Belgia si Rin Tin Tin – 2 entitati antipatice  

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Continui sa bat campii despre Belgia, punand temeliile unei afirmatii pastilate despre pedofilie si belgieni. Este voba aici, in principal, despre Rin Tin Tin, eroul benzilor desenate din lumea francofona.

Desi inca nu este clar, articolul acesta este oarecum conectat cu cel despre Belgia si pedofilie (2, 1), cat si de cel cu pedofilia si lipsa de etica din Ontario.

Ce are RTT cu pedofilia, dat fiind ca el simbolizeza calitati si situatii diametral opuse? Iata ce zice Economistu’:

All societies reveal themselves through their children’s books. Europe’s love affair with Tintin is more revealing than most.

Rin Tin Tin 3 Popularitatea eroului de benzi desenate Rin Tin Tin este la fel de greu de inteles pentru americani pe cat este baseball-ul pentru europeni. Benzile desenate cu el sunt de fapt mai plictisitoare decat sportul pe care numai americanii si japonezii il inteleg. Iata un rezumat a ceea ce reprezinta (si cum s-a nascut):

  • In 1949, o lege franceza a interzis publicistilor de carti pentru copii sa prezinte lasitatea, minciunea, lenea sau alte prostii similare intr-o lumina favorabila, sub amenintarea unui an de puscarie. Nu seamana legea asta cu incercarea de forta stiri 50%-50%? Cand realitatea nu-ti convine, shoot the messenger!
  • Scopul nedeclarat al legii era protejarea pietei autohtone si excluderea produselor culturale americane (Pascal Ory, Sorbonne). Tot astfel cum limitarile imigratiei au intotdeauna cauze de protectionism economic si xenofobie (inconsistent).
  • Rin Tintin este “feciorul” acestei legi, reprezentand un boyscout “intarziat”.
  • Dincolo de atractia pentru parinti, desenele erau de calitate, si prezentau o lume atragatoare, dar interzisa si inaccesibila majoritatii cititorilor sai: hoteluri de lux, fumatori de trabuce, viata de noapte, etc.
  • Un muzeu RinTinTin se va deschide anul acesta in Belgia, pentru a aniversa 80 de ani de la nasterea lui RTT.
  • RTT este conservator si bogat – apara monarhia dar si pe cei saraci, stie sa boxeze, sa piloteze avioane si masini de cursa, sa mearga cu yachtul, sa calareasca.
  • de Gaulle l-a numit “singurul meu rival international” fiindca amandoi s-ar fi luptat cu cei mari si tari.

There is a link between Hergé, this disappointing man, and his creation Tintin, who fights against despots so bravely. It lies in the rationalisation of impotence: a very European preoccupation. The key to Tintin is that he has the mindset of “someone born in a small country”, says Charles Dierick, in-house historian at the Hergé Studios. He is “the clever little guy who outsmarts big bullies”.

Articolul din Economist (econ-rtt) manevreaza fantastic de abil in jurul ideii ca RTT sau creatorul sau, Herge, ar fi oarecum antisemit. In primul rand, falsul dispret pentru bani:

Tintin is grandly uninterested in money. He is indifferent when—on occasion—he is offered large sums for accounts of catching some villain. Hergé’s disdain for transatlantic capitalism is portrayed in the 1931 “Tintin in America”, in which businessmen bid each other up to offer Tintin $100,000 for an oil well. When the young reporter explains the well is on Blackfoot Indian land, the businessmen steal the land from the Indians.

European snobbery about money permeates the books. Villains are frequently showy arrivistes. Old money is good. A gift (as opposed to gainful employment) allows his best friend, Captain Haddock, to buy back his family’s ancestral mansion. The captain takes to castle life with relish. Enriched by a treasure find, he swaps his seaman’s uniform for an increasingly Wodehousian wardrobe involving cravats, tweeds and at one point a monocle.

Hergé did not share his creation’s lack of interest in money. He paid minute attention to marketing (in total, some 200m albums have been sold) and the production of puzzles, colouring books and toys. Though Hergé is routinely voted onto lists of “10 famous Belgians”, he had no illusions about his homeland’s limitations as a market. He quickly began excising references to Tintin’s Belgian roots to boost his appeal on the French and Swiss markets, referring to him in 1935 as a “young European reporter”. He was happy for English-language editions to leave the impression that Tintin was British.


Rin Tin Tin 2 Iata si capetele de acuzare de rasism si antisemitism:

The 1930 story “Tintin in the Congo” has done much to feed Hergé’s reputation for racism. Its Africans are crude caricatures: child-men with wide eyes and bloated lips who prostrate themselves before Tintin (as well as Snowy his dog), after he shows off such magic as an electromagnet, or quinine pills for malaria. (…)

The book remains popular in Africa, Hergé defenders like to assert. But, in truth, it has lost any charm it ever possessed. It is a work of propaganda—not for “colonialism”, as is often said—but more narrowly for Belgian missionaries, one of whom keeps saving Tintin’s life in evermore ludicrous ways: first dispatching a half dozen crocodiles with a rifle then rescuing him from a roaring waterfall, seemingly unhindered by his advanced age and ankle-length soutane. Hergé’s reputation is also marked by charges of anti-Semitism. He received many complaints about one of his villains, the hook-nosed New York financier, “Mr Blumenstein”. It does not help that this caricature appeared in “The Shooting Star”, an adventure written in 1941 while living in Brussels under Nazi occupation. In the field of devout Tintinologists, much effort has been put to explaining this “lapse” away. Michael Farr, a British expert on Tintin, is typical, writing in 2001 that as soon as Hergé realised that his character was “liable to misunderstanding”, he gave Blumenstein a different name and a new nationality, having him hail from “São Rico”. (…)

Alas, none of those arguments survive a reading of a biography of Hergé by Philippe Goddin, published in 2007. Mr Goddin’s honesty is commendable: his is an official biography, based on Hergé’s large collection of private papers.

Mr Goddin returns to “The Shooting Star”, and its initial newspaper serialisation in Le Soir. This included a strip about the panic unleashed when it seemed a giant meteorite would hit the earth. In one frame, he writes, Hergé drew two Jews rejoicing that if the world ended, they would not have to pay back their creditors. At that same moment in Belgium, Mr Goddin notes, Jews were being ordered to move to the country’s largest cities and remove their children from ordinary schools. They were also banned from owning radios, and were subject to a curfew. In the news pages of Le Soir, these measures were described as indispensable preparations for an orderly “emigration” of Jews. A year later, Hergé deleted the drawing of the Jews of his own accord, when the serialised “The Shooting Star” became an album. Mr Goddin demolishes the excuse of naivety, thanks to papers found in Hergé’s files. As early as October 1940, he records, Hergé received an anonymous letter accusing him of luring Belgian children to read German propaganda, by publishing Tintin in Le Soir’s youth supplement. A few months later, Hergé had a bitter argument with an old friend, Philippe Gérard. In a letter, Gérard demanded Hergé either endorse the “odious propaganda” of Le Soir or make his disagreement with the German occupation known. Saying it was just “a job” would not do, his friend concluded.


Si-aici se afla marea contradictie intre RTT si spiritul european. Desi legea franceza il impiedica sa fie las, el este fundamental impotent, aceasta fiind intamplator si principala acuzatie pe care, de cand cu linia Maginot, anglosfera o aduce francofoniei.

Interviewed late in life, Hergé acknowledged the links between his wartime experiences and his moral outlook. The second world war lies behind a great deal in Tintin, just as it lies deep beneath the political instincts of many on the European continent. It matters a lot that the Anglo-Saxon world has a different memory of that same war: it is a tragic event, but not a cause for shame, nor a reminder of impotence.

Tintin has never fallen foul of the 1949 French law on children’s literature. He is not a coward, and the albums do not make that vice appear in a favourable light. But he is a pragmatist, albeit a principled one. Perhaps Anglo-Saxon audiences want something more from their fictional heroes: they want them imbued with the power to change events, and inflict total defeat on the wicked. Tintin cannot offer something so unrealistic. In that, he is a very European hero.

Unul din motivele pentru care nici macar in ziua de azi n-am reusit sa “citesc” o banda desenata cu Rin Tin Tin este ca pana si blogul d-lui Iliescu mi se pare de 10 ori mai palpitant si mai plin de emotii.

Rin Tin Tin 1Partea a III-a va incerca sa faca legatura intre RTT si restul articolelor pe aceasta tema (Belgia – tara pedofililor I si II si Canada, taramu’ ma-sii: Pedofilie, fraude, etc).

Surse: econ-rtt, inconsistent, Maginot, wiki

L' Histoire culturelle [nouvelle édition]: Pascal Ory: Books

ISBN: 2130559654
ISBN-13: 9782130559658

Thank you for reading (mulţam fain pentru cetire)! Publicat Friday, February 06, 2009 . Similar articles under the following categories (poţi găsi articole similare sub următoarele categorii): (Subscribe), (Subscribe), (Subscribe) . Dacă ţi-a plăcut articolul, PinIt-uieste-l, ReddIt-eaza-l, stumble-uieste-l altora, trimite-l pe WhatsApp yMess şi consideră abonarea la fluxul RSS sau prin email. Ma poti de asemenea gasi pe Google. Trackback poateputea fi trimis prin URL-ul de sub Comentarii.
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