside the coral limits, the water is peacock blue like an aquarium; outside, the sea is turbulent and dark. When Jack leads Ralph away from the lagoon to the far side of the island, Ralph realizes how the coral reef has protected them from the Pacific. Just as he now begins to see the dark forces in jack’s nature, so he sees the ocean as the enemy.
Now he saw the landsman’s view of the swell and it seemed like the breathing of some stupendous creature. Slowly the waters sank among the rocks, revealing pink tables of granite, strange growths of coral, polyp, and weed. Down, down, the waters went, whispering like the wind among the heads of the forest. There was one flat rock there, spread like a table, and the waters sucking down on the four weedy sides made them like cliffs. Then the sleeping leviathan breathed out – the waters rose, the weed streamed, and the water boiled over the table rock with roar. There was no sense of the passage of waves; only this minute-long fall and rise and fall ( Golding 1954: 115)
This is, indeed, what happens in the end. The beginning of Ralph’s confrontation with Jack and his hinters is when the fire is left to go out, a ship passes by, and a slaughtered wild pig is the antithesis of orderly rescue. Finally, when savagery has taken over and Ralph himself has become the quarry and victim, he is saved by the sudden appearance of naval officer, deus ex nave, landing in his cutter from a trim cruiser in the distance. Ralph weeps for the end of innocence and the darkness of man’s heart and the death of Piggy, but he survives because of the necessary authority of those who must navigate on the oceans.
The reef is also the second barrier to the sea that creates a preliminary Eden for the wrecked boys. Inside the coral limits, the water is peacock blue like an aquarium; outside, the sea is turbulent and dark. When Jack leads Ralph away from the lagoon to the far side of the island, Ralph realizes how the coral reef has protected them from the Pacific. Just as he now begins to see the dark forces in jack’s nature, so he sees the ocean as the enemy.
Now he saw the landsman’s view of the swell and it seemed like the breathing of some stupendous creature. Slowly the waters sank among the rocks, revealing pink tables of granite, strange growths of coral, polyp, and weed. Down, down, the waters went, whispering like the wind among the heads of the forest. There was one flat rock there, spread like a table, and the waters sucking down on the four weedy sides made them like cliffs. Then the sleeping leviathan breathed out – the waters rose, the weed streamed, and the water boiled over the table rock with roar. There was no sense of the passage of waves; only this minute-long fall and rise and fall ( Golding 1954: 115)
Rok Mejak continues
On the other side of the island where the fall into the heart of darkness will begin and Jack will set up his bloody hunters’ society above the red cliffs of Castle Rock, the sea becomes an enemy and a threat, a beast and boundary, preventing all escape:
The filmy enchantments of mirage could not endure the cold ocean water and the horizon was hard, clipped blue. Ralph wandered down to the rocks. Down here, almost on a level with the sea, you could follow with your eye the ceaseless bulging passage of the deep sea waves. They were miles wide, apparently not breakers or the banked ridges of shallow water. They traveled the length of the island with an air of disregarding it and being set on other business; they were less a progress than a suck down, making cascades and waterfalls of retreating water, would sink past the rocks and plaster down the seaweed like shining hair; then, pausing, gather and rise with a roar, irresistibly swelling over point and outcrop, climbing the little cliff, sending at last an arm of surf up a gully to end a yard or so from him in fingers of spray.
Wave after wave, Ralph followed the rise and fall until something of the remoteness of the sea numbed his brain. Then gradually the almost infinite size of this water forced itself on his attention. This was the divider, the barrier. On the other side of the island, swathed at midday with mirage, defended by the shield of the quiet lagoon, one might dream of rescue; but here, faced by the brute obtuseness of the ocean, the miles of division, one was clamped down, one was helpless, one was condemned, one was - ( Golding 1954:121-122)
There the hunters will live, surrounded by the rise and fall of the great leviathan. There they will sing their bloody chants, “Kill the beast! Cut his throat! Spill his blood!” The encompassing ocean is the beast now, forcing the boys to savagery in order to survive, isolating them from any control of adult society. They are acting out the night terror of the littlun Percival, who imagines the Beast coming up out of the dark sea. It is his terror that first breaks up the boys’ meeting and sanity itself. To Ralph, fear and talk of the sea beast is the beginning of chaos. Worse is Jack’s breaking of the rules symbolized by the possession of the seashell, the conch, for the rules are the only things they have for survival just as captain’s orders are the only things that make a ship survive. After the has dissolved, Ralph confesses, “ We’re all drifting and things are going rotten. At home there was always a grown-up. Please, sir; please, miss; and then you got an answer. How I wish!” ( Golding 1954: 102) What he wishes is that nobody had believed in a beast from the sea where ho beasts are, whence rescue and men’s authority always will be.
The beast comes from the air to the mountain in the shape of a dead pilot falling and swinging like a rotting marionette on the cords of his parachute. His presence allows the beast to emerge from Jack and the hunters, and leads the climatic killing of Simon on the sand by the water. The clouds open and the wind blows and water cascades over all. The beast of the air and the mountain is carried out to sea and oblivion. And Simon’s body on the edge of the lagoon changes the very nature of the salt waters.
In the prophesy of the mob violence to come, a littlun, Henry, has poked with a stick at tiny scavenging transparent creatures that come in on the lip of the tide. One of Jack’s lieutenants, Roger, has bombarded Henry with stones, flung to miss, because he is still bound by memories of school and law, because Jack has not yet turned him into a painted savage free to torture and kill.
The infinitesimal scavengers of the tide, as vicious as “a myriad of tiny teeth in a saw” in this foretaste of murder, are transmuted when the night sea reaches Simon’s broken
body. The phosphorescent water makes a moving patch of light round the corpse of the boy, and the sea creatures are now strange and attendant, seraphim of the deep carrying away the martyr child to a cosmic apotheosis.
Somewhere over the darkened curve of the world the sun and moon were pulling; and the film of water on the earth planet was held, bulging slightly on one side while the solid core turned. The great wave of the tide moved further along the island and the water lifted. Softly, surrounded by a fringe of inquisitive bright creatures, itself a silver shape beneath the steadfast constellations, Simon’s dead body moved out towards the open sea. ( Golding 1954:170).
When Piggy is also killed just before rescue and authority do reappear from the deep, the sea is also seen as a mourner and undertaker, giving a long slow sigh as it sucks the bleeding body away. To Golding, the sea is protean. It includes and reflects the various appetites and contradictions of man. Moreover, as the primal water , it is involved in birth and baptism, grace and death.
The filmy enchantments of mirage could not endure the cold ocean water and the horizon was hard, clipped blue. Ralph wandered down to the rocks. Down here, almost on a level with the sea, you could follow with your eye the ceaseless bulging passage of the deep sea waves. They were miles wide, apparently not breakers or the banked ridges of shallow water. They traveled the length of the island with an air of disregarding it and being set on other business; they were less a progress than a suck down, making cascades and waterfalls of retreating water, would sink past the rocks and plaster down the seaweed like shining hair; then, pausing, gather and rise with a roar, irresistibly swelling over point and outcrop, climbing the little cliff, sending at last an arm of surf up a gully to end a yard or so from him in fingers of spray.
Wave after wave, Ralph followed the rise and fall until something of the remoteness of the sea numbed his brain. Then gradually the almost infinite size of this water forced itself on his attention. This was the divider, the barrier. On the other side of the island, swathed at midday with mirage, defended by the shield of the quiet lagoon, one might dream of rescue; but here, faced by the brute obtuseness of the ocean, the miles of division, one was clamped down, one was helpless, one was condemned, one was - ( Golding 1954:121-122)
There the hunters will live, surrounded by the rise and fall of the great leviathan. There they will sing their bloody chants, “Kill the beast! Cut his throat! Spill his blood!” The encompassing ocean is the beast now, forcing the boys to savagery in order to survive, isolating them from any control of adult society. They are acting out the night terror of the littlun Percival, who imagines the Beast coming up out of the dark sea. It is his terror that first breaks up the boys’ meeting and sanity itself. To Ralph, fear and talk of the sea beast is the beginning of chaos. Worse is Jack’s breaking of the rules symbolized by the possession of the seashell, the conch, for the rules are the only things they have for survival just as captain’s orders are the only things that make a ship survive. After the has dissolved, Ralph confesses, “ We’re all drifting and things are going rotten. At home there was always a grown-up. Please, sir; please, miss; and then you got an answer. How I wish!” ( Golding 1954: 102) What he wishes is that nobody had believed in a beast from the sea where ho beasts are, whence rescue and men’s authority always will be.
The beast comes from the air to the mountain in the shape of a dead pilot falling and swinging like a rotting marionette on the cords of his parachute. His presence allows the beast to emerge from Jack and the hunters, and leads the climatic killing of Simon on the sand by the water. The clouds open and the wind blows and water cascades over all. The beast of the air and the mountain is carried out to sea and oblivion. And Simon’s body on the edge of the lagoon changes the very nature of the salt waters.
In the prophesy of the mob violence to come, a littlun, Henry, has poked with a stick at tiny scavenging transparent creatures that come in on the lip of the tide. One of Jack’s lieutenants, Roger, has bombarded Henry with stones, flung to miss, because he is still bound by memories of school and law, because Jack has not yet turned him into a painted savage free to torture and kill.
The infinitesimal scavengers of the tide, as vicious as “a myriad of tiny teeth in a saw” in this foretaste of murder, are transmuted when the night sea reaches Simon’s broken
body. The phosphorescent water makes a moving patch of light round the corpse of the boy, and the sea creatures are now strange and attendant, seraphim of the deep carrying away the martyr child to a cosmic apotheosis.
Somewhere over the darkened curve of the world the sun and moon were pulling; and the film of water on the earth planet was held, bulging slightly on one side while the solid core turned. The great wave of the tide moved further along the island and the water lifted. Softly, surrounded by a fringe of inquisitive bright creatures, itself a silver shape beneath the steadfast constellations, Simon’s dead body moved out towards the open sea. ( Golding 1954:170).
When Piggy is also killed just before rescue and authority do reappear from the deep, the sea is also seen as a mourner and undertaker, giving a long slow sigh as it sucks the bleeding body away. To Golding, the sea is protean. It includes and reflects the various appetites and contradictions of man. Moreover, as the primal water , it is involved in birth and baptism, grace and death.
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