Suriname Blauw Bloed is Zwart Bloed Museum

[Egmond Codfried]

SURINAME BLUE BLOOD IS BLACK BLOOD MUSEUM


Mijn museum kreeg noodgedwongen een nieuwe naam omdat Black History museum teveel geassocieerd zou kunnen worden met musea die uitsluitend over slavernij gaan. Dat betreft de laatste 500 jaar en wordt ten onrechte toegepast om zwarten als slaven te stigmatiseren. Mijn tentoonstelling betreft 10.000 jaar van zwarte beschaving en specialiseert zich in het ware uiterlijk van Europese historische figuren die als bruin en zwart van gelaat worden beschreven, maar ten onrechte als wit worden gepresenteerd.

[Egmond Codfried]

http://www.egyptsearch.com/forums/ul...;f=15;t=007359

Terwijl steeds meer mensen bekend raken met mijn blauw bloed theorie komt ook de weerstand steeds meer naar voren. Men creëerde eerst een wikipedia lemma over Morosofie, en nu de meer primitieve rationalwikipedia.
Mijn doelgroep begrijpt dat men hier te lande over alles liegt, dus zal zo een site weinig indruk maken. Hoewel men natuurlijk niet inspeelt op ratio, maar op angst.

http://www.egyptsearch.com/forums/ul...;f=15;t=007359

[Egmond Codfried]

Het rommelt in de Surinaamse museumwereld. Men wil af van de door Hollanders geleide wijze van presentatie.

http://www.surinaamsegenealogie.nl/f...-als-slaven/p1

[Koenraad Noël]

Tja, met zo'n racistische theorieën rondlopen is gewoonweg om 'weerstand' vragen.

[Egmond Codfried]

Oorspronkelijk geplaatst door Koenraad Noël

Tja, met zo'n racistische theorieën rondlopen is gewoonweg om 'weerstand' vragen.

Wat vindt je van het verbranden van boeken en verbannen van schrijvers, zoals wij dat kennen uit de hele Europese geschiedenis en recentelijk ook weer door de nazi's?



Nazi boekverbranding

[Koenraad Noël]

Oorspronkelijk geplaatst door Egmond Codfried

Wat vindt je van het verbranden van boeken en verbannen van schrijvers, zoals wij dat kennen uit de hele Europese geschiedenis en recentelijk ook weer door de nazi's?



Nazi boekverbranding

Tijdverspilling nu het internet er is.

[Egmond Codfried]

Oorspronkelijk geplaatst door Koenraad Noël

Tijdverspilling nu het internet er is.

Een van mijn boeken die ik in de KB aan het schrijven en researchen was werd onklaar gemaakt en de tekst veranderde in kleine blokjes. Daarna werd er een virus door mensen van de kB geplaatst die een hele DVD kapot maakte, toen ik deze virus, een vreemd document, trachtte te verwijderen. Gelukkig had ik een tweede DVD met dezelfde informatie, maar waarop de virus vandaag nog te zien is. De informatie heb ik natuurlijk allang overgeheveld. Een tijd lang was de apparatuur onklaar gemaakt dat elke nieuwe toevoeging aan de DVD's automatische de bestaande informatie zou wissen. Nu gebruik ik een stick. In 2011 merkte ik weer dat men de zaak zo heeft afgesteld dat waar ik een dag lang bezig was met het downloaden van afbeeldingen, er slechts een pagina met één afbeelding overblijft. Dit soort voorvallen van onbekenden tegen mijn onderzoek, op een plek voor onderzoek, doen mij concluderen dat ik steeds en overal met geboren nazi's te doen heb.

[Fieseler]

Oorspronkelijk geplaatst door Egmond Codfried

SURINAME BLUE BLOOD IS BLACK BLOOD MUSEUM


Mijn museum kreeg noodgedwongen een nieuwe naam omdat Black History museum teveel geassocieerd zou kunnen worden met musea die uitsluitend over slavernij gaan. Dat betreft de laatste 500 jaar en wordt ten onrechte toegepast om zwarten als slaven te stigmatiseren. Mijn tentoonstelling betreft 10.000 jaar van zwarte beschaving en specialiseert zich in het ware uiterlijk van Europese historische figuren die als bruin en zwart van gelaat worden beschreven, maar ten onrechte als wit worden gepresenteerd.

Man man wat ben jij toch een perverse racist zeg...

[Marxmannetje]

http://ikzoekeenleven.weblog.nl/

Krijg hulp.

[Egmond Codfried]

Oorspronkelijk geplaatst door Fieseler

Man man wat ben jij toch een perverse racist zeg...

kan je in het kort aangeven waarom ik een racist zou zijn, zodat ik mezelf kan gaan aangeven.

Overigens laten ze nu ook zien hoe vaak mijn blog bezocht is en dat is heel hoopgevend. Ik krijg ook steeds meer navolgers, ik heb dus school gemaakt.

http://bluebloodisblackblood.blogspo...ack-blood.html

[Egmond Codfried]

[Young lady with a hat, Mrs. Alting (?) by Simon Maris]

WAS JANE AUSTEN (1775-1817) BLACK?
UPDATE ON THE ‘WAS JANE AUSTEN (1775-1817) BLACK’ RESEARCH

Today, the 17th of December we celebrate Jane Austen’s two hundred thirty-fifth birthday. A great writer who is celebrated for having done for the novel what Shakespeare did for playwriting. Her wit and her innovative, ‘realistic’ dealings with lifelike situations and a psychological insight in the workings and failings of the human mind; with believable characterisation, has stood the test of time and we can still readily understand her personages and their true and political motives. But what has been truly missing in all the many analyses by eurocentric scholars, the TV series and movies of her books as well as her biographical films and documentaries, is any reverence to her deep brown complexion and the ‘light brown, brown, very brown and black complexions’ of her central characters. This innovative research has already bloomed into about sixty pages, coming from the initial article, and is still growing, as there are still new insights to be found. The brochure, awaiting publishing, offers a foreword, introduction, definitions, methodology, conclusion, notes, many illustrations and a bibliography. My own reading of Jane Austen, based on who I am and what I know from years of research after native Black Europeans, compared to the general and scholarly portrayal of Jane Austen, her personages, political views and motives; has thrown up some serious problems that need solving. Amazingly, the many great scholars who analysed the lady’s life and her works to the hilt; choose as one body to disregard all the insistent and ample descriptions of complexion in her novels. Even when they are discussing her own looks, they often do not quote the ten or so detailed pen portraits by her family and friends, which speak of a pretty, rich brown complexioned woman. They sometimes print these quotes and her pen portraits but let the brownness remain unanswered. Why is Henry Austen quoting poet John Donne (1572-1634) when he speaks of his own sisters ‘pure and eloquent’ blood. Which pureness is he speaking of; to what distinctive nation did Jane Austen belong to? When they discuss her so called portrait by Cassandra Austen, which shows a nasty looking white woman, there is never any comparison made with how her own good, separate features and pleasant looks were described in real life. Or that Henry insisted to a publisher that ‘the family was not aware’ of any portrait, when this unlikely portrait later surfaced. That Austen herself did not issue a portrait when she debuted in 1811, and her insistence on secrecy about her authorship; adds to this mystery. So the big question is: why is there no authenticated portrait of Jane Austen? And why do white scholars disregard the abundance of colour. But first we need a rationale and workable definition of Black, which in my understanding of blackness; is a quality best discussed and analysed in terms of a person’s identity and history then actual skin colour or facial features. Or scull measurements or DNA. A Black person should next be considered as a functional part of a social and political group. A group who has experienced a common history, made certain geographical movements around the globe, has certain common cultural elements as in the general way of doing things, that creates a bond between the Blacks across oceans and across time. A Black identified writer, like Jane Austen will mainly talk about issues regarding Blacks, like how we expect a Jewish identified writer to write mostly about Jewish things, from a Jewish viewpoint. The shape of his nose does not inform us of his identity. And Blacks come in many shapes and nuances of colour, as Austen herself painstakingly points out with her novelistic pen portraits and letters. The idea of human races, as a predictable biological and a psychological phenomenon has long ago been discredited, yet is today still in full swing. Especially when it comes to identifying Blacks, in order to exclude Blacks from history. Like how pharaohs, Africans, are improbably turned into blue eyed, white potentates ruling over Blacks and overseeing the building of the pyramids! This makes one wonder why they did not built pyramids in Amsterdam, London or Paris; but in Africa? All studies and exhibitions about WWII routinely omit any discussion of Hitler’s Black victims. Like the so-called ‘Rhineland Bastards,’ the off-spring of French-Senegalese soldiers, part of the occupational army after WWI, and white German women. And other Blacks who were native German. Or the Black American soldiers who helped to fight fascism, ethnic cleansing and mass murder during WWII. All are curiously missing from the numerous and most recent studies about the Holocaust. These are some of the facts and questions that inform my approach. Can we disregard the colour of Hitler’s 50.000 Black victims, even when we know he had a special hatred for the Black, mixed-race Germans. He accused the Allies that they had deliberately brought in Africans to defile the German race with inferior blood. And do we agree when Black blood is spoken of as inferior? The Nazi’s sterilized, did medical experiments or simply murdered these Blacks and used some as camp overseers before all were gassed themselves. Now can we still disregard colour when Jane Austen herself dwells on and amplifies this quality in all her writings? When her godfather, mr. Nibbs was a plantation owner on Antigua, and she discusses slavery in Mansfield Park. And even her circle of family and friends cared to point out that she was not pink but brown. Her deliberate descriptions of her personages as Black or brown are necessary to make any sense of her Black oriented themes, and they must be taken into account to understand her identity and her intentions for writing her layered stories: when she did, and in the way that she did. The novel Emma (1816), in a Dutch translation falsely presents the key-line: ‘Mr. Elton, black, spruce, and smiling.’ as ‘Ds. Elton, keurig in het zwart, kwam glimlachend te voorschijn.’ (Reverend Elton, neat in black clothes, appeared smiling). Mr. Henry Crawford in Mansfield Park is definitely not a minister but is ‘absolutely plain, black and plain; but still the gentleman.’ His sophisticated, lovely sister Mary is brown, with a lively black eye. By not accepting the fact that Mr. Crawford and Mr. Elton are Blacks, we totally miss the true depth of Emma’s folly when she tries to marry Elton off to her friend Harriet Smith who is a blue-eyed blond. Or when Emma, as a Black woman, so deprecatingly and foolishly compares the white gentleman farmer who loves Miss Smith to the Black, Mr. Elton. Then we truly understand why the immensely wise Mr. Knightly is so upset with Emma, and why broad faced Mr. Elton was so offended by Emma’s wish. And why he, and the vigorous and malicious wife he eventually married, went out of their way to insult poor, white Miss Smith. Who eventually marries the more suitable white gentleman farmer. Yet all these persons symbolise historical events, emerging social groups and institutions under siege. And suddenly Emma as a novel does not resist analyses, as is usually claimed. Jane Austen is actually talking about the emerging, Regency Era race relations and about race-mixing, which she was against, derived from her letters. Broad faced Mrs Blount with ‘her pink husband & fat neck,’ from her letter to Cassandra, should be understood in this context. As should Mrs. Price in Mansfield Park who deeply offended her family, by probably marrying a white Mr. Price who had ‘no education, no means and no prospects.’ Making Fanny Price, like Miss Lamb from Sanditon, a mulatto. A sensitive fact pounced on by her cruel aunt, Mrs. Norris. In Sense and Sensibility ‘Golden Mohrs’ are mentioned, pointing to the role of blackness in the founding of the European civilisation. But the novel Emma is all about 10.000 years of Black Civilisation, the history about Blacks who brought civilisation to Europe and became a noble and royal elite at the end of the Medieval period. So Austen’s deeper reasons only emerge after a colour-conceptual reading of Emma; that by elevating whites to their high level of civilisation, and to actually dilute their pure blood with whites; European Blacks have lost their power and were even losing more power if they did not change their ways. If they do, they could still prevent to be at the total mercy of whites. This would be the total annihilation of Blacks. People who are able to understand this have, according to Henry Austen: ‘true abilities.’ Austen satirises the then current Hanoverian, German-British royal family with the sickly George III’s fear of his daughters marrying and his hysterical hatred of new ideas and social change, represented as catching dangerous ‘colds.’ In this way Austen’s cautions Blacks not to be afraid of change. The novel ends on a shaky new constellation with Emma dethroned by Mrs. Elton. Emma herself is probably named after the then popular adviser and paramour of Horatio Nelson: Emma Hamilton, a nut-brown beauty. And presents an amalgam of the ‘lovely and elegant’ Queen Mary of Scots as well as her niece, the Virgin Queen Elizabeth I. Emma’s preference for Miss Smith’s blond looks reminds us of King James I Stuart too, who had an equal weakness for young, blond men. So I also agree with a ‘queer reading’ of Jane Austen, based on her many, mischievous but empowering reverences to gayness. James was Queen Mary’s son and the grandfather of Charles II Stuart who was called The Black Boy. These were all native Black, British and Scottish royals and Jane Austen was very aware of these rapidly disappearing historical facts due to revisionism. The beheading of her niece’s husband, the Comte the Feuillides during the French Revolution (1789-1795) gave the horrified Austen’s their personal experience with the revolutionary hatred against the Black nobility. That is why she took to writing these allegorical novels. Jane Austen was an activist to the cause of European Blacks based on her knowledge of Black History and her own experiences as a native Black Britton. By following this reconstruction of the past we can now easily understand that her famous line about a preference for ‘four or five families in a country town to work with’ only refers to the four or five gentle Black families, who socialise, help each other to advance economically and intermarry. We can also see that she includes all types of Blacks in her group, the fair ones she describes as sallow and the black ones. But the fair ones seem to flock towards the truly black skinned ones, if we notice in Northanger Abbey the preference of the sallow Catherine Morland to Mr. Tilney who was brown, and of the fair Bertram siblings of Mansfield Park towards the very dark Crawfords. Austen proposes blackness as an expression of health and beauty. Churchill teased Jane Fairfax for her pale skin, but afterwards he concludes that she had ‘just enough colour for beauty’ and had a ‘distinguished’ complexion. Her Classical African features made her looks ‘peculiar’ in Austen’s parlance. And unlike what we were told; part of the elite enjoyed ‘heightening the native brown of my Complexion’ with a tan, as her niece, Eliza Comtesse de Feuillide proudly describes her own looks. Yet another part bleached and painted their faces white, which practices Austen deplored in Persuasion and her letters. Eliza Bennet’s unspoken but inferred advantage over her rival, Miss Caroline Bingley; is her brown and tanned complexion, which is much admired by the rich Mr. Darcy. Yet to some in The Watsons, Emma Watson’s very brown complexion was ‘the annihilation of every grace.’ Racism? With the Black History approach and giving due attention to the abundance of blackness in Austen’s life and her novels; we can now evaluate the rich subtext and understand Jane Austen’s dedication to the plight of her Black nation. And why the early dead of ‘the purple flowerette of the vale’ was so sincerely bemoaned by her clan. As they were fiercely protective of her image. Her books are in fact comical, self-help books, allegories that present an idealised black gentry, in order to empower and urge improvement of Blacks. To better themselves at a personal level. But also reminding them as a group of their history and to warn about the changing times. And that they should start paying attention, stop the foolish race mixing and assisting whites to advance and encroach upon their own positions; for they will face total annihilation as a culture and a people. They will be completely rewritten and whitewashed out of history. Her visionary fears for her Blacks are proven real today if we view the eurocentric reading of Jane Austen, after 235 years, by the total exclusion of Blacks we have already descended to.

Egmond Codfried
Paramaribo-Suriname,
17 December 2010

[Another Jack]

Oorspronkelijk geplaatst door Egmond Codfried

kan je in het kort aangeven waarom ik een racist zou zijn, zodat ik mezelf kan gaan aangeven.

Overigens laten ze nu ook zien hoe vaak mijn blog bezocht is en dat is heel hoopgevend. Ik krijg ook steeds meer navolgers, ik heb dus school gemaakt.

http://bluebloodisblackblood.blogspo...ack-blood.html

1 lid?

[Schelfie]

Oorspronkelijk geplaatst door Another Jack

1 lid?

Een stijging van maar liefst 100%!

[Egmond Codfried]

Maurice of Saxony, Elector: not only a Saxon, but a noble leader and fierce subnasal prognatism next to a very black complexion.

[Egmond Codfried]

Oorspronkelijk geplaatst door Fieseler

Man man wat ben jij toch een perverse racist zeg...

WAAROM GEEN DISCUSSIE?

[Koenraad Noël]

Oorspronkelijk geplaatst door Egmond Codfried

WAAROM GEEN DISCUSSIE?

Er is nu eenmaal geen discussie. Indien je gelijk denkt te hebben, zou je het debat met geschiedkundigen moeten aangaan. Gewone 'leken' overtuigen levert niets op.

[Egmond Codfried]

Oorspronkelijk geplaatst door Koenraad Noël

Er is nu eenmaal geen discussie. Indien je gelijk denkt te hebben, zou je het debat met geschiedkundigen moeten aangaan. Gewone 'leken' overtuigen levert niets op.

Je zou eerst moeten weten wat het doel is.