PART III. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE EUPHEMISM "CHANGELING", CIRCUS ENTERTAINMENTS, THE MISCHLING, FASCISM, A TECHNOLOGICAL FUTURE AND CHRISTOPHOBIA.

§1.0 - Points 1.0–1.12: THIS BLOG'S CONTENTS:

1.1 - THIS BLOG'S TITLE:

1.2 - PART III. CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE EUPHEMISM "CHANGELING", CIRCUS ENTERTAINMENTS, THE MISCHLING, FASCISM, A TECHNOLOGICAL FUTURE AND CHRISTOPHOBIA /

1.3 - THIS BLOG'S LISTED SECTIONS AND NUMBERED POINTS:

1.4 - §2.0: Points 2.0–2.12: DISCLAIMER /

1.5 - §3.0: Points 3.0–3.4: DATES OF RESEARCH, WRITING AND PUBLICATION /

1.6 - §4.0: Points 4.0–4.33: THE CHANGE-LING, DAR-LING AND IDIOT /

1.7 - §5.0: Points 5.0–5.16: ACCURSED HUMOUR /

1.8 - §6.0: Points 6.0–6.13: SALTIMBANCO /

1.9 - §7.0: Points 7.0–7.14: FREE SPIRITS /

1.10 - §8.0: Points 8.0–8.11: A MATTER OF RELIGIOUS INTOLERANCE: FASCISM /

1.11 - §9.0: Points 9.0–9.7: A BRAVE NEW WORLD /

1.12 - §10.0: Points 10.0–10.11: AN

ASSOCIATED CHRISTOPHOBIA //

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§2.0 - THE DISCLAIMER—Refer directly beneath to the points 2.0–2.13.

2.1 - All rights reserved © Craig Steven Joseph Lacey, 4 December 1976–, Australia. 2.2 - Changing the content or re-publishing this blog is strictly prohibited. 2.3 - This blog is protected by the: 2.4 -Privacy Act 1988 of Australia, against unauthorized access to Craig Steven Joseph Lacey's Samsung Galaxy A05s, and Google account; 2.5 - Cybercrime Act 2001 of Australia, against computer fraud or internet fraud; 2.6 - Copyright Act 1968 of Australia, against intellectual property theft; 2.7 - Universal Copyright Convention, circa 1952; 2.8 - Berne Convention for the Protection of Literary and Artistic Works, 9 September 1886. 2.9 - Fines and/or prosecution will apply according to Australian and International law in reference to unauthorized access and use of this blog published through the Blogger app of Google.com and the author's storage device(s) with the data. 2.10 - One film-still is used from: Lost In Translation, 29 August 2003, 102 minutes, at point 4.25. 2.11 - A photograph of the art-work: Acrobat And Young Harlequin / Acrobate Et Jeune Arlequin, circa 1905, by Pablo Picasso, 191.1 centimeters x 108.6 centimeters, oil on canvas, BF382, Barnes Collection, at point 6.5. 2.12 - A photograph of the theatrical release poster of the film: Den 12. mann / The 12th Man, 25 December 2017, 135 minutes, directed by Harald Zwart, production companies: Nordisk Film Production, AS Zwart Arbeid at point 8.6. 2.13 - A photograph: 11:02:05, 27 April 2015, by Petar Milošević, of a Byzantine-styled mosaic from the Old Testament titled: The Sacrifice Of Isaac at the Basilica of San Vitale, built 547 A.D., Ravenna, Italy, an UNESCO World heritage site.

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§3.0 - DATES OF RESEARCH, WRITING AND PUBLICATION—Refer directly beneath to the points 3.0–3.4.

3.1 - This blog was first published on-line at 09.05.2023 and was revised 28.08.2024. 3.2 - The blog has been researched, composed and published exclusively by Craig Steven Joseph Lacey at Brisbane City, Queensland, Australia, 4000. 3.3 - Word count: 5,658 and characters count: 34,226. 3.4 - Last up-dated: 04:12, 31.08.2024, Australian Eastern Standard Time.

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§4.0 - THE CHANGE-LING, DAR-LING AND IDIOT—Refer directly beneath to the points 4.0 to 4.33.

4.1 - The noun: 'changeling' is derived from the affixation of the suffix: '-ling' to 'change', whereby the suffix: '-ling' attaches the signification of a quality of being: 'small'; 'miniature'; 'immature'. 4.2 - At one level the adjective: 'small' confers the significance of the noun stem: 'change' as modified by the suffix: '-ling', to make the inference: "if change is involved, regarding the person referred to as a changeling, the change will be small or quaint." 4.3 - On this point, comparison is made to the example of the noun: 'darling', in which the noun stem: 'dar' is emphasized as: 'precious'; 'cherished'; 'delicate'; 'exquisite'; and the evoked smallness refers to that greatness of potential and promise—possibly as in terms of a messianic prophecy—that from small things, such as exemplified by a new-born, big things will later yield when he or she grows-up and offers the boons of metaphorical blossoms and fruit. 4.4 - Further 'smallness' is referenced not only in terms of physical size, but mentality, that is, to a smallness of mentality, such as represented by the fictional, small people: the Lilliputians of Lilliput—shown in the Television Series: 4.5 - Gulliver's Travels, premiered in the United States Of America, NBC, 4–5 February 1996, 186 minutes, directed by Charles Sturridge, production companies: Jim Henson Productions and Hallmark Entertainment, as based on: 4.6 - Gulliver's Travels, Or Travels In to Several Remote Nations Of The World; In Four Parts; By Lemuel Gulliver, First A Surgeon, And Then A Captain Of Several Ships, circa 1726 by Jonathan Swift, re-published Gulliver's Travels, circa 1997, 360 pages, Puffin Books, ISBN 9781442039513. 4.7 - The Lilliputians are a people of a height of no greater than 16 centimetres and further are terrifically small-minded due to their focus on cavill or trivial matters, such as to render petty matters exaggeratedly as historically significant, that is, when the truth is, such matters are really petty. 4.8 - In the case of: 'darling', to which comparison can be made to 'changeling' by way of a shared linguistic structure, the noun: 'darling' is able to express affection phonetically, in which the '-ling' suffix rounds-out the intonation through the dipthong: 'ing', to attach to the: 'dar', a variant of: 'dear', that has the conveyance of loving sentiment. 4.9 - Such usage is defined as a "term of endearment", as is the case in reference to a number of words with the '-ling' suffix, but which, in a number of contexts take on a patronizing signification: the subject of the term 'darling' is imposed by the relation of being: 'sweet', 'cute', 'fluffy', 'infantile', by the locutor upon its referent. 4.10 - That is, the changeling as the darling "cannot be taken seriously" or, in any way, consequentially, such that it is as if the whole world has become a nursery administered by wet-nurses and mother-gooses. 4.11 - Any possibility of the person held to be threatening—note, the change-ling of the dreaded change is always considered threatening—is nullified by the implied significance of affection that the suffix: '-ling' carries, because essentially the: '-ling' evokes an imaginary effect of miniaturisation, indicative of immaturity, and a regression is realised. 4.12 - An 'idiot' or 'simpleton' are generally treated as an 'ignoramus', a noun from the Latin: 'ignōrō'—that refers to: “I do not know; I am unacquainted with; I am ignorant of"—and the noun is from a farcical play titled: 4.13 - Ignoramus, circa 1615, by George Ruggle—republished by ‎Georg Olms Verlag A.G., a facsimile edition, 1 December 1987, English, Latin Language, ‎215 pages, ISBN-10 ‎3487078538, ISBN-13 ‎978-3487078533—who based it on the earlier Italian comedy: 4.14 - La Trappolaria, circa 1596, by Giambattista della Porta—refer to: the republication 5 August 2011, Nabu Press, Italian Language, ‎410 pages, ISBN-10 ‎1174517131, ISBN-13 ‎978-1174517136—who in turn borrowed from: 4.15 - Pseudolus, circa 191 B.C. by Plautus, for the Roman Megalesian Festival: a celebration of the Greek Magna Mater, Cybele; 4.16 - Refer to: The Pseudolus of Plautus (Classic Reprint) by Titus Maccius Plautus, republished: 16 February 2018, Forgotten Books, English Language, ‎190 pages, ISBN-10 1333906439, ISBN-13 ‎978-1333906436. 4.16 - Idiocacy refers to a state of ignorance, specifically in reference to the changeling; due to immaturity such as caused by disability: the changeling does not know who he or she is, for example, due to brain damage or deformity at birth causing for a familial rejection, when such knowledge is kept hidden by relatives and others. 4.17 - As the idiot, "the dunce", the so-called "odd-one-out", the changeling is not so much representative of ignorance in the context of ignorance being a state of mind and feeling attributed to an infant, or older child or youth—who are partially expected to display naïvety and undeveloped or inexperienced performances at tasks—but is, as "the but of all jokes", never to be inducted; refused the knowledge of that which every-one else knows, that is, "the shibboleth" is with-held, and thereby the changeling is kept a foolish child by way of social exclusion. 4.18 - The other signification of the suffix: '-ling' in reference to: 'changeling' is of an 'idiot' or 'simpleton' in the patronizing sense that is comparable to a beloved pet as a type of "dumb animal". 4.19 - The allusions of 'dumb' in the phrase 'dumb animal' is a pun on 'dum' or 'dummy' because the quality of being mute is often presumed as indicative of an animal-type idiocacy—as a state of being ignorant of the true state of affairs around him or herself, because muteness confers a depoliticized state of non-representation and silence can refer to non-involvement—though later censorship can occur, such as in reference to some-one's own words being taken away from them, and such censorship is often applied to some-one because the person who has spoken out is deemed an idiot or fool, more to the point as a matter based on racism, as in a case of applying disguised racism. 4.20 - In some cultures the idiot was not taught how to speak or read and write, because, at the very least, speech and writing is acknowledged as representative of some-one's self and the idiot was considered void of such abilities. 4.21 - Compare the gestures of body language to the spoken or written word, per this example of a comparison between Marcel Marceau's "Bip the Clown" and Marcus Tullius Cicero, the legendary master orator of rhetoric whose use of language helped define the noble pagans of Rome. 4.22 - Not to totally discredit "Bip the Clown" and his equivalents, there is a certain mastery to the pantomime clown, but it is performed mostly in the contexts requiring bridging communication and cultural differences, such as celebrated in the film: 4.23 - Lost In Translation, 29 August 2003, 102 minutes, premiered at Telluride Film Festival, directed by Sofia Coppola, production company: American Zoetrope and Elemental Films, 4.24 - in which, Bob Harris, acted by Bill Murray, is perennially the clown who entertains inasmuch attempts to inter-relate, that is, through facial expressions and gestures, rather than anything he says. 4.25 - Refer directly beneath to a film-still from: Lost In Translation, 29 August 2003, 102 minutes, in which Bob Harris stands out in an elevator full of Japanese business men.  

4.26 - The performative of acting is possibly most celebrated by silent films, regarding which a later spoof film: Silent Movie, 17 June 1976, 87 minutes, directed by Mel Brooks, production company: Crossbow Productions; 4.27 - involves allusions to the great silent actors: Charlie Chapman or Buster Keaton and Marcel Marceau. 4.28 - The "language" of the pantomime is of a mostly spectacular theatre for children—there can be accompanying percussion music and sound effects—with the other mode of visual performance being, the masque, that was traditionally created for the so-called peasantry who were comparable to adult-children: masques approached adult themes of morality and mortality but in the delimited sense, as an understanding realized through the visual modalities in which there is often an absence of reflexive thinking concerned that opts for "the here and now", within the immediacy of the moment. 4.29 - The keeping of some-one in silence is comparable to the keeping of "the human pet", who is retained within a symbolic / imaginary state of merger with the world, as though there were no such things as war and other people who might decide to kill and cook him to eat, when there are such things as war and cannibals. 4.30 - Perhaps, they are not subjects fit for the nursery world, of which society, in its permissible forms, cannot really discuss either? 4.31 - Arguably, such infantilised states keep the child / adult child in fœtal, unborn states; regarding which an American film of the 1970s examines:  4.32 - Embryo, 21 May 1976, the United States Of America, 104 minutes, directed by Ralph Nelson; production companies: Plura Service Company and Sandy Howard Productions, 4.33 - that delves in to the dangerous thinking involved in the treatment of humans as akin to humanoid robots, who supposedly only have ersatz emotions, or do not really have a soul, that is, because science is based upon the objectification of the studied subject—such that the scientist's involvement is really only about indulging a fantasy of becoming greater than that which is studied; recreated; controlled.

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§5.0 - ACCURSED HUMOUR—Refer directly beneath to the points 5.0 to 5.16.

5.1 - Arguably, being labeled a changeling or idiot is, in essence, the effect of a curse, either implicitly or explicitly made by the consensus of the majority of the group ("cult") or people ("the hoi polloi"). 5.2 - The changeling appears to be connected with that age-old rite of the year-king, or to the human sacrifice, by whose ruin a type of catharsis takes place that seems to assuage the angst of the masses. 5.3 - As the year-king, the cruel jest is made by the fact that, similar to the fable of: 5.4 - "The Emperor's New Clothes", first published with "The Little Mermaid" at Copenhagen, Denmark, by C.A. Reitzel, 07 April 1837, as the third and final installment of Hans Christian Andersen's Fairy Tales Told for Children; 5.5 - republished in: The Complete Fairy Tales And Stories, circa 1983, by Hans Christian Andersen, xxiv, 1101 pages; 23 centimeters, ISBN 0385189516; 5.6 - despite the king / emperor being in the privileged position of a monarch, he is nonetheless susceptible and vulnerable to others' opinions to the extent he is sort-of voted off, and that is, not voted off stage as such, but terminated. 5.7 - That is, the year-king is made subject to the tyranny of the people, and the king's will or determination on matters is found to be mired by the various human foibles which afflict every-one, when under the conditions of absolute monarchism, circumstances are contrived by the staff of his court to make every effort that his committing an error is censored from the public's knowledge. 5.8 - Further, some absolute monarchs have insisted their mistake is, in fact, accurate, given that the monarch can be represented as God here on earth; hence, the erroneous one, the jester or clown is found in contrast, beside the monarch, in texts such as the celebrated: 5.9 - King Lear, circa 2008, 156 minutes, the filmed version of the Royal Shakespeare Company's theatrical production, directed by Trevor Nunn, screened on television, based on the play: 5.10 - The Tragedy Of King Lear, circa 1606, written by William Shakespeare, re-published: King Lear, The Arden Shakespeare, Third series, circa 1997, R.A. Foakes, editor, Bloomsbury Publishing. ISBN 9781903436-592, 5.11 - in which the Fool uses a diminutive, child-like language against the old King's own bombastic apoplexy, yet the Fool is arguably more sane than the king: 5.12 - 'Tis a naughty night to swim in. Now, a little fire in a wild field were like an old lecher’s heart—a small spark, all the rest on ’s body...', from: King Lear, Act 3, Scene 4, 111–114. 5.13 - Because all persons commit some sort of error at some point in their life, to commit a folly such as of a small kind is celebrated as characteristically human by the jester or clown, and rather than be made the focus of chastisement, humour in celebration of folly and a shared sense of hopelessness in expecting the fool to change, are realized in such entertainments of the idiot or fool. 5.14 - Love in general is as an affect that is the opposite to the purposive and functional, which is often what engenders a sense of the absurd: a lovable fool is precisely who is loveable: for example, a baby who stumbles in his or her first attempts, deemed a lovable fool at walking, is that same loveable fool who is favoured over an admirable hero who performs tasks perfectly. 5.15 - This last point is one of irony extended to the further point that often tragedy is required rather than comedy, such as to ensure the reality of the folly involved that often involves a curse no less, within the tragic contexts is "properly registered" by the audience, albeit that farce is inevitably caused by the organization of the tragic consequences, the tight-rope of drama of any kind is walked along the thin line of the tragi-comic. 5.16 - Yet, regarding the under-lying curse—that often goes without saying, left merely inferred by the darker entities of life (ghosts, ghouls, vampires, witches, etc.) rather than by an antagonizing people—to state exactly what that curse is now, it is pharmakós / Greek: φαρμακός, viz. scape-goating, that involves a social order which elects one of their own group to take the blame for everyone else, and in his execution a satisfaction is served to quell the suspicions that might otherwise embroil them as co-compliciters and guilty perpetrators. 

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§6.0 – SALTIMBANCO—Refer directly beneath to the points 6.0 to 6.14.

6.1 - In further reference to the changeling, along with clowns they are the so-called "circus freaks"—the motley crew—who present a show of light, comical entertainment in the fleeting festivity of their: marginality; exceptionalism; difference. 6.2 - This celebration is done as dalliance, fun, intoxication, such as: exemplified by "the saltimbanco" of Italy and France, painted by the celebrated modernist visual artist, Pablo Picasso: refer to the art-work directly beneath: 6.3 - Acrobat and Young Harlequin / Acrobate et jeune Arlequin, circa 1905 by Pablo Picasso, 191.1 centimeters x 108.6 centimeters, oil on canvas, BF382, Barnes Collection; Artists Rights Society, © 2023 Estate of Pablo Picasso, New York. 6.4 - The 'saltimbanco' is a noun literally used to refer to “a leap (or somersault) on the bench", that is, as a reference to buskers or street performers, but the signification also refers to a fraud, con or quack, viz. pseudo-doctor.

6.5 - The changeling as a cultural concept draws upon the strange, freakish and comical acts of the circus, such as once, dwarves or disabled persons were deemed and consigned clownish roles through social pressures of stigmatization. 6.6 - Their physical difference was equated with a dictate that demanded standardized people perform standard tasks with-out risking any-thing unexpected, whereas the changelings' "irregularity" was deemed at the fringes of society, where anything might happen and possibly did happen upon "the unclassified class". 6.7 - The unusual or abnormal person often is further associated to "the creative" and that which is considered frivolous, that is, to a philistine social order with an obsession for safety and security, that can only ever be illusory because everyone dies—no-one is exempt from mortality—yet the creative person is some-one who typically leads a life beset by death and quite unjustly. 6.8 - Out-siderism as a sub-culture must be allowed to exist because cultural diversity is the sign of a sophisticated society in  which creativity is allowed to flourish, instead of stymied, when criminality takes over. 6.9 - The fascist governments which brandish such labels as degenerate are involved in a philistine type of desire to enforce utilitarianism, that is, when, as I have mentioned, love is often involved in loving the useless rather than useful. 6.10 - A dozen roses are not useful as such, but are symbolic of love. 6.11 - Further, paradoxical or irrational is the fact that we genuinely love what is not useful, and despise, mostly out of envy, that which is most useful. 6.12 - I will ask: "where, oh where do the changelings and misfits go?"—homelessness is a problem throughout most nations, and yet governments have money stored-up on the basis that whoever appears to demonstrate no initiative, is thereafter excluded from society as fringe-dwellers, without genuine levels of support, but really, often their work is misappropriated to rob them of a living. 6.13 - The modern, Canadian circus company of the 1990s and 2000s, such as Cirque de Soleil, offered an insight as to some of the theatrical prowess such "idiots" could accomplish. 6.14 - Is it not the case that some people are "left to rot", because some tyrants derive an evil satisfaction from it, though tout such ideology as "only the toughest survive" and other anti-social notions based on bizarre interpretations of evolution?

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§7.0 – FREE SPIRITS—Refer directly beneath to the points 7.0 to 7.13.

7.1 - There is a "dark-side" to such qualities of the changeling to which I have made reference in my blog posts since last year, that require further focused discussion. 7.2 - For those who have dismissed my arguments of the occurrence of children and some adults deemed "changelings", because of the implied immature or fantastical elements involved with the changeling, the facticity of the history of the 'mischling' might be considered verification of a correlative reality to the mystified discourse. 7.3 - Fantasy texts, while displaced and loosely metaphorical, will correlate with a true history, as an effect of: euhemerism—historical facts become legend and legend becomes myth. 7.4 - The truth will be both disguised and revealed by a figure or trope; hence, the appeals of such texts for their expression of what is thought to be inexpressible, that is, to establish some-thing of a "successful protest". 7.5 - There is a poetic truth to be found in such texts often escaping the layman's notice, but which can be discerned by "the dream-interpreters", viz. the therapists, priests, sisters, teachers, authors, artists, critics, etc., who must excavate the fragments of truth to re-construct what has really occurred, or is now occurring, at least as much as possible, because the power-centers will ensure that any trace of responsibility leading back to them is shut-down—for example, by causing the dream-interpreters to disagree with the argument made in this blog. 7.6 - The German Nazi noun: 'mischling', used to refer to an infant or adult with a mix of ethnicities, such as Aryan or Non-Aryan, is an euphemism for some-one determined as a pest, who is deemed liable for racial cleansing or a range of mistreatments and persecutions, because the inference is, the racial differences will beget an irreformable degeneracy: an inherent defectiveness that makes the person expendable. 7.7 - The changeling / mischling is an euphemism for mistreating that person with a range of moral disengagements and duty of care, because the racial difference is considered to signalize an idiocacy in which consciousness within the person in question is either kept subdued or unable to achieve certain adult levels of recognition, often by way of exclusion. 7.8 - The changeling / mischling is declared a vector of degeneracy who supposedly is justifiably deserving of malice. 7.9 - That is, schadenfreude: the enjoyment derived from sadism, derived in witnessing or causing some-one else's suffering through torture: there can only be unveiled the fear of the torturer resuming the position of the tortured—the fool has, as the 20th century can attest, and in almost realising a Hegelian discourse, be seen to become the master at any price. 7.10 - When power is bestowed upon the foolishly immoral person, who is himself terrorized by the fear of being the fool, a strangeness over-takes the world with paranoia and the styles of the Baroque or Rococo are seen wherever he is found, taken to reinforce that leader's own sense of grandeur and pomposity. 7.11 - Yet, with his councilors in cabinet mostly out to thwart him, his over-compensatory behaviour and hifalutin language are understandable enough; as he is human too: "human, all too human"—regarding which refer to: 7.12 - 'The Illogical Necessary: Among the things that can drive a thinker to despair is the knowledge that the illogical is necessary for man and that much good comes from it. It is so firmly lodged in the passions, in speech, in art, in religion, and generally in everything which endows life with value, that one cannot extricate it without doing irreparable harm to these beautiful things'—from: page 33,  §31: Human, All Too Human: A Book for Free Spirits / German: Menschliches, Allzumenschliches: Ein Buch Für Freie Geister, circa 1878, by the philosopher Friedrich Nietzsche; 7.13 - re-published: circa 1974, Dover Publications Incorporated, translated Helen Zimmeen, 474 pages, ISBN: 0486445666.

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§8.0 - A MATTER OF RELIGIOUS INTOLERANCE: FASCISM—Refer directly beneath to the points 8.0 to 8.11.

8.1 - The problem of racism has been already discussed to an extent in my blogs, regarding the racism of the white Asian, Aryans, against the white Europeans, Celts / Gauls, that involves the problem of recognizing the racism between two groups of ethnicities with similar white complexions. 8.2 - One of the few texts I have come across that portrays the differences of the Celts of Northern Europe to the Aryans is: 8.3 - the Norwegian film: Den 12. mann / The 12th Man, 25 December 2017,  135 minutes, directed by Harald Zwart, production companies: Nordisk Film Production, AS Zwart Arbeid; 8.4 - a Norwegian film that narrates of the historical events of 'Operation Martin' and the escape of Jan Baalsrud, as adapted from the text: 8.5 - Jan Baalsrud And Those Who Saved Him, circa 2001, by Tore Haug and Astrid Karlsen Scott, Gyldendal, 235 pages, ISBN 9788205297524. 8.6 - Refer directly beneath to the film poster for: Den 12. mann / The 12th Man, 25 December 2017,  135 minutes, directed by Harald Zwart. 

8.7 - Other-wise, most if not all texts confer the perception that the ideology of Adolf Hitler, that supposedly praised the Norðs and Celts, saw to the extermination of Northern Western European whites, that is, of a Protestant heritage, and perhaps not Jewish Catholic? 8.8 - Adolf Hitler and The Third Reich represented people of a white-appearance, but with a Semitic ethnicity, who persecuted the Jews also of a Semitic ethnicity: that is—and this is a point that is made and re-made but still dismissed—Adolf Hitler was himself a type of Jew, of Punnic / Aramaic ethnic descent, who advocated genocide of the Jews. 8.9 - A recorded history exists regarding the fact of genocide committed by the Jews upon the indigenous Canaanites—refer to the Old Testament: 8.10 - 'And the city and all that is within it shall be devoted to the Lord for destruction. Only Rahab the prostitute and all who are with her in her house shall live, because she hid the messengers whom we sent'—from: The Book Of Joshua 6:17, English Standard Version. 8.11 - The conquering of Jericho was symbolic of a Jewish approach to the taking of land by force from indigenous peoples, because such land represents to them: "The Promised Land": that is, arguably, a repeated pattern of behaviour.

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9.0 - A BRAVE NEW WORLD—Refer directly beneath to the points 9.0 to 9.15.

9.1 - The Nazis supposedly were unable to find a racial definition for the noun: "Jew" to instead rely on the religious ancestry of the person under question, such as to determine whether the person was of "Aryan" or "non-Aryan" ethnicity. 9.2 - The implication is the Nazi racial agenda against the ethnic other was based on religious identifications and cultural practices, rather than ethnicity. 9.3 - Presumably the Nazi regime was immersed in technology and science that promised to offer a 'Brave New World', to refer to that celebrated text: 9.4 - Brave New World, circa 1932 by Aldous Huxley; re-published 1 January 1977, by ‎Bantam Classic, English Language, 272 pages, ISBN-10 ‎0812415213, ISBN-13 ‎978-0812415216. 9.5 - Or else, their religious practices have been kept secreted away, that is, even until now: a possible fact of which, in itself suggests that Aryans have, despite contemporary media and history sources, re-asserted or sustained power to ensure that such a fact is unknown within the regions under their "pantheistic" style of power. 9.6 - The documentary film: Triumph Over Violence, circa February 1968, 138 minutes, a Soviet film directed by Mikhail Romm; 9.7 - reveals the pre-eminence of fire among the Nazi, almost to emphasize a connection of the Aryan to the Indo-Arabic Parsi / Pharisee cultures through a shared exaltation of fire. 9.8 - This is a factor celebrated by the opera: 9.9 - Parsifal WWV 111., 26 July 1882, Bayreuth Festspielhaus, by the German composer Richard Wagner to suggest, that the Asian Middle Eastern cultures had a long time ago entered Germany and usurped the Celtic / Gaulic Christians, who the Nazi are confusingly identified with—that the Aryans / Vandals migrated to Germany and there certainly Westernized. 9.10 - There are further arguments of a Nazi regime steeped in Occult and Satanic practices, such as in reference to: 9.11 - Nazis: The Occult Conspiracy, circa 1998, 104 minutes, an American television-produced documentary film, first aired on the Discovery Channel, directed by Tracy Atkinson and Joan Baran, with the narration by Malcolm McDowell. 9.12 - The quality of texts on the matter of Nazi–Satanism is average to low to indicate power-centers prefer no significant investment to reveal the truth. 9.13 - The point of 9.1 is an hypothesis that has arisen regarding the examination of the changeling symbolism, in which an unconscious sociological mechanism of persecution becomes consciously applied within a fascistically organized society, such as Nazi Germany's: the systematic killing of people is, at least it is inferred, accepted among Aryans as a standard part of society, and the more recent film: 9.14 - Zone Of Interest, 105 minutes, directed by Jonathan Glazer, production companies: Film4, Access, Polish Film Institute, JW Films and Extreme Emotions; 9.15 - an extraordinary film that to an extent unveils life at the Auschwitz concentration camp, in operation circa May 1940 – circa January 1945, as narrated from the side of the Schutzstaffel and their families located within or near the complex, conveys this sense of normalcy in the mass executions of peoples, as found in relation to an abotoir.

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§10.0 - AN ASSOCIATED CHRISTOPHOBIA—Refer directly beneath to the points 10.0 to 10.11.

10.1 - One observation must be made, with the inferred rise to power of the Aryans, a great proliferation of folk-lore took place through-out Europe from the 17th century to the present. 10.2 - The folk-lore is indicative of a nebulous phantasmagoria of diffused beliefs, supposedly untraceable to a particular ethnic and cultural center, and the values mediated must be cited as mostly Christaphobic because the gift of the birth of a child is at crux the message of Jesus Christ's Nativity. 10.3 - Whereas the changeling / mischling represents the opposite of the doctrines of such Christianity, such as to indicate systems of belief indicated by the Tanakh, similar to the binding and killing of Isaac by Abraham, viz. of human sacrifice. 10.4 - Refer directly beneath to the photograph, 11:02:05, 27 April 2015, by Petar Milošević, of: a Byzantine styled mosaic from the Old Testament titled: The Sacrifice Of Isaac at the Basilica of San Vitale, built 547 A.D., Ravenna, Italy, an UNESCO World heritage site, in which the question of cannibalism must be raised due to the three presumably "Ostrogothic Christians" sitting at a table with plates before them and a dish of beef being offered to them instead of Isaac, who nearby is about to be slain by Abraham.

10.5 - Here in further reference to the mosaic of the Basilica of San Vitale, Ravenna, the Gothic allusions to cannibalism may have been a regional interpretation of the Old Testament scripture of Genesis introduced as a variance to allow for such practices after the fall of Byzantium, though cannibalism is believed to be at the heart of Christianity's apotheosis of the Crucifixion of Jesus Christ whose body is found in the bread of Eucharist rite. 10.6 - Refer to: 'When they arrived at the place God had designated, Abraham built the altar there and arranged the wood. He bound his son Isaac and placed him on the altar, atop the wood. / Then Abraham reached out his hand and took the knife to slaughter his son. / But the Angel of the Lord called to him from heaven and said: “Abraham, Abraham!” And he said: “Here I am.”—from: Genesis 22:9–11, English Standard Version. 10.7 - The test of Abraham's faith by the Jewish God such as in reference to Abraham's obedience to God's commands, may have connection to the "blud und boden / blood and soil" myth found more explicitly in reference to the Babylonian creation myth: lines 23–26 in Enuma Elish, 2nd millennium B.C., in which Kingu's blood / sacrifice gives rise to a later army of men—refer to: "The Ashur Version Of The Seven Tablets of Creation" by D.D. Luckenbill, in: The American Journal of Semitic Languages and Literatures, 01.10.1921, pages 12–35. 10.8 - In accordance to Christianity proper, there would be no changeling of mixed ethnicities as such, nor a child of deformity, that is, thought to be caused by a goblin's or troll's mischievous swapping—possibly a dæmon's in reference to Lutheranism—but according to true Christianity there would only be a child requiring acceptance, protection, guidance and love. 10.9 - It must be remembered that the Tanakh / Old Testament is used for context to the New Testament and the Jew is expected to convert to Christianity within such contexts by understanding the barbarisms associated with the so-called primordial ways. 10.10 - This matter of conversion is essentially what is feared in the Jew-Gentile / changeling child, who may further spread the change / conversion of Christianity among the Jews, such that Christophobia is perceived as associated to the changeling. 10.11 - To the great charitable institutions of Christianity, yet infiltrated and corrupted from within by Jewish Catholics, such as: The Sisters Of Mercy, 12 December 1831–, 192 years ago, who I witnessed as a boy suffer greatly for our religion—please make a prayer of gratitude and admiration for their holy service.

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