doba – -Translation – Keybot Dictionary

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  Divus | Několik kroků k...  
Einleitungszeit, Doba úvodu (Einleitungszeit, 1999)
Einleitungszeit, Auranoise (Einleitungszeit, 2001-2)
  Divus | Hvězda a Brána ...  
Už minula doba, kdy Ryška na stěnu jedné olomoucké galerie nastříkal nápis Zasranej Izrael a pohoršil veřejnost tak, že jej kurátor musel zabílit. Tehdy pouze napadl instituci státu, aniž by to rozvedl a aniž by v citlivé kauze kohokoli označil za zdroj svého rozhořčení.
It is as if just such cruelty never belonged among the rewarding public themes as a consequence of the never-ending spirals of cultural reflexes. But such cannot fail to be the ambivalence of contemporary work. Its importance is based on its connection, as well as its rejection — on the knowledge of its own and others’ value. At the same time, there is an acknowledgment of the worthlessness of the commodity. The beauty of contemporary work shows itself as a systemic gauge that is always positively connected with the system (connection being the basis of its identification). But as a consequence, it is itself
It is as if just such cruelty never belonged among the rewarding public themes as a consequence of the never-ending spirals of cultural reflexes. But such cannot fail to be the ambivalence of contemporary work. Its importance is based on its connection, as well as its rejection — on the knowledge of its own and others’ value. At the same time, there is an acknowledgment of the worthlessness of the commodity. The beauty of contemporary work shows itself as a systemic gauge that is always positively connected with the system (connection being the basis of its identification). But as a consequence, it is itself
  Divus | EGONIÁŠOVO PROR...  
Stejně jako se do nich servilně sápalo před převratem. Nová doba vodstartuje krysí dostihy, kdo dřív urve větší porci slávy, peněz a privilegií. Nejžádanějšíma devízama budou cynismus, bezproblémovost a přízpůsobivost.
—No lo será. Se subirá a la espalda de todos los posibles lisiados y sublisiados al oeste de la República. Igual que se arrojaba servilmente a ellos antes de la revolución. La nueva época iniciará carreras de ratas, a ver quién arranca antes una porción de fama, dinero y privilegios. Las divisas más pedidas serán el cinismo, la falta de problemas y la adaptabilidad. Se darán premios no demasiado generosos (más bien limosnas decentes), que se convertirán en el criterio autoritativo de la calidad artística. Igualmente será decisivo el número de veces que se ha expuesto en Nueva York, en la Bienal de Venecia, en Londres o en otro lugar. El premio más prestigioso será el vuestro —rechaza así Bondy la afirmación de Chalupický y Šimotová.
  Divus | Sylvie Vondřejc...  
Proti většině z nich ani neprotestujeme, protože jsou nám dány hned na začátku a jsme na ně vlastně už zvyklí. Pohlaví, národnost, vzhled, doba do které jsme se narodili i smrt je snad poslední událost, která se v našem životě stane, aniž bychom ji mohli ovlivnit.
However logical and straightforward Sylvie Vondřejcová’s way might seem, she admits that she goes through a period of doubt after she finishes each project. She is not sure whether conceptual art, which often relies on communication through images, is understandable for viewers if unaccompanied by explanatory texts. Despite this, or perhaps precisely for this reason, she wants to reach out to touch its borders.
However logical and straightforward Sylvie Vondřejcová’s way might seem, she admits that she goes through a period of doubt after she finishes each project. She is not sure whether conceptual art, which often relies on communication through images, is understandable for viewers if unaccompanied by explanatory texts. Despite this, or perhaps precisely for this reason, she wants to reach out to touch its borders.
  Divus | Joe Coleman  
To mě tak rozčílilo, že jsem nakonec z vlastního rozhodnutí studium ukončil. Profesorům hodně vadila moje předmětná malba, protože tenkrát byla doba minimalistického umění. Předmětná malba mohla být jen jako ilustrace.
Fue la decisión de un comité que se reúne cada semestre. Había tres jueces. Describieron mi trabajo domo fascista y esquizofrénico. Aún si yo fuera un esquizofrénico… ¿que tendría eso que ver con el arte? El término “fascista”… quiero decir, tenemos un comité de revisión que va a decidir si mi obra tiene algún valor artístico… ¡Dicen que yo soy el que supuestamente es fascista!. Esto provocó en mi una reacción de rabia, así que tomé venganza. Se volvió imposible continuar. En ese tiempo había una reacción en contra del arte figurativo en general. Las obras minimalistas eran las únicas que se respetaban en ese entonces. El arte figurativo se reducía a la ilustración.
  Divus | Sylvie Vondřejc...  
Proti většině z nich ani neprotestujeme, protože jsou nám dány hned na začátku a jsme na ně vlastně už zvyklí. Pohlaví, národnost, vzhled, doba do které jsme se narodili i smrt je snad poslední událost, která se v našem životě stane, aniž bychom ji mohli ovlivnit.
Life is composed of a number of things we’re unable to influence. We don’t even fight most of them because they were given to us right from the start and we’ve actually gotten used to them. Gender, nationality, appearance and the time we are born into are the most dominant ones. Death is the last event in our lives which we are unable to influence. The final draw from the lottery of fate.
Life is composed of a number of things we’re unable to influence. We don’t even fight most of them because they were given to us right from the start and we’ve actually gotten used to them. Gender, nationality, appearance and the time we are born into are the most dominant ones. Death is the last event in our lives which we are unable to influence. The final draw from the lottery of fate.
  Divus | Was ist Kunst (...  
Ano, jak by ne, to byla doba neustálých diskusí o umění. A když to nebylo v SKC, tak jsme se scházeli doma, když ne doma, tak v kavárnách. No a jaké byly ty rozhovory? Byla v nich i romantická naivita.
Yes, of course, that was a time of constant discussions about art. If it wasn’t in SKC, then we would gather in our homes, if not in our homes, then in pubs. And now you might ask what those discussions were like? One could hear romantic naivetes, too. Then it was also related to our trips and the talk of what we saw where, who we met with, and so on. It was a kind of limb from which all of us grew up, however we could under the circumstances.
  Divus | Večeře s Olafem  
Kdy si to člověk vlastně uvědomí? Myslím, že si to ještě neuvědomuji. Možná ne přesně; ale ve smyslu věcí, které už nezažiji. Například už nechodím na divoké večírky, to už je pryč. Nebo školní časy, doba studií, které už se nevrátí.
When does one actually realize that? I think that I have yet to realize it. Maybe not exactly, in the sense of personal growth and maturity. For instance, I don’t go to wild parties anymore, that stage has passed. Or education, my school years and studies will not come back again.
  Divus | Soukromé umění  
Proč je tedy nyní vhodnější doba představovat současné umění a jaké umění podporujete?
So why then did you start collecting contemporary art?
So why then did you start collecting contemporary art?
  Divus | Večeře s Olafem  
První fáze mé práce je definitivně pryč. Na konci devadesátých let byla má práce nahlížena kvůli flirtování s novogotikou a odkazy k hororovým filmům. Tahle doba je už minulostí, „hororového Breuninga“ jsem se musel někdy zbavit.
The first phase of my work is definitely done. At the end of the nineties, my work was noticed because of my flirtations with the New Gothic and references to horror movies. But this phase has passed and I had to get rid of “horror Breuning”.
My earlier works were in the tradition of multimedia installations. They were attempts to completely occupy the space. I think that in recent years big changes have occurred.
  DIVUS  
Vznikla s potřebou obohatit se o umělecké aspekty vyprávění, lineárnosti a dramatických kategorií, které miluji a které se do obrazů prostě nechci míchat. Jak už jsem zmiňoval, nejsem přítelem mezioborových mutací. Mám rád čistou hru v jasně vymezených, klasických mantinelech. Je pravda, že dnešní doba přináší i v…
"Film Tetralogy — theory The making of a videofilm is a continual part of my work. It came about through the need to enrich the artistic aspects of storytelling, linearity and dramatic categories which I love and which I simply do not want to mix into painting or pictures. As I mentioned earlier, I am no friend of inter-field hybrid mutations. I like a fair game played by the rules in clearly…
  Divus | Rituál zkrvaven...  
BUTTHEAD: Je to báječná, halucinogenní doba...Cool
Beavis: Uhm Hum hum The entire world just wants to blow up!
Beavis: Uhm Hum hum The entire world just wants to blow up!
  Divus | Nekonečný proce...  
Přitahuje vás ta doba?
Are all of your films short?
  Divus | Hezká doba a vz...  
Hezká doba a vzrušující sprostá slova (Harmonie 98)
Nice Period And Foul Language, Harmony 98
Nice Period And Foul Language, Harmony 98
  Divus | Několik kroků k...  
Einleitungszeit, Doba úvodu (Einleitungszeit, 1999)
Einleitungszeit w/ Sangredans, Auranoise (Ars Morta DVD, 2002)
Einleitungszeit, Auranoise (Einleitungszeit, 2001-2)
  Divus | Hezká doba a vz...  
Časopis Umělec 1998/2 >> Hezká doba a vzrušující sprostá slova (Harmonie 98)
Zeitschrift Umělec 1998/2 >> Nice Period And Foul Language, Harmony 98
Revista Umělec 1998/2 >> Nice Period And Foul Language, Harmony 98
  Divus | Hezká doba a vz...  
Hezká doba a vzrušující sprostá slova (Harmonie 98)
Nice Period And Foul Language, Harmony 98
  Divus | Hezká doba a vz...  
Časopis Umělec 1998/2 >> Hezká doba a vzrušující sprostá slova (Harmonie 98)
Zeitschrift Umělec 1998/2 >> Nice Period And Foul Language, Harmony 98
  Divus | Soc-art  
Zlatá doba soc-artově pojaté subverze nastoupila až v posledním desetiletí před koncem komunistických režimů, ale umělci tento žánr využívají dodnes. Úmyslná dezinterpretace nebo manipulace s ideologickými symboly se vyskytovala v akcích polské performerské skupiny Oranžová alternativa, která v osmdesátých letech pořádala velkolepé parodické oslavy výročí Říjnové revoluce.
The absurdity of official propaganda was evident in Eastern Europe and in Russia. Many artists began using it as an efficient artistic tool. At the end of the 1940s and beginning of the 1950s, Czech author Egon Bondy wrote poetry combining official news reports and banal descriptions of everyday events. In the visual arts, the extreme socialist realism imported from the Soviet Union provided a great source of inspiration combining communist ideology and realistic kitsch. Socialist realism was almost perfect for mockery. American Pop art, which provided an important key as its strength, also stemmed from the combination of the uncombineable and from the tension between high art and symbols of consumer culture. Consumer goods, which were nonexistent in Eastern Europe, were substituted with ubiquitous propaganda stripped of its content. In mid-1960s, the Czech artist Milan Knížák made a symbol of a crossed sickle and hammer enriched with Pop hearts. In addition, Milan Kunc living in Germany used elements of Western comics and communist symbols in his paintings from the mid-1970s.
The absurdity of official propaganda was evident in Eastern Europe and in Russia. Many artists began using it as an efficient artistic tool. At the end of the 1940s and beginning of the 1950s, Czech author Egon Bondy wrote poetry combining official news reports and banal descriptions of everyday events. In the visual arts, the extreme socialist realism imported from the Soviet Union provided a great source of inspiration combining communist ideology and realistic kitsch. Socialist realism was almost perfect for mockery. American Pop art, which provided an important key as its strength, also stemmed from the combination of the uncombineable and from the tension between high art and symbols of consumer culture. Consumer goods, which were nonexistent in Eastern Europe, were substituted with ubiquitous propaganda stripped of its content. In mid-1960s, the Czech artist Milan Knížák made a symbol of a crossed sickle and hammer enriched with Pop hearts. In addition, Milan Kunc living in Germany used elements of Western comics and communist symbols in his paintings from the mid-1970s.
  Divus | Tip zcca  
Absenci v klíčových okamžicích. Tak se například stane, že při odjezdu se kočovník rozloučí s dítětem a po návratu ho přivítá mladá dáma. V určité fázi je vývoj dítěte až neuvěřitelně rychlý a i měsíce jsou velmi dlouhá doba.
But frequently changing your location requires a completely different social behavior as well: emotional nongrasping, the ability to exist without the presence of loved ones (if there are any). Easily, routinely creating purposeful and other kinds of friendships that are hard to keep because of their number is also one of the necessary skills. So at the moment of farewell, unfinished dialogues (again always a surprise for all participating parties) break off, sometimes for years, decades, sometimes forever.
But frequently changing your location requires a completely different social behavior as well: emotional nongrasping, the ability to exist without the presence of loved ones (if there are any). Easily, routinely creating purposeful and other kinds of friendships that are hard to keep because of their number is also one of the necessary skills. So at the moment of farewell, unfinished dialogues (again always a surprise for all participating parties) break off, sometimes for years, decades, sometimes forever.
But frequently changing your location requires a completely different social behavior as well: emotional nongrasping, the ability to exist without the presence of loved ones (if there are any). Easily, routinely creating purposeful and other kinds of friendships that are hard to keep because of their number is also one of the necessary skills. So at the moment of farewell, unfinished dialogues (again always a surprise for all participating parties) break off, sometimes for years, decades, sometimes forever.
  Divus | V přímém přenosu  
Komentář pořadu: “Malíři (Sadeckého) na slovo poslouchají. Ostatně zrovna je doba, kdy je v módě koukat se na Západ a prodávat se raději za hranicemi než doma. Prorazit do světa, v kterém se vůbec nemluví o žádném svědomí umělce ke společnosti, kde je volnost tvůrčí práce a kde se nikdo nikoho neptá, zda to či ono se slučuje s morálkou nebo vkusem. Vkus nevkus, kýč nekýč a jakápak socialistická morálka, jen když to sype a na kontech budou místo korun marky, libry nebo dolary. Tak kreslí bez zábran a všechno. Jen aby prorazili. Aby se proslavili v západních kruzích. Navíc Petr Sadecký spěchá: Teď, právě teď je příhodná doba prorazit na západní trhy. Bůhví jak to bude třeba za rok.”
The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
  Divus | ZABIJU TĚ  
Klackovská léta mezi tím jsou pravděpodobně nejtěžší dobou v životě většiny Američanů. Je to doba, kdy ještě nejste dospělí, ale dospělí kolem s vámi stále zacházejí jako s dětmi. Neberou vážně vaše názory a jejich zásadní úlohou je střežit vaše chování a vaši sexualitu.
I initially never intended to make much mention of Ronald Reagan in this article, but since he reappeared in the news while I was writing it, this time as a corpse, it suddenly dawned on me how inseparable he was from the decade I’m primarily addressing here. Under Reagan’s presidency, America saw the rise of a virulent strain of conservativism, one that ultimately “destroyed America’s sense of reality,” in the words of political commentator Tom Carson. “Facts are stupid things,” President Reagan once said, although no one is quite sure whether this was before or after the Alzheimer’s kicked in. It was in the early days of Reagan that the homeless began to appear in growing numbers on the streets of American cities, an early sign of the slow process of turning over the functions of the federal government to companies through such ideas as privatization. Reagan practically initiated the concept of turning social welfare over to charitable foundations. All of this was accomplished with the glue of anti-Communism, a shared bond that tied otherwise quarreling factions together—the libertarian-minded Republicans, the anti-feminist crusaders, the Christian fundamentalists. It was during this decade that the divisions between rich and poor, white and black, straight and gay, seemed to grow. Crack-cocaine suddenly started appearing in poor black ghettos. A new virus called AIDS raged, destroying numerous lives, while President Reagan remained silent on the topic throughout the course of his presidency. People started talking about “family values.” Children were obliged to take “drug abuse resistance education” classes in school, where they were taught about the evils and dangers of smoking marijuana, drinking alcohol, and engaging in premarital sex (homosexuality, of course, was never mentioned.) All of this, of course, attests to the greatness of Reagan and his Moral Majority, who were indeed the genesis of the current Bush administration.
  Divus | Hvězda a Brána ...  
Už minula doba, kdy Ryška na stěnu jedné olomoucké galerie nastříkal nápis Zasranej Izrael a pohoršil veřejnost tak, že jej kurátor musel zabílit. Tehdy pouze napadl instituci státu, aniž by to rozvedl a aniž by v citlivé kauze kohokoli označil za zdroj svého rozhořčení.
Now he has completely entered the paradox: he has created socially ironic artifacts in the most “artifactual” form (a picture in a frame), which offers itself to the same thing that Ryška brought about in his other “colleagues.” Without Words can be considered an extraordinary cycle, because it is left to its own tender mercies. The sabotage is carried out not only as a representation, but the representation rushes in to sabotage itself.
  Divus | V přímém přenosu  
Komentář pořadu: “Malíři (Sadeckého) na slovo poslouchají. Ostatně zrovna je doba, kdy je v módě koukat se na Západ a prodávat se raději za hranicemi než doma. Prorazit do světa, v kterém se vůbec nemluví o žádném svědomí umělce ke společnosti, kde je volnost tvůrčí práce a kde se nikdo nikoho neptá, zda to či ono se slučuje s morálkou nebo vkusem. Vkus nevkus, kýč nekýč a jakápak socialistická morálka, jen když to sype a na kontech budou místo korun marky, libry nebo dolary. Tak kreslí bez zábran a všechno. Jen aby prorazili. Aby se proslavili v západních kruzích. Navíc Petr Sadecký spěchá: Teď, právě teď je příhodná doba prorazit na západní trhy. Bůhví jak to bude třeba za rok.”
The commentary for the program said: “The painters obeyed [Sadecký] completely. We live in a time when it’s fashionable to look up to the West and sell behind the borders rather than at home; to break through in a world where they don’t talk about the artist’s consciousness related to society, where freedom of creation rules and nobody asks anybody whether this or that corresponds with morale or taste. ‘Kitsch or not, taste or not; forget about socialist morale, so long as it makes money and the accounts fill up with marks, pounds and dollars instead of crowns.’ So they drew without constraint, just to make it there, to be famous in Western circles. And Sadecký is in a hurry: ‘Now is the time to make it in the Western markets. God knows what will happen next year.’”
  Divus | Umělci v říši d...  
Problém míšení lásky s pohádkou je v tom, že když láska (ve skutečnosti) zhořkne, a princ, princezna či čarodějnice (v případě Černického knihy) se ukáží být prostými lidmi, může to pro nás být zklamání. Jak poznamenala Carolyn Kay Steedman: „Pro mou matku byla doba mého dětství místem, kde pohádky selhávaly.
Nikl’s first book, Rybitinka (published in 2001), is a funnier text for children and adults (reading it), since it includes sing-a-long songs about various fish, and the story is more original. However, in both books, the stories themselves are nothing special. They are too long and descriptive and often too redundant for younger children, and they are not surprising or unusual enough for older kids.
  Divus | "Houstone, máme...  
Podle Haanstra (1999) většina účastníků do uměleckých kurzů „...přichází, aby se naučili malovat, a ne analyzovat umění. Z jejich pohledu je doba věnovaná analýze umění a jeho dějinám víceméně ztrátou času.
Some social reasons like meeting new people were expected. However, from informal conversations with students, I realized that some of their reasons go even deeper. One initially puzzling observation was that the majority of my students were women, who represented at least 75% of each of my classes. Many of them were young mothers or were pregnant and very often fell into the process-oriented category. In some cases, two friends would join the class as their night out together without husbands and children. Their goal was usually to enjoy the evening, meet new people, and at the same time learn something new. Another example of an activity-oriented situation is a couple I once had - a busy businessman and his pregnant wife who joined the course in order to spend some quality time together. As an art educator, it’s one thing to be responsible for teaching basic art techniques and another to be responsible for someone’s only night out or a couple’s quality time together!
  Divus | Smím prosit? - ...  
Ve stejné době – tedy kolem roku 1999 – jsi se ale zabývala i úplně jinou etapou lidského života, a sice věkem puberty a dospívání. Na první pohled by se mohlo zdát, že jde o téměř nepřekonatelný kontrast, že doba dospívání je dobou šťastnou a bezstarostnou.
Art can’t change the world. Such statements have already been made here and we know how such attempts end. Whenever I attempted to address problems in society I didn’t try to persuade viewers about anything; I didn’t try to show my moral superiority; I tried to move them to contemplate the subject. To be literary is not my cup of tea. I always try to leave the viewer some space for their own logical thinking even if it was completely different from what I wanted to say. I am not afraid that someone might misunderstand my work. Any interpretation is a result of the viewer’s reaction, which is always valuable.
  Divus | Vietkong versus...  
V novodobých herních dějinách autoři válečných her zase raději sáhli po druhé světové válce, kde je jasně definovaný problém dobra a zla. Nebo použily ještě dávnějších válek. Myslím, že na zpracování Vietnamu dozrávala doba a Vietcong to jen urychlil. A jasně, že nás někteří okopírovali, ale to je dnes už úplně normální.
marisha: We get asked that a lot. It should be said that the Vietnam War has been used as topic for games a number of times in the past. Then, though, there weren’t so many expressive media and it wasn’t such a big business. In the new era of games, authors of war games usually went for World War II, where the issue of good and evil is clearly defined. Or they used other past wars. I think that it is the right time to do a Vietnam game, and Vietcong has only accelerated the process. And clearly someone copied us, but that is completely normal these days. One Vietnam game even came out before ours. It was a budget game, totally stupid, but they made it in three months.
  Divus | Smím prosit? - ...  
Ve stejné době – tedy kolem roku 1999 – jsi se ale zabývala i úplně jinou etapou lidského života, a sice věkem puberty a dospívání. Na první pohled by se mohlo zdát, že jde o téměř nepřekonatelný kontrast, že doba dospívání je dobou šťastnou a bezstarostnou.
Art can’t change the world. Such statements have already been made here and we know how such attempts end. Whenever I attempted to address problems in society I didn’t try to persuade viewers about anything; I didn’t try to show my moral superiority; I tried to move them to contemplate the subject. To be literary is not my cup of tea. I always try to leave the viewer some space for their own logical thinking even if it was completely different from what I wanted to say. I am not afraid that someone might misunderstand my work. Any interpretation is a result of the viewer’s reaction, which is always valuable.
  Divus | Trpké konce ide...  
Je proti násilí a zabíjení vůbec. Pro mě má stejnou významovou hodnotu jako „make peace not war“. Je však nevyčerpaný a vzbuzuje otázky a pochybnosti, stejně jako dnešní schizofrenní doba. V tom je jeho síla.
Demonstrations belong on the street, critique in newspapers and money in our pocket. Fifteen years after the fall of the Berlin wall, that oft proclaimed spirit of free Berlin has long evaporated. Just like many other European cities Berlin has become a tourist magnet consisting of commercialized art squats, museums of various forms of suffering and uprisings, or spiritless parties or arties so free one’s head spins.
One of the crowning achievements of these attempts is a law obliging the government to subsidize developers for the rental money lost from these vacant spaces. As a consequence of aggressive lobbying, developers are in such a good situation that they don’t need to lower the rents. While the law continues to milk the government’s treasury, German economics buffers this with blood-sucking taxes. As a result, only foreign companies can afford the rent. If American companies were to rent out the bulk of Berlin’s luxury vacancies, Germany would then forgive any war, however cruel, in some faraway country.
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