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Cloudflare

āļšāˇ˜āļ­āˇ“āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āˇ„āˇšāļ­āˇ”⎀⎙āļąāˇŠ āˇƒāˇ’āļ¯āˇ”⎀āļą āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļģ⎐āļŊ⎊āļŊāļ§ āļ‘āļģ⎙⎄⎒⎀ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļ§ āˇƒāļ§āļąāˇŠ āļšāˇ… ⎄⎐āļšāˇŠāļšāˇš āļšāˇ™āˇƒāˇšāļ¯?

āļ§āˇœāļ¸āˇŠ āˇ„āˇāļŊ⎊ āˇ€āˇ’āˇƒāˇ’āļąāˇ’. 

āļ¸āˇ™āˇ„⎒ āļ´āˇ…⎀āļąāˇŠāļąāˇš āļŊāˇāļš āˇƒāļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ ⎀⎙āļļ⎊ āļ…āļŠāˇ€āˇ’āļē⎚ (WSWS) 2026 āļ¸āˇāļē⎒ 13 āļ¯āˇ’āļą â€œHow workers can fight the wave of AI layoffs” āļēāļą āˇ„āˇ’āˇƒāˇ’āļąāˇŠ āļ´āˇ…⎀⎖ āļ§āˇœāļ¸āˇŠ āˇ„āˇāļŊ⎊ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļŊ⎒āļēāļą āļŊāļ¯ āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļą āļŊ⎒āļ´āˇ’āļē⎚ āˇƒāˇ’āļ‚⎄āļŊ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē āļē⎒. 

Cloudflare
2025 āļąāˇœāˇ€āˇāļ¸āˇŠāļļāļģ⎊ 18 āļ…āļŸāˇ„āļģāˇ”āˇ€āˇāļ¯āˇ āļ¯āˇ’āļą āļąāˇ’āˇ€āˇŠāļēāˇāļģ⎊āļšāˇŠ āļšāˇœāļ§āˇƒāˇŠ ⎀⎙⎅āļŗāļ´āˇœāˇ… āļ´āļģāˇ’āˇāˇŠâ€āļģāļē⎚ āļ‡āļ­āˇ’ āļœāļąāˇ”āļ¯āˇ™āļąāˇ” āļšāˇ”āļ§āˇ’āļēāļšāļ§ āļ‰āˇ„⎅⎒āļąāˇŠ āļšāˇŠāļŊ⎀⎔āļŠāˇŠāˇ†āˇŠāļŊ⎙āļēāˇāļģ⎊ (Cloudflare) ⎃āļ¸āˇāļœāļ¸āˇš āļŊāˇāļ‚āļĄāļąāļē āļ´āˇŠâ€āļģāļ¯āļģ⎊⎁āļąāļē āļšāļģ āļ‡āļ­āˇ’ āļ…āļē⎔āļģ⎔. (AP Photo/Richard Drew) [AP Photo/Richard Drew]

āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ (AI) āļ­āˇāļšāˇŠāˇ‚āļĢāļēāļąāˇŠ ⎄āļŗāˇ”āļąāˇŠāˇ€āˇāļ¯āˇ“āļ¸āˇš āļ´āˇŠâ€āļģāļ­āˇ’āļĩāļŊāļēāļšāˇŠ āļŊāˇ™āˇƒ, āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āˇƒāļ¸āˇāļœāļ¸āˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļģ⎐āļšāˇ’āļēāˇ āļ…āˇ„āˇāˇƒāˇ’ āļšāˇ’āļģ⎓āļ¸āļ§, ⎀⎐āļ§āˇ”āļ´āˇŠ āļ´āˇ„āļ­ āˇ„āˇ™āˇ…āˇ“āļ¸āļ§ āˇƒāˇ„ āļ¸āˇ’āļŊ⎒āļēāļą āˇƒāļ‚āļ›āˇŠâ€āļēāˇāļ­ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ āļ…āļ­āˇ’āļģ⎒āļšāˇŠāļ­ āļ´āˇ’āļģāˇ’āˇƒāļšāˇŠ āļŊāˇ™āˇƒ āļ´āˇŠâ€āļģāļšāˇāˇ āļšāˇ’āļģ⎓āļ¸āļ§ āļ´āˇ’āļē⎀āļģ āļœāˇāļąāˇ“āļ¸āļ­āˇŠ ⎃āļ¸āļŸ, āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āˇ€āˇāļē⎙āļąāˇŠ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļšāˇ’āļģ⎓āļ¸āļšāˇŠ āļœāˇāļŊ⎓āļē āļ†āļģ⎊āļŽāˇ’āļšāļē āļ´āˇ”āļģāˇ āˇ€āˇŠâ€āļēāˇāļ´āˇŠāļ­ āˇ€āˇ™āļ¸āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ“.

āļ¸āˇāļē⎒ 7 ⎀āļą āļ¯āˇ’āļą, āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āļ†āļģāļšāˇŠāˇ‚āļĢ āˇƒāļ¸āˇāļœāļ¸āļšāˇŠ ⎀āļą āļšāˇŠāļŊ⎀⎔āļŠāˇŠāˇ†āˇŠāļŊ⎙āļēāˇāļģ⎊ (Cloudflare) ⎃āļ¸āˇāļœāļ¸ āˇƒāˇ’āļē āˇāˇŠâ€āļģāļ¸ āļļāļŊāļšāˇāļē⎙āļąāˇŠ āˇƒāˇ’āļēāļēāļ§ 20āļšāˇŠ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļšāļģāļą āļļ⎀ āļąāˇ’āˇ€āˇšāļ¯āļąāļē āļšāˇ…āˇšāļē. āļ‘⎄⎒āļ¯āˇ“ āļ´āˇ“āļŠāˇāˇ€āļ§ āļ´āļ­āˇŠ ⎀⎖ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ 1,100 āļ¯āˇ™āļąāˇ ⎀⎙āļ­ āˇ€āˇ’āļ¯āˇŠâ€āļē⎔āļ­āˇŠ āļ­āˇāļ´āˇ‘āļŊ (email) āļ¸āˇāļģ⎊āļœāļē⎙āļąāˇŠ āļ¯āˇāļąāˇ”āļ¸āˇŠ āļ¯āˇ“ āļ­āˇ’āļļ⎔āļĢ⎚, āļ´āˇŠâ€āļģāļ°āˇāļą āˇ€āˇ’āļ°āˇāļēāļš āļąāˇ’āļŊāļ°āˇāļģ⎓ āļ¸āˇāļ­āˇ’āˇ€āˇŠ āļ´āˇŠâ€āļģ⎒āļąāˇŠāˇƒāˇŠ (Matthew Prince) āˇ€āˇ’āˇƒāˇ’āļąāˇŠ “āļąāˇ’āļēāˇāļĸ⎒āļ­ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ āļē⎔āļœāļē” (the agentic AI era) āļŊāˇ™āˇƒ ⎄āļŗāˇ”āļąāˇŠāˇ€āļąāˇ” āļŊāļļāļą āˇ€āļ§āļ´āˇ’āļ§āˇāˇ€ āļ­āˇ”⎅ āļ”⎀⎔āļąāˇŠāļœāˇš āļ­āļąāļ­āˇ”āļģ⎔ ⎃āļŗāˇ„āˇ āļ­āˇ€āļ¯āˇ”āļģāļ§āļ­āˇŠ āļ…āļąāˇāļœāļ­āļēāļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’ āļļ⎀āļē⎒.

⎃āļ¸āˇƒāˇŠāļ­ āˇ€āˇ™āļļ⎊ āļ…āļŠāˇ€āˇ’⎀āļŊ⎒āļąāˇŠ āļ´āˇ„⎙āļąāˇŠ āļ‘āļšāļšāļ§ āˇ€āļŠāˇ ⎀⎐āļŠāˇ’ āļ´āˇŠâ€āļģāļ¸āˇāļĢāļēāļšāļ§ āˇƒāˇšāˇ€āˇ ⎃āļ´āļēāļą āļ¸āˇ™āļ¸ āˇƒāļ¸āˇāļœāļ¸āˇš āļ…āļąāˇŠāļ­āļģ⎊āļĸāˇāļŊ āļ†āļģāļšāˇŠāˇ‚āļĢ āˇƒāˇšāˇ€āˇ āˇƒāˇ„ āļ…āļąāˇŠāļ­āļģ⎊āļœāļ­ āļļ⎙āļ¯āˇāˇ„⎐āļģ⎓āļ¸āˇš āļĸāˇāļŊāļē (Content Delivery Network)  āļ…āļąāˇŠāļ­āļģ⎊āļĸāˇāļŊāļē⎚ āˇ€āˇŠâ€āļē⎔⎄āļē āļ­āˇ”⎅ āļ´āˇŠâ€āļģāļ°āˇāļą āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€āļšāˇŠ āļ‰āļ§āˇ” āļšāļģāļē⎒. āˇ†āˇāļģ⎊āļ āˇ–āļąāˇŠ 500 (Fortune 500) āļŊ⎐āļēāˇ’āˇƒāˇŠāļ­āˇ”āˇ€āˇš āļ‡āļ­āˇ’ ⎃āļ¸āˇāļœāļ¸āˇŠāˇ€āļŊ⎒āļąāˇŠ āˇƒāˇ’āļēāļēāļ§ 35āļšāˇŠāļ¸ āļ­āļ¸āļąāˇŠāļœāˇš āˇƒāˇšāˇ€āˇāˇ€āļąāˇŠ āļˇāˇāˇ€āˇ’āļ­āˇ āļšāļģāļą āļļ⎀ āļšāˇŠāļŊ⎀⎔āļŠāˇŠāˇ†āˇŠāļŊ⎙āļēāˇāļģ⎊ ⎃āļ¸āˇāļœāļ¸ āļ´āˇ€āˇƒāļą āļ…āļ­āļģ, āļ‡āļ¸āļģ⎒āļšāˇāļąāˇ” āļ†āļģāļšāˇŠāˇ‚āļš āļ¯āˇ™āļ´āˇāļģ⎊āļ­āļ¸āˇšāļąāˇŠāļ­āˇ”⎀ āˇƒāˇ„ āļļ⎔āļ¯āˇŠāļ°āˇ’ āļ…āļ‚⎁ ⎃āļ¸āļŸ āļ¯ āļ”⎀⎔āļąāˇŠ ⎃āļ­āˇ”⎀ āļœāˇ’āˇ€āˇ’āˇƒāˇ”āļ¸āˇŠ āļģ⎐⎃āļšāˇŠ āļ´āˇ€āļ­āˇ“. āļ´āˇ™āļļāļģāˇ€āˇāļģ⎒ āļ¸āˇāˇƒāļē⎚āļ¯āˇ“, āļ§āˇŠâ€āļģāļ¸āˇŠāļ´āˇŠāļœāˇš “āļœāˇāļŊ⎊āļŠāļąāˇŠ āļŠāˇāļ¸āˇŠâ€ (Golden Dome) ⎀⎐āļŠāˇƒāļ§āˇ„āļąāˇš āļšāˇœāļ§āˇƒāļšāˇŠ ⎀āļą, āļ¸āˇ’āˇƒāļē⎒āļŊ āļ†āļģāļšāˇŠāˇ‚āļš āļ’āļĸāļąāˇŠāˇƒāˇ’āļē⎚ (Missile Defense Agency) āļŠāˇœāļŊāļģ⎊ āļļ⎒āļŊ⎒āļēāļą151āļš āˇ‚āˇ“āļŊ⎊āļŠāˇŠ (SHIELD) ⎀⎐āļŠāˇƒāļ§āˇ„āļą āˇƒāļŗāˇ„āˇ ⎀āļą āļ‘āļšāˇŠ āļšāˇœāļąāˇŠāļ­āˇŠâ€āļģāˇāļ­āˇŠāļšāļģ⎔⎀⎙āļšāˇ” āļŊāˇ™āˇƒ āļ¯ āļ¸āˇ™āļ¸ āˇƒāļ¸āˇāļœāļ¸ āļ´āˇŠâ€āļģāļšāˇāˇāļēāļ§ āļ´āļ­āˇŠ āļšāļģāļą āļŊāļ¯āˇ“.

āļ¸āˇ™āļ¸ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļąāˇ’āˇ€āˇšāļ¯āļą āļąāˇ’āļšāˇ”āļ­āˇŠ ⎀⎖āļē⎚, ⎃āļ¸āˇāļœāļ¸ āˇƒāˇ’āļē āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē⎚ āļ‰āˇ„⎅āļ¸ āļšāˇāļģ⎊āļ­āˇ”āļ¸āļē āļ†āļ¯āˇāļēāļ¸ āˇ€āļą āļŠāˇœāļŊāļģ⎊ āļ¸āˇ’āļŊ⎒āļēāļą 639.8āļšāˇŠ āˇ€āˇāļģ⎊āļ­āˇ āļšāˇ… āļ¯āˇ’āļąāļē⎚āļ¯āˇ“āļ¸āļē. āļ‘āļē āļ´āˇ™āļģ āˇ€āˇƒāļģ⎚ āļ…āļ¯āˇāˇ… āļšāˇāļŊ āˇƒāˇ“āļ¸āˇāˇ€āļ§ āˇƒāˇāļ´āˇšāļšāˇŠāˇ‚⎀ āˇƒāˇ’āļēāļēāļ§ 34āļš āˇ€āļģ⎊āļ°āļąāļēāļšāˇ’. āļ‘⎀⎐āļąāˇ’ āˇ€āˇāļģ⎊āļ­āˇāļœāļ­ āļšāˇāļģ⎊āļ­āˇ”⎀āļšāˇ’āļąāˇŠ āļ´āˇƒāˇ”⎀ āļ¸āˇ™āļ­āļģāļ¸āˇŠ āļļāļģāļ´āļ­āˇ… āļšāļ´āˇŠāļ´āˇāļ¯āˇ”⎀āļšāˇŠ āˇƒāˇ’āļ¯āˇ” āļšāˇ’āļģ⎓āļ¸ āļ…āļ­āˇŠâ€āļēāˇ€āˇāˇŠâ€āļē ⎀⎖āļē⎚ āļ¸āļąāˇŠāļ¯āˇāļē⎒ āˇ€āˇ’āˇāˇŠāļŊāˇšāˇ‚āļšāļē⎙āļšāˇ” āļ´āˇŠâ€āļģ⎁⎊āļą āļšāˇ… ⎀⎒āļ§, āļ´āˇŠâ€āļģ⎒āļąāˇŠāˇƒāˇŠ āļ´āˇ’⎅⎒āļ­āˇ”āļģ⎔ āļ¯āˇ”āļąāˇŠāļąāˇš, “āļ”āļļ āļ¯āˇāļąāļ§āļ¸āļ­āˇŠ ⎁āļšāˇŠāļ­āˇ’āļ¸āļ­āˇŠ (fit) āļ¸āļ§āˇŠāļ§āļ¸āļš āˇƒāˇ’āļ§āˇ’āļą āļ´āļŊ⎒āļēāļ§, āļ”āļļāļ§ āļŠāļ§āļ­āˇŠ ⎀āļŠāˇ ⎁āļšāˇŠāļ­āˇ’āļ¸āļ­āˇŠ (fitter) ⎀⎒āļē āļąāˇœāˇ„⎐āļšāˇ’ āļļ⎀ āļ‰āļąāˇŠ āļ…āļ¯āˇ„āˇƒāˇŠ ⎀āļąāˇŠāļąāˇš āļąāˇāļ­” āļēāļąāˇ”⎀⎙āļąāˇ’.

āļ¸āˇ™āļ¸ āļąāˇ’āˇ€āˇšāļ¯āļąāļē āļœāˇāļŊ⎓āļē āļ†āļģ⎊āļŽāˇ’āļšāļē āļ´āˇ”āļģāˇ āˇ€āˇŠâ€āļēāˇāļ´āˇŠāļ­ āˇ€āˇ™āļ¸āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ’āļą āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļģ⎐āļŊ⎊āļŊāļš āļąāˇ€āļ­āļ¸ āļ´āˇ’āļē⎀āļģ ⎀āļą āļ…āļ­āļģ, āļ‘⎄⎒āļ¯āˇ“ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āļēāļąāˇŠāļą āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļąāˇāˇ āļšāˇ’āļģ⎓āļ¸ āˇƒāˇ„ āˇāˇŠâ€āļģāļ¸ āļ´āˇ’āļģ⎒⎀⎐āļē āļ´āˇ„āļ­ āˇ„āˇ™āˇ…āˇ“āļ¸ āˇƒāļŗāˇ„āˇ āļ´āˇāļŊāļš āļ´āļąāˇŠāļ­āˇ’āļē ⎃āļ­āˇ” ⎀⎓ āļ‡āļ­āˇ’ āļļāļŊāļœāļ­āˇ”āļ¸ āļąāˇ€ āļ¸āˇ™āˇ€āļŊāļ¸ āļļ⎀āļ§ āļ´āļ­āˇŠāˇ€ āļ‡āļ­.

āļ¸āˇ™āļē ⎀⎐āļŠāļšāļģāļą āļ´āļąāˇŠāļ­āˇ’āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ¯āˇ’āļēāļ­āˇŠ āļšāļģ āļ‡āļ­āˇ’ āļœāˇāļŊ⎓āļē āļē⎔āļ¯āˇŠāļ°āļēāļšāˇŠ ⎀āļą āļ…āļ­āļģ, āļģ⎐āļšāˇ’āļēāˇ āļ†āļģāļšāˇŠāˇ‚āˇ āļšāļģ āļœāˇāļąāˇ“āļ¸ āˇ€āˇ™āļąāˇ”⎀⎙āļąāˇŠ āļœāˇāļŊ⎓āļē ⎀⎁āļē⎙āļąāˇŠ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āˇ“āļšāļģāļĢāļē āļšāļģāļą āļŊāļ¯ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļšāˇ’āļąāˇŠ āļŠāļ§ āļ´āˇ’⎅⎒āļ­āˇ”āļģ⎔ āļ¯āˇ’āļē āļē⎔āļ­āˇ”āļē. āļ¸āˇ™āˇ„⎒ āļ‡āļ­āˇ’ āļ´āˇŠâ€āļģāļ°āˇāļąāļ­āļ¸ āļšāļģ⎔āļĢ āˇ€āļąāˇŠāļąāˇš, āļ¸āˇ™āļ¸ āļļāļŊāļœāļ­āˇ” āļąāˇ€ āļ­āˇāļšāˇŠāˇ‚āļĢāļēāļąāˇŠāˇ„⎒ āļ´āˇāļŊāļąāļē āļ¸āˇ„āˇ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģ⎒āļš āļšāļ­āˇ’āļ´āļēāˇāļ°āˇ’āļšāˇāļģāļē⎚ (corporate oligarchy) āļœāˇŠâ€āļģ⎄āļĢāļē⎙āļąāˇŠ āļ¸āˇ”āļ¯āˇ€āˇ āļœāˇāļąāˇ“āļ¸āļē⎒. āļšāļ¸āˇŠāļšāļģ⎔ āļšāˇŠâ€āļģ⎒āļēāˇāļšāˇāļģ⎓ āļšāļ¸āˇ’āļ§āˇ”⎀āļŊ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļšāļ¸āˇŠāļšāļģ⎔ ⎃āļąāˇŠāļ°āˇāļąāļē (International Workers Alliance of Rank-and-File Committees) āˇ€āˇ’āˇƒāˇ’āļąāˇŠ, ⎁⎓āļāˇŠâ€āļģāļē⎙āļąāˇŠ āˇ€āˇšāļœāˇ€āļ­āˇŠ ⎀āļą āļ¸āˇ™āļ¸ āļģ⎐āļšāˇ’āļēāˇ ⎃āļ¸āˇ–āļŊāļāˇāļ­āļąāļēāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļēāļšāˇŠ āļ¯āˇāļšāˇŠāˇ€āˇ“āļ¸ āļ¯āˇ’āļģ⎒āļœāļąāˇŠāˇ€āļą āļ…āļ­āļģāļ¸, āļ‘āļē ⎃āļ‚⎀⎒āļ°āˇāļąāļē āļšāļģāļ¸āˇ’āļąāˇŠ āļ¯ āˇƒāˇ’āļ§āˇ’āļē⎒.

āļ āˇāļŊ⎙āļąāˇŠāļĸāļģ⎊, āļœāˇŠâ€āļģ⎚ āļ‡āļąāˇŠāļŠāˇŠ āļšāˇŠâ€āļģāˇ’āˇƒāˇŠāļ¸āˇƒāˇŠ (Challenger, Gray & Christmas) āļąāļ¸āˇŠ āļ´āˇŠâ€āļģāļ­āˇ’āļąāˇ’āļē⎔āļšāˇŠāļ­āˇ’ āˇƒāˇšāˇ€āˇ ⎃āļ´āļēāļą (outplacement-āļģ⎐āļšāˇ’āļēāˇ āļąāˇ’āļē⎔āļšāˇŠāļ­āˇ’ āļ‹āļ´āļ¯āˇšāˇāļą) āļ†āļēāļ­āļąāļēāļ§ āļ…āļąāˇ”⎀, 2026 āˇ€āˇƒāļģ⎚ āļ´āˇ…āļ¸āˇ” āļ¸āˇāˇƒ ⎄āļ­āļģ āļ­āˇ”⎅ āļ‡āļ¸āļģ⎒āļšāˇāļąāˇ” āˇƒāˇšāˇ€āˇāļēāˇāļĸāļšāļēāļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļģ⎐āļšāˇ’āļēāˇ 300,000āļšāļ§ āˇ€āļŠāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļšāˇ’āļģ⎓āļ¸āļ§ āļąāˇ’āˇ€āˇšāļ¯āļąāļē āļšāļģ āļ‡āļ­. āļ‘⎄⎒āļ¯āˇ“ āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āļ…āļ‚⎁āļē (āļģ⎐āļšāˇ’āļēāˇ 85,411āļšāˇŠ) āļ´āˇŠâ€āļģāļ¸āˇ”āļ›āˇƒāˇŠāļŽāˇāļąāļē āļœāˇ™āļą āļ‡āļ­āˇ’ āļ…āļ­āļģ, āļ‘āļē āļ¯āˇ™āˇ€āļą āˇƒāˇŠāļŽāˇāļąāļēāļ§ āļ´āļ­āˇŠ ⎀⎖ āļ´āˇŠâ€āļģāˇ€āˇāˇ„āļą āļ…āļ‚⎁āļēāļ§ (33,479) ⎀āļŠāˇ āļ¯āˇ™āļœāˇ”āļĢāļēāļšāļ§āļ­āˇŠ ⎀āļŠāˇ ⎀⎐āļŠāˇ’ āļ…āļœāļēāļšāˇ’. āļ´āˇ’āļ§ āļ´āˇ’āļ§āļ¸ āļ¯āˇ™āˇ€āļą āļ¸āˇāˇƒāļēāļ§āļ­āˇŠ, āļ¸āˇ™āļ¸ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” ⎃āļŗāˇ„āˇ āļ´āˇŠâ€āļģāļ°āˇāļąāļ­āļ¸ āˇ„āˇšāļ­āˇ”⎀ āļŊāˇ™āˇƒ āļ¯āļšāˇŠāˇ€āˇ āļ­āˇ’āļļ⎔āļĢ⎚ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļēāļē⎒ (AI).

āļšāļ¸āˇŠāļšāļģ⎔ ⎃āļ‚āļ›āˇŠâ€āļēāˇāļŊ⎚āļ›āļą āļšāˇāļģ⎊āļēāˇāļ‚⎁āļē⎚ āļąāˇ€āļ­āļ¸ āļ¯āļ­āˇŠāļ­āˇ€āļŊāļ§ āļ…āļąāˇ”⎀, “āļ­āˇœāļģāļ­āˇ”āļģāˇ”â€ āļ…āļ‚⎁āļē āļ´āˇ’āļ§ āļ´āˇ’āļ§ āļ¸āˇāˇƒ 16āļšāˇŠ āļ­āˇ’āˇƒāˇŠāˇƒāˇš āļģ⎐āļšāˇ’āļēāˇ āļ…⎄⎒āļ¸āˇ’⎀⎓āļ¸āˇŠāˇ€āļŊāļ§ āļ¸āˇ”⎄⎔āļĢ āļ¯āˇ“ āļ‡āļ­āˇ’ āļ…āļ­āļģ, 2022 āļąāˇœāˇ€āˇāļ¸āˇŠāļļāļģ⎊ āļ¸āˇāˇƒāļē⎚ āļ´āˇāˇ€āļ­āˇ’ āļ‘⎄⎒ āļ‹āļ´āļģ⎒āļ¸ āļ¸āļ§āˇŠāļ§āļ¸āˇš āˇƒāˇ’āļ§ āļģ⎐āļšāˇ’āļēāˇ 342,000āļšāˇŠ,  āļ‘āļąāļ¸āˇŠ āˇƒāˇ’āļēāļēāļ§ 11āļšāˇŠ  āļ…⎄⎒āļ¸āˇ’ ⎀⎓ āļ‡āļ­.

⎃āļ¸āˇƒāˇŠāļ­āļēāļšāˇŠ āļŊāˇ™āˇƒ āļœāļ­āˇŠ āļšāļŊ, āļ¸āˇ™āļŊāˇ™āˇƒ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļšāļģāļą āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āˇƒāļ¸āˇāļœāļ¸āˇŠ āļŊāˇāļˇ āļŊāļļāļąāˇ€āˇ āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€, āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ (AI) āļ‹āļ­āˇŠāļ´āˇāļ­āļē (boom) āļ­āˇ”⎅ āļ´āˇŠâ€āļģāļ°āˇāļą āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€āļšāˇŠ āļ¯ āļ‰āļ§āˇ” āļšāļģāļē⎒. āˇ†āˇšāˇƒāˇŠāļļ⎔āļšāˇŠ ⎄⎒ āļ¸āˇ€āˇŠ ⎃āļ¸āˇāļœāļ¸ āˇ€āļą āļ¸āˇ™āļ§āˇ (Meta) ⎃āļ¸āˇāļœāļ¸ āļ­āļąāļ­āˇ”āļģ⎔ 8,000āļšāˇŠ āļ…āˇ„āˇāˇƒāˇ’ āļšāļģāļ¸āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ’āļą āļ…āļ­āļģ, āļ´āˇ”āļģāļ´āˇŠāļ´āˇāļŠāˇ”⎀ āļ´āˇāˇ€āļ­āˇ’ āļ­āļąāļ­āˇ”āļģ⎔ 6,000āļšāˇŠ āļ…⎀āļŊāļ‚āļœāˇ” āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļē⎒. āļ‘āļ¸āˇ™āļąāˇŠāļ¸ āļ”⎀⎔āļąāˇŠ āļ¸āˇ™āļ¸ āˇ€āˇƒāļģ⎚āļ¯āˇ“ āļŠāˇœāļŊāļģ⎊ āļļ⎒āļŊ⎒āļēāļą 145āļš āļ´āˇŠâ€āļģāˇāļœāˇŠāļ°āļą āļ†āļēāˇāļĸāļąāļēāļšāˇŠ āˇƒāˇ’āļ¯āˇ” āļšāˇ’āļģ⎓āļ¸āļ§ āˇƒāˇāļŊāˇƒāˇ”āļ¸āˇŠ āļšāļģ āļ‡āļ­āˇ’ āļ…āļ­āļģ, āļ‰āļąāˇŠ āļ…āļ­āˇ’āļ¸āˇ„āļ­āˇŠ āļļ⎄⎔āļ­āļģ āļšāˇœāļ§āˇƒāļšāˇŠāļ¸ āļē⎜āļ¸āˇ” āļšāļģ āļ‡āļ­āˇŠāļ­āˇš āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ āļēāļ§āˇ’āļ­āļŊ āļ´āˇ„āˇƒāˇ”āļšāļ¸āˇŠ ⎃āļŗāˇ„āˇāļē. āļ¸āļē⎒āļšāˇŠâ€āļģāˇœāˇƒāˇœāˇ†āˇŠāļ§āˇŠ (Microsoft) ⎃āļ¸āˇāļœāļ¸ āˇƒāˇ’āļē āˇ€āˇƒāļģ 51āļš āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē āļ­āˇ”⎅ āļ´āˇ…āļ¸āˇ” ⎀āļģāļ§ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ 8,750āļšāˇŠ āļ¯āļšāˇŠāˇ€āˇ āļ‰āļŊāļšāˇŠāļš āļšāļģ āļœāļąāˇ’āļ¸āˇ’āļąāˇŠ āˇƒāˇŠāˇ€āˇšāļ āˇŠāļĄāˇāˇ€āˇ™āļąāˇŠ āļ‰āļŊ⎊āļŊāˇ āļ…āˇƒāˇŠāˇ€āˇ“āļ¸āˇš (buyout) ⎀⎐āļŠāˇƒāļ§āˇ„āļąāļšāˇŠ āļ†āļģāļ¸āˇŠāļˇ āļšāļģ āļ‡āļ­. āļ”āļģāļšāļŊ⎊ (Oracle) ⎃āļ¸āˇāļœāļ¸ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ 30,000āļšāˇŠ āļ¯āļšāˇŠāˇ€āˇ āļ‰āˇ€āļ­āˇŠ āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ“. āļ§āļē⎒āļ¸āˇŠ (Time) ⎃āļŸāļģāˇāˇ€ ⎀⎙āļ­ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ āļ´āˇŠâ€āļģāļšāˇāˇ āļšāļģ āļ‡āļ­āˇ’ āļ´āļģ⎒āļ¯āˇ’, āļ´āˇƒāˇ”⎀ āļ­āļ¸āļąāˇŠāˇ€āļ¸ āļ…āļ­āˇ’āļģ⎒āļšāˇŠāļ­ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ āļļ⎀āļ§ āļ´āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āļ§ āˇ„āˇšāļ­āˇ” ⎀⎖ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ āļ´āļ¯āˇŠāļ°āļ­āˇ’ āļ´āˇ”⎄⎔āļĢ⎔ āļšāˇ’āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇ āˇƒāˇ’āļē āļ…āˇ€āˇƒāļąāˇŠ āļ¸āˇāˇƒ āļšāˇ’⎄⎒āļ´āļē āļšāˇāļ´ āļšāˇ… āļ´āˇ”āļ¯āˇŠāļœāļŊāļēāļąāˇŠ āļ¯ āļ’ āļ…āļ­āļģ ⎀⎙āļ­āˇ’.

āļšāˇœāļ§āˇƒāˇŠ ⎀⎙⎅āļŗāļ´āˇœāˇ… āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļąāˇ’āˇ€āˇšāļ¯āļą āˇƒāļŗāˇ„āˇ, āˇ€āˇ’āˇāˇšāˇ‚āļē⎙āļąāˇŠāļ¸ āļ’āˇ€āˇ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ (AI) āļ´āˇŠâ€āļģāļ­āˇ’āˇ€āˇŠâ€āļē⎔⎄āļœāļ­āļšāļģāļĢāļēāļąāˇŠ ⎃āļ¸āļŸ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ° āˇ€āļą āˇ€āˇ’āļ§, āļŠāļ§ āˇ€āˇāˇƒāˇ’ āˇƒāˇ„āļœāļ­ āļŊāˇ™āˇƒ āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģ āļ¯āļšāˇŠāˇ€āļ¸āˇ’āļąāˇŠ (rewarding) āˇƒāˇ’āļ§āˇ’āļą āļ…āļ­āļģ, āļ‘āļē āˇ€āˇāļŊ⎊ ⎃⎊āļ§āˇŠâ€āļģ⎓āļ§āˇŠ āļĸāļģ⎊āļąāļŊ⎊ (Wall Street Journal) āļ´āˇ”⎀āļ­āˇŠāļ´āļ­ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ “āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļē⎔āļœāļē” (era of the mega-layoff) āļŊāˇ™āˇƒ ⎄āļŗāˇ”āļąāˇŠāˇ€āļą āˇ€āļ§āļ´āˇ’āļ§āˇāˇ€āļšāļ§ āļ¸āļœ āļ´āˇāļ¯āˇ āļ‡āļ­.

āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āļšāˇŠāˇ‚āˇšāļ­āˇŠâ€āļģāļē ⎁⎓āļāˇŠâ€āļģāļē⎙āļąāˇŠ ⎀āļģ⎊āļ°āļąāļē ⎀āļą āļŊāˇāļˇ āˇƒāˇ„ āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļ‘āļšāļ§ āļ’āļšāˇāļļāļ¯āˇŠāļ° āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļą āļ…āļ­āļģāļ­āˇ”āļģ, āļ´āˇāļŊāļš āļ´āļąāˇŠāļ­āˇ’āļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ‘āļš āļģ⎐āļēāļšāˇ’āļąāˇŠ āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļąāˇāˇ āļšāˇ’āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇ āļšāˇāļŊāˇāļąāˇŠāļ­āļģāļēāļšāˇŠ āļ­āˇ’āˇƒāˇŠāˇƒāˇš āļ…āļ­āˇŠāˇ„āļ¯āˇ āļļ⎐āļŊ⎖ āļšāˇŠâ€āļģāļ¸āˇ€āˇšāļ¯āļēāļšāˇŠ āļŊāˇ™āˇƒ āļļāļ‚āļšāˇœāļŊ⎜āļ­āˇŠāļˇāˇāˇ€āļē āļ¯ āļē⎜āļ¯āˇ āļœāļąāˇ’āļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļē⎒. āļ´āˇƒāˇ”āļœāˇ’āļē ⎃āļ­āˇ’āļē⎚ āļ‘āļš āļģ⎐āļēāļšāˇ’āļąāˇŠ āļļ⎒āļŗ āˇ€āˇāļ§āˇ“āļ¸āļ§ āļŊāļšāˇŠāˇ€āˇ™āļ¸āˇ’āļąāˇŠ, āˇƒāˇšāˇ€āļšāļēāļąāˇŠ 17,000āļšāļ§ āļģ⎐āļšāˇ’āļēāˇ āļ…⎄⎒āļ¸āˇ’ āļšāˇ… ⎃⎊āļ´āˇ’āļģ⎒āļ§āˇŠ āļ‘āļēāˇāļģ⎊āļŊāļē⎒āļąāˇŠāˇƒāˇŠ (Spirit Airlines) ⎃āļ¸āˇāļœāļ¸ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ°āļē⎙āļąāˇŠ āˇƒāˇ’āļ¯āˇ” ⎀⎖āļē⎚ āļ¯ āļ‘āļēāļ¸ āļē. āļ’ āˇƒāļŗāˇ„āˇ āļšāˇŠāˇ‚āļĢ⎒āļšāˇ€āļ¸ āļļāļŊāļ´āˇ‘ āˇ„āˇšāļ­āˇ”⎀ ⎀⎖āļē⎚ āļ‰āļģāˇāļąāļēāļ§ āļ‘āļģ⎙⎄⎒ āļē⎔āļ¯āˇŠāļ°āļē āˇ„āˇšāļ­āˇ”⎀⎙āļąāˇŠ āļ‰āļąāˇŠāļ°āļą āļ¸āˇ’āļŊ āļ¯āˇ™āļœāˇ”āļĢ āˇ€āˇ“āļ¸āļē⎒. āļœāˇ”⎀āļąāˇŠ āˇƒāˇšāˇ€āˇ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āļē⎚ āļ¸āˇ“⎅āļŸ āˇ€āļ§āļē⎚ ⎃āļ¸āˇāļœāļ¸āˇŠ āļ’āļšāˇāļļāļ¯āˇŠāļ° āļšāˇ’āļģ⎓āļ¸āˇŠ āˇ€āˇšāļœāˇ€āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇ, ⎃⎊āļ´āˇ’āļģ⎒āļ§āˇŠ ⎃āļ¸āˇāļœāļ¸ āļ¸āˇ–āļŊāˇŠâ€āļēāļ¸āļē ⎀⎁āļē⎙āļąāˇŠ āļ¸āˇ”āļ¯āˇ€āˇ āļœāˇāļąāˇ“āļ¸ (bail out) āļ°āˇ€āļŊ āļ¸āļąāˇŠāļ¯āˇ’āļģāļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ´āˇŠâ€āļģāļ­āˇ’āļšāˇŠāˇ‚āˇšāļ´ āļšāļģāļą āļŊāļ¯āˇ“.

āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āļšāˇŠāˇ‚āļĢ⎒āļšāˇ€āļ¸ āļļāļŊāļ´āˇāļą āˇƒāˇāļ°āļšāļēāļšāˇŠ āļąāˇœāˇ€āļą āļ…āļąāˇ™āļšāˇ”āļ­āˇŠ āļ…āļ‚⎁⎀āļŊ āļ¯ āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļ¯āˇāļąāļ§āļ¸āļ­āˇŠ āļšāˇŠâ€āļģ⎒āļēāˇāļ­āˇŠāļ¸āļš āˇ€āˇ™āļ¸āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ“. āļˇāˇāļĢ⎊āļŠ āˇƒāˇāļ´āļē⎔āļ¸āˇŠ (Logistics) āļšāˇŠāˇ‚āˇšāļ­āˇŠâ€āļģāļē⎚āļ¯āˇ“, UPS ⎃āļ¸āˇāļœāļ¸ āˇƒāˇ’āļē āˇƒāˇŠāˇ€āļēāļ‚āļšāˇŠâ€āļģ⎓āļē āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļ¸āļ°āˇŠâ€āļē⎃⎊āļŽāˇāļą (automated mega-hubs) ⎄āļģāˇ„āˇ āļ­āļąāļ­āˇ”āļģ⎔ 68,000āļšāˇŠ āļ…āˇ„āˇāˇƒāˇ’ āļšāļģ āˇ„āˇ āļ…āˇ„āˇāˇƒāˇ’ āļšāˇ’āļģ⎓āļ¸ āļ‰āļŊāļšāˇŠāļš āļšāļģ āļ‡āļ­āˇ’ āļ…āļ­āļģ, āļ¸āˇ™āļ¸ āˇ€āˇƒāļģ⎚ āļ…āļœāļˇāˇāļœāļē⎚āļ¯āˇ“ āļ­āˇ€āļ­āˇŠ āļ¸āļ°āˇŠâ€āļē⎃⎊āļŽāˇāļą 26āļšāˇŠ āˇ€āˇƒāˇ āļ¯āˇāļ¸āˇ“āļ¸āļ§ āļąāˇ’āļēāļ¸āˇ’āļ­ āļļ⎀ āļ”⎀⎔āļąāˇŠ āļ¸āˇ‘āļ­āļšāļ¯āˇ“ āļąāˇ’āˇ€āˇšāļ¯āļąāļē āļšāˇ…āˇšāļē. āļ¸āˇāļ§āļģ⎊ āļģāļŽ āļšāˇŠāˇ‚āˇšāļ­āˇŠâ€āļģāļē⎚āļ¯āˇ“, āˇ€āˇœāļšāˇŠāˇƒāˇŠāˇ€āˇāļœāļąāˇŠ (Volkswagen) ⎃āļ¸āˇāļœāļ¸ 2030 ⎀āļą āˇ€āˇ’āļ§ āļģ⎐āļšāˇ’āļēāˇ 50,000āļšāˇŠ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļšāˇ’āļģ⎓āļ¸āļ§ āļ‰āļŊāļšāˇŠāļš āļšāļģāļą āļ‡āļ­.  āļģ⎙āļąāˇāļŊ⎊āļ§āˇŠ (Renault) ⎃āļ¸āˇāļœāļ¸ āˇƒāˇ’āļē āļ‰āļ‚āļĸ⎒āļąāˇšāļģ⎔ āˇāˇŠâ€āļģāļ¸ āļļāļŊāļšāˇāļē⎙āļąāˇŠ āˇƒāˇ’āļēāļēāļ§ 15āļ­āˇŠ 20āļ­āˇŠ āļ…āļ­āļģ āļ´āˇŠâ€āļģāļ¸āˇāļĢāļēāļšāˇŠ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļē⎒; āļ‘āļ¸āˇ™āļąāˇŠāļ¸ āļ‡āļ¸āļģ⎒āļšāˇāļąāˇ” āļ¸āˇāļ§āļģ⎊ āļģāļŽ āļąāˇ’āˇ‚āˇŠāļ´āˇāļ¯āļšāļēāˇ āļ¯ āļ¯āˇ„āˇƒāˇŠ āļœāļĢāļąāˇ’āļąāˇŠ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ āļ‰āˇ€āļ­āˇŠ āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļ­āˇ’.

āļ‘āˇƒāˇš ⎀⎔⎀āļ¯, āļ´āˇāļŊāļš āļ´āļąāˇŠāļ­āˇ’āļē⎚ ⎃āļ¸āˇƒāˇŠāļ­ āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” ⎃⎐āļŊāˇƒāˇ”āļ¸āˇŠ āļ­āˇ”⎅ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āˇƒāˇ”āˇ€āˇ’āˇāˇšāˇ‚āˇ“ āļŊāˇ™āˇƒ āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎓āļē āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€āļšāˇŠ āļ‰āļ§āˇ” āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļē⎒. Cash App āˇƒāˇ„ Square āļēāļą āˇƒāˇšāˇ€āˇāˇ€āļąāˇŠāˇ„⎒ ⎄⎒āļ¸āˇ’āļšāˇāļģ⎓āļ­āˇŠāˇ€āļē āļ¯āļģāļą āļ¸āˇ–āļŊāˇŠâ€āļē āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āˇƒāļ¸āˇāļœāļ¸āļšāˇŠ ⎀āļą āļļ⎊āļŊ⎜āļšāˇŠ (Block) ⎃āļ¸āˇāļœāļ¸āˇ™āˇ„⎒ āļ´āˇŠâ€āļģāļ°āˇāļą āˇ€āˇ’āļ°āˇāļēāļš āļąāˇ’āļŊāļ°āˇāļģ⎓ āļĸ⎐āļšāˇŠ āļŠāˇāļģāˇŠāˇƒāˇ’ (Jack Dorsey), ⎃āļ¸āˇƒāˇŠāļ­ āˇƒāļ¸āˇāļœāļ¸āˇ™āļąāˇŠ āˇƒāˇ’āļēāļēāļ§ 40āļšāˇŠ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļą āļ…āļ­āļģ āļ”⎄⎔ āļ´āˇŠâ€āļģāļšāˇāˇ āļšāļģāļąāˇŠāļąāˇš, “āļŊāļļāļą āˇ€āˇƒāļģ āļ‡āļ­āˇ”⎅āļ­ āļļ⎄⎔āļ­āļģāļēāļšāˇŠ ⎃āļ¸āˇāļœāļ¸āˇŠ āļ¸āˇ™āļ¸ āļąāˇ’āļœāļ¸āļąāļēāļ§āļ¸ āļ‘⎅āļšāˇ™āļąāˇ” āļ‡āļ­āˇāļēāˇ’â€ āļ­āļ¸āļąāˇŠ āˇ€āˇ’āˇāˇŠāˇ€āˇāˇƒ āļšāļģāļą āļļ⎀āļē⎒. 

āļ‡āļąāˇŠāļ­āˇŠâ€āļģ⎜āļ´āˇ’āļšāˇŠ (Anthropic) ⎃āļ¸āˇāļœāļ¸āˇš āļ´āˇŠâ€āļģāļ°āˇāļą āˇ€āˇ’āļ°āˇāļēāļš āļąāˇ’āļŊāļ°āˇāļģ⎓ āļŠāˇāļģ⎒āļēāˇ āļ‡āļ¸āļŠāˇšāļē⎒ (Dario Amodei) āļ…āļąāˇāˇ€āˇāļšāˇ’ āļ´āˇ… āļšāļģāļąāˇŠāļąāˇš, āˇ€āˇƒāļģāļšāˇŠ āļ‡āļ­āˇ”⎅āļ­ āˇƒāˇ’āļēāļŊ⎔āļ¸ āļ¸āˇ˜āļ¯āˇ”āļšāˇāļ‚āļœ āļšāˇšāļ­ (software code) āļ´āˇāˇ„āˇš āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āļ¸āļœāˇ’āļąāˇŠ āļŊ⎒āļē⎀⎙āļąāˇ” āļ‡āļ­āˇ’ āļļ⎀āļē⎒. āļœāˇ–āļœāļŊ⎊ ⎄⎒ āļ¸āˇ€āˇŠ ⎃āļ¸āˇāļœāļ¸ āˇ€āļą āļ‡āļŊāˇŠāˇ†āļļāļ§āˇŠ (Alphabet) ⎄⎒ āļ´āˇŠâ€āļģāļ°āˇāļą āˇ€āˇ’āļ°āˇāļēāļš āļąāˇ’āļŊāļ°āˇāļģ⎓ āˇƒāˇ”āļąāˇŠāļ¯āļģ⎊ āļ´āˇ’āļ āˇŠāļ āˇ™āļē⎒ (Sundar Pichai) āļ´āˇ€āˇƒāļąāˇŠāļąāˇš, āļœāˇ–āļœāļŊ⎊ ⎄⎒ āļąāˇ€ āļšāˇšāļ­āļēāļąāˇŠāļœāˇ™āļąāˇŠ ⎄āļ­āļģ⎙āļąāˇŠ āļ­āˇ”āļąāļšāˇŠāļ¸ āļ¯āˇāļąāļ§āļ¸āļ­āˇŠ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē āļ¸āļœāˇ’āļąāˇŠ āļŊ⎒āļēāˇ āļ‡āļ­āˇ’ āļļ⎀āļē⎒. āļ†āļēāˇāļĸāļš āˇ€āˇ’āļąāˇāļ¯āˇŠ āļ›āˇāˇƒāˇŠāļŊāˇ (Vinod Khosla) āļ´āˇ”āļģāˇāļšāļŽāļąāļē āļšāļģāļąāˇŠāļąāˇš 2030 ⎀āļą āˇ€āˇ’āļ§, â€œāˇƒāˇ’āļēāļŊ⎔āļ¸ āļģ⎐āļšāˇ’āļēāˇāˇ€āļŊ⎒āļąāˇŠ āˇƒāˇ’āļēāļēāļ§ 80āļšāˇŠ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļēāļšāˇŠ (AI) āļ¸āļœāˇ’āļąāˇŠ āˇƒāˇ’āļ¯āˇ” āļšāˇ’āļģ⎓āļ¸āˇš ⎄⎐āļšāˇ’āļēāˇāˇ€ āļŊ⎐āļļ⎙āļąāˇ” āļ‡āļ­āˇ’” āļļ⎀āļē⎒.

āļœāˇāļ§āļŊ⎔⎀ āļ´āˇ€āļ­āˇ’āļąāˇŠāļąāˇš āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āļ­āˇ”⎅āļ¸ āļąāˇœāˇ€āˇš. āļ‘āļē āˇ€āˇ™āˇ„āˇ™āˇƒāļšāļģ āˇ„āˇ āļąāˇ“āļģ⎃ āļšāˇāļģ⎊āļēāļēāļąāˇŠ (drudgery) āļ­āˇ”āļģāļąāˇŠ āļšāˇ’āļģ⎓āļ¸āļ§ āˇƒāˇ„ āļĩāļŊāļ¯āˇāļē⎒āļ­āˇāˇ€ (productivity) āˇ€āˇ’āˇāˇāļŊ ⎀⎁āļē⎙āļąāˇŠ āļ‰āˇ„⎅ āļąāˇāļ‚⎀⎓āļ¸āļ§ āļ¸āˇ™āļąāˇŠāļ¸, āļ¸āˇāļąāˇ€ āļ‰āļœāˇ™āļąāˇ“āļ¸āˇš ⎀⎒āļˇāˇ€āļē (potential) āļ…āļ­āˇ’⎁āļē⎒āļąāˇŠ āˇ€āˇšāļœāˇ€āļ­āˇŠ āļšāļģāļą āļ…āļ­āļģāļ­āˇ”āļģ, ⎀⎐āļŠ āļšāļģāļą āļ¯āˇ’āļąāļē āˇƒāˇ›āļ¯āˇŠāļ°āˇāļąāˇŠāļ­āˇ’āļšāˇ€ āļ…⎀āļ¸ āļ¸āļ§āˇŠāļ§āļ¸āļšāˇŠ āļ¯āļšāˇŠāˇ€āˇ āļ…āļŠāˇ” āļšāˇ’āļģ⎓āļ¸āˇš ⎄⎐āļšāˇ’āļēāˇāˇ€ āļ´āˇ€āļ­āˇ’āļą āļ…āļ­āˇ’āˇ€āˇ’āˇāˇ’āˇ‚āˇŠāļ§ āļ­āˇāļšāˇŠāˇ‚āļĢāļēāļšāˇ’.

āļ¸āˇ™āˇ„⎒ āļ‡āļ­āˇ’ āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļš āļ´āˇŠâ€āļģ⎁⎊āļąāļē ⎀āļąāˇŠāļąāˇš āļ¸āˇ™āļ¸ āļ­āˇāļšāˇŠāˇ‚āļĢāļē āļ´āˇāļŊāļąāļē āļšāļģāļąāˇŠāļąāˇš āļšāˇ€āˇ”āļģ⎔āļąāˇŠāļ¯ āļēāļąāˇŠāļąāļē⎒. āļ‘āļē āļ´āˇžāļ¯āˇŠāļœāļŊ⎒āļš āˇ„āˇ’āļ¸āˇ’āļšāˇāļģ⎓āļ­āˇŠāˇ€āļē⎚ ⎀⎒āļŊāļ‚āļœāˇ”⎀āļŊ⎒āļąāˇŠ āļąāˇ’āļ¯āˇ„āˇƒāˇŠ āļšāˇ… āļē⎔āļ­āˇ”āļē. āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ (AI) āļ´āļ¯āˇŠāļ°āļ­āˇ’ ⎃āļ‚⎀āļģ⎊āļ°āļąāļē āļšāˇ’āļģ⎓āļ¸ āˇƒāˇ„ āļ´āˇ”⎄⎔āļĢ⎔ āļšāˇ’āļģ⎓āļ¸ āļēāļąāˇ” ⎀āļ āļąāļē⎚ āļ´āļģāˇ’āˇƒāļ¸āˇāļ´āˇŠāļ­ āļ…āļģ⎊āļŽāļē⎙āļąāˇŠāļ¸ āˇƒāļ¸āˇāļĸ⎓āļē āˇāˇŠâ€āļģāļ¸āļēāļšāˇ’ (social labor), āļ‘āļļ⎐⎀⎒āļąāˇŠ āļ‘⎄⎒ āļ´āˇŠâ€āļģāļ­āˇ’āļŊāˇāļˇ āˇƒāˇāļ¸āļ§ āˇ„āˇ’āļ¸āˇ’ ⎀⎒āļē āļē⎔āļ­āˇ”āļē.

āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ āļ´āļ¯āˇŠāļ°āļ­āˇ’ āļœāˇœāļŠāļąāˇāļœāˇ“ āļ‡āļ­āˇŠāļ­āˇš āļ¸āˇ’āļŊ⎒āļēāļą āˇƒāļ‚āļ›āˇŠâ€āļēāˇāļ­ āˇƒāˇšāˇ€āļšāļēāļąāˇŠāļœāˇš ⎃āļ¸āˇ”āļ āˇŠāļ āˇ’āļ­ āˇāˇŠâ€āļģāļ¸āļē, āļ¯āˇāļąāˇ”āļ¸ āˇƒāˇ„ āļąāˇ’āļģ⎊āļ¸āˇāļĢ⎁⎓āļŊ⎓ āļ¯āˇāļēāļšāļ­āˇŠāˇ€āļē āļ¸āļ­āļē: āļ¸āˇ˜āļ¯āˇ”āļšāˇāļ‚āļœ āļ‰āļ‚āļĸ⎒āļąāˇšāļģ⎔⎀āļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļŊ⎒āļēāļą āļŊāļ¯ āļšāˇšāļ­ (code), āļ´āˇāļģ⎒āļˇāˇāļœāˇ’āļš āˇƒāˇšāˇ€āˇ āļąāˇ’āļēāˇāļĸ⎒āļ­āļēāļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ¸āˇ™āˇ„⎙āļē⎀āļą āļŊāļ¯ āˇƒāļ‚āˇ€āˇāļ¯, āļ´āļģ⎊āļēāˇšāˇ‚āļšāļēāļąāˇŠ āˇƒāˇ„ āļ¯āļ­āˇŠāļ­ āˇ€āˇ’āļ¯āˇŠâ€āļēāˇāļĨāļēāļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļą āļŊāļ¯ āˇ€āˇ’āˇāˇŠāļŊāˇšāˇ‚āļĢ āļ’ āļ…āļ­āļģ āˇ€āˇš.

āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āļ°āļąāˇ€āˇāļ¯āˇ“ āļ´āļ¯āˇŠāļ°āļ­āˇ’āļē⎚ āļ´āļ¯āļąāļ¸āļ§āļ¸ āļ¸āˇāļģāˇāļąāˇŠāļ­āˇ’āļš āļŊāˇ™āˇƒ āļ´āˇ„āļģ āļ¯āˇ™āļē⎒. āļ…āˇ€āˇāˇŠâ€āļē āļšāļģāļą āˇāˇŠâ€āļģāļ¸ āļ´āˇŠâ€āļģāļ¸āˇāļĢāļē āˇ€āˇƒāļģ āļšāˇ’⎄⎒āļ´āļēāļšāˇŠ āļ‡āļ­āˇ”⎅āļ­ āˇƒāˇ’āļēāļēāļ§ 80āļšāˇ’āļąāˇŠ āļ…āļŠāˇ” āļšāˇ… ⎄⎐āļšāˇ’ āļļ⎀āļ§ āļ›āˇāˇƒāˇŠāļŊāˇ āļ…āļąāˇāˇ€āˇāļšāˇ’ āļ´āˇ… āļšāļģāļą āˇ€āˇ’āļ§, āˇ„āˇ āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āˇ€āˇ’āļ°āˇāļēāļšāļē⎒āļąāˇŠ āļšāˇ˜āļ­āˇ’āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē āļ¸āļœāˇ’āļąāˇŠ āļĸāļąāˇ’āļ­ āˇ€āļą â€œāļ…āļ­āˇ’āļģ⎒āļšāˇŠāļ­ āˇƒāļ¸āˇŠāļ´āļ­āˇŠâ€ (abundance) āļœāˇāļą āļšāļ­āˇ āļšāļģāļą āˇ€āˇ’āļ§, āļ’ āļ´āˇ’⎅⎒āļļāļŗāˇ€ āļ”⎀⎔āļąāˇŠāļ§āļ¸ āˇ€āˇāļ§āˇ„⎓āļ¸āļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’ ⎀⎔⎀āļ¯, āļ”⎀⎔āļąāˇŠ āļ’ āˇ€āˇ’āˇƒāˇŠāļ­āļģ āļšāļģāļąāˇŠāļąāˇš  āļ°āļąāˇ€āˇāļ¯āļē āļ¸āˇ”⎅⎔āļ¸āļąāˇ’āļąāˇŠāļ¸ āļēāļŊ⎊ āļ´āˇāļą āļœāˇœāˇƒāˇŠ āļ‡āļ­āˇ’ āļļ⎀āļ§ āˇ€āļą āļ­āļ­āˇŠāˇ€āļēāļąāˇŠ āļē. 

⎃⎐āļļ⎀⎒āļąāˇŠāļ¸, āļ°āļąāˇ€āˇāļ¯āļē āļēāļ§āļ­āˇš āļ¸āˇ™āļ¸ āļ­āˇāļšāˇŠāˇ‚āļĢāļē⎚ ⎀⎒āļˇāˇ€āļē (potential) āļšāˇ’āˇƒāˇ’āļ¯āˇ āˇƒāˇāļšāˇŠāˇ‚āˇāļ­āˇŠ āļšāļģ āļœāļ­ āļąāˇœāˇ„⎐āļš. āļ¸āļąāˇŠāļ¯, āļ°āļąāˇ€āˇāļ¯āļēāļ§ āļ´āˇāˇ€āˇāļ­āˇŠāļ¸ āˇƒāļŗāˇ„āˇ āļ¸āˇ™āļ¸ āļ­āˇāļšāˇŠāˇ‚āļĢāļē āˇƒāˇ“āļ¸āˇ āļšāˇ’āļģ⎓āļ¸āļ§, ⎀⎒āļšāˇ˜āļ­āˇ’ āļšāˇ’āļģ⎓āļ¸āļ§ āˇƒāˇ„ āļ…⎀⎒āļēāļšāˇŠ āļŊāˇ™āˇƒ āļē⎜āļ¯āˇ āļœāˇāļąāˇ“āļ¸āļ§ āˇƒāˇ’āļ¯āˇ” ⎀āļą āļļ⎐⎀⎒āļąāˇ’. āļ‘āļē āļ…āļ­āˇ’āļģ⎒āļšāˇŠāļ­ āˇƒāļ¸āˇŠāļ´āļ­āˇŠ (abundance) ⎀⎙āļąāˇ”⎀āļ§ āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āˇ€āˇ’āļģ⎐āļšāˇ’āļēāˇāˇ€ āļąāˇ’āļģ⎊āļ¸āˇāļĢāļē āļšāļģāļē⎒. āˇ€āˇ™āˇ„āˇ™āˇƒāļšāļģ āˇ„āˇ āļąāˇ“āļģ⎃ āļšāˇāļģ⎊āļēāļēāļąāˇŠāļœāˇ™āļąāˇŠ (drudgery) āļ¸āˇ’āļąāˇ’āˇƒāˇ āļąāˇ’āļ¯āˇ„āˇƒāˇŠ āļšāˇ’āļģ⎓āļ¸ āˇ€āˇ™āļąāˇ”⎀āļ§, āˇƒāˇšāˇ€āļē⎚ āļ‰āļ­āˇ’āļģ⎒ ⎀āļą āļ´āˇ’āļģāˇ’āˇƒ ⎃āļŗāˇ„āˇ āļ‘āļ¸ āˇ€āˇ™āˇ„āˇ™āˇƒ āļ­āˇ€āļ¯āˇ”āļģāļ§āļ­āˇŠ āļ­āˇ“āˇ€āˇŠâ€āļģ āļšāļģāļē⎒. āļ¸āˇāļąāˇ€ ⎃āļ‚⎀āļģ⎊āļ°āļąāļē ⎀⎙āļąāˇ”⎀āļ§, āˇƒāˇšāˇ€āļšāļēāļąāˇŠāļœāˇšāļ¸ āļ¯āˇāļąāˇ”āļ¸āˇ™āļąāˇŠ āļœāˇœāļŠāļąāˇāļŸāˇ– āļ´āļ¯āˇŠāļ°āļ­āˇ’ āļ¸āļœāˇ’āļąāˇŠāļ¸ āļ”⎀⎔āļąāˇŠāˇ€ “āļ…āļ­āˇ’āļģ⎒āļšāˇŠāļ­ āļ´āˇ’āļģāˇ’āˇƒāļšāˇŠâ€ āļŊāˇ™āˇƒ āļąāļ¸āˇŠ āļšāļģāļą āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€āļšāˇŠ āļ‘āļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļļ⎒⎄⎒ āļšāļģāļąāˇ” āļŊāļļāļē⎒.

āļ¸āˇš āļ…āļ­āļģ, āļąāˇ€ āļ­āˇāļšāˇŠāˇ‚āļĢāļē (new technology) āˇƒāˇ„ āļ‘āļē ⎃āļ‚⎀āļģ⎊āļ°āļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āˇ€āˇāˇŠâ€āļē ⎃āļ¸āˇŠāļ´āļ­āˇŠ (resources) āļ¸āˇ™āļąāˇŠāļ¸ āˇƒāˇāļ´āļē⎔āļ¸āˇŠ āļ¯āˇāļ¸ (supply chains) āļšāˇ™āļģ⎙⎄⎒ āļ´āˇāļŊāļąāļē āļ­āˇ„⎀⎔āļģ⎔ āļšāļģ āļœāˇāļąāˇ“āļ¸, āļ…āļ°āˇ’āļģāˇāļĸāˇŠâ€āļēāˇ€āˇāļ¯āˇ“ āļē⎔āļ¯āˇŠāļ°āļē⎚ (imperialist war) ⎀āļģ⎊āļ°āļąāļē āļšāˇ™āļģ⎙⎄⎒ ⎀āļŠ āˇ€āļŠāˇāļ­āˇŠ āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎓āļē āˇƒāˇāļ°āļšāļēāļšāˇŠ āļļ⎀āļ§ āļ´āļ­āˇŠāˇ€ āļ­āˇ’āļļāˇšâ€”āļ‘āļ¸ āļē⎔āļ¯āˇŠāļ°āļē āļ…āļ¯ āļ‰āļģāˇāļąāļēāļ§ āˇƒāˇ„ āļģāˇ”āˇƒāˇ’āļēāˇāˇ€āļ§ āļ‘āļģ⎙⎄⎒⎀āļ­āˇŠ, ⎄⎙āļ§ āļ āˇ“āļąāļēāļ§ āļ‘āļģ⎙⎄⎒⎀āļ­āˇŠ āļ‘āļŊ⎊āļŊ ⎀⎓ āļ‡āļ­.

āļ¸āˇ™āļ¸ āļ´āˇŠâ€āļģāˇ„āˇāļģāļēāļ§ āˇƒāļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģāļē ⎀āļąāˇŠāļąāˇš, āļ°āļąāˇ€āˇāļ¯āˇ“ āļ¯āˇšāļ´āˇ… āļ…āļē⎒āļ­āˇ’āļē⎚ “āļ…āļē⎒āļ­āˇ’āˇ€āˇāˇƒāˇ’āļšāļ¸āļ§â€ āļ‘āļģ⎙⎄⎒⎀ ⎀⎐āļŠāļšāļģāļą āļ´āļąāˇŠāļ­āˇ’āļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ‘āļŊ⎊āļŊ āļšāļģāļąāˇ” āļŊāļļāļą āˇƒāˇ˜āļĸ⎔ āļ´āˇŠâ€āļģāˇ„āˇāļģāļēāļšāˇ’. āļšāˇ˜āļ­āˇŠâ€āļģ⎒āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āļąāˇ’āļēāˇāļ¸āļąāļē āļšāˇ… āļē⎔āļ­āˇ” āļļ⎀āļ§, āļ‘āļē ⎃āļ¸āˇŠāļ´āˇ–āļģ⎊āļĢāļē⎙āļąāˇŠāļ¸ āļąāļ­āļģ āļšāˇ… āļē⎔āļ­āˇ” āļļ⎀āļ§ āˇ„āˇ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’-āļšāˇ…āļ¸āļąāˇāļšāˇāļģ⎒āļ­āˇŠāˇ€ āļ¸āļĢ⎊āļŠāļŊ⎀āļŊ āļ´āˇāļŊāļąāļēāļ§ āļēāļ§āļ­āˇŠ āļšāˇ… āļē⎔āļ­āˇ” āļļ⎀āļ§ āļļāļŊāļšāļģāļ¸āˇ’āļąāˇŠ āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģ āļ¯āļšāˇŠāˇ€āļą āˇ€āˇŠâ€āļēāˇāļĸ-⎀āļ¸āˇŠāļ¸āˇ” (pseudo-left), āļ‘āļ¸āļŸāˇ’āļąāˇŠ āļ´āļąāˇŠāļ­āˇ’ āļ…āļģāļœāļŊāļē āļ´āˇ’⎅⎒āļļāļŗ āˇ€āļą āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎓āļē āļ´āˇŠâ€āļģ⎁⎊āļąāļē āļ´āˇ’⎅⎒āļļāļŗ āļ…⎀āļ°āˇāļąāļē ⎀⎙āļąāļ­āļšāļ§ āļē⎜āļ¸āˇ” āļšāļģāļ­āˇ’. āļ­āˇ€āļ¯ āļļāˇœāˇ„āˇ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āļŊāļ¯āˇ“ āļ”⎀⎔āļąāˇŠ āļ¸āˇ™āļ¸ āˇ€āˇ’āļģāˇāļ°āļē āļē⎜āļ¸āˇ” āļšāļģāļąāˇ” āļŊāļļāļąāˇŠāļąāˇš āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āļ´āˇŠâ€āļģāļœāļ­āˇ’āļēāļ§ āļ‘āļģ⎙⎄⎒ āļ´āˇŠâ€āļģāļ­āˇ’āļœāˇāļ¸āˇ“ āļ´āˇŠâ€āļģāˇ„āˇāļģāļēāļšāˇŠ āļ‘āļŊ⎊āļŊ āļšāˇ’āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇāļē.

āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļąāˇ’āļŊāļ°āˇāļģāˇ’āˇ€āˇāļ¯āļē āļ¸āˇ™āļ¸ āļ…āļģāļœāļŊāļē āļ¯āˇ’āļēāļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āˇƒāļ¸āļ­āˇŠāļē. āļ”⎀⎔āļąāˇŠ āļ‘āˇƒāˇš āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āļ´āˇšāļšāˇŠāˇ‚āˇ āļšāˇ…āļ­āˇŠ (āļ‡āļ­āˇŠāļ­ āˇ€āˇāļē⎙āļąāˇŠāļ¸ āļ”⎀⎔āļąāˇŠāļ§ āļ‘⎀⎐āļąāˇ’ ⎀⎔⎀āļ¸āļąāˇāˇ€āļšāˇŠ āļąāˇāļ­), āļ°āļąāˇ€āˇāļ¯āļēāļ§ āˇƒāˇ„ āļĸāˇāļ­āˇ’āļšāˇ€āˇāļ¯āļēāļ§ āˇƒāˇ„āļēāˇāļœāļē āļ¯āˇāļšāˇŠāˇ€āˇ“āļ¸āˇš āļ´āļ¯āļąāļ¸ āļ¸āļ­ āļ”⎀⎔āļąāˇŠ āļšāˇ…āļ¸āļąāˇāļšāˇāļģ⎒āļ­āˇŠāˇ€āļē ⎃āļ¸āļŸ āˇƒāļ¸āˇŠāļ´āˇ–āļģ⎊āļĢāļē⎙āļąāˇŠāļ¸ āļ’āļšāˇāļļāļ¯āˇŠāļ° āˇ€āˇ“ āˇƒāˇ’āļ§āˇ“āļ¸ āļ¸āˇ“āļ§ āˇ„āˇšāļ­āˇ”⎀āļē⎒.

āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āˇƒāˇšāˇ€āļš āļ¯āˇœāļ§āˇŠāļ§ āļ¯āˇāļ¸āˇ“āļ¸āˇŠāˇ€āļŊāļ§ āļ”⎀⎔āļąāˇŠ āļ¯āˇāļšāˇŠāˇ€āˇ– āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģāļē ⎀⎓ āļ‡āļ­āˇŠāļ­āˇš āļ¸āˇ”⎅⎔āļ¸āļąāˇ’āļąāˇŠāļ¸ āļ´āˇāˇ„āˇš, āļ‡āļ­āˇŠāļ­ āˇ€āˇāļē⎙āļąāˇŠāļ¸ āˇ€āļģāļ¯āļšāˇāļģ⎓ ⎀⎖ āļąāˇ’⎄āļŦāļ­āˇāˇ€āļēāļšāˇ’. āļ¸āˇāļ§āļģ⎊ āļģāļŽ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āļē āļ­āˇ”⎅, āļ‘āļšāˇŠāˇƒāļ­āˇŠ āļ¸āˇāļ§āļģ⎊ āļģāļŽ āˇƒāˇšāˇ€āļš āˇƒāļ¸āˇ’āļ­āˇ’āļē (UAW) āļ´āˇƒāˇ”āļœāˇ’āļē āˇ€āˇƒāļģ āļ¯āˇ™āļšāˇ„āļ¸āˇāļģāļš āļšāˇāļŊāļē āļ­āˇ”⎅ āˇƒāˇ’āļ¯āˇ” ⎀⎖ āļ¯āˇ„āˇƒāˇŠ ⎃āļ‚āļ›āˇŠâ€āļēāˇāļ­ āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļ´āˇ’⎅⎒āļļāļŗāˇ€ āļšāˇ’āˇƒāˇ’āˇ€āļšāˇŠ āļ´āˇ€āˇƒāˇ āļąāˇāļ­. āļ´āˇƒāˇ”āļœāˇ’āļē ⎃āļ­āˇ’āļē⎚, ⎃⎊āļ§āļģ⎊āļŊ⎒āļąāˇŠ ⎄āļē⎒āļ§āˇŠāˇƒāˇŠ āļ‘āļšāļŊ⎃⎊ āļšāˇ’āļģ⎓āļ¸āˇš āļšāļ¸āˇŠāˇ„āļŊ⎚ āļ´āˇāˇ€āˇāļ­āˇŠāˇ€āˇ“āļ¸āļ§ āļ­āˇ’āļļ⎖ ⎀⎐āļŠāˇ€āļģ⎊āļĸāļą āļĄāļąāˇŠāļ¯ āˇ€āˇ’āļ¸āˇƒāˇ“āļ¸āļšāˇŠ āļ…āˇ€āˇƒāļąāˇŠ āļ¸āˇœāˇ„āˇœāļ­āˇšāļ¯āˇ“ āļ”⎀⎔āļąāˇŠ āļ…⎀āļŊāļ‚āļœāˇ” āļšāˇ…āˇšāļē. āļ•āˇƒāˇŠāļ§āˇŠâ€āļģ⎚āļŊ⎒āļēāˇāˇ€āˇš āļĸāˇāļ­āˇ’āļš āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ ⎃āļ¸āˇŠāļ¸āˇšāļŊāļąāļē āļ¸āļē⎒āļšāˇŠâ€āļģāˇœāˇƒāˇœāˇ†āˇŠāļ§āˇŠ (Microsoft) ⎃āļ¸āˇāļœāļ¸ āˇƒāļ¸āļŸ āˇ€āˇ’āļ°āˇ’āļ¸āļ­āˇŠ āļœāˇ’āˇ€āˇ’āˇƒāˇ”āļ¸āļšāļ§ āļ‘⎅āļš āļ‡āļ­āˇ’ āļ…āļ­āļģ, āļ’ āļēāļ§āļ­āˇš āļšāˇ˜āļ­āˇŠâ€āļģ⎒āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āļ¸āļŸāˇ’āļąāˇŠ āļ¸āˇ™āˇ„⎙āļē⎀āļąāˇ” āļŊāļļāļą āļ´āˇŠâ€āļģāļ­āˇ’āˇ€āˇŠâ€āļē⎔⎄āļœāļ­ āļšāˇ’āļģ⎓āļ¸āˇŠ āˇƒāˇšāˇ€āļšāļēāļąāˇŠāļ§ āˇ€āˇāˇƒāˇ’āļ¯āˇāļēāļš āļ¯āˇ™āļēāļšāˇŠ āļŊāˇ™āˇƒ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļąāˇŠāļąāˇš āļšāˇ™āˇƒāˇšāļ¯ āļēāļąāˇŠāļą āļ´āˇ’⎅⎒āļļāļŗāˇ€ āļ¸āļē⎒āļšāˇŠâ€āļģāˇœāˇƒāˇœāˇ†āˇŠāļ§āˇŠ ⎃āļ¸āˇāļœāļ¸ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļąāˇ’āļŊāļ°āˇāļģ⎓āļąāˇŠāļ§ āļ´āˇ”⎄⎔āļĢ⎔⎀ āļŊāļļāˇ āļ¯āˇ“āļ¸āļ§ āļąāˇ’āļēāļ¸āˇ’āļ­āļē. āļ­āˇ€āļ¯, āˇƒāˇšāˇ€āˇ ⎃⎊āļŽāˇāļą āļ­āˇ”⎅ āļšāˇ˜āļ­āˇŠâ€āļģ⎒āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē āļˇāˇāˇ€āˇ’āļ­āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ āˇƒāˇ’āļ¯āˇ”⎀āļą āļ•āļąāˇ‘āļ¸ āļąāˇ’āļēāˇāļ¸āļą āļ¸āˇāļ¯āˇ’⎄āļ­āˇŠāˇ€āˇ“āļ¸āļšāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ”⎀⎔⎄⎔ āļ¸āļē⎒āļšāˇŠâ€āļģāˇœāˇƒāˇœāˇ†āˇŠāļ§āˇŠ āļ†āļēāļ­āļąāļē ⎃āļ¸āļŸ āļ‘āļšāˇŠāˇ€ āļ´āˇ™āļąāˇ“ āˇƒāˇ’āļ§āˇ’āļ­āˇ’.

āļ¸āˇ„āļĸāļą āˇƒāˇ„ āļŊāˇāļš āˇ€āˇŠâ€āļēāˇāļ´āˇŠāļ­ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļšāļ§ āļąāˇ€ ⎃āļ‚⎀⎒āļ°āˇāļą āļ†āļšāˇ˜āļ­āˇ“āļąāˇŠ āļ…āˇ€āˇāˇŠâ€āļē āˇ€āˇš: āļ‘āļąāļ¸āˇŠ āļ´āˇ€āļ­āˇŠāļąāˇ āļēāˇāļąāˇŠāļ­āˇŠâ€āļģāļĢāļē⎙āļąāˇŠ āˇƒāˇŠāˇ€āˇāļ°āˇ“āļąāˇ€ āļœāˇœāļŠāļąāļœāļą āļŊāļ¯, ⎀⎙āļąāļ­āˇŠ āļ…āˇ€āˇāˇŠâ€āļēāļ­āˇ āļ´āˇ€āļ­āˇ’āļą āļąāˇ’āļŊāļ°āˇāļģāˇ’āˇ€āˇāļ¯āļēāļąāˇŠāļœāˇ™āļąāˇŠ āļ…āˇ€āˇƒāļģ āļąāˇœāļ´āļ­āˇ āļšāˇŠâ€āļģ⎒āļēāˇāļ¸āˇāļģ⎊āļœ āˇƒāˇ–āļ¯āˇāļąāļ¸āˇŠ āļšāˇ’āļģ⎓āļ¸āļ§ āˇƒāˇ„ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āˇ“āļšāļģāļĢāļē āļšāˇ’āļģ⎓āļ¸āļ§ āˇ„āˇāļšāˇ’āļēāˇāˇ€ āļ‡āļ­āˇ’ ‘āļšāļ¸āˇŠāļšāļģ⎔ āļšāˇŠâ€āļģ⎒āļēāˇāļšāˇāļģ⎓ āļšāļ¸āˇ’āļ§āˇ”’ (rank-and-file committees) āˇ€āˇš. āļšāļ¸āˇŠāļšāļģ⎔ āļšāˇŠâ€āļģ⎒āļēāˇāļšāˇāļģ⎓ āļšāļ¸āˇ’āļ§āˇ”⎀āļŊ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļšāļ¸āˇŠāļšāļģ⎔ ⎃āļąāˇŠāļ°āˇāļąāļē (IWA-RFC), āļŊāˇœāˇ€ āļ´āˇ”āļģāˇ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇāˇāļŊāˇ āļ­āˇ”⎅ āļšāˇŠâ€āļģ⎒āļēāˇāļšāˇāļģ⎓ āļšāļ¸āˇ’āļ§āˇ” āļ´āˇ’⎄⎒āļ§āˇ”⎀āļ¸āˇ’āļąāˇŠ āļŊāˇāļš āļ´āļģ⎒āļ¸āˇāļĢāļē⎙āļąāˇŠ āļ¸āˇ™āļ¸ āˇƒāļ‚⎀⎒āļ°āˇāļą āļœāˇœāļŠāļąāˇāļœāˇ“āļ¸ āˇƒāļŗāˇ„āˇ āļ´āˇ™āļąāˇ“ āˇƒāˇ’āļ§āˇ’āļē⎒.

āļ‘⎀⎐āļąāˇ’ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļš āļ´āˇŠâ€āļģāļ°āˇāļą āļ‰āļŊ⎊āļŊ⎓āļ¸āˇŠ ⎀⎒āļē āļē⎔āļ­āˇŠāļ­āˇš:

  • āļšāˇ˜āļ­āˇŠâ€āļģ⎒āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē āˇ„āˇšāļ­āˇ”⎀⎙āļąāˇŠ āļ‘āļšāļ¯āˇ” āˇƒāˇšāˇ€āļš āļ¯āˇœāļ§āˇŠāļ§ āļ¯āˇāļ¸āˇ“āļ¸āļšāˇŠ āˇ„āˇ āˇƒāˇ’āļ¯āˇ” āļąāˇœāļšāˇ… āļē⎔āļ­āˇ”āļē! āļšāˇ˜āļ­āˇŠâ€āļģ⎒āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē āļ¸āļŸāˇ’āļąāˇŠ ⎃⎐āļļ⎀⎒āļąāˇŠāļ¸ āļĩāļŊāļ¯āˇāļē⎒āļ­āˇāˇ€ āļ‰āˇ„⎅ āļąāļ‚⎀āļąāˇŠāļąāˇš āļąāļ¸āˇŠ, āļ‘⎄⎒ āļ´āˇŠâ€āļģāļ­āˇ’āļŊāˇāļˇ āļ…āļē⎒āļ­āˇ’ ⎀⎒āļē āļē⎔āļ­āˇŠāļ­āˇš āļ‘āļ¸ āļĩāļŊāļ¯āˇāļē⎒āļ­āˇāˇ€ āļļ⎒⎄⎒ āļšāˇ… āˇƒāˇšāˇ€āļšāļēāļąāˇŠāļ§āļē. ⎀⎐āļ§āˇ”āļ´āˇŠ āļšāļ´āˇŠāļ´āˇāļ¯āˇ”⎀āļšāˇ’āļąāˇŠ āļ­āˇœāļģ⎀, ⎃āļ­āˇ’āļ´āļ­āˇ ⎀⎐āļŠ āļšāļģāļą āļšāˇāļŊāļē āļŠāļ§ āˇƒāļ¸āˇāļąāˇ”āļ´āˇāļ­āˇ’āļšāˇ€ āļšāˇ™āļ§āˇ’ āļšāˇ… āļē⎔āļ­āˇ”āļē. 
  • āļąāˇ€ āļ­āˇāļšāˇŠāˇ‚āļĢāļē ⎄āļŗāˇ”āļąāˇŠāˇ€āˇ āļ¯āˇ“āļ¸ āļšāˇ™āļģ⎙⎄⎒ āˇƒāˇšāˇ€āļš āļ´āˇāļŊāļąāļēāļšāˇŠ āļ´āˇāˇ€āļ­āˇ“āļ¸. āļĩāļŊāļ¯āˇāļē⎒āļ­āˇ āļ´āˇŠâ€āļģāļ­āˇ’āļŊāˇāļˇ āļļ⎙āļ¯āˇ ⎄āļģ⎒āļą āļ†āļšāˇāļģāļē āļ´āˇ’⎅⎒āļļāļŗāˇ€ ⎃āļ¸āˇŠāļ´āˇ–āļģ⎊āļĢ āļ­āˇœāļģāļ­āˇ”āļģ⎔ āļŊāļļāˇ āļœāˇāļąāˇ“āļ¸āļ§, ⎃⎐āļļ⎑ āļąāˇ’āˇ‚āˇšāļ° āļļāļŊāļēāļšāˇŠ (veto power) ⎄⎒āļ¸āˇ’ āļšāļģ āļœāˇāļąāˇ“āļ¸āļ§ āˇƒāˇ„ āļ’ āļšāˇ™āļģ⎙⎄⎒ ⎃⎐āļļ⎑ āļ´āˇāļŊāļąāļēāļšāˇŠ āļ´āˇāˇ€āˇāļ­āˇŠāˇ€āˇ“āļ¸āļ§ āˇƒāˇšāˇ€āļšāļēāļąāˇŠāļ§ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€ āļ­āˇ’āļļ⎒āļē āļē⎔āļ­āˇ”āļē.
  • ⎃⎊āļ´āˇ’āļģ⎒āļ§āˇŠ (Spirit) āˇƒāˇšāˇ€āļšāļēāļąāˇŠ āˇƒāˇ„ āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āļšāˇŠāˇ‚āˇšāļ­āˇŠâ€āļģāļē āļ­āˇ”⎅ āļģ⎐āļšāˇ’āļēāˇ āļ…⎄⎒āļ¸āˇ’ ⎀⎖ āļŊāļšāˇŠāˇ‚ ⎃āļ‚āļ›āˇŠâ€āļēāˇāļ­ āļ´āˇ’āļģāˇ’āˇƒ āļ¯ āļ‡āļ­āˇ”⎅⎔⎀, āļēāļ¸āˇŠ āˇ„āˇšāļ­āˇ”⎀āļšāˇŠ āļąāˇ’āˇƒāˇ āļ¯āˇāļąāļ§āļ¸āļ­āˇŠ āļģ⎐āļšāˇ’āļēāˇ āļ…⎄⎒āļ¸āˇ’ ⎀⎓ āļ‡āļ­āˇ’ āˇƒāˇ’āļēāļŊ⎔āļ¸ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ ⎃āļŗāˇ„āˇ āˇ„āˇœāļŗ āˇ€āˇāļ§āˇ”āļ´āļšāˇŠ āˇƒāˇ„āˇ’āļ­, āļ­āˇ˜āļ´āˇŠāļ­āˇ’āļ¸āļ­āˇŠ āļģ⎐āļšāˇ’āļēāˇ āļŊāļļāˇ āļ¯āˇ“āļ¸.
  • āļ´āˇŠâ€āļģāļ°āˇāļą āļ´āˇ™āˇ…āˇš āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āˇƒāļ¸āˇāļœāļ¸āˇŠ, āļļ⎐āļ‚āļšāˇ” āˇƒāˇ„ āļ¸āˇ–āļŊāˇŠâ€āļē āļ†āļēāļ­āļą āļ´āˇœāļ¯āˇ” āļ…āļē⎒āļ­āˇ’āļēāļ§ āļ´āˇ€āļģāˇ āļœāˇāļąāˇ“āļ¸ (āļģāˇāļĸ⎃āļąāˇŠāļ­āļš āļšāˇ’āļģ⎓āļ¸) āˇƒāˇ„ āļšāˇ˜āļ­āˇŠâ€āļģ⎒āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ āļ­āˇāļšāˇŠāˇ‚āļĢāļēāļąāˇŠāˇ„⎒ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ´āˇāļŊāļąāļē āˇƒāˇ„ āļ…āļē⎒āļ­āˇ’āļē āļ¯ āļ‡āļ­āˇ”⎅⎔⎀, āļ’āˇ€āˇ ⎀⎐āļŠāļšāļģāļą āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ´āˇāļŊāļąāļē āļēāļ§āļ­āˇš āļ´āˇ€āļ­āˇ’āļą āļ´āˇœāļ¯āˇ” āļ‹āļ´āļēāˇāļœāˇ’āļ­āˇ āˇƒāˇšāˇ€āˇāˇ€āļąāˇŠ āļļ⎀āļ§ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē āļšāˇ’āļģ⎓āļ¸.

āˇƒāˇšāˇ€āļš āļ¯āˇœāļ§āˇŠāļ§ āļ¯āˇāļ¸āˇ“āļ¸āˇŠāˇ€āļŊāļ§ āˇƒāˇ„ “āļšāˇ˜āļ­āˇŠâ€āļģ⎒āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’ āļ´āˇŠâ€āļģāļ­āˇ’āˇ€āˇŠâ€āļē⎔⎄āļœāļ­ āļšāˇ’āļģ⎓āļ¸āˇŠāˇ€āļŊāļ§â€ āļ‘āļģ⎙⎄⎒ āļ…āļģāļœāļŊāļē āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇāˇāļŊāˇāˇ€āˇ™āļąāˇŠ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇāˇāļŊāˇāˇ€āļ§ āˇ„āˇ āļģāļ§āˇ’āļąāˇŠ āļģāļ§āļ§ (āļ­āļąāˇ’ āļ­āļąāˇ’⎀) āļ¯āˇ’āļēāļ­āˇŠ āļšāˇ… āļąāˇœāˇ„⎐āļšāˇ’āļē. āļ¸āˇ„āˇ āļ´āļģ⎒āļ¸āˇāļĢ āˇƒāļ¸āˇāļœāļ¸āˇŠ āļœāˇāļŊ⎓āļē āļ¸āļ§āˇŠāļ§āļ¸āˇ’āļąāˇŠ āļšāˇŠâ€āļģ⎒āļēāˇāļ­āˇŠāļ¸āļš āˇ€āļą āļ…āļ­āļģ, āļ¯āˇšāˇāˇƒāˇ“āļ¸āˇ ⎄āļģāˇ„āˇ ⎀⎐āļŠ āļ¸āˇāļģ⎔ āļšāļģāļ¸āˇ’āļąāˇŠ (shift)  āˇƒāˇšāˇ€āļšāļēāļąāˇŠ āļ‘āļšāˇ’āļąāˇ™āļšāˇ āļšāˇ™āļ§āˇ€āˇ“āļ¸ āˇƒāļŗāˇ„āˇ āļĸāˇāļ­āˇ’āļšāˇ€āˇāļ¯āļē āļˇāˇāˇ€āˇ’āļ­ āļšāļģāļē⎒. āļ¸āˇ“āļ§ āļ‡āļ­āˇ’ āļ‘āļšāļ¸ āļ´āˇ’⎅⎒āļ­āˇ”āļģ ⎀⎐āļŠāļšāļģāļą āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļ‘āļšāļ¸āˇ”āļ­āˇ”⎀āļē⎒. āļ‘āļąāļ¸āˇŠ āļ­āˇāļšāˇŠāˇ‚āļĢ, ⎃⎐āļ´āļē⎔āļ¸āˇŠ (logistics), āļąāˇ’āˇ‚āˇŠāļ´āˇāļ¯āļą, āļ…āļ°āˇŠâ€āļēāˇāļ´āļą āļ‡āļ­āˇ”⎅⎔ āˇƒāˇ‘āļ¸ āļšāˇŠāˇ‚āˇšāļ­āˇŠâ€āļģāļēāļšāļ¸ āˇƒāˇšāˇ€āļšāļēāļąāˇŠ āļ´āˇœāļ¯āˇ” āļ…āļģāļœāļŊāļēāļšāˇŠ āļ­āˇ”⎅āļ§ āļ’āļšāˇāļļāļ¯āˇŠāļ° āļšāˇ’āļģ⎓āļ¸āļē⎒.

āļĸ⎓⎀āļąāˇāļ´āˇāļēāļąāˇŠ ⎀⎒āļąāˇāˇ āļšāļģāļąāˇ€āˇ ⎀⎙āļąāˇ”⎀āļ§ āļ­āˇāļšāˇŠāˇ‚āļĢāļē āļ¸āˇ’āļąāˇ’āˇƒāˇŠ ⎃āļ‚⎀āļģ⎊āļ°āļąāļēāļ§ āˇƒāˇšāˇ€āļē āļšāļģāļą āļ…āļąāˇāļœāļ­āļēāļšāˇŠ āˇƒāˇ„ ⎀⎐āļŠāļšāļģāļą āļ´āļąāˇŠāļ­āˇ’āļē āļ…āļ­āļģ āļļāˇāļ°āˇāˇ€āļšāˇŠāˇ€ āļ´āˇ€āļ­āˇ’āļąāˇŠāļąāˇš āļ­āˇāļšāˇŠāˇ‚āļĢ⎒āļš āļœāˇāļ§āļŊ⎔⎀āļšāˇŠ āļąāˇœāˇ€, ⎃āļ¸āˇāļĸ⎓āļē āˇƒāˇ„ āļ¯āˇšāˇāļ´āˇāļŊāļąāˇ’āļš āļœāˇāļ§āļŊ⎔⎀āļšāˇ’; āļ‘āļąāļ¸āˇŠ āļąāˇ’āˇ‚āˇŠāļ´āˇāļ¯āļą āļ¸āˇāļ°āˇŠâ€āļēāļēāļąāˇŠāļœāˇš āļ´āˇ”āļ¯āˇŠāļœāļŊ⎒āļš āļ…āļē⎒āļ­āˇ’āļēāļē⎒. āļ…āļ´ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ´āļģāˇāļĸāļē āļšāˇ… āļē⎔āļ­āˇŠāļ­āˇš āļ‘āļēāļē⎒.

(āļ…⎀āļ°āˇāļģāļĢāļē āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē⎚āļ¯āˇ“ āļ‘āļšāˇŠ āļšāˇ™āļģ⎔āļĢ⎒)

āļšāˇ˜āļ­āˇ“āļ¸ āļļ⎔āļ¯āˇŠāļ°āˇ’āļē (AI) āˇ„āˇšāļ­āˇ”⎀⎙āļąāˇŠ āˇƒāˇ’āļ¯āˇ”⎀āļą āļģ⎐āļšāˇ’āļēāˇ āļšāļ´āˇŠāļ´āˇāļ¯āˇ” āļģ⎐āļŊ⎊āļŊāļ§ āļ‘āļģ⎙⎄⎒⎀ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļ§ āˇƒāļ§āļąāˇŠ āļšāˇ… ⎄⎐āļšāˇŠāļšāˇš āļšāˇ™āˇƒāˇšāļ¯? Read More Âģ

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The Socialist Lead of Sri Lanka and South Asia condemns the detention of Theepachelvan Piratheepan’s books and demands their immediate and unconditional release

By Sanjaya Jayasekera.

The Socialist Lead of Sri Lanka and South Asia (SLLA) and thesocialist.lk  unconditionally condemn the detention by Sri Lanka Customs of two books by Kilinochchi-based Tamil author Theepachelvan Piratheepan — Elluttal Nan Yuttam Ceykiren (“I Wage War Through Writing”), a collection of interviews, and Ippothum Inge Irandu Thesangalil (“Now Too Here Are Two Nations”), a collection of essays on the war — and demands their immediate and unconditional release. This act of state censorship, carried out with the direct institutional involvement of the Ministry of Defence and under the rubber-stamp of cultural bureaucracies subordinated to the security apparatus, is not an administrative irregularity. It is a political act, rooted in the class interests of the Sri Lankan bourgeoisie and its state, and it must be understood and combated as such.

The Facts of the Case Expose the Repressive Machinery under the NPP/JVP government

On 18 March 2026, Sri Lanka Customs seized a consignment of books imported from Chennai, India, by Onereach Lanka (Pvt) Ltd, under CusDec No. 47995. The consignment included four books by Theepachelvan Piratheepan. Customs officers, purportedly suspecting a threat to national security, initiated a review process — with the Director General of Customs, Seevali Arukgoda, subsequently stating that the suspicion arose from one book’s cover, which depicted a map of Tamil Eelam separated from the rest of Sri Lanka, and what he described as a “limited inspection of the contents.”

Theepachelvan

What followed was a cascade of bureaucratic evasion and institutional complicity that lays bare the functioning of the capitalist state. The Defence Ministry recommended that Customs detain all four books, while the Culture Ministry recommended the release of the two novels. Customs then returned to the Defence Ministry seeking a “no objection” for the novels’ release, which was granted. Based on the recommendations of the Arts Council of Sri Lanka, the State Panel of Literature of the Ministry of Buddhasasana, Religious and Cultural Affairs, and the Ministry of Defence, two books — Elluttal Nan Yuttam Ceykiren and Ippothum Inge Irandu Thesangalil — were formally withheld, with Customs citing provisions under section 120 of the Penal Code, a colonial law, read with Schedule B of the Customs Ordinance.

The Defence Ministry did not respond to questions as to how it determined that the books incited “disaffection” or posed a threat to national security. Crucially, the two books that were eventually released were not first editions and had already been distributed and made available at Tamil bookshops across Sri Lanka. The logical absurdity of this position — that books freely circulating in Tamil bookshops nonetheless require Defence Ministry clearance to re-enter the country through customs — exposes the purely political, punitive character of the censorship directed against Theepachelvan’s work on the war and its aftermath.

When The Examiner inquired whether Customs had reached out to the Attorney General for his opinion, Director General Arukgoda replied: “Why should we consult the AG’s department?” — asserting that Defence Ministry observations are sufficient and that “this has been the practice for as long as he can remember.” Here, in the unguarded candour of a senior bureaucrat, is the operating logic of the Sri Lankan security state: the military-intelligence apparatus has, through decades of communal war and “anti-terrorism” legislation, assumed permanent, unaccountable authority over political expression.

The detention of Theepachelvan’s books is not an isolated incident but part of a systematic and sustained campaign by the NPP/JVP government to suppress Tamil literary and political expression through the Defence Ministry’s permanent stranglehold over the circulation of ideas in the north and east. Writer and actor Antonythasan Jesuthasan — known by his pseudonym Shobasakthi — has revealed that copies of his book 1990: Leidenthivu – Mandaithivu Massacres and Mass Graves, documenting the massacres and mass graves of the war, sent from Chennai to poet Karunakaran’s address in Kilinochchi in late 2025, were seized by Customs at the Jaffna Post Office in November 2025 and forwarded to the Defence Ministry where they remain suppressed to this day — a complaint to Jaffna District NPP MP Rajeevan having yielded nothing, confirming that the censorship of Tamil historical memory is not a bureaucratic malfunction tolerated by the NPP government but its deliberate and continuing political policy.

The Human Rights Commission of Sri Lanka has warned that detaining publications without clear evidence of inciting communal disharmony could violate constitutional protections, including freedom of expression and equality before the law, and that such actions may amount to a misuse of power and a potential human rights violation. These expressions of institutional “concern,” however, will remain toothless so long as the fundamental class character of the state — and the NPP government that now administers it — goes unexamined and unchallenged.

The Class Character of the NPP’s Censorship

The detention of Theepachelvan’s books is not an aberration of the National People’s Power government; it is a manifestation of its essential political character. The NPP, led by the Janatha Vimukthi Peramuna (JVP) of Anura Kumara Dissanayake, rose to power on the wave of mass popular revulsion demonstrated in the 2022 aragalaya uprising — a spontaneous movement of workers, youth and the oppressed masses against decades of IMF-dictated austerity, official corruption and elite plunder. Having exploited that mass anti-establishment sentiment to win the presidency and parliamentary majority, the NPP has proceeded to do precisely what every bourgeois government before it has done: implement IMF austerity with renewed vigour, maintain and expand the security-state apparatus inherited from the Rajapaksa and Wickremesinghe eras, and deploy the machinery of repression against those who challenge its authority.

The JVP’s historical trajectory makes this entirely predictable. The JVP, which twice launched armed insurrections in the south — in 1971 and from 1987 to 1989 — and which conducted savage political violence, including the assassination of trade union leaders and left-wing opponents, subsequently transformed itself into a parliamentary party deeply integrated into the structures of the Sri Lankan capitalist state. Its “left” and “progressive” credentials — always petty-bourgeois in their class content, reformist in their political program and nationalist in their ideological framework — have served as a political cover for its absorption into bourgeois politics. Its “anti-corruption” and “good governance” rhetoric during the aragalaya period and the 2024 election campaign was not the language of class struggle but the language of the petty-bourgeois intelligentsia appealing to middle-class frustrations within the framework of capitalist rule.

Now in government, the NPP/JVP administers the very security apparatus whose colonial-era legal instruments — including Section 120 of the Penal Code, the draconian Public Security Ordinance and the Prevention of Terrorism Act — were wielded by Sinhala-chauvinist governments against the Tamil people for decades. Tamil writers in Sri Lanka live under constant surveillance of the security state. In 2024, Theepachelvan himself was summoned and interrogated by the Terrorist Investigation Division (CTID), and was subjected to nearly three hours of questioning over a book launch event. This persecution has not ceased under the National People’s Power government. The NPP’s “change” amounts to the continuation of the communal-security state with a new parliamentary facade and a refreshed managerial personnel.

Theepachelvan Piratheepan — born on 24 October 1983 in Kilinochchi — is one of the most significant Tamil literary voices to emerge from the lived experience of the war and its devastating human consequences. His poetry, essays and interviews document the suffering of the Tamil people through the armed conflict, the mass atrocities of the final military offensive, and the grinding social desolation of the post-war north and east. It is precisely because his work constitutes an act of bearing witness — of preserving the collective historical memory of a people subjected to systematic violence and dispossession — that the state seeks to suppress it. The detained books represent documentary historical testimony from below: the kind of testimony that the bourgeois state, regardless of which party administers it, has an enduring material interest in silencing.

The Intelligentsia’s Capitulation: Performing Criticism, Defending the Capitalist State

I. Nirmal Ranjith Dewasiri: The Government Supporter as Critic

No examination of this crisis would be complete without addressing the role played by the layers of academic and intellectual figures who occupy the space of “civil society” dissent in Sri Lanka — and who perform, with cultivated theatrical effect, the function of absorbing and neutralising working-class and democratic opposition to the capitalist state. The case of Professor Nirmal Ranjith Dewasiri demands particular attention, because in the Theepachelvan affair his political intervention reveals, with unusual transparency, the precise mechanism by which the pseudo-left intelligentsia serves the class interests of the bourgeoisie.

Nirmal Dewasiri
Nirmal Ranjith Dewasiri

On 19 April 2026, Dewasiri published a video statement on his YouTube channel — History with Nirmal — titled in Sinhala: “The greatest political defeat the Malima [NPP] government received in the case of Theepachelvan!” The framing is significant before a single word of analysis is delivered: the detention of a Tamil author’s books about the war is characterised not as a state assault on democratic rights and on the historical memory of the Tamil people — but as a political defeat for the government. The suffering of the Tamil author, the democratic principle of freedom of expression, the class content of the censorship — all of this is pushed to the background. What remains is a problem of government optics, of public relations management, of the NPP’s political credibility.

In the body of that statement, Dewasiri makes three things clear, each of which must be examined with precision.

First, having campaigned for the NPP/JVP electoral win, he asserts himself a supporter of the NPP/JVP government. This is an admission of class alignment. Dewasiri — the former secretary of the X-Group, the one-time FUTA president, the 2010 Cultural and National Heritage Ministry advisor, the key civil-society architect of the 2015 Sirisena “good governance” election victory — has now completed the arc of petty-bourgeois left politics in Sri Lanka: from student politics, through post-JVP academic radicalism, through “civil society” coalition-building for bourgeois electoral formations, to open and declared support for the NPP government that is today implementing IMF austerity and maintaining the security-state apparatus of the Rajapaksa era. This trajectory is not an individual aberration; it is the class trajectory of the petty-bourgeois intelligentsia in the epoch of imperialism.

Second, Dewasiri invokes the argument that in the digital age, banning physical books is an act of political absurdity — that in an era of internet access, detaining a printed consignment at customs only amplifies the work’s reach and drives readers to seek out the censored material. On the surface, one may see it as a critique of the government. In reality, it is something far more insidious: it is the argument of a government supporter advising his preferred government on how to conduct its affairs more effectively. The “digital age” argument does not challenge the ‘right’ of the state to suppress political literature; it argues that this particular act of suppression is tactically counterproductive. It is the counsel of a sympathetic advisor, not the principled opposition of a democrat.

Third, and most revealing, Dewasiri’s video statement conveys that he is worried about the NPP government losing credibility in public perception, and urges it to act quickly to resolve the problem. Here the contradiction at the heart of his entire political trajectory is exposed with unusual clarity — and it is a contradiction that deserves to be taken seriously rather than dismissed.

It would be a political error to characterise Dewasiri as someone indifferent to Tamil democratic rights. The record is otherwise. He has written at length on the ideological mechanisms by which Sinhala-Buddhist nationalist hegemony suppresses Tamil historical claims, on the illegitimacy of post-war “reconciliation” frameworks that deny devolution and Tamil political agency, and on the dangers of allowing dominant historical narratives to erase the lived experience of the Tamil people. These are not trivial positions — they represent a formal intellectual recognition of the very injustice that the detention of Theepachelvan’s books embodies. However, this critique is made entirely within the service of “post-war reconciliation” — a framework that accepts the Sri Lankan unitary capitalist state as the boundary within which Tamil political claims must be accommodated. Dewasiri argues for a more pluralist, less chauvinist bourgeois order — not for the right of the Tamil nation to self-determination, and certainly not for a class analysis of the national question that would expose the bourgeois state itself as the structural source of national oppression. His formal intellectual defence of Tamil historical memory therefore operates within the very political framework that generates the suppression he critiques.

This contradiction is precisely what makes his intervention in the Theepachelvan case so revealing — and so politically instructive. A man who has written extensively on how Sinhala-Buddhist historical consciousness suppresses Tamil historical memory, who has argued that post-war reconciliation is impossible without confronting that suppression, and who has documented in analytical detail the JVP’s own degeneration into Sinhala-Buddhist nationalist politics, now urges swift action by the NPP/JVP government that is suppressing Tamil historical testimony — not in order to vindicate the principle he has spent years articulating, but in order to protect the government’s political standing with the electorate. The defence of Theepachelvan Piratheepan’s books — of the Tamil people’s right to possess, circulate and build upon their own historical testimony of the war — is subordinated entirely to the political management needs of a bourgeois government Dewasiri has openly declared he supports. What his academic framework identifies as an ideological injustice demanding structural confrontation becomes, in the moment of concrete political decision, a governmental embarrassment requiring swift damage control. The principle survives in the academic publications; it dissolves entirely when the government he supports is the one doing the suppressing.

This is not hypocrisy in the ordinary personal sense. It is the structural logic of petty-bourgeois left politics in the epoch of imperialism. What must be stated with precision is the distinction between historical acknowledgement and political principle: Dewasiri’s academic credentials as a critic of Sinhala-Buddhist nationalism make his political function as a government defender more effective rather than less — allowing him to perform the role of principled critic while the substance of his intervention is the protection of a capitalist government that continues the security-state suppression of the very historical memory he has written about. The writings establish his credentials; his political conduct reveals his class allegiance.

The SLLA does not question the sincerity of Dewasiri’s academic work on Tamil historical oppression. We question its political value in the absence of the class independence that alone could give it practical force. Academic recognition of Tamil historical suffering, combined with political support for the bourgeois government that perpetuates it, does not advance the democratic rights of the Tamil people by a single degree. It provides intellectual legitimacy to the political management of their oppression.

This is not the first time Dewasiri has played this role. His trajectory — from X-Group intellectual and cultural radicalism, through ministerial advisor in 2010, to key civil-society architect of the 2015 Sirisena “good governance” coalition, to declared NPP supporter in 2026 — is the biography of the Sri Lankan pseudo-left intelligentsia’s absorption into the structures of bourgeois political management. At every stage, the rhetorical register changes — radical academic, trade union activist, “civil society” democrat, progressive government supporter — while the underlying political function remains constant: to channel mass discontent into safe institutional waters, to dress bourgeois politics in the language of popular aspiration, and to prevent the emergence of an independent, class-conscious political movement of the working class.

The SLLA’s critique of Dewasiri is not personal. It is the application of historical materialism to the concrete political role of a social layer. The pseudo-left intelligentsia does not invent the positions it holds; those positions are determined by its class position, its institutional dependencies, and its material and ideological integration into the structures of bourgeois society. Understanding this is essential to building the independent working-class political alternative that the Theepachelvan case — like every case of state repression before it — demands.

II. Jayathilaka Kammellaweera: The Literary Establishment as Cultural Gendarme

The response of figures like Dewasiri represents one mode of capitulation to the bourgeois state among those aligned with the NPP/JVP. The intervention of renowned Sinhala author and literary critic Jayathilaka Kammellaweera represents something qualitatively different and more openly reactionary: not the management of political embarrassment dressed in progressive credentials, but the direct rationalisation of censorship in the language of Sinhala cultural nationalism itself — a position that does not merely fail to defend Tamil democratic rights but actively argues for their suppression.

Jayathilaka Kammellaweera
Jayathilaka Kammellaweera

Kammellaweera’s position is unambiguous. He argued that books containing ideas damaging to “national reconciliation” could legitimately be detained on the grounds that they harm “social cohesion.” He knows — from what he “heard” about the books — precisely what they contain: the historical memory of the Tamil oppressed nation, the testimonies of the war, the mass atrocities, the dispossession of a people subjected to decades of Sinhala-chauvinist state violence. It is on this basis that he endorses their suppression. His acknowledgement that he has not read the exact text is therefore entirely marginal to his political position — reading the books would not alter his stance by a single degree, because his position is not formed from the specific arrangement of words on specific pages but from what those pages represent: Tamil historical testimony that the Sinhala cultural establishment, aligned with the NPP government, requires to be silenced.

The terms Kammellaweera deploys — “national reconciliation,” “social cohesion” — require class analysis, not liberal restatement. In the political vocabulary of the Colombo establishment since the military defeat of the LTTE in 2009, “national reconciliation” has functioned consistently as a euphemism for Tamil acquiescence to the terms of the Sinhala-Buddhist state’s military victory. “Social cohesion” refers not to the freely expressed unity of equal peoples but to the managed coexistence of unequal communities within the framework of the unitary Sinhala-Buddhist state — a framework in which Tamil historical memory is treated as a threat to stability precisely because it is true. Kammellaweera’s argument is therefore not a liberal position on the limits of free expression made in good faith. It is a Sinhala chauvinist argument made in the language of social harmony: it subordinates the right of the Tamil people to preserve and circulate their own historical memory of national oppression to the political requirements of a Sinhala-dominated state’s management of post-war ethnic relations.

The SLLA states this directly and without qualification: Kammellaweera’s position is objectively racist in its political content and consequences. It assumes the right of the Sinhala cultural establishment — aligned with a Sinhala-chauvinist government of the South — to determine what Tamil writers may say about the Tamil people’s experience of the war, and legitimises the suppression of Tamil historical testimony as a public service. When the NPP state detains Tamil books through the Defence Ministry and aligned literary intellectuals rationalise that act in the language of social cohesion, we witness the complete operation of bourgeois ideological control: the state provides the coercive instrument and the cultural intelligentsia provides the legitimising discourse. These two functions are inseparable. Kammellaweera’s statement is a cultural expression of the JVP/NPP’s deep roots in Sinhala chauvinism — the WSWS has warned that true to its vile record and the reactionary traditions of the Sri Lankan bourgeoisie, the JVP/NPP government will whip up anti-Tamil Sinhala-Buddhist chauvinism in an attempt to divide and weaken the working class — and it confirms that this tendency finds its reflection not only in the state apparatus but in the literary establishment that serves it.

The SLLA condemns Kammellaweera’s statement in the strongest possible terms. The defence of Theepachelvan Piratheepan’s right to write, publish and circulate his testimony of the war is not merely a Tamil democratic demand. It is a demand of the entire working class — Sinhala, Tamil and Muslim — for the right to know its own history, free from the censorship of any state and any literary establishment that has traded its critical independence for proximity to bourgeois political power.

Equally revealing is the conduct of the Arts Council of Sri Lanka, whose chairperson, Keerthi Welisarage declared — with breathtaking cynicism — that “there are no restrictions on freedom of expression in Sri Lanka” even as his institution’s recommendations formed part of the bureaucratic chain that kept Theepachelvan’s books in Customs detention. Cultural institutions subordinated to the state and its security apparatus do not defend artists; they police them — and the liberal intelligentsia that staffs and defends such institutions performs the same function in the domain of “civil society.”

The Continuity of State Repression and the Lessons of the SEP’s Record

The detention of Theepachelvan’s books must be situated within the pattern of sustained state repression against artists, writers and political dissenters in Sri Lanka that has intensified under every successive government. The Socialist Equality Party (SEP) and its affiliated Action Committee for the Defence of Freedom of Art and Expression (ACDAE) (now defunct) have fought consistently against this repression — defending writer Shakthika Sathkumara when he was imprisoned on trumped-up blasphemy charges; campaigning for the release of Tamil poet Ahnaf Jazeem, held for months by the Terrorism Investigations Division under the Prevention of Terrorism Act for the content of a poetry collection; and standing with film director and playwright Malaka Devapriya when he was subjected to intimidatory investigation by the Criminal Investigation Department. These were not isolated or tokenistic acts of solidarity. They expressed a principled, politically grounded understanding that the defence of democratic rights — including freedom of expression and artistic freedom — is inseparable from the struggle of the working class against the capitalist state.

The SLLA, as the Revolutionary Left Faction of the SEP, grounds its response to the current attack on Theepachelvan in the same political foundation. The defence of his books is not a matter of abstract liberal principle. It is a class question. The suppression of Tamil literary testimony about the war is an attack on the democratic rights of the Tamil masses and on the ability of the entire working class — Sinhala, Tamil and Muslim alike — to form independent political consciousness, to know its own history, and to build the movement necessary to defend its interests against austerity, communalism and authoritarianism.

What Must Be Done

The SLLA and thesocialist.lk demand:

1. Immediate and unconditional release of both detained books —  Elluttal Nan Yuttam Ceykiren and Ippothum Inge Irandu Thesangalil — by Theepachelvan Piratheepan, with no conditions, no ongoing surveillance and no further harassment of the author. We also demand immediate release of all books of other authors including those of writer and actor Antonythasan Jesuthasan.

2. Abolition of the practice whereby the Ministry of Defence — an institution of military-intelligence power — exercises authority over the import and circulation of literary works. The subordination of cultural institutions and customs procedures to the security apparatus must be ended. The repeal of all colonial-era and post-independence legal provisions — including parts of the Schedule B of the Customs Ordinance and its invocation of Section 120 of the Penal Code — used to suppress political literature and artistic expression is an urgent democratic necessity.

3. Full public accountability: the Defence Ministry must be compelled to explain publicly, on the record, on what specific grounds it determined that these literary works constituted a threat to national security. Secret, unaccountable determinations by the military-intelligence apparatus over the domain of political and artistic expression are fundamentally incompatible with democratic rights.

4. Mobilisation of workers, artists, students and youth: the SLLA calls for the broadest possible mobilisation in defence of Theepachelvan and of freedom of expression. Writers, publishers, academics, teachers, trade unionists and students must come together in independent democratic committees — in workplaces, universities and communities — to coordinate this defence outside and against the institutions of bourgeois civil society, which have proved incapable of providing principled opposition to state censorship.

5. Link the defence of democratic rights to socialist politics: the struggle against censorship, against the suppression of Tamil historical memory, and against the NPP government’s continuation of the security state cannot be separated from the struggle against IMF austerity, against the exploitation of the working class, and against the capitalist system that generates communalism and repression as instruments of class rule. The SLLA calls on workers and youth to break with the NPP, the JVP and all parties of the bourgeoisie, and to build an independent socialist political movement grounded in the program and perspectives of the International Committee of the Fourth International.

The SLLA and theSocialist.lk stand in unconditional solidarity with Theepachelvan Piratheepan. His work — bearing witness to the anguish, the loss, the resistance and the aspirations of the Tamil people — belongs to the historical memory not only of the Tamil nation but of the international working class. No security ministry, no colonial-era customs ordinance, and no NPP government that has betrayed the masses who trusted it can legitimately suppress that testimony.

The defence of art and free expression is the defence of the working class. The struggle for democratic rights is the struggle for socialism.

The NPP/JVP Government’s Assault on Tamil Historical Memory: State Censorship, Class Repression and Intellectual Complicity Read More Âģ

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āļ¸āˇ™āļē āļ´āˇŠâ€āļģāļšāˇāˇ āļšāļģāļą āļŊāļ¯āˇŠāļ¯āˇš āļ‘āļŊāˇ’āˇƒāļļ⎙āļ­āˇŠ āˇƒāˇ’āļ¸āļģ⎊āļ¸āļąāˇŠ-āļ¸āˇœāļŠāˇŠāļŊāļģ⎊āļœāˇš āļ…⎀āļ¸āļ‚āļœāļŊāˇŠâ€āļē āļ‹āļ­āˇŠāˇƒāˇ€āļē⎚āļ¯āˇ“ āļĸāļģ⎊āļ¸āļąāˇ’āļē⎚ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ ⎃āļ¸āˇāļąāļ­āˇ āļ´āļšāˇŠāˇ‚āļē⎚ (Sozialistische Gleichheitspartei – SGP) āļœāļģ⎔ ⎃āļˇāˇāļ´āļ­āˇ’ āļ‹āļŊ⎊āļģ⎒āļ āˇŠ āļģ⎒āļ´āļģ⎊āļ§āˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇ’. “āļ‘āļŊ⎒” āļŊāˇ™āˇƒ āļšāˇ€āˇ”āļģ⎔āļ­āˇŠ āļ¯āļąāˇŠāļąāˇ āļ‡āļē āˇ€āˇƒāļģ 50 āļšāˇŠ SGP ⎄⎒ āˇƒāˇāļ¸āˇāļĸ⎒āļšāˇāˇ€āļšāˇŠ āˇ€āˇ–āˇ€āˇāļē. āļ›āˇšāļ¯āļĸāļąāļš āļ…āļąāļ­āˇ”āļģāļš āļ´āˇŠâ€āļģāļ­āˇ’āļĩāļŊāļēāļšāˇŠ āļŊāˇ™āˇƒ āļ‡āļē āļąāˇœāˇ€āˇāļ¸āˇŠāļļāļģ⎊ 28 ⎀āļą āļ¯āˇ’āļą āˇ€āļē⎃ āļ…⎀⎔āļģ⎔āļ¯āˇ” 69 āļ¯āˇ“ āļ¸āˇ’āļē āļœāˇ’āļēāˇāļē.

Rippert
āļ‘āļŊāˇ’āˇƒāļļ⎙āļ­āˇŠ āˇƒāˇ’āļ¸āļģ⎊āļ¸āļąāˇŠ-āļ¸āˇœāļŠāˇŠāļŊāļģ⎊āļœāˇš āļ…⎀āļ¸āļ‚āļœāļŊāˇŠâ€āļē āļ‹āļ­āˇŠāˇƒāˇ€āļē⎚āļ¯āˇ“ āļ‹āļŊ⎊āļģ⎒āļ āˇŠ āļģ⎒āļ´āļ§āˇŠ āļšāļ­āˇ āļšāļģāļ¸āˇ’āļąāˇŠ

⎁⎓āļ­āļāļ­āˇ”āˇ€āˇš āļ¸āļŊ⎒āļą āˇ€āˇ– āļ¯āˇ’āļąāļēāļšāˇŠ ⎀⎖ āˇƒāˇ’āļšāˇ”āļģāˇāļ¯āˇ, āļ‘āļŊāˇ’āˇƒāļļ⎙āļ­āˇŠ āˇƒāˇ’āļ¸āļģ⎊āļ¸āļąāˇŠ-āļ¸āˇœāļŠāˇŠāļŊāļģ⎊āļ§ āļ…āˇ€āˇƒāļąāˇŠ āļœāˇžāļģ⎀ āļ¯āˇāļšāˇŠāˇ€āˇ“āļ¸ āˇƒāļŗāˇ„āˇ āˇāˇāļš āˇ€āļąāˇŠāļąāļąāˇŠ 50 āļšāˇŠ āļ´āļ¸āļĢ āļģāˇ”āˇ„āˇŠāļģāˇāļģ⎊āļ§āˇŠ āˇƒāˇ”āˇƒāˇāļą āļˇāˇ–āļ¸āˇ’āļēāļ§ āļģ⎐⎃⎊ ⎀⎖⎄. ⎀āļēāļŊ⎓āļą āˇ€āˇāļ¯āļš āļ‘āļŊāˇ āļģ⎜āļ§āˇŠāˇ‚āˇŠ āļēāˇœāˇ„āˇāļąāˇŠ āˇƒāˇ™āļļ⎃⎊āļ­āˇ’āļēāļąāˇŠ āļļāˇāļšāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļģāļ āˇ’āļ­ “āļ‘āļēāˇāļģ⎊” (Air) āˇ€āˇāļ¯āļąāļē āļšāˇ…āˇāļē. āļ´āˇāļ¸āˇ’āļĢ āˇƒāˇ’āļ§āˇ’ āļ…āļē āļ…āļ­āļģ, āˇ€āˇƒāļģ āļœāļĢāļąāˇāˇ€āļšāˇŠ āļ­āˇ’āˇƒāˇŠāˇƒāˇš āļ‘āļŊ⎓⎀ ⎄āļŗāˇ”āļąāļą SGP āˇƒāˇāļ¸āˇāļĸ⎒āļšāļē⎒āļąāˇŠāļ§ āļ…āļ¸āļ­āļģ⎀, āˇƒāˇ“āļ¸āļąāˇŠāˇƒāˇŠ ⎄⎒ ⎀⎐āļŠ āˇƒāļœāļēāļąāˇŠ, āļ­āļēāˇ’āˇƒāļąāˇŠāļšāˇ˜āļ´āˇŠ ⎄⎒ āˇ€āˇāļąāˇš āļšāļ¸āˇŠāļšāļģ⎔⎀⎙āļšāˇ” āļŊāˇ™āˇƒ āˇƒāˇšāˇ€āļē āļšāˇ… āļ‡āļœāˇš ⎃⎐āļ¸āˇ’āļēāˇ ⎀āļą āļ´āˇ“āļ§āļģ⎊āļœāˇš ⎃āļœāļēāļąāˇŠ āļšāˇ’⎄⎒āļ´ āļ¯āˇ™āļąāˇ™āļšāˇ” āļ¸āˇ™āļąāˇŠāļ¸ āļ…āˇƒāļŊāˇŠāˇ€āˇāˇƒāˇ’āļēāļąāˇŠ āˇƒāˇ„ āļ¸āˇ’āļ­āˇ”āļģāļąāˇŠ āļ¯ āˇ€āˇ–āˇ„. āļ¯āˇ™āļ¸āˇ… āˇƒāˇ„āˇāļ¯āļģāļē⎙āļšāˇ” ⎀āļą āļ­āˇāˇƒāˇŠ, āļ‘āļŊ⎓ āļ­āļ¸āˇ āˇƒāˇ„ āˇāˇŠâ€āļģ⎓ āļŊāļ‚āļšāˇāˇ€āˇš āļ…āļąāˇ™āļšāˇ”āļ­āˇŠ ⎃āļģāļĢāˇāļœāļ­āļē⎒āļąāˇŠ āļ‡āļēāļœāˇš āļąāˇ’āˇ€āˇƒāļ§ āļœāˇ™āļą āļœāˇ’āļē āļ†āļšāˇāļģāļē, āļ§āˇŠâ€āļģ⎜āļ§āˇŠāˇƒāˇŠāļšāˇ’āˇ€āˇāļ¯āļē⎚ āļ¸āˇ–āļŊāļ°āļģ⎊āļ¸ āļ´āˇ’⎅⎒āļļāļŗāˇ€ āļ”⎀⎔āļąāˇŠāļ§ āļ…āļ°āˇŠâ€āļēāˇāļ´āļąāļē āļŊāļļāˇ āļ¯āˇ”āļąāˇŠ āļ†āļšāˇāļģāļē āˇƒāˇ„ āļĸ⎓⎀⎒āļ­āļē⎚ āˇƒāˇ‘āļ¸ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āļšāļ¯āˇ“āļ¸ āļ­āļ¸āˇ āļ¸āˇ’āļ­āˇ”āļģ⎒āļēāļšāˇŠ āļļ⎀ āļ”āļ´āˇŠāļ´āˇ” āļšāˇ… āļ†āļšāˇāļģāļē āˇƒāˇœāˇ„āˇœāļąāˇŠ āļļ⎒āļ¸āˇšāļ¯āˇ“ āˇƒāˇ’āˇ„āˇ’āļ´āļ­āˇŠ āļšāˇ…āˇšāļē. “āļ‡āļē āļ…āļ´āˇš āļ´āˇ€āˇ”āļŊ ⎀⎒āļē,” āļ­āˇāˇƒāˇŠ āļ´āˇāˇ€āˇƒāˇ“āļē.

āļ‹āļŊ⎊āļģ⎒āļ āˇŠ āļģ⎒āļ´āļģ⎊āļ§āˇŠāļœāˇš āļšāļ­āˇāˇ€ āļ‘āļŊāˇ’āˇƒāļļ⎙āļ­āˇŠ āˇƒāˇ’āļ¸āļģ⎊āļ¸āļąāˇŠ-āļ¸āˇœāļŠāˇŠāļŊāļģ⎊āļœāˇš āļĸ⎓⎀⎒āļ­āļēāļ§ āļ‹āļ´āˇ„āˇāļģāļēāļšāˇŠ ⎀⎒āļē. āļ´āˇāļ¸āˇ’āļĢ āˇƒāˇ’āļ§āˇ’ āˇ€āˇāļąāˇš āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ āļ‡āļ­āˇ”⎅⎔ āļļāˇœāˇ„āˇ āļ¯āˇ™āļąāˇ™āļšāˇŠ āļ´āˇƒāˇ”⎀ āļ´āˇāˇ€āˇƒāˇ”āˇ€āˇš āļģ⎒āļ´āļģ⎊āļ§āˇŠ āļ‘āļŊ⎓āļœāˇš āļ āļģ⎒āļ­āļē ⎄āļģ⎒āļēāļ§āļ¸ āļœāˇŠâ€āļģ⎄āļĢāļē āļšāļģāļœāļ­āˇŠ āļļ⎀āļē⎒. āļšāļ­āˇāˇ€ āļ´āˇ„āļ­ āļ´āļģ⎒āļ¯āˇ’ āˇ€āˇš:

āļ†āļ¯āļģāļĢ⎓āļē āļ´āˇ“āļ§āļģ⎊, āļ‘āļŊ⎓āļœāˇš āļ†āļ¯āļģāļĢ⎓āļē āļĨāˇāļ­āˇ“āļąāˇŠ, āļ†āļ¯āļģāļĢ⎓āļē āˇƒāˇ„āˇāļ¯āļģ⎀āļģ⎔āļąāˇ’ āˇƒāˇ„ āļ¸āˇ’āļ­āˇ”āļģāļąāˇ’,

āļ‘āļŊ⎓āļœāˇš ⎄āļ¯āˇ’āˇƒāˇ’ āˇ„āˇ āļ›āˇšāļ¯āļĸāļąāļš āļ¸āļģāļĢāļē⎙āļąāˇŠ āļ…āļ´āˇ’ āļ­āˇ€āļ¸āļ­āˇŠ āļ¯āˇāļŠāˇ’ āļŊāˇ™āˇƒ āļ´āˇ“āļŠāˇāˇ€āļ§ āļ´āļ­āˇŠāˇ€ āˇƒāˇ’āļ§āˇ’āļ¸āˇ”. āļąāˇœāˇ€āˇāļ¸āˇŠāļļāļģ⎊ 28 ⎀āļą āļ¯āˇ’āļą āļ‹āļ¯āˇ‘āˇƒāļą āˇƒāˇ’āļ¯āˇ” ⎀⎖āļē⎚ āļšāˇ”āļ¸āļšāˇŠāļ¯ āļēāļąāˇŠāļą āˇ„āˇ āļ‡āļœāˇš āļ¸āˇ„āļŊ⎊ āļąāˇ’āˇ€āˇāˇƒāļē⎚ āļ¸āˇ™āļ¸ āˇ€āˇ’āļąāˇāˇāļšāˇāļģ⎓ āļœāˇ’āļąāˇŠāļą āļ‡āļ­āˇ’ ⎀⎖āļē⎚ āļšāˇ™āˇƒāˇšāļ¯ āļēāļąāˇŠāļą āļ…āļ´āˇ’ āļ­āˇ€āļ¸āļ­āˇŠ āļąāˇœāļ¯āļąāˇ’āļ¸āˇ”. āļ…āļ´āˇ’ āļ¯āˇāļŠāˇ’ āļŊāˇ™āˇƒ āļšāļ¸āˇŠāļ´āļąāļēāļ§ āļ´āļ­āˇŠāˇ€ āˇƒāˇ’āļ§āˇ’āļ¸āˇ”.

āˇ€āˇƒāļģ āļ­āˇ”āļąāļšāļ§ āļ´āˇ™āļģ āļ‡āļēāļ§ āļ‡āļ­āˇ’ ⎀⎖ āļ†āļāˇāļ­āļē āˇƒāˇ„ āļ‘āļ­āˇāļąāˇŠ āˇƒāˇ’āļ§ āļ‡āļēāļ§ āļœāˇāļąāˇ“āļ¸āļ§ āˇƒāˇ’āļ¯āˇ” ⎀⎖ āļ–⎂āļ° āļ‡āļēāļ§ āļ¯āˇāļŠāˇ’ āļŊāˇ™āˇƒ āļļāļŊāļ´āˇ‘ āļļ⎀ āļ…āļ´āˇ’ āļ¯āˇāļą āˇƒāˇ’āļ§āˇ’āļē⎙āļ¸āˇ”. āļ…āļ¯ āļ¸āˇ™āˇ„⎒ āļģāˇāˇƒāˇŠāˇ€ āˇƒāˇ’āļ§āˇ’ āļļāˇœāˇ„āˇ āļ¯āˇ™āļąāˇ™āļšāˇŠ āļ‡āļœāˇš āļ…āˇƒāļąāˇ“āļ´āļē⎚ āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļ´āˇāļš āļ¯āˇ”āļ§āˇ”āˇ€āˇāļē. āļ‘āļē ⎃⎐āļļ⎀⎒āļąāˇŠāļ¸ āļ›āˇšāļ¯āļĸāļąāļšāļē⎒. āļ…āļ´āˇ’ āļ‘āļŊ⎓āļœāˇš ⎀⎛āļ¯āˇŠâ€āļē āļ´āˇŠâ€āļģāļ­āˇ’āļšāˇāļģ ⎀⎐āļŠāˇ’āļ¯āˇ’āļē⎔āļĢ⎔ āļšāˇ’āļģ⎓āļ¸āˇš āļšāˇŠâ€āļģ⎒āļēāˇāˇ€āļŊ⎒āļēāļš āļē⎙āļ¯āˇ“ āˇƒāˇ’āļ§āˇ’āļēāˇ, āļ‘⎄⎙āļ­āˇŠ āļ¯āˇāļąāˇŠ āļ¸āļģāļĢāļē āļ…āļ´āˇ€ āļ…āļˇāˇ’āļļāˇ€āˇ āļœāˇ’āļēāˇ.

āļ‡āļœāˇš āļ…āˇƒāļąāˇ“āļ´ āļ­āļ­āˇŠāļ­āˇŠāˇ€āļē āļąāˇœāļ­āļšāˇ, āļ‘āļŊ⎓āļ§ āˇƒāˇ‘āļ¸ āļ¯āˇ™āļēāļšāļ§āļ¸ āˇƒāˇ„āļˇāˇāļœāˇ“ ⎀⎓āļ¸āļ§ āļ…āˇ€āˇāˇŠâ€āļē ⎀⎒āļē. āļ…āļ´āˇ™āļąāˇŠ āļļāˇœāˇ„āˇ āļ¯āˇ™āļąāˇ™āļšāˇŠ āļ¯āˇ’āļą āļšāˇ’⎄⎒āļ´āļēāļšāļ§ āļ´āˇ™āļģāļ­āˇŠ āļ‡āļē⎀ āļļāļģ⎊āļŊ⎒āļąāļē⎚ āļ´āˇāˇ€āļ­āˇ’ āļ‹āļ­āˇŠāˇƒāˇ€āļēāļšāļ¯āˇ“ āļ¸āˇ”āļĢāļœāˇāˇƒāˇ“ āļ‡āļē ⎃āļ¸āļŸ āļšāļ­āˇ āļšāļģ āˇƒāˇāļšāļ āˇŠāļĄāˇ āļšāˇ…āˇ.

āļ‘āļŊ⎓ āļ…āˇƒāˇāļ¸āˇāļąāˇŠâ€āļē āļŊāˇ™āˇƒ āļ°āˇ›āļģāˇŠâ€āļē ⎃āļ¸āˇŠāļ´āļąāˇŠāļą āļ´āˇžāļģ⎔⎂āļēāļšāˇŠ āˇ€āˇ–āˇ€āˇāļē. āļ‡āļē āļ‰āļ­āˇ āļąāˇ’āļģ⎀⎔āļŊ⎊ āļļ⎀āļšāˇ’āļąāˇŠ āˇƒāˇ„ ⎃āļ‚āļœāļ­āļˇāˇāˇ€āļēāļšāˇ’āļąāˇŠ āļ‡āļœāˇš āļĸ⎓⎀āļą āļ¸āˇāˇ€āļ­ āļ­āļģāļĢāļē āļšāˇ…āˇāļē.

āļ‘āļŊ⎓ āļĸ⎓⎀⎒āļ­āļē⎚ ⎄⎒āļģ⎔ āļģāˇāˇƒāˇ’āļąāˇŠ āļ¯āˇ’āļ¯āˇ”āļŊāļą āļ´āˇāļ­āˇŠāļ­āˇš āļ‰āļ´āļ¯āˇ”āļąāˇš āļąāˇāˇ„⎐. āļ‡āļē āļŊāˇāļšāļēāļ§ āļ‘āļą āˇ€āˇ’āļ§ āļē⎔āļ¯āˇŠāļ°āļē āˇƒāˇ„ āļąāˇāˇƒāˇ’ āļ…āļ´āļģāˇāļ° āļ…āˇ€āˇƒāļąāˇŠ ⎀⎓ āļœāˇ™āˇ€āˇ“ āļ­āˇ’āļļ⎔āļĢ⎚ āˇ€āˇƒāļģ āļ‘āļšāˇœāˇ…⎄āļšāˇŠ āļ´āļ¸āļĢāļē⎒. āļ‡āļœāˇš ⎅āļ¸āˇ āļšāˇāļŊāļē āˇƒāˇ„ āļ­āļģ⎔āļĢ āļšāˇāļŊāļē, āļĸāļģ⎊āļ¸āˇāļąāˇ” ⎃āļ¸āˇāļĸāļēāļ§ āˇƒāˇ„ āļ´āˇ€āˇ”āļŊāˇŠāˇ€āļŊāļ§āļ¸ āļœāˇāļšāˇ”āļģ⎒āļąāˇŠ ⎀⎒āļąāˇ’⎀⎒āļ¯ āļœāˇ’āļē āļąāˇāˇƒāˇ“āļąāˇŠāļœāˇš āļ…āļ´āļģāˇāļ° āˇƒāˇ„ āļē⎔āļ¯āˇŠāļ°āˇ€āļŊ⎒āļąāˇŠ āļ‰āļ­āˇ’āļģ⎒ ⎀⎖ āļ­āˇ”āˇ€āˇāļŊ āˇƒāˇ„ āļšāˇāˇ…⎐āļŊ⎊ āļ¸āļœāˇ’āļąāˇŠ ⎃āļŊāļšāˇ”āļĢ⎔ ⎀⎔āļąāˇ.

āļ‡āļœāˇš āļ¸āˇ€ āļ¯āˇāļąāˇŠ āļ āˇ™āļšāˇŠ āļĸāļąāļģāļĸāļē āļŊāˇ™āˇƒ ⎄āļŗāˇ”āļąāˇŠāˇ€āļą āļ‹āļ­āˇ”āļģ⎔ āļļāˇœāˇ„āˇ“āļ¸āˇ’āļēāˇāˇ€āˇ™āļąāˇŠ āļ´āˇ’āļ§āˇ”⎀⎄āļŊ⎊ āļšāļģ āļ­āˇ’āļļ⎔āļĢ⎒; āļ‘āļŊ⎓ āļ‰āļ´āļ¯āˇ™āļą āˇ€āˇ’āļ§ āļ‡āļēāļ§ āˇ€āļē⎃ āļ…⎀⎔āļģ⎔āļ¯āˇ” 17 āļšāˇŠ āļ´āļ¸āļĢ⎒. āļ‡āļē āļ­āļąāˇ’ āļ¸āˇāļ´āˇ’āļē⎙āļšāˇ” āļ¯, āļœāˇ”āļģ⎔⎀āļģ⎒āļēāļšāļ¯ āˇ€āˇ– āļ…āļ­āļģ āļģ⎐āļšāˇ’āļēāˇāˇ€āļš āļē⎙āļ¯āˇ“āļ¸āļ§ āˇƒāˇ’āļ¯āˇ” ⎀⎒āļē. āļ‘āļŊ⎓ ⎄āļ¯āˇ ⎀āļŠāˇ āļœāˇāļąāˇ“āļ¸ āˇƒāļŗāˇ„āˇ āļ´āˇ€āˇ”āļŊāļšāļ§ āļˇāˇāļģ āļ¯āˇ”āļąāˇŠ āļ…āļ­āļģ āļ‡āļœāˇš  āļ¸āˇ”āļŊ⎊ ⎅āļ¸āˇ āļšāˇāļŊāļē āļ‘⎄⎒ āļœāļ­ āļšāˇ…āˇāļē. ⎀āļē⎃ āļ…⎀⎔āļģ⎔āļ¯āˇ” āļ¯āˇœāˇ…āˇ„āˇšāļ¯āˇ“, āļ‘āļŊ⎓āļ§ āˇƒāļ‚āļšāˇ“āļģ⎊āļĢ āļšāˇœāļŗāˇ” āļ‡āļ§ āļ´āˇ™āˇ…āˇš ⎃⎐āļ­āˇŠāļšāļ¸āļšāļ§ āļˇāˇāļĸāļąāļē ⎀⎓ āļ´āˇŠāļŊāˇāˇƒāˇŠāļ§āļģ⎊ āļ‡āļŗāļš āļ¸āˇāˇƒ āļœāļĢāļąāˇāˇ€āļšāˇŠ ⎀⎐āļ­āˇ’āļģ āˇƒāˇ’āļ§āˇ“āļ¸āļ§ āˇƒāˇ’āļ¯āˇ” ⎀⎒āļē. āļ‡āļœāˇš āļĸ⎓⎀⎒āļ­ āļšāˇāļŊāļē āļ´āˇ”āļģāˇāļ¸ āļ´āˇ’āļ§ āļšāˇœāļąāˇŠāļ¯āˇš āļœāˇāļ§āˇ…⎔ āļ‡āļē ⎃āļ¸āļŸ āļ´āˇāˇ€āļ­āˇ”āļąāˇ’.

āļąāļ¸āˇ”āļ­āˇŠ āļ‘āļŊ⎓ āļ¸āˇš āˇƒāˇ’āļēāļŊ⎔ āļ¯āˇ”āˇ‚āˇŠāļšāļģāļ­āˇ ⎀āļŊāļ§ āļ…āļˇāˇ’āļēāˇāļœ āļšāˇ…āˇāļē. āļ‡āļē āļĸ⎓⎀⎒āļ­āļē āļ‰āļ­āˇ āļ°āļąāˇāļ­āˇŠāļ¸āļšāˇ€ āļ­āˇ„⎀⎔āļģ⎔ āļšāˇ… āļ´āˇ”āļ¯āˇŠāļœāļŊāļē⎙āļšāˇ’.

Elisabeth
āļ‘āļŊāˇ’āˇƒāļļ⎙āļ­āˇŠ āˇƒāˇ’āļ¸āļģ⎊āļ¸āļąāˇŠ-āļ¸āˇœāļŠāˇŠāļŊāļģ⎊ 2023 āļ¯āˇ“

āļ¸āļ¸ āļ¸āˇ”āļŊ⎒āļąāˇŠāļ¸ āļ‘āļŊ⎓⎀ āļ¸āˇ”āļĢāļœāˇāˇ„⎒āļŊāˇ āļ…⎀⎔āļģ⎔āļ¯āˇ” 50āļšāļ§āļ­āˇŠ ⎀⎐āļŠāˇ’āļē⎒. āļ’ 1975 āļ¸āˇāļē⎒ āļ¸āˇāˇƒāˇš āļ¸āˇ”āļŊ. āļ‘⎀⎒āļ§ āļ‡āļēāļ§ āˇ€āļē⎃ āļ…⎀⎔āļģ⎔āļ¯āˇ” 19āļšāˇŠ ⎀⎖ āļ‡āļ­āļģ āļ¯āˇŠāˇ€āˇ’āļ­āˇ“āļš āļ…āļ°āˇŠâ€āļēāˇāļ´āļą āļ‹āļ´āˇāļ°āˇ’āļē ⎃āļŗāˇ„āˇ āˇƒāˇ–āļ¯āˇāļąāļ¸āˇŠ ⎀⎙āļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļēāˇ. āļ¸āˇš āļ´āˇ…āļ¸āˇ” ⎄āļ¸āˇ”⎀⎙⎄⎒āļ¯āˇ“ āļ¸ āļ…āļ´āˇ’ āļ­āˇ“āˇ€āˇŠâ€āļģ āˇƒāˇāļšāļ āˇŠāļĄāˇ āļ´āˇāˇ€āˇāļ­āˇŠāˇ€āˇ– āļļ⎀āļ­āˇŠ, ⎃āļ¸āˇ“āļ´ āˇƒāˇ„āļēāˇāļœāˇ“āļ­āˇāˇ€āļēāļšāˇŠ āļ†āļģāļ¸āˇŠāļˇ āˇ€āˇ– āļļ⎀āļ­āˇŠ āļ¸āļ§ āļ¸āļ­āļšāļē⎒.

āļąāˇāˇƒāˇ’ āļ­āˇŠâ€āļģ⎃⎊āļ­āļē⎚ āļ…āļ´āļģāˇāļ° āļ­āˇ€āļ¸āļ­āˇŠ āļ‰āļ­āˇ ⎃āļĸ⎓⎀⎓⎀ āļ´āˇāˇ€āļ­āˇ’ āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€āļšāļ§ āļ‘āļŊ⎓ āļ…āļēāļ­āˇŠ āˇ€āˇ–āˇ€āˇāļē. āļ‰āļ­āˇ āļ¯āˇ’āļē⎔āļĢ⎔ ⎃āļ‚āˇƒāˇŠāļšāˇ˜āļ­āˇ’āļēāļšāˇŠ āˇƒāˇ„ ⎁āļšāˇŠāļ­āˇ’āļ¸āļ­āˇŠ āļšāļ¸āˇŠāļšāļģ⎔ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļšāˇŠ āˇƒāˇ„āˇ’āļ­ āļąāˇ–āļ­āļą āļģāļ§āļš āļ¸āˇŠāļŊ⎚āļ āˇŠāļĄāļ­āˇŠāˇ€āļēāļ§ āļąāˇāˇ€āļ­ āļšāļŠāˇāˇ€āˇāļ§āˇ“āļ¸āļšāˇŠ āˇƒāˇ’āļ¯āˇ”⎀⎖āļē⎚ āļšāˇ™āˇƒāˇšāļ¯ āļēāļą āļ´āˇŠâ€āļģ⎁⎊āļąāļē āļ‡āļē āˇƒāˇ„ āļ’ āļšāˇāļŊāļē⎚ āļ…āļ´ āˇƒāˇ’āļēāļŊ⎊āļŊāļąāˇŠāļ¸ āļ…āļŊāļŊāˇ āļœāļ­āˇŠāļ­āˇ.

āļ­āļģ⎔āļĢ āˇ€āˇ’āļē⎚āļ¯āˇ“ āļ´āˇ€āˇ, āļ‘āļŊ⎓ āļąāˇāˇƒāˇ’āˇ€āˇāļ¯āļē⎚ ⎀⎒āļģ⎔āļ¯āˇŠāļ°āˇ€āˇāļ¯āˇ“āļąāˇŠāļœāˇš āļŊ⎚āļ›āļą āļšāˇ’āļēāˇ€āˇ āļ­āˇ’āļļ⎖ āļ…āļ­āļģ, ⎀āļ­āˇ’āļšāˇāļąāˇ”⎀ āˇƒāˇ„ āļąāˇāˇƒāˇ“āļąāˇŠ āļ…āļ­āļģ āˇƒāˇ„āļēāˇāļœāˇ“āļ­āˇāˇ€āļē āļ´āˇ’⎅⎒āļļāļŗāˇ€ āˇƒāˇāļšāļ āˇŠāļĄāˇ āļšāˇ… ⎀⎖ āļģ⎜āļŊāˇŠāˇ†āˇŠ āˇ„āˇœāļ āˇ”āļ­āˇŠāļœāˇš āļ¯ āļŠāˇ™āļ´āˇ’āļē⎔āļ§āˇ’ āļąāˇāļ§āˇŠâ€āļēāļē (The Deputy) āļ¯ āļ’ āļ…āļ­āļģ ⎀⎒āļē. āļ‡āļēāļœāˇš ⎃āļ‚āļœāļ­ āļˇāˇāˇ€āļēāļ§ āļ…āļąāˇ”āļšāˇ–āļŊ⎀ āļ‡āļē, āļ‰āļąāˇŠ āļ‰āļšāˇŠāļļ⎒āļ­āˇ’⎀ āļ´āļŊ⎊āļŊ⎒āļē⎙āļąāˇŠ āļ‰āˇ€āļ­āˇŠ āˇ€āˇ–āˇ€āˇāļē.

āļ‘āļšāļŊ āļļāˇœāˇ„āˇ āļ¯āˇ™āļąāˇ™āļšāˇŠ āˇ†āˇāˇƒāˇ’āˇƒāˇŠāļ§āˇŠāˇ€āˇāļ¯āļēāļ§ āˇ„āˇšāļ­āˇ” āļšāˇāļģāļąāˇ, āļ¸āˇ„āļĸāļą āļ¸āļąāˇāˇ€āˇ’āļ¯āˇŠâ€āļēāˇāˇ€ āˇƒāˇ„ āļĸāļģ⎊āļ¸āˇāļąāˇ” āļĸāļąāļ­āˇāˇ€ āļ´āļģ⎒⎄āļģāļĢāļē ⎀⎓āļ¸āļ§ āļœāˇœāļ¯āˇ”āļģ⎔ ⎀⎓āļ¸āˇš āļ´āˇŠâ€āļģ⎀āļĢāļ­āˇāˇ€ āļ…āļąāˇ”⎀ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļšāˇ…⎄. āļ‘āļŊ⎓ āļ‘⎀⎐āļąāˇ’ ⎃āļģāļŊ āˇ„āˇ āļąāˇœāļœāˇāļšāˇ”āļģ⎔ āļ´āˇ’⎅⎒āļ­āˇ”āļģ⎔ ⎀āļŊ⎒āļąāˇŠ āˇƒāˇ‘āˇ„āˇ“āļ¸āļšāļ§ āļ´āļ­āˇŠ āļąāˇœāˇ€āˇ“āļē. āļ‡āļēāļ§ āļ…āˇ€āˇāˇŠâ€āļē ⎀⎖āļē⎚ āļ¯āˇšāˇ€āļŊāˇŠāˇ€āļŊ āļ¸āˇ–āļŊāļēāļ§ āļēāˇāļ¸āļ§āļē⎒.

āˇ†āˇāˇƒāˇ’āˇƒāˇŠāļ§āˇŠāˇ€āˇāļ¯āļē āˇƒāˇ„ āļ°āļąāˇ€āˇāļ¯āļē āļ…āļ­āļģ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āļ­āˇāˇ€āļē āļœāˇāļą āļ‘āļŊ⎓ āˇƒāˇāļšāļ āˇŠāļĄāˇ āļšāˇ…āˇāļē. ⎄⎒āļ§āˇŠāļŊāļģ⎊āļ§ āļ¸āˇ„āˇ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­ āļ¸āˇ”āļ¯āļŊ⎊ āļ¸āļœāˇ’āļąāˇŠ ⎃āļ´āļēāˇ āļ‡āļ­āˇ’ āļļ⎀āļ­āˇŠ āļ”⎄⎔ āļļāļŊāļēāļ§ āļœāˇ™āļą āļ‘āļą āļŊāļ¯āˇŠāļ¯āˇš āļ”⎀⎔āļąāˇŠ āļļ⎀āļ­āˇŠ āļ‡āļē āļ¯āˇāļą āˇƒāˇ’āļ§āˇ’āļēāˇāļē.

āļ´āˇƒāˇ”⎀, āˇ†āˇāˇƒāˇ’āˇƒāˇŠāļ§āˇŠ āļ´āļšāˇŠāˇ‚ āļąāˇāˇ€āļ­āļ­āˇŠ āļœāˇœāļŠāļąāļŸāļ¸āˇ’āļąāˇŠ āļļāļŊāļēāļ§ āļœāˇ™āļą āļ’āļ¸āļ§ āˇ„āˇšāļ­āˇ”⎀ āļ­āˇšāļģ⎔āļ¸āˇŠ āļœāˇāļąāˇ“āļ¸āļ§ āļąāļ¸āˇŠ, āļ°āļąāˇ€āˇāļ¯āļē āˇƒāˇ„ āˇ†āˇāˇƒāˇ’āˇƒāˇŠāļ§āˇŠāˇ€āˇāļ¯āļē āļ…āļ­āļģ āļ¸āˇ™āļ¸ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ°āļ­āˇāˇ€āļē āļ¸āˇ™āļ­āļģāļ¸āˇŠ ⎀⎐āļ¯āļœāļ­āˇŠ ⎀āļąāˇŠāļąāˇš āļ¸āļąāˇŠāļ¯āˇāļē⎒ āļ…⎀āļ°āˇāļģāļĢāļē āļšāļģāļ¸āˇ’āļąāˇŠ āļ‡āļē āļŊ⎒āļ´āˇ’ āļšāˇ’⎄⎒āļ´āļēāļšāˇŠ āļŊ⎒⎀⎓āļē.

āļąāļ¸āˇ”āļ­āˇŠ āļ´āˇƒāˇ”⎀ āļ­āˇ€āļ­āˇŠ āļ´āˇŠâ€āļģ⎁⎊āļąāļēāļšāˇŠ āļ¸āļ­āˇ” ⎀⎒āļē: 1933 āļ¯āˇ“ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļąāˇāˇƒāˇ“āļąāˇŠāļœāˇš āļĸāļēāļœāˇŠâ€āļģ⎄āļĢāļē āļąāļ­āļģ āļšāļģ āļ¸āˇŠāļŊ⎚āļ āˇŠāļĄāļ­āˇŠāˇ€āļēāļ§ āļ´āļŊ⎊āļŊāļ¸āˇŠ āļļāˇāˇƒāˇ“āļ¸ āˇ€āˇ…āļšāˇŠāˇ€āˇ āļąāˇœāļœāļ­āˇŠāļ­āˇš āļ¸āļąāˇŠāļ¯?

āļ¸āˇ™āļēāļ§ āļ´āˇ’⎅⎒āļ­āˇ”āļģ⎔ āļ¯āˇ“āļ¸ āˇƒāļŗāˇ„āˇ, ⎃⎊āļ§āˇāļŊ⎒āļąāˇŠāˇ€āˇāļ¯āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āļē⎚ āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļąāļē āļ†āļģāļšāˇŠāˇ‚āˇ āļšāˇ… āļŊ⎒āļē⎜āļąāˇŠ āļ§āˇŠâ€āļģ⎜āļ§āˇŠāˇƒāˇŠāļšāˇ’āļœāˇš āļŊ⎚āļ›āļą āļ´āˇ’⎅⎒āļļāļŗ āļ¯āˇāļŠāˇ’ āļ…āļ°āˇŠâ€āļēāļēāļąāļēāļšāļ§ āļ‘āļŊ⎓ āˇƒāˇ„āļˇāˇāļœāˇ“ ⎀⎒āļē. āļ§āˇŠâ€āļģ⎜āļ§āˇŠāˇƒāˇŠāļšāˇ’ āļ´āˇ™āļąāˇŠāˇ€āˇ āļ¯āˇ“ āļ­āˇ’āļļ⎔āļĢ⎚ ⎄⎒āļ§āˇŠāļŊāļģ⎊āļ§ āļļāļŊāļēāļ§ āļ´āˇāļ¸āˇ’āļĢ⎒āļē ⎄⎐āļšāˇ’ ⎀⎖āļē⎚ ⎃⎊āļ§āˇāļŊ⎒āļąāˇŠ āļ”⎄⎔āļœāˇš “⎃āļ¸āˇāļĸ āˇ†āˇāˇƒāˇ’āˇƒāˇŠāļ§āˇŠāˇ€āˇāļ¯āļē⎚” āļ´āˇŠâ€āļģāļ­āˇ’āļ´āļ­āˇŠāļ­āˇ’āļē āļ¸āļŸāˇ’āļąāˇŠ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļļ⎙āļ¯āˇ“āļ¸ āˇ„āˇ āļ¯āˇ”āļģāˇŠāˇ€āļŊ āļšāˇ’āļģ⎓āļ¸ āļąāˇ’āˇƒāˇ āļ´āļ¸āļĢāļšāˇŠ āļļ⎀āļē⎒.

āļąāˇ’āļœāļ¸āļąāļē āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒āļē: āļē⎔āļ¯āˇŠāļ°āļē āˇƒāˇ„ āˇ†āˇāˇƒāˇ’āˇƒāˇŠāļ§āˇŠāˇ€āˇāļ¯āļē ⎀⎐⎅⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’ āļ‘āļšāļ¸ āˇƒāļ¸āˇāļĸ āļļāļŊāˇ€āˇšāļœāļē āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ´āļ¸āļĢ⎒. āļąāļ¸āˇ”āļ­āˇŠ āļ¸āˇš ⎃āļŗāˇ„āˇ ⎁āļšāˇŠāļ­āˇ’āļ¸āļ­āˇŠ ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļēāļšāˇŠ āļ…āˇ€āˇāˇŠâ€āļē āˇ€āˇš.

āļ‘āļŊ⎓ āļ¸āˇ™āļ¸ āļąāˇ’āļœāļ¸āļąāļēāļ§ āļ‘⎅āļšāˇ”āļĢ⎔ āļ…āļ­āļģ, āļ´āˇ…āļ¸āˇ”⎀, ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āˇƒāˇ„, āļ¯āˇ™āˇ€āļąāˇ”⎀, āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļąāˇ€ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļšāˇŠāˇ‚āļēāļšāˇŠ āļœāˇœāļŠāļąāˇāļœāˇ“āļ¸ āˇƒāļŗāˇ„āˇ āļ‹āļ¯āˇŠāļēāˇāļœāˇ’āļ¸āļ­āˇŠ ⎃āļ§āļąāˇŠāļšāļģ⎔⎀⎙āļšāˇ” āļļ⎀āļ§ āļ´āļ­āˇŠāˇ€āˇ’āļē

āļ†āļ¯āļģāļĢ⎓āļē āļ¸āˇ’āļ­āˇŠâ€āļģ⎀āļģ⎔āļąāˇ’, āļ¸āˇ‘āļ­ āļ¯āˇ’āļąāˇ€āļŊ āļ¸āļ¸ āļ¸āˇ™āˇ„⎒ āļ‘āļŊ⎓āļœāˇš āˇƒāˇœāˇ„āˇœāļą āļ…āˇƒāļŊāļ¯āˇ“ āļšāˇ”āļ¸āļšāˇŠ āļšāˇ’⎀ āļē⎔āļ­āˇ”āļ¯āˇāļē⎒ āˇƒāˇ’āļ­āļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ’āļēāļ¯āˇ“, āļ‘āļŊ⎓ āˇ€āˇ’āˇƒāˇ’āļąāˇŠāļ¸ āļšāˇ”āļ¸āļšāˇŠ āļšāˇ’āļēāļē⎒āļ¯āˇāļē⎒ āļ¸āļ¸ āļ¸āļœāˇ™āļąāˇŠāļ¸ āˇ€āˇ’āļ¸āˇƒāˇ”⎀⎙āļ¸āˇ’. ⎄āļ¯āˇ’āˇƒāˇ’āļē⎚āļ¸ āļ¸āļ§ āļ‡āļœāˇš āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļšāļ§āˇ„āļŦ āļ‰āļ­āˇ āļ´āˇŠâ€āļģāļ­āˇŠâ€āļēāļšāˇŠāˇ‚⎀ āļ‡āˇƒāˇ”āļĢāˇ’â€“āˇ€āˇŠāļ‘āļŊ⎓āļ§ āˇ„āļē⎒āļē⎙āļąāˇŠ, āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒⎀, āˇƒāˇŠāˇ€āˇāļˇāˇāˇ€āˇ’āļš āļ†āļšāˇāļģāļē⎙āļąāˇŠāļ¸ āˇ„āˇ āļ‰āļ­āˇ āļ’āļ­āˇŠāļ­āˇ” āļœāˇāļąāˇŠāˇ€āˇ™āļą āļŊāˇ™āˇƒāļ§āļ¸ āļšāļ­āˇ āļšāˇ… ⎄⎐āļšāˇ’ ⎀⎒āļē–āļ‡āļē āļ¸āˇ™āˇƒāˇš āļ´āˇāˇ€āˇƒāˇ”āˇ€āˇāļē: “āļ‡āļē⎒ āļ”āļļ ⎃āļģāļŊ⎀āļ¸ āˇƒāļ­āˇŠâ€āļēāļē āļąāˇœāļšāˇ’āļēāļąāˇŠāļąāˇš? āļ¸āļ¸ āļ‰āļ­āˇ āļ¯āˇšāˇāļ´āˇāļŊāļąāˇ’āļš āļĸ⎓⎀⎒āļ­āļēāļšāˇŠ āļœāļ­ āļšāˇ…⎙āļ¸āˇ’. āļ’ āˇ€āļœāˇšāļ¸ āļ¸āļ¸ āļ’ āļœāˇāļą āļ†āļŠāļ¸āˇŠāļļāļģ ⎀⎙āļ¸āˇ’!”

āļ‘āļŊ⎓āļœāˇš āļĸ⎓⎀⎒āļ­āļē āļ­āˇ”⎅ āļ‰āļ­āˇ āļ¯āļģāˇŠāˇāˇ“āļē (typical) āˇ„āˇ āˇƒāˇ’āļ­āˇŠ āļšāˇāˇ€āļ¯āˇ’āļą āļ¯āˇ™āļēāļšāˇŠ āļ­āˇ’āļļ⎚. āļ¸āļ¸ āˇ€āˇ’āˇāˇŠāˇ€āˇāˇƒ āļšāļģāļąāˇŠāļąāˇš āļ‘āļē ⎃āļ‚āļœāļ­āļˇāˇāˇ€āļē (consistency) āļŊāˇ™āˇƒ ⎄āļŗāˇ”āļąāˇŠāˇ€āļą āļļ⎀āļē⎒. āļ‡āļē āļšāˇāļŊ⎊ āļ¸āˇāļšāˇŠāˇƒāˇŠāļœāˇš āļ†āļ´āˇŠāļ­āļēāļ§ āļ…āļąāˇ”⎀ āļĸ⎓⎀āļ­āˇŠ āˇ€āˇ–āˇ€āˇāļē: “āļēāļ¸āˇ™āļšāˇŠāļ§ āļ­āļ¸āļąāˇŠ āļ‘⎅āļšāˇ™āļą āļąāˇ’āļœāļ¸āļąāˇ€āļŊāļ§ āļļ⎒āļē āļąāˇœāˇ€āˇ“ āˇƒāˇ’āļ­āˇ“āļ¸ āˇƒāļ¯āˇ„āˇ āļ°āˇ›āļģ⎊āļēāļē āļ­āˇ’āļļ⎒āļē āļē⎔āļ­āˇ”āļē–āļ‰āļąāˇŠāļ´āˇƒāˇ”  āļ’āˇ€āˇ āļ¸āļ­ āļšāˇŠâ€āļģ⎒āļēāˇ āļšāˇ… āļē⎔āļ­āˇ”āļē.”

āļ‘āļŊ⎓ āļ¸āˇ™āļ¸ āļ†āļ´āˇŠāļ­āļēāļ§ āļ…āļąāˇ”⎀ āļĸ⎓⎀āļ­āˇŠ āˇ€āˇ–āˇ€āˇāļē. āļ‡āļē āļąāˇ’⎀⎐āļģāļ¯āˇ’ āļē⎐āļē⎒ ⎄āļŗāˇ”āļąāˇāļœāļ­āˇŠ āļ¯āˇšâ€“āļģ⎐āļŠāˇ’āļšāļŊ⎊ āļŊāˇ™āˇƒ āˇƒāˇ„ āˇƒāˇ’āļēāļŊ⎔ āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļ´āˇāļš āˇƒāļ¸āļŸâ€“āļ‡āļē āļšāˇŠâ€āļģ⎒āļēāˇāˇ€āļ§ āļąāˇāļ‚āˇ€āˇ–āˇ€āˇ āļē. āļē⎔āļ¯āˇŠāļ°āļēāļ§ āˇƒāˇ„ āˇ†āˇāˇƒāˇ’āˇƒāˇŠāļ§āˇŠāˇ€āˇāļ¯āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ ⎀⎒āļģāˇāļ°āļ­āˇ āļ¯āˇāļšāˇŠāˇ€āˇ– āļ‡āļœāˇš āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€āˇš āļ‘āļšāļ¸ āļ­āˇāļąāˇāļ­āˇŠāļ­āˇ āļ‡āļē āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€āˇ“āļē, āļ‘āļąāļ¸āˇ”āļ­āˇŠ āļąāˇ’⎀⎐āļģāļ¯āˇ’ āļąāˇ’āļœāļ¸āļąāˇ€āļŊāļ§ āļ‘⎅āļšāˇ”āļĢ⎔ āˇƒāˇ„ ⎃āļ¸āˇŠāļ¸āˇ”āļ­āˇ’ ⎀⎒āļģ⎄⎒āļ­āˇ€ āļ’āˇ€āˇ āļ­āļ¯āˇ’āļąāˇŠ āļ…āļŊ⎊āļŊāˇ āļœāļ­āˇŠ āļ‰āļ­āˇ āˇƒāˇŠāˇ€āļŊ⎊āļ´ āļ¯āˇ™āļąāˇ āļ…āļ­āļģ āļ‡āļēāļ¯ āˇ€āˇ–āˇ€āˇāļē.

āˇƒāˇāļ¸āˇ€āˇāļ¯āˇ“āļąāˇŠāļœāˇ™āļąāˇŠ āˇ„āˇ’āˇƒāˇŠāļ§āˇ“āļģ⎒āļš āļ¸āˇ’āļŊ⎒āļ§āļģāˇ’āˇ€āˇāļ¯āˇ“āļąāˇŠ āļļ⎀āļ§ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē ⎀⎖ ⎄āļģ⎒āļ­ āļ´āˇ’āļŊ⎊āļ¸āˇāļģ⎔ āļšāˇāļģāļēāļąāˇŠ āļ‡āļē āļ´āˇ’⎅⎒āļšāˇ”āļŊ⎊ āļšāˇ…āˇāļē. ⎀āļ¸āļ§ āļšāļ­āˇ āļšāļģ āļ¯āļšāˇ”āļĢāļ§ āļšāˇŠâ€āļģ⎒āļēāˇ āļšāļģāļą āˇ€āˇāļ¸ āļ´āļšāˇŠāˇ‚āļē⎚ (Left Party) āļ¸āˇ”āˇƒāˇāˇ€āļąāˇŠāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ‡āļē ⎃āļ§āļąāˇŠ āļšāˇ…āˇāļē.

āļ‘āļŊ⎓āļœāˇš āļĸ⎓⎀⎒āļ­āļē⎚ āˇ€āˇ’āˇāˇšāˇ‚āļē⎙āļąāˇŠ āļšāˇāļ´āˇ“ āļ´āˇ™āļąāˇ™āļą āļ¯āˇšāˇ€āļŊ⎊ āļ¯āˇ™āļšāļšāˇŠ āļ­āˇ’āļļ⎚.

āļ´āˇ…āļ¸āˇ”⎀, āļ‡āļē āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ¯āˇāļą āˇƒāˇ’āļ§āˇ’ āļ…āļ­āļģ āļ‘āļē āļ­āˇšāļģ⎔āļ¸āˇŠ āļœāļ­āˇŠāļ­āˇāļē. āļ‡āļē āļ‘⎄⎒ āļšāˇœāļ§āˇƒāļšāˇŠ āˇ€āˇ–āˇ€āˇāļē. āļ‡āļē Siemens ⎄⎒ āˇ€āˇƒāļģ 35 āļšāˇŠ āˇƒāˇšāˇ€āļē āļšāˇ… āļ…āļ­āļģ āļ‘⎄⎒ āˇƒāˇāļ´āˇŠāļ´āˇ” āļˇāˇāļģāļšāļģ⎔⎀⎙āļšāˇ” (shop steward) āļŊāˇ™āˇƒ āļšāļ§āļē⎔āļ­āˇ” āļšāˇ…āˇāļē. āˇ€āˇƒāļģ ⎄āļ­āˇ…āˇ’āˇƒāˇŠ āļ¯āˇ™āļšāļšāļ§ āļ´āˇ™āļģ, āļ‡āļēāļ§ āļ‡āļœāˇš āļ…āļąāˇāļœāļ­ āˇƒāˇāļ¸āˇ’āļēāˇ ⎀āļą āļ´āˇ“āļ§āļģ⎊ āļ¸āˇœāļŠāˇŠāļŊāļģ⎊ āļ¸āˇ”āļĢāļœāˇāˇƒāˇ”āļĢ⎒. āļ”⎄⎔ āˇ€āˇāļąāˇš āļšāļ¸āˇŠāļšāļģ⎔⎀⎙āļšāˇ” āļŊāˇ™āˇƒ āˇƒāˇšāˇ€āˇ āļ¸āˇ”āļģ ⎀⎐āļŠ āļšāˇ… āļ…āļ­āļģ Thyssenkrupp ⎄⎒ āˇƒāˇāļ´āˇŠāļ´āˇ” āļˇāˇāļģāļšāļģ⎔⎀⎙āļšāˇ” ⎀⎒āļē. āļ”⎄⎔ āļ‡āļœāˇš āļ¯āˇšāˇāļ´āˇāļŊāļą āļšāļ§āļē⎔āļ­āˇ”⎀āļŊāļ§ āļ¯āˇāļŠāˇ’ āļŊāˇ™āˇƒ āˇƒāˇ„āˇāļē āļ¯āˇ”āļąāˇŠāļąāˇšāļē.

āļąāļ¸āˇ”āļ­āˇŠ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ ⎃āļ¸āļŸ āļšāļ­āˇ āļšāļģāļą āˇ€āˇ’āļ§ āļ´āˇ€āˇ, āļ°āļąāļ´āļ­āˇ’āļēāļąāˇŠāļœāˇš āļšāˇ˛āļģāļ­āˇŠāˇ€āļē, āļ¯āˇœāļ§āˇŠāļ§ āļ¯āˇāļ¸āˇ“āļ¸āˇŠ āˇƒāˇ„ āˇƒāˇšāˇ€āˇ āļšāˇœāļąāˇŠāļ¯āˇšāˇƒāˇ’ āļąāˇ’āļģāļąāˇŠāļ­āļģāļē⎙āļąāˇŠ āļ´āˇ’āļģ⎒⎄⎓āļ¸ āļœāˇāļą āļ´āˇāļ¸āˇ’āļĢ⎒āļŊ⎒ āļšāˇ’āļģ⎓āļ¸ āļ´āļ¸āļĢāļšāˇŠ āļ´āˇŠâ€āļģāļ¸āˇāļĢ⎀āļ­āˇŠ āļąāˇœāˇ€āļą āļļ⎀ āļ‘āļŊ⎓ āļ…⎀āļ°āˇāļģāļĢāļē āļšāˇ…āˇāļē. āļģāļĸāļē⎚ āˇƒāˇ„ āļ´āˇāļŊāļš āļ´āˇŠâ€āļģāļˇāˇ–āˇ€āˇš ⎀āļœāļšāˇ“āļ¸āˇŠ ⎀⎒āļģ⎄⎒āļ­āļˇāˇāˇ€āļē āļœāˇāļą āļšāˇāļ´āļēāļ§ āļ´āļ­āˇŠāˇ€āˇ“āļ¸ āļ´āļ¸āļĢāļšāˇŠ āļ´āˇŠâ€āļģāļ¸āˇāļĢ⎀āļ­āˇŠ āļąāˇœāˇ€āˇš. āļ­āļ¸āļąāˇŠāļœāˇšāļ¸ āˇ€āļœāļšāˇ“āļ¸ āˇ„āļŗāˇ”āļąāˇāļœāˇ™āļą āļˇāˇāļģ āļœāˇāļąāˇ“āļ¸ āļ…āˇ€āˇāˇŠâ€āļē āˇ€āˇš.

“āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļœāˇš ⎀⎒āļ¸āˇ”āļšāˇŠāļ­āˇ’āļē āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļœāˇšāļ¸ āļšāˇāļģ⎊āļēāļē ⎀⎒āļē āļē⎔āļ­āˇ”āļē” āļēāļą āļ¸āˇāļšāˇŠāˇƒāˇŠāļœāˇš āļ´āˇŠâ€āļģāļšāˇāˇāļē āļ‘āļŊ⎓ āļ¯āˇāļą āˇƒāˇ’āļ§āˇ’ āļ…āļ­āļģ āļ‡āļē āļ‘āļē āļ‰āļ­āˇ āļļ⎐āļģ⎑āļģ⎔āļ¸āˇŠ āļŊāˇ™āˇƒ ⎃⎐āļŊāļšāˇ”āˇ€āˇāļē.

āļ‘āļŊ⎓āļœāˇš āļ¯āˇ™āˇ€āļą āļšāˇāļ´āˇ“ āļ´āˇ™āļąāˇ™āļą āļŊāļšāˇŠāˇ‚āļĢāļē ⎀⎖āļē⎚ āļ‡āļœāˇš āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģāˇ€āˇāļ¯āļēāļē⎒.

āļ‘āļē āļ‡āļēāļ§ āļŊāˇœāˇ€ āļ´āˇ”āļģāˇ āļ¸āˇ’āļ­āˇ”āļģāļąāˇŠ āˇƒāˇ’āļ§āˇ“āļ¸ āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€āˇš. āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģāˇ€āˇāļ¯āļē āļ¯āˇšāˇāļ´āˇāļŊāļą āˇ€āˇāļŠāˇƒāļ§āˇ„āļąāļšāˇŠ āļŊāˇ™āˇƒ āļ‡āļē āļ­āˇšāļģ⎔āļ¸āˇŠ āļœāļ­āˇŠāļ­āˇāļē. āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āˇƒāˇ„ āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļ´āļšāˇŠāˇ‚⎀āļŊ āļĸāˇāļ­āˇ’āļšāˇ€āˇāļ¯āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ‡āļē ⎃āļ§āļąāˇŠ āļšāˇ…āˇāļē. āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļ§ āļ¸āˇāļ­āˇ˜ āļˇāˇ–āļ¸āˇ’āļēāļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’ āļļ⎀āļ­āˇŠ, āļ”⎀⎔āļąāˇŠ āļŊāˇāļš āļąāˇ’āˇ‚āˇŠāļ´āˇāļ¯āļą āļšāˇŠâ€āļģ⎒āļēāˇāˇ€āļŊ⎒āļē⎚āļ¯āˇ“ āļœāˇāļŊ⎓āļē ⎀⎁āļē⎙āļąāˇŠ āļ…āļąāˇŠāļ­āļģ⎊ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āˇ’āļ­ āļļ⎀āļ­āˇŠ āļ‡āļē āļ¯āˇāļą āˇƒāˇ’āļ§āˇ’āļēāˇāļē. āˇƒāˇ‘āļ¸ āļģāļ§āļšāļ¸ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ āļ‘āļšāļ¸ āˇ„āˇ ⎃āļ¸āˇāļą āļœāˇāļ§āļŊ⎔⎀āļŊāļ§ āļ¸āˇ”⎄⎔āļĢ āļ¯āˇ™āļą āļļ⎀āļ­āˇŠ, āļ°āļąāˇ€āˇāļ¯āļēāļ§ āļ‘āļģ⎙⎄⎒ āļ…āļģāļœāļŊāļē āˇƒāˇāļģ⎊āļŽāļš āˇ€āˇ’āļē ⎄⎐āļšāˇŠāļšāˇš āļ‘āļē āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ⎀ āˇƒāˇ’āļ¯āˇ” āļšāˇ…āˇ„āˇœāļ­āˇŠ āļ´āļ¸āļĢāļšāˇŠ āļļ⎀āļ­āˇŠ āļ‡āļē āļļāˇœāˇ„āˇ ⎀⎒āļ§ āļ…⎀āļ°āˇāļģāļĢāļē āļšāˇ…āˇāļē.

āļļāˇœāˇ„āˇ āļģāˇāˇƒāˇŠāˇ€āˇ“āļ¸āˇŠāˇ€āļŊāļ¯āˇ“, ⎃āļģāļĢāˇāļœāļ­āļˇāˇāˇ€āļē ⎃āļŗāˇ„āˇ āļ‡āļ­āˇ’ āļ…āļē⎒āļ­āˇ’āļē āļšāˇŠâ€āļģāļ¸āˇāļąāˇ”āļšāˇ–āļŊ⎀ āļ…āˇ„āˇāˇƒāˇ’ āļšāˇ’āļģ⎓āļ¸āļ§ āļ‘āļģ⎙⎄⎒⎀ āˇƒāˇ„ ⎀⎒āļ¯āˇšāˇāˇ’āļšāļēāļąāˇŠ āļ‰āļŊāļšāˇŠāļš āļšāļģāļœāļ­āˇŠ āļ‹āļ¯āˇŠāļāˇāˇ‚āļĢ⎀āļŊāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ‘āļŊ⎓ ⎃āļ§āļąāˇŠ āļšāˇ…āˇāļē. ⎃āļ‚āļšāˇŠâ€āļģāļ¸āļĢ⎒āļšāļēāļąāˇŠ āˇƒāˇ„ ⎃āļģāļĢāˇāļœāļ­āļē⎒āļąāˇŠ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ ⎀⎐āļ¯āļœāļ­āˇŠ āļšāˇœāļ§āˇƒāļšāˇŠ āļļ⎀āļ­āˇŠ, ⎀⎒āļ¯āˇšāˇāˇ’āļšāļēāļąāˇŠāļ§ āļ‘āļģ⎙⎄⎒ āˇƒāˇ’āļēāļŊ⎔ āļ´āˇŠâ€āļģāˇ„āˇāļģ āļ…āļ°āˇ’āˇ‚āˇŠāļ¨āˇāļąāˇāˇ“āļŊ⎓⎀ āļ´āˇŠâ€āļģāļ­āˇ’āļšāˇŠāˇ‚āˇšāļ´ āļšāˇ…āˇ„āˇœāļ­āˇŠ āļ´āļ¸āļĢāļšāˇŠ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļ§ āļ­āļ¸āļąāˇŠāļœāˇšāļ¸ āļ…āļē⎒āļ­āˇ’āˇ€āˇāˇƒāˇ’āļšāļ¸āˇŠ āļ†āļģāļšāˇŠāˇ‚āˇ āļšāļģ āļœāļ­ āˇ„āˇāļšāˇ’ āļļ⎀āļ­āˇŠ āļ‡āļē āļ…⎀āļ°āˇāļģāļĢāļē āļšāˇ…āˇāļē.

āļšāļ¸āˇŠāļšāļģ⎔ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē⎚ āˇƒāˇ‘āļ¸ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āˇ“ āļ°āˇāļģāˇāˇ€āļšāˇŠāļ¸ āļ†āļģāļ¸āˇŠāļˇ āˇ€āļąāˇŠāļąāˇš āļĸāˇāļ­āˇ’āļšāˇ€āˇāļ¯āļēāļ§ āļ…āļąāˇ”⎀āļģ⎊āļ­āļąāļē ⎀⎓āļ¸āˇ™āļąāˇŠ āļļ⎀ āļ‘āļŊ⎓ āļ¯āˇāļą āˇƒāˇ’āļ§āˇ’ āļ…āļ­āļģ, āˇ€āˇƒāļģ ⎄āļ­āˇ…⎒⎄āļšāļ§ āļ´āˇ™āļģ āļ…āļ´āļœāˇš āˇƒāˇ„āˇāļ¯āļģ⎀āļģ⎔āļąāˇŠ āļ…āļ­āļģ āļ‘⎀⎐āļąāˇ’ āļ†āļģ⎀⎔āļŊāļšāˇŠ āļ‡āļ­āˇ’ ⎀⎖ ⎀⎒āļ§, āļ‡āļē āˇ€āˇ„āˇāļ¸ āˇƒāˇ„ āļ´āˇāļšāˇ’āļŊ⎓āļ¸āļšāˇ’āļąāˇŠ āļ­āˇœāļģ⎀ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģāˇ€āˇāļ¯āˇ“āļąāˇŠāļœāˇš āļ´āˇāļ­āˇŠāļ­ āļœāļ­āˇŠāļ­āˇāļē.

āļŊāˇāļš āļ´āļšāˇŠāˇ‚āļēāļšāˇŠ āļŊāˇ™āˇƒ āļ…āļ´āļœāˇš āļ´āļšāˇŠāˇ‚āļē āļœāˇāļą āļ‘āļŊ⎓ āļ‰āļ­āˇ āļ†āļŠāļ¸āˇŠāļļāļģ ⎀⎖ āļ…āļ­āļģ āļļāˇœāˇ„āˇ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļģāˇāˇƒāˇŠāˇ€āˇ“āļ¸āˇŠ āˇƒāˇ„ ⎃āļ¸āˇŠāļ¸āļąāˇŠāļ­āˇŠâ€āļģāļĢ⎀āļŊāļ§ āˇƒāˇ„āļˇāˇāļœāˇ“ ⎀⎒āļē.

āļ¯āˇāļš āļœāļĢāļąāˇāˇ€āļšāˇŠ āļ­āˇ’āˇƒāˇŠāˇƒāˇš āļ‡āļē āļ…āļ´ āˇƒāļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ ⎃āļ¸āˇāļąāļ­āˇ āļ´āļšāˇŠāˇ‚āļē⎚ ⎀⎒āļ°āˇāļēāļš āļšāļ¸āˇ’āļ§āˇ”āˇ€āˇš āˇƒāˇāļ¸āˇāļĸ⎒āļšāˇāˇ€āļšāˇŠ āˇ€āˇ–āˇ€āˇāļē; āļ‡āļē āļļāˇœāˇ„āˇ āļ¸āˇāļ­āˇ’⎀āļģāļĢ⎀āļŊāļ¯āˇ“ āļ…āļ´āˇšāļšāˇŠāˇ‚⎒āļšāˇāˇ€āļšāˇŠ āļŊāˇ™āˇƒ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ ⎀⎖ āļ…āļ­āļģ āļœāˇ”⎀āļąāˇŠ ⎀⎒āļ¯āˇ”āļŊ⎒āļē⎚ āˇƒāˇ„ āļģ⎖āļ´āˇ€āˇāˇ„⎒āļąāˇ’āļē⎚ āļ…āļ´āļœāˇš ⎀⎐āļŠāˇƒāļ§āˇ„āļą āļ‰āļ¯āˇ’āļģ⎒āļēāļ§ āļœāˇ™āļą āļœāˇ’āļēāˇāļē.

āļ¸āˇ™āļ¸ āļ¯āˇāļŠāˇ’ āļ¯āˇšāˇāļ´āˇāļŊāļą āļšāļ§āļē⎔āļ­āˇ” āļ¸āļ°āˇŠâ€āļēāļē⎚ ⎀⎔⎀āļ¯, āļ‡āļē ⎃āļ‚āˇƒāˇŠāļšāˇ˜āļ­āˇ’āļš āļ¯āˇš ⎃āļŗāˇ„āˇ āļšāˇāļŊāļē ⎃⎜āļēāˇ āļœāļ­āˇŠāļ­āˇāļē. āļ‡āļē āˇƒāˇāˇ„āˇ’āļ­āˇŠâ€āļēāļē, āˇƒāˇ’āļąāļ¸āˇāˇ€, āļ”āļ´āˇ™āļģāˇ āˇƒāˇ„ āļ´āˇŠâ€āļģ⎃āļ‚āļœāˇ€āļŊāļ§ āļ´āˇŠâ€āļģ⎒āļē āļšāˇ…āˇāļē.

āļ‘āļŊ⎓āļœāˇš āļ¸āļģāļĢāļē⎚ āļ›āˇšāļ¯āˇ€āˇāļ āļšāļē ⎄āļģ⎒āļēāļ§āļ¸ āļ´āˇ€āļ­āˇ’āļąāˇŠāļąāˇš āļ‡āļē āļ‡āļœāˇš āļ¸āˇ”⎅⎔ ⎀⎐āļŠāˇ’⎄⎒āļ§āˇ’ āļĸ⎓⎀⎒āļ­āļē āļ´āˇ”āļģāˇāļ¸ āˇƒāļ§āļąāˇŠ āļšāˇ… āļ¯āˇšāˇāļ´āˇāļŊāļą āļ…āļ¯āˇ„āˇƒāˇŠ āˇƒāˇ„ āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļą āļ‘āļ­āļģāļ¸āˇŠ āˇ€āˇ’āˇāˇāļŊ āļ…āļ¯āˇāˇ…āļ­āˇŠāˇ€āļēāļšāˇŠ āˇƒāˇ„ ⎀⎐āļ¯āļœāļ­āˇŠāļšāļ¸āļšāˇŠ āļŊāļļāˇ āļœāļąāˇŠāļąāˇ āļ¸āˇœāˇ„āˇœāļ­āˇšāļ¸ āļ‡āļē⎀ āļĸ⎓⎀⎒āļ­āļē⎙āļąāˇŠ āļ‰āļģāˇ ⎀⎙āļąāˇŠ  āļšāļģ āļ¯āˇāļ¸āˇ“āļ¸ āļ­āˇ”⎅āļē.

āļ†āļ¯āļģāļĢ⎓āļē āļ‘āļŊ⎓: āļ”āļļ āļ­āˇ€āļ¯āˇ”āļģāļ§āļ­āˇŠ āļ…āļ´ āˇƒāļ¸āļŸ āļąāˇœāļ¸āˇāļ­āˇ’ ⎀⎓āļ¸ āļœāˇāļą āļ…āļ´āˇ’ āļ…āļ­āˇ’⎁āļē⎒āļąāˇŠ āļšāļĢāļœāˇāļ§āˇ” ⎀⎙āļ¸āˇ”. āļ…āļ´āļ§ āļ”āļļ āļąāˇāļ­āˇ’ āļ…āļŠāˇ”⎀ āļ¯āˇāļąāˇš. āļąāļ¸āˇ”āļ­āˇŠ āļ”āļļ āļ”āļļ⎚ āļĸ⎓⎀⎒āļ­āļē āļšāˇāļ´ āļšāˇ… āļ…āļģāļœāļŊāļē āļ…āļ´āˇ’ āļ¯āˇ’āļœāļ§āļ¸ āļ…āļģāļœāˇ™āļą āļēāļąāˇŠāļąāˇ™āļ¸āˇ”.

āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ ⎀⎒āļ¸āˇ”āļšāˇŠāļ­āˇ’āļē ⎃āļŗāˇ„āˇ ⎃āļ§āļąāˇŠāļšāļģ⎔⎀⎙āļšāˇ” āļŊāˇ™āˇƒ āļ”āļļ ⎃⎐āļ¸āˇ€āˇ’āļ§āļ¸ āļ…āļ´āļœāˇš āļ¸āļ­āļšāļē⎚ āļĸ⎓⎀āļ¸āˇāļą āˇ€āļąāˇ” āļ‡āļ­. āļ…āļ´āˇ’ āļ‘āļē āļ´āˇœāļģ⎜āļąāˇŠāļ¯āˇ” ⎀⎙āļ¸āˇ”.

⎀⎐āļŠāˇ’āļ¯āˇ”āļģ āļšāˇ’āļē⎀āļąāˇŠāļą: Elisabeth Zimmermann-Modler 1956–2025: Trotskyist and fighter for the working class

āļŠāˇ”āļēāˇ’āˇƒāˇŠāļļāļģ⎊āļœāˇŠ ⎄⎒ āļ‘āļŊāˇ’āˇƒāļļ⎙āļ­āˇŠ āˇƒāˇ’āļ¸āļģ⎊āļ¸āļąāˇŠ-āļ¸āˇœāļŠāˇŠāļŊāļģ⎊āļœāˇš āļ…⎀āļ¸āļ‚āļœāļŊāˇŠâ€āļēāļē: “āļ…āˇƒāˇāļ¸āˇāļąāˇŠâ€āļē āļŊāˇ™āˇƒ āļ°āˇ›āļģ⎊āļē ⎃āļ¸āˇŠāļ´āļąāˇŠāļą āļ´āˇžāļģ⎔⎂āļēāļšāˇŠ” Read More Âģ

Millet painting

āļ¸āˇ’āļē⎚: āļˇāˇ–āļ¸āˇ’āļē⎚ āļĸ⎓⎀⎒āļ­āļē – āļœāˇŠâ€āļģāˇāļ¸āˇ“āļē ⎃āļ‚āļšāˇŠâ€āļģāˇāļąāˇŠāļ­āˇ’āļē⎚ āļģ⎐āļŠāˇ’āļšāļŊ⎊ āļąāˇ’āļģ⎖āļ´āļĢāļēāļšāˇŠ

āļ´āˇāļŊ⎊ āļ¸āˇ’āļ āˇ™āļŊ⎊ āˇ€āˇ’āˇƒāˇ’āļąāˇ’.


āļ¸āˇ™āˇ„⎒ āļ´āļŊ⎀āļąāˇŠāļąāˇš āļŊāˇāļš āˇƒāļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ ⎀⎙āļļ⎊ āļ…āļŠāˇ€āˇ’āļē⎚ (āļŊāˇāˇƒāˇ€āˇ™āļ…) 2025 āļ”āļšāˇŠāļ­āˇāļ¸āˇŠāļļāļģ⎊ 12 āļ¯āˇ’āļą â€œMillet: Life on the Land—A radical depiction of rural transition” āļēāļą āˇ„āˇ’āˇƒāˇ’āļąāˇŠ āļ´āļŊ⎀⎖ āļ´āˇāļŊ⎊ āļ¸āˇ’āļ āˇ™āļŊ⎊ āˇ€āˇ’āˇƒāˇ’āļąāˇ’ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļŊ⎒āļēāļą āļŊāļ¯ āļŊ⎒āļ´āˇ’āļē⎚ āˇƒāˇ’āļ‚⎄āļŊ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē āļē⎒.

āļŊāļąāˇŠāļŠāļąāļē⎚ āļĸāˇāļ­āˇ’āļš āļœāˇāļŊāļģ⎒āļē⎚ [āļ”āļšāˇŠāļ­āˇāļ¸āˇŠāļļāļģ⎊ 19 āļ¯āļšāˇŠāˇ€āˇ āļ´āˇāˇ€āˇāļ­āˇŠāˇ€āˇ™āļą] “āļ¸āˇ’āļē⎚: āļˇāˇ–āļ¸āˇ’āļē⎚ āļĸ⎓⎀⎒āļ­āļē” āˇƒāˇ’āļ­āˇ”⎀āļ¸āˇŠ āļ´āˇŠâ€āļģāļ¯āļģ⎊⎁āļąāļē āļ´āˇŠâ€āļģāļ‚⎁ āļšāļŊāˇāļšāļģ⎔ āˇ‚āˇāļąāˇŠ āˇ†āˇŠāļģāļąāˇŠāˇƒāˇŠāˇ€āˇ āļ¸āˇ’āļē⎚ [Jean-François Millet (1814–1875)] āļœāˇš āļ…āļˇāˇāˇ€āļē⎙āļąāˇŠ 150 ⎀āļą āˇƒāļ‚⎀āļ­āˇŠāˇƒāļģāļē ⎃āļąāˇ’āļ§āˇ”⎄āļąāˇŠ āļšāļģāļē⎒. āļ‘āļē āļ´āļģ⎒āļ¸āˇāļĢāļē⎙āļąāˇŠ āļ āˇāļ¸āˇŠ āļąāļ¸āˇ”āļ­āˇŠ āļ…āļąāˇ”āļąāˇāļ¯āļē⎙āļąāˇŠ āļ´āˇœāˇ„āˇœāˇƒāļ­āˇŠ ⎀āļą āļ…āļ­āļģ, āˇ€āˇƒāļģ āļ´āļąāˇ„āļšāļ§ āļ†āˇƒāļąāˇŠāļą āļšāˇāļŊāļēāļšāˇŠ āļ­āˇ”⎅ āļ¸āˇ’āļē⎚ āļœāˇš āļšāˇ˜āļ­āˇ’ ⎃āļŗāˇ„āˇ āļšāˇāļ´āˇ€āˇ– āļ‘āļšāˇŠāˇƒāļ­āˇŠ āļģāˇāļĸāļ°āˇāļąāˇ’āļē⎚ āļ´āˇāˇ€āˇāļ­āˇŠāˇ€āˇ™āļą āļ´āˇ…āļ¸āˇ” āļ´āˇŠâ€āļģāļ¯āļģ⎊⎁āļąāļē ⎀⎙āļē⎒. āļ‘āļē, āļ¯āˇ„āļąāˇ€ ⎀āļą āˇƒāˇ’āļēāˇ€āˇƒāˇš āļ¸āˇāļ¯ āļˇāˇāļœāļē⎚ āļ´āˇŠâ€āļģāļ‚⎁āļē⎚ āļšāˇ˜āˇ‚⎒āļšāˇāļģ⎊āļ¸āˇ’āļš āļĸ⎓⎀⎒āļ­āļē āļ†āļŊāˇāļšāˇ€āļ­āˇŠ āļšāļģāļą āļ”⎄⎔āļœāˇš āˇ€āˇ’āˇāˇ’āˇ‚āˇŠāļ§ āˇƒāˇ’āļ­āˇ”⎀āļ¸āˇŠ āˇƒāˇ„ āļ āˇ’āļ­āˇŠâ€āļģ ( paintings and drawings ) āļ´āˇ„āˇ…āˇœāˇ€āļš āļ‘āļšāļ­āˇ”⎀āļšāˇ’.

Millet
āˇ‚āˇāļąāˇŠ āˇ†āˇŠāļģāļąāˇŠāˇƒāˇŠāˇ€āˇ āļ¸āˇ’āļē⎚, 1856-58 āļ¯āˇ“ āļĄāˇāļēāˇāļģ⎖āļ´ āļœāļ­ āļšāļģāļąÂ  āļŊāļ¯āˇ”⎀ [āļĄāˇāļēāˇāļģ⎖āļ´āļē: FÊlix Nadar, āļ¸āˇ™āļ§āˇŠâ€āļģ⎜āļ´āˇœāļŊ⎒āļ§āļąāˇŠ āļšāˇžāļ­āˇ”āļšāˇāļœāˇāļģāļē, āļąāˇ’āˇ€āˇŠ āļēāˇāļģ⎊āļšāˇŠ]

āļ¸āˇ’āļē⎚āļœāˇš āļšāļŊāˇāˇ€ āļ…āļ­āˇ”āļģ⎔āļ¯āˇ„āļąāˇŠ ⎀⎙āļ¸āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ’āļą āļœāˇœāˇ€āˇ’ āļĸāļąāļ­āˇāˇ€āļšāˇŠ āˇƒāˇ„ āļ°āļąāˇ€āˇāļ¯āļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ¯āˇ”āļ´āˇŠāļ´āļ­āˇŠ āļšāļģ āļšāˇœāļŗāˇ” āļąāˇāļģāļ§āˇ’ āļšāļŠāˇ āļ¯āļ¸āļą āˇāˇŠâ€āļģāļ¸ āˇ€āˇāļœāˇ’āļģ⎓āļ¸āˇš āļąāˇ’āļ¸āļšāˇŠ āļąāˇāļ­āˇ’ āļ āļšāˇŠâ€āļģāļēāļšāļ§ āļ‡āļ¯ āļ¯āļ¸āˇ āļ‡āļ­āˇ’ āļ…āļŊ⎔āļ­āˇ’āļąāˇŠ āļ¸āļ­āˇ”⎀āļą āļœāˇŠâ€āļģāˇāļ¸āˇ“āļē āļ‰āļŠāļ¸āˇŠ āļąāˇœāļ¸āˇāļ­āˇ’ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļœāˇš āļ´āļąāˇŠāļ­āˇ’āļēāļšāˇŠ āļœāˇŠâ€āļģ⎄āļĢāļē āļšāļģ āļœāļąāˇ“. āļ”⎄⎔ āļšāˇ˜āˇ‚⎒āļšāˇāļģ⎊āļ¸āˇ’āļš āˇāˇŠâ€āļģāļ¸āļē āļ´āˇ–āļĸāļąāˇ“āļē āļ­āļ­āˇŠāˇ€āļēāļš āļ†āˇƒāļąāˇŠāļąāļēāļ§ āļ”āˇƒāˇ€āˇ āļ­āˇāļļ⎖ āļ…āļ­āļģ, āļŊ⎓ āļ‰āļģāļąāˇŠāļąāļąāļąāˇŠ āˇƒāˇ„ āļ¯āˇāˇ€ āļ‘āļšāļ­āˇ” āļšāļģāļąāˇŠāļąāļąāˇŠ, āļ‘āļŦ⎚āļģ⎔āļąāˇŠ āˇƒāˇ„ āļšāˇ’āļģ⎒ āˇƒāˇšāˇ€āˇ’āļšāˇāˇ€āļąāˇŠâ€“āļ¯āˇ’āļœāˇ” āļšāļŊāļšāˇŠ āļ­āˇ’āˇƒāˇŠāˇƒāˇš āļąāˇœāˇƒāļŊāļšāˇ ⎄āļģ⎒āļą āļŊāļ¯, ⎃āļ‚āˇ€āˇšāļœāˇāļ­āˇ’⎁āļē āļˇāˇāˇ€āļēāļ§ (sentimentalised) āļŊāļšāˇŠ āļšāˇ…, āļšāļŊāˇāˇ€ āļ­āˇ”āļŊ ⎃āļ¸āļ āˇŠāļ āļŊāļēāļ§ āļŊāļšāˇŠ āļšāļģāļą āļŊāļ¯ āļ āļģ⎒āļ­â€“āļœāˇžāļģ⎀āļąāˇ“āļē āļļ⎀āļ§ āˇ„āˇ āļ…āļąāˇ”āˇƒāˇŠāļ¸āļģāļĢ⎓āļē āļļ⎀āļ§ āļ´āļ­āˇŠ āļšāˇ…āˇšāļē.

āļąāˇāļ¸āļąāˇŠāļŠāˇ’ ⎄⎒ āļœāˇœāˇ€āˇ’ āļ´āˇ€āˇ”āļŊāļš āļ‹āļ´āļ­ āļŊ⎐āļļ⎖ āļ¸āˇ’āļē⎚, āļ´āˇŠâ€āļģāˇāļ¯āˇšāˇāˇ“āļē āļ…āļ´āˇŠâ€āļģāˇƒāˇ’āļ¯āˇŠāļ°āˇ’āļē⎚ āˇƒāˇ’āļ§ āļ´āˇāļģāˇ’āˇƒāˇ’āļēāˇāļąāˇ” āļšāļŊāˇ āļŊāˇāļšāļēāļ§ āļēāļą āļœāļ¸āļą, āļšāļŊāˇāļ­āˇŠāļ¸āļš āļ‹āļ´āļ¯āˇšāˇāļšāļē⎒āļąāˇŠ āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€āļšāˇŠ  āˇ€āˇ’āˇƒāˇ’āļąāˇŠ ⎄⎐āļŠāļœāˇƒāˇŠāˇ€āļą āļŊāļ¯āˇ“. 1849 āļ¯āˇ“, āļ¯āˇšāˇāļ´āˇāļŊāļą āļšāˇāļŊāļšāˇ“āļ¸āˇŠ āļ¸āļ°āˇŠâ€āļēāļē⎚, āļ”⎄⎔ āļ…āļœāļąāˇ”⎀āļģ⎒āļąāˇŠ ⎃⎐āļ­āļ´āˇ”āļ¸āˇŠ āļ´āļąāˇ„āļšāˇŠ āļ¯āˇ”āļģ⎒āļąāˇŠ āļ´āˇ’⎄⎒āļ§āˇ’ āļœāˇŠâ€āļģāˇāļ¸āˇ“āļē āļœāļ¸āˇŠāļ¸āˇāļąāļēāļšāˇŠ ⎀āļą āļļāˇāļļāˇ’āˇƒāļąāˇŠ (Barbizon) ⎀⎙āļ­ āļ´āˇ’āļ§āļ­āˇŠāˇ€ āļœāˇœāˇƒāˇŠ, āļ­āˇ’āļēāļŠāˇāļģ⎊ āļģāˇ–āˇƒāˇ (ThÊodore Rousseau) āˇƒāˇ„ āˇ‚āˇœāļąāˇŠ-āļļ⎐āļ§āˇ“āˇƒāˇŠāļ§āˇŠ-āļšāļ¸āˇ“ āļšāˇœāļģ⎜ (Jean-Baptiste-Camille Corot.) āļ‡āļ­āˇ”⎅āļ­āˇŠ āļšāļŊāˇāļšāļģ⎔⎀āļąāˇŠāļœāˇš āļĸāļąāļ´āļ¯āļēāļšāļ§ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ° āˇ€āˇ’āļē.

āļļāˇāļģ⎊āļļāˇ’āˇƒāļąāˇŠ āļœāˇ”āļģ⎔āļšāˇ”āļŊāļē āˇāˇāˇƒāˇŠāļ­āˇŠâ€āļģ⎓āļē ⎃āļ¸āˇŠāļˇāˇāˇ€āˇŠâ€āļēāˇ€āˇāļ¯āļē⎙āļąāˇŠ āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļš āļļ⎒āļŗāˇ“āļ¸āļšāˇŠ ⎃āļąāˇ’āļ§āˇ”⎄āļąāˇŠ āļšāˇ… āļ…āļ­āļģ, ⎃⎜āļļāˇāļ¯āˇ„āļ¸āˇ™āļąāˇŠ ⎃⎘āļĸ⎔ āļąāˇ’āļģ⎓āļšāˇŠāˇ‚āļĢ (en plein air) āļ‹āļšāˇ„āˇ āļœāˇāļąāˇ“āļ¸āˇš āļ´āˇ”āļģāˇāļœāˇāļ¸āˇ“ ⎀⎙āļ¸āˇ’āļąāˇŠ āļœāˇŠâ€āļģāˇāļ¸āˇ“āļē āļĸ⎓⎀⎒āļ­āļē⎚ āˇƒāˇ”āļąāˇŠāļ¯āļģāļ­āˇŠāˇ€āļē āˇƒāˇ„ āļ¯āˇ”āˇ‚āˇŠāļšāļģāļ­āˇ āļēāļą āļ¯āˇ™āļšāļ¸ āļšāˇ™āļģ⎙⎄⎒ āļ…⎀āļ°āˇāļąāļē āļē⎜āļ¸āˇ” āļšāˇ…āˇšāļē. āļœāˇŠâ€āļģāˇāļ¸āˇ“āļē āˇāˇŠâ€āļģāļ¸āļē āˇƒāˇžāļąāˇŠāļ¯āļģ⎊āļēāˇāļ­āˇŠāļ¸āļšāˇ€ āˇ„āˇ ⎃āļ¸āˇāļĸ⎓āļē ⎀⎁āļē⎙āļąāˇŠ āļ´āˇ„āļ­āˇŠ āļē⎐āļē⎒ ⎃⎐āļŊāļšāˇ”āļĢ⎔ āˇ„āˇ āļ‰āļ­āˇ’āˇ„āˇāˇƒ āˇƒāˇ’āļ­āˇ”⎀āļ¸āˇŠ, āļ¸āˇ’āļŽāˇŠâ€āļēāˇ ⎀⎒⎂āļēāļēāļąāˇŠ āˇƒāˇ„ āļ´āˇŠâ€āļģāļˇāˇ– āļ†āļŊ⎚āļ›āˇŠâ€āļē āļ āˇ’āļ­āˇŠâ€āļģ (portraiture) āļšāļŊāˇāˇ€ āļ†āļ°āˇ’āļ´āļ­āˇŠâ€āļēāļē āļ¯āļģāļą āļē⎔āļœāļēāļš āļ¸āˇ™āļē āļģ⎐āļŠāˇ’āļšāļŊ⎊ ⎄⎐āļģ⎓āļ¸āļšāˇ’.

“āļšāļŊāˇāˇ€āļ§ āļ‘⎄⎒ ⎃⎐āļļ⎑ āļļāļŊāļē āļŊāļļāˇ āļ¯āˇ™āļąāˇŠāļąāˇš āļ‹āļ­āˇŠāļšāˇ˜āˇ‚āˇŠāļ§ āˇ„āˇāļŸāˇ“āļ¸āˇ™āļąāˇŠ āļē⎔āļ­āˇ”⎀ āˇƒāˇāļ¸āˇāļąāˇŠâ€āļē āļ¯āˇ™āļē āļ´āˇ’āļŊ⎒āļšāļŗ āļšāļ§āļē⎔āļ­āˇ” āļšāˇ’āļģ⎓āļ¸ āļ¸āļœāˇ’āļąāˇ’” āļēāļą āļ¸āˇ’āļē⎚āļœāˇš āļ´āˇŠâ€āļģāļšāˇāˇāļē āļ”⎄⎔āļœāˇš āļ†āļ āˇāļģ ⎀⎒āļ°āˇ’āļē  āˇƒāļ‚āļšāˇŠāˇ‚⎒āļ´āˇŠāļ­ āļšāļģāļē⎒. āˇƒāˇŠāˇ€āļˇāˇāˇ€āļ°āļģ⎊āļ¸āļē⎚ āļˇāˇ“⎂āļĢāļē āˇ„āˇ ⎀⎒āļˇāˇ–āļ­āˇ’āļē āļ­āˇ”⎅ āļ‹āļ­āˇŠāļšāˇ˜āˇ‚āˇŠāļ§āļˇāˇāˇ€āļē āˇƒāˇ™āˇ€āˇ– āļ§āļģ⎊āļąāļģ⎊ āˇƒāˇ„ āˇ†āˇŠâ€āļģ⎙āļŠāˇŠāļģ⎒āļšāˇŠ ⎀⎐āļąāˇ’ āļģ⎜āļ¸āˇ‘āļąāˇŠāļ­āˇ’āļš āļ´āˇ–āļģāˇŠāˇ€āļœāˇāļ¸āˇ“āļąāˇŠ āļ¸āˇ™āļąāˇŠ āļąāˇœāˇ€, āļ¸āˇ’āļē⎚ āļ‘āļē āˇƒāˇāļ¸āˇāļąāˇŠâ€āļē āˇƒāˇ„ āļąāˇœāˇƒāļŊāļšāˇ ⎄āļģ⎒āļą āļŊāļ¯ āļ¯āˇš āļ­āˇ”⎅ ⎃⎜āļēāˇ āļœāļ­āˇŠāļ­āˇšāļē. āļ”⎄⎔ ⎃āļ‚āˇ€āˇšāļœāˇāļ­āˇ’⎁āļē āļˇāˇāˇ€āļēāļ§ (sentimentality) ⎀⎒āļģ⎔āļ¯āˇŠāļ° āˇ€āˇ– āļ…āļ­āļģ, āļ¸āˇ™āˇƒāˇš āļ…⎀āļ°āˇāļģāļąāļē āļšāˇ…āˇšāļē: “āļ¸āļ§ āļ…āˇ€āˇāˇŠâ€āļē āˇƒāˇ’āļēāļŊ⎊āļŊ āļ¯āˇāļŠāˇ’ āļŊāˇ™āˇƒ āˇƒāˇ„ ⎃āļ¸āˇŠāļ´āˇ–āļģ⎊āļĢāļē⎙āļąāˇŠāļ¸ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āˇ€āˇāˇŠâ€āļēāļē⎒, āļ¸āļąāˇŠāļ¯ āļ¯āˇ”āļģāˇŠāˇ€āļŊ āļŊāˇ™āˇƒ āļ´āˇ€āˇƒāļą āļ¯āˇš āļšāˇ’āˇƒāˇ’āˇƒāˇšāļ­āˇŠ āļąāˇœāļšāˇ’āļēāˇ āˇƒāˇ’āļ§āˇ“āļ¸ āˇ„āˇœāļŗāļē.” 

⎁⎒āļŊ⎊āļ´āļšāˇŠâ€āļģāļ¸āļē, āļ­āˇšāļ¸āˇāˇ€ āˇƒāˇ„ ⎃āļ¸āˇāļĸ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āļ­āˇāˇ€āļē āļ´āˇ’⎅⎒āļļāļŗ āļļāˇāļļāˇ’āˇƒāļąāˇŠ āļ´āˇāˇƒāļŊ⎚ āļąāˇ€āˇāļ­āˇŠāļ´āˇāļ¯āļąāļēāļąāˇŠ, āļēāļŽāˇāļģ⎊āļŽāˇ€āˇāļ¯āļē (realism) āˇƒāˇ„ āļ°āˇāļģāļĢāˇāˇ€āˇāļ¯āļē (Impressionism) ⎃āļŗāˇ„āˇ āļ…āļŠāˇ’āļ­āˇāļŊāļ¸ āļ¯āˇāļ¸āˇ– āļ…āļ­āļģ, āļē⎔āļģāˇāļ´āļē āļ´āˇ”āļģāˇ āˇƒāˇ„ āļ‰āļąāˇŠ āļ”āļļ⎊āļļāļ§ āļšāļŊāˇāļšāļģ⎔⎀āļąāˇŠāļ§ āļ†āˇƒāˇŠāˇ€āˇāļ¯āļēāļšāˇŠ āļŊāļļāˇ āļ¯āˇ”āļąāˇŠāļąāˇšāļē.

āļ´āˇŠâ€āļģāļ¯āļģ⎊⎁āļąāļē āļ†āļģāļ¸āˇŠāļˇ āˇ€āļąāˇŠāļąāˇš The Sower (⎀āļ´āˇ”āļģāļąāˇŠāļąāˇ) (1847-48) ⎃āļ¸āļŸāˇ’āļąāˇ’; āļ‘⎄⎒āļ¯āˇ“ ⎄⎔āļ¯āļšāļŊāˇ āļœāˇœāˇ€āˇ’āļē⎙āļšāˇ” āļ…āļŗāˇ”āļģ⎔ āļšāˇ™āļ­āļšāˇŠ ⎄āļģāˇ„āˇ āļ´āˇ āļ­āļļāļ¸āˇ’āļąāˇŠ āļœāļ¸āļąāˇŠ āļšāļģāļē⎒, āļļ⎓āļĸ āˇ€āˇ’āˇƒāˇ”āļģāˇ”āˇ€āˇ ⎄⎐āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇ āļ…āļ­ āˇ€āˇ’āļ¯āˇ ⎄āļģ⎒āļ¸āˇ’āļąāˇŠ āļ”⎄⎔, āˇƒāˇ“āļ­āļŊ āļ…āˇ„āˇƒāļšāļ§ āļ‘āļģ⎙⎄⎒⎀ āļĄāˇāļēāˇ āļ¯āļģ⎊⎁āļąāļēāļ§ (silhouette) āļŊāļšāˇŠ āļšāļģ āļ‡āļ­. āļ´āˇœāļŊāˇ€āˇš āļ´āˇāˇ„⎐āļēāļąāˇŠāļœāˇ™āļąāˇŠ āˇƒāˇ„ āļąāˇ’āļŊ⎊ ⎀āļģ⎊āļĢāļē⎙āļąāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļą āļŊāļ¯ āļ¸āˇ™āļ¸ āļģ⎖āļ´āļē āļ´āˇāļģāˇ’āˇƒāˇŠ āļšāļŊāˇ ⎃āļ‚āˇƒāˇŠāļŽāˇāļ´āˇ’āļ­āļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļģ⎅⎔, āļ­āļģ⎊āļĸāļąāˇāļ­āˇŠāļ¸āļš āˇƒāˇ„ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āļŊāˇ™āˇƒ āˇ„āˇ™āˇ…āˇ āļ¯āļšāˇ’āļą āļŊāļ¯āˇ“.

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⎀āļ´āˇ”āļģāļąāˇŠāļąāˇ (1847-48) [āļĄāˇāļēāˇāļģ⎖āļ´āļē: Amgueddfa Cymru – āļĸāˇāļ­āˇ’āļš āļšāˇžāļ­āˇ”āļšāˇāļœāˇāļģāļē āˇ€āˇšāļŊ⎊⎃⎊]

āļ¸āˇ’āļē⎚ āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģ āļ¯āˇāļšāˇŠāˇ€āˇ–āļē⎚ āļ¸āˇ™āˇƒāˇšāļē: “āļ¸āļ¸ āļšāˇ’āˇƒāˇ’āļ¯āˇ āļ´āˇŠâ€āļģāļ āˇāļģāļĢ āļ…āļģāļ¸āˇ”āļĢ⎒āļąāˇŠ āļ‘āļš āˇƒāˇ’āļ­āˇ”⎀āļ¸āļšāˇŠāˇ€āļ­āˇŠ āļ´āˇ’āļąāˇŠāļ­āˇāļģ⎔ āļšāļģ āļąāˇāļ­āˇŠāļ­āˇ™āļ¸āˇ’.” āļ‘⎄⎙āļ­āˇŠ āļ‡āļ¸āļģ⎒āļšāˇāļąāˇ” āļšāˇ€āˇ’⎀āļģ āˇ€āˇāļŊ⎊āļ§āˇŠ ⎀⎒āļ§āˇŠāļ¸āļąāˇŠ āļ¸āˇ’āļē⎚āļœāˇš āļšāˇ˜āļ­āˇ’āļē āļ­āˇ”⎅ āļ”⎄⎔āļœāˇšāļ¸ āļ¯āˇāļšāˇŠāļ¸āļ§ āļ¯āˇ˜āˇāˇŠâ€āļē āˇƒāˇāļ¯āˇ˜āˇāˇŠâ€āļēāļēāļšāˇŠ āļ¯āˇ”āļ§āˇ” āļ…āļ­āļģ, āļ‘⎄⎒ āļ‡āļ­āˇ’ “āļ‹āļ­āˇŠāļšāˇ˜āˇ‚āˇŠāļ§ āļ…āļŗāˇ”āļģ⎔ āļļ⎀ āˇƒāˇ„ āļ´āˇŠâ€āļģāˇāļšāˇ˜āļ­ āˇƒāˇ’āļģ āļšāˇ… āļšāˇāļ´āļē” āļąāˇ’āļģ⎊āļ¸āˇāļĢ⎁⎓āļŊ⎓ āļšāļŊāˇāļšāļģāˇ”āˇ€āˇâ€“āļ‘āļąāļ¸āˇŠ, ⎃āļ¸āˇāļĸ ⎀⎙āļąāˇƒāļšāˇŠ ⎃āļŗāˇ„āˇ āļ‡āļ­āˇ’ ⎁āļšāˇŠâ€āļēāļ­āˇāˇ€āļē āˇƒāˇ„ āļļ⎓āļĸ āļēāļą āļ¯āˇ™āļšāļ¸ āˇ€āļ´āˇ”āļģāļą āļ­āˇāļąāˇāļ­āˇŠāļ­āˇâ€“āˇƒāļŗāˇ„āˇ āļąāˇ€ āļ¸āˇ–āļŊāˇāļšāˇ˜āļ­āˇ’āļēāļšāˇŠ āļ´āˇ™āļģāļ§āˇ” āļšāļģāļą āļļ⎀āļ§ āļ´āˇŠâ€āļģ⎁āļ‚āˇƒāˇ āļšāˇ…āˇšāļē.

The Winnower (āļ´āˇœāˇ…āļąāˇŠāļąāˇ) (1847–48) ⎄⎒ āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāļģ āļ‡āļ­āˇŠāļ­āˇš ⎀⎐āļģ⎄⎐āļŊ⎒ āļ‘āļ­āˇ– āļšāļŊāˇ’āˇƒāļ¸āˇŠ āˇƒāˇ„ āļ´āˇ’āļ¯āˇ”āļģ⎔ āļ´āˇ’āļģ⎀⎖ ⎃āļ´āļ­āˇŠāļ­āˇ” āļ´āˇāˇ…āļŗ āˇƒāˇ’āļ§āˇ’āļą āļ­āļąāˇ’ āļ¸āˇ’āļąāˇ’āˇƒāˇ™āļšāˇ”, āļ­āˇ’āļģ⎒āļŸāˇ” āļļ⎓āļĸ āļģāļąāˇŠ ⎀āļŊāˇāļšāˇ”⎅āļšāˇŠ āļ¸āˇ”āļ¯āˇ ⎄⎐āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇ āļ´āˇ”⎅⎔āļŊ⎊ āļšāˇ–āļŠāļēāļšāˇŠ ⎃⎜āļŊ⎀āļą āļ†āļšāˇāļģāļēāļē⎒. Wood Choppers (āļ¯āļģ āļšāļ´āļąāˇŠāļąāˇ) (1850) ⎄⎒, āļ¸āˇ’āļē⎚ āļ¸āˇ’āļąāˇ’āˇƒāˇ”āļąāˇŠ āļ¯āˇ™āļ¯āˇ™āļąāˇ™āļšāˇ” āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļšāˇ…⎔ ⎄⎔āļĢ⎔ āļˇāˇāˇ€āˇ’āļ­āˇ āļšāļģāļē⎒: āļ‘āļšāˇŠ āļ…āļē⎙āļšāˇŠ āļšāˇāļ§āˇ” āļ¸āˇ’āļ§āˇ’āļēāļšāˇŠ āļļāļŗāˇ’āļ¯āˇŠāļ¯āˇ“, āļ…āļąāˇ™āļšāˇ āļŊ⎓ āļšāļ´āļą āļ…āļ­āļģ, āļ¯āˇ”āļģ⎃⎊āļŽ āļ…āļē⎙āļšāˇŠ āļœāˇœāļŠāˇ€āļŊ⎊ āˇƒāˇāļ¯āļē⎒. āļ¸āˇ™āļ¸ āļ¯āļģ⎊⎁āļą āļ¯āļģ āļ‘āļšāļ­āˇ” āļšāˇ’āļģ⎓āļ¸āˇš āļąāˇ“āļ­āˇŠâ€āļēāˇāļąāˇ”āļšāˇ–āļŊ⎀ āļ…⎀āļ¯āˇāļąāļ¸āˇŠ āˇƒāˇ„āļœāļ­ āˇāˇŠâ€āļģāļ¸āļē ⎄⎙⎅⎒ āļšāļģāļēāˇ’â€“āļ‘āļē, āļ´āˇŠâ€āļģāļ‚⎁āļē⎚ āļąāˇ€ ⎀āļąāˇāļąāˇŠāļ­āļģ āļąāˇ“āļ­āˇ’ āļēāļ§āļ­āˇš āļ…āļ´āļģāˇāļ°āļšāˇāļģ⎓ āļšāļģ āļ´āˇāˇ€āļ­āˇ’ āļ…āļ­āļģ āļ‘āļē āˇƒāˇāļ¸āˇ–⎄⎒āļš āļ…āļē⎒āļ­āˇ’āˇ€āˇāˇƒāˇ’āļšāļ¸āˇŠ ⎀āļŊāļ§ āļ‰āˇ„⎅⎒āļąāˇŠ āļ´āˇ”āļ¯āˇŠāļœāļŊ⎒āļš āļ¯āˇšāļ´āˇ… āˇƒāˇ„ āļģāˇāļĸāˇŠâ€āļē āļ´āˇāļŊāļąāļē ⎃āļŗāˇ„āˇ ⎀āļģāļ´āˇŠâ€āļģāˇƒāˇāļ¯ āļŊāļļāˇ āļ¯āˇ”āļąāˇŠāļąāˇšāļē.

Milkmaid
A Milkmaid (1853) [āļĄāˇāļēāˇāļģ⎖āļ´āļē: ⎄⎙āļąāˇŠāļģ⎒ āļļāˇāļļāļģ⎊ āļˇāˇāļģāļē, āļļāˇāļļāļģ⎊ āļŊāļŊ⎒āļ­ āļšāļŊāˇ āļ†āļēāļ­āļąāļē, āļļāļģ⎊āļ¸āˇ’āļąāˇŠāˇ„⎐āļ¸āˇŠ āˇ€āˇ’āˇāˇŠāˇ€ ⎀⎒āļ¯āˇŠâ€āļēāˇāļŊāļē]

⎀⎐āļŠāļšāļģ āļ¸āˇ„āļąāˇŠāˇƒāˇ’⎀⎓ āˇ€āˇ’āˇ€āˇšāļš āļœāļąāˇŠāļąāˇ āļšāˇāļąāˇŠāļ­āˇāˇ€āļąāˇŠ āļ¯āˇ™āļ¯āˇ™āļąāˇ™āļšāˇ” āļ¯āļšāˇŠāˇ€āļą The Faggot Gatherers (āļ¯āļģ āļ‘āļšāļ­āˇ” āļšāļģāļąāˇŠāļąāˇ) (1850–55) ⎄⎒ āļ¸āˇ’āļē⎚ āļ¸āˇ™āļ¸ āļ­āˇšāļ¸āˇāˇ€āļ§ āļąāˇāˇ€āļ­ āļ´āˇ’āˇ€āˇ’āˇƒāˇš. āļ‡āļœāˇš āļ­āļģ⎔āļĢ āˇƒāˇ„āļšāˇāļģ⎒āļē ⎃āļ¸āļœ āˇƒāļ‚āˇƒāļąāˇŠāļ¯āļąāļē āļšāļģāļ¸āˇ’āļąāˇŠ ⎀⎐āļŠāˇ’āļ¸āˇ„āļŊ⎊ ⎃⎊āļ­āˇŠâ€āļģ⎒āļēāļœāˇš āļœāˇāļ§ āļœāˇāˇ„⎔āļąāˇ” āļģ⎅⎔ āļ…āļ­āˇŠ āˇƒāˇ„ ⎀⎒āļē⎐āļšāˇ“ āļœāˇ’āļē āļ¸āˇ”⎄⎔āļĢ āļ¸āļ­ āļ†āļŊāˇāļšāļē āļ´āļ­āˇ’āļ­ āˇ€āˇš.  āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē⎚ āļ…āˇƒāˇŠāļŽāˇ’āļģ āˇƒāˇŠāˇ€āļˇāˇāˇ€āļē, āˇ€āˇ™āˇ„āˇ™āˇƒāļ§ āļ´āļ­āˇŠ āļœāˇāˇ„⎐āļĢ⎔ ⎅āļ¸āļē⎙āļšāˇŠ āļ´āˇāļ­āˇŠāļ­āļē⎒āļąāˇŠ āļģ⎑āļąāļšāˇŠ āļ¸āļ°āˇŠâ€āļēāļē⎚ āļ‡āļœāˇš ⎃⎐āļģāļēāļ§āˇ’āļē āļ¸āļ­ āˇ„āˇšāļ­āˇŠāļ­āˇ” ⎀⎓ āˇƒāˇ’āļ§āˇ’āļą The Goose Girl at Gruchy (1854–56) āˇƒāˇ’āļ­āˇ”⎀āļ¸āˇš āļ¯, ⎃āļŗ āļ‘⎅⎒āļē āˇƒāˇ”āļ¯āˇ” āļ´āˇāˇ„⎐āļē⎙āļąāˇŠ āļģ⎖āļ´āļē āļ´āˇ”āļģāˇ€āˇ, āļ´āˇāļģāļŊāˇžāļšāˇ’āļš, āļ†āļœāļ¸āˇ’āļš āļģ⎁⎊āļ¸āˇ’ āļ¸āļĢ⎊āļŠāļŊāļēāļšāļ§ āļ†āˇƒāļąāˇŠāļą āˇƒāˇŠāˇ€āļˇāˇāˇ€āļēāļšāˇŠ āļ‡āļēāļ§ āļŊāļļāˇ āļ¯āˇ™āļą A Milkmaid (āļšāˇ’āļģ⎒ āļšāˇāļģ⎓) (1853) āˇƒāˇ’āļ­āˇ”⎀āļ¸āˇ™āˇ„⎒ ⎄⎒ āļ¯, āļ´āˇ”āļąāļģāˇāˇ€āļģ⎊āļ­āļąāļē āˇ€āˇš.

The Wood Sawyers (āļŊ⎓ āļ‰āļģāļąāˇŠāļąāˇ) (1850–52) āļ¸āˇ’āļē⎚āļœāˇš āˇƒāˇŠāˇ€āļˇāˇāˇ€āˇ€āˇāļ¯āļē (naturalism) āˇƒāˇ„ āļģ⎖āļ´āļ¸āļē ⎃āļ‚āļē⎔āļ­āˇ’āļē āļąāˇ’āļ¯āļģ⎊⎁āļąāļē āļšāļģāļē⎒. āļ´āˇ’āļ§āˇ”āļ´āˇƒāˇ’āļąāˇŠ āļļ⎐āļŊ⎖ ⎀⎒āļ§ āļ´āˇ™āļąāļą āļ´āļģ⎒āļ¯āˇ’, ⎄⎐āļŠāˇ’ āļ¯āˇāļŠāˇ’ āļ‡āļŸ āļ´āļ­ āļ‡āļ­āˇ’ āļšāļ¸āˇŠāļšāļģāˇ”āˇ€āˇ āļ¯āˇ™āļ¯āˇ™āļąāˇ™āļšāˇŠ āļ¯āˇāˇ€āˇāļąāˇŠāļ­ āļœāˇƒāˇŠ āļšāļŗāļšāˇŠ āļšāļ´āļą āļ…āļ­āļģāļ­āˇ”āļģ āļ¯āˇ’āļœāˇ” āļšāˇ’āļēāļ­āļšāˇŠ ⎃āļ¸āļŸ āļ´āˇœāļģāļļāļ¯āļ­āˇ’. āļģāļ­āˇ” āļ´āˇāˇ„⎐āļē⎙āļąāˇŠ ⎃⎐āļģāˇƒāˇ”āļĢ⎔ āļ­āˇ”āļąāˇŠāˇ€āļą āļ­āˇāļąāˇāļ­āˇŠāļ­āˇ™āļšāˇŠ āļ´āˇœāļģ⎀āļšāˇŠ āˇ„āˇƒāˇ”āļģ⎔⎀āļē⎒. āļ¯āˇāˇ€ āļ‰āļģ⎓āļ¸ āļ´āˇ„āļ­āˇŠ āļ­āļģāˇāļ­āˇ’āļģāļ¸āˇš āļšāˇāļģ⎊āļēāļēāļšāˇŠ ⎀⎔⎀āļ¯, āˇƒāˇ’āļ­āˇ”⎀āļ¸āˇš ⎀āļģ⎊āļĢ āļ‘āļŊāļšāļē–āļąāˇ’āļŊ⎊, āˇƒāˇ”āļ¯āˇ” āˇƒāˇ„ āļģāļ­āˇ”–āļ´āˇŠâ€āļģāļ‚⎁ āļ­āˇŠâ€āļģ⎒⎀āļģ⎊āļĢ āļ°āļĸāļē āˇƒāˇ„ āļ‘⎄⎒ ⎀⎒āļ´āˇŠāļŊ⎀⎓āļē āļ´āˇœāļģ⎜āļąāˇŠāļ¯āˇ”⎀ ⎀āļą āļąāˇ’āļ¯āˇ„āˇƒ, ⎃āļ¸āˇāļąāˇāļ­āˇŠāļ¸āļ­āˇāˇ€āļē āˇƒāˇ„ āˇƒāˇ„āˇāļ¯āļģāļ­āˇŠāˇ€āļē āļ…⎀āļ¯āˇ’ āļšāļģāļē⎒.

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The Wood Sawyers (1850-52) [āļĄāˇāļēāˇāļģ⎖āļ´āļē: V&A āļģ⎖āļ´ / ⎀⎒āļšāˇŠāļ§āˇāļģ⎒āļēāˇ āˇƒāˇ„ āļ‡āļŊ⎊āļļāļ§āˇŠ āļšāˇžāļ­āˇ”āļšāˇāļœāˇāļģāļē, āļŊāļąāˇŠāļŠāļąāˇŠ]

āļ´āˇŠâ€āļģāļ¯āļģ⎊⎁āļąāļē⎚ āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎓āļē āļ…āļ‚āļœāļē ⎀āļą L’AngÊlus (1857–59), āļ…āļģ⎊āļ­āˇāļ´āļŊ⎊ āļ…āˇƒāˇŠāˇ€āˇāļąāˇŠāļą āļąāˇ™āˇ…āļą āļœāˇœāˇ€āˇ“āļąāˇŠ āļ¯āˇ™āļ¯āˇ™āļąāˇ™āļšāˇ”, āļ´āļŊ⎊āļŊ⎒āļē⎚ āˇƒāˇ“āļąāˇ”āˇ€āˇš ⎄āļŦāļ§ āˇƒāˇ€āˇƒāˇŠ āļēāˇāļ¸āļē⎚ āļēāˇāļ āˇŠāļ¤āˇ āļšāļģāļą āļ†āļšāˇāļģāļē āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāļģāļē⎒. āļœāˇŠâ€āļģāˇāļ¸āˇ“āļē āļ´āˇŠâ€āļģāļ‚⎁āļē⎚ āļ¯āˇ’āļąāļšāļ§ āļ­āˇ”āļąāˇŠ ⎀āļģāļšāˇŠ āļšāˇ’āļē⎀āļą āļ¸āˇ™āļ¸ āļšāļ­āˇāļŊ⎒āļš āļēāˇāļĨāˇāˇ€āļ§ āļ­āļ¸ āļ†āļ āˇŠāļ āˇ’ āļ­āļ¸āˇ āˇƒāˇ„ āļ”⎄⎔āļœāˇš āˇƒāˇ„āˇāļ¯āļģ āˇƒāˇ„āˇāļ¯āļģ⎒āļēāļąāˇŠ āļ‘āļšāˇŠ āļšāļģ āļœāļąāˇŠāļąāˇ āļ†āļšāˇāļģāļē āļ¸āˇ’āļē⎚ āˇƒāˇ’āˇ„āˇ’āļ´āļ­āˇŠ āļšāˇ…āˇšāļē. āļ¯āļģ⎊⎁āļąāļē ⎃āļ‚āļšāˇšāļ­āˇāļ­āˇŠāļ¸āļš āˇ€āˇ’āˇƒāˇŠāļ­āļģ ⎀āļŊ⎒āļąāˇŠ āļ´āˇœāˇ„āˇœāˇƒāļ­āˇŠ āļē: ⎄⎒āļģ⎔ āļļ⎐⎃ āļœāˇœāˇƒāˇŠāļē, āļ‘⎄⎙āļ­āˇŠ āļ­āˇ€āļ¸āļ­āˇŠ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļœāˇš āļąāˇāļ¸āˇ”āļĢ⎔ āˇ„āˇ’āˇƒāˇŠ, āļ´āˇ’āļ¯āˇ”āļģ⎔ āļ¸āˇ’āļ§āˇ’ āˇƒāˇ„ ⎀āļšāˇŠâ€āļģ ⎀⎖ āļ¸āˇ’āļ§ āļ¯āˇ’āļœ āļ¸āˇ”āļŊ⎊āļŊ⎔⎀ āļģāļąāˇŠāˇ€āļąāˇŠ āļ†āļŊāˇāļšāļē⎙āļąāˇŠ āļąāˇ„⎀āļē⎒.

āļ¸āˇ’āļē⎚āļœāˇš āļĸ⎓⎀⎒āļ­āļē⎚ āļ…āˇ€āˇƒāˇāļąāļēāļ§ āļ†āˇƒāļąāˇŠāļąāˇ€ āļ´āˇ’āļąāˇŠāļ­āˇāļģ⎔ āļšāļģāļą āļŊāļ¯ āļ…āˇ€āˇƒāˇāļą āļšāˇ˜āļ­āˇ’āļē ⎀āļą Winter: The Faggot Gatherers (1868–75) āˇƒāˇ’āļ­āˇ”⎀āļ¸ āˇāˇāļšāˇāļšāˇ–āļŊ ⎄⎐āļœāˇ’āļ¸āˇŠ āˇƒāˇ’āļ­ āļ­āˇ”āļŊ āļģāˇāˇ€ āļąāļ‚⎀āļą āļąāˇ’āļ¸ āļąāˇœāļšāˇ… āļšāˇāļąāˇŠāˇ€āˇƒāļēāļšāˇ’. āļ¯āļģ⎀āļŊ⎒āļąāˇŠ āļļāļģ ⎀⎖ āļšāˇāļąāˇŠāļ­āˇāˇ€āļąāˇŠ āļ­āˇ’āļ¯āˇ™āļąāˇ™āļšāˇŠ, āļ¯āˇāļŠāˇ’ ⎁⎓⎁⎓āļģ āļˇāˇ– āļ¯āļģ⎊⎁āļąāļēāļšāˇŠ ⎄āļģāˇ„āˇ āļ…āˇƒāˇŠāļŽāˇāļē⎓ āļŊāˇ™āˇƒ āļ´āˇ’āļē āļąāļœāļ­āˇ’–āļ¸āˇ™āļē, āļ†āļąāˇŠāļ­āˇ’āļš āˇ€āˇ™āˇ„āˇ™āˇƒāļ§ āļ´āļ­āˇŠāˇ€āˇ“āļ¸ āˇ„āˇ ⎀⎒āļŗāļ¯āļģāˇāļœāˇāļąāˇ“āļ¸ āļ´āˇ’āļŊ⎒āļļāļŗ āļ¯āˇ™āˇƒāˇŠ āļ¯āˇ“āļ¸āļšāˇ’.

Millet painting
L’Angelus (1857-59) [āļĄāˇāļēāˇāļģ⎖āļ´āļē: MusÊe d’Orsay, Dist. Grand Palais Rmn / Patrice Schmidt]

āļ‘⎄⎙āļ­āˇŠ āļ¸āˇ™āļ¸ āļšāˇ˜āļ­āˇ’⎀āļŊ āļ´āˇŠâ€āļģāļļāļŊāļ­āˇŠāˇ€āļē āļ­āˇ’āļļ⎒āļēāļ¯āˇ“āļ­āˇŠ, āļ´āˇŠâ€āļģāļ¯āļģ⎊⎁āļąāļē⎚ āļˇāˇāļģāļšāļģāˇ”āˇ€āˇ āļ¸āˇ’āļē⎚āļœāˇš āļģ⎐āļŠāˇ’āļšāļŊ⎊ āļ¯āˇāļšāˇŠāļ¸ āˇƒāļŗāˇ„āˇ āļ‰āļ­āˇ āˇƒāˇ”āˇ…āˇ” āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇƒāļąāˇŠāļ¯āļģ⎊āļˇāļēāļšāˇŠ āļ´āļ¸āļĢāļšāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļ­āˇ’. āļ”⎄⎔āļœāˇš āļšāļŊāˇāļ­āˇŠāļ¸āļš āļĸāļēāļœāˇŠâ€āļģ⎄āļĢ āļ”⎄⎔āļœāˇš āļœāˇœāˇ€āˇ’ ⎃āļ¸āˇŠāļˇāˇ€āļē āˇƒāˇ„ āļ”⎄⎔āļœāˇš āˇ€āˇāˇƒāļąāˇāˇ€āļ§ āļŊ⎐āļļ⎔āļąāˇ” āļ‹āļ´āļ¯āˇšāˇāļšāļ­āˇŠāˇ€āļēāļ§ āļ†āļģāˇāļ´āļĢāļē āļšāļģ āļ‡āļ­āˇ’ āļ…āļ­āļģ, 1849 āļ¯āˇ“ āļ”⎄⎔ āļ´āˇāļģāˇ’āˇƒāˇ’āļē⎙āļąāˇŠ āļ´āˇ’āļ§āˇ€āˇ“āļ¸ “āˇ€āˇŠâ€āļēāˇāļšāˇ–āļŊāļšāˇŠ āļ­āļ­āˇŠāļ­āˇŠāˇ€āļēāļ§” āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģāļēāļšāˇŠ āļŊāˇ™āˇƒ āļ…⎀⎒⎁āļ¯ āļŊāˇ™āˇƒ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļšāļģ āļ‡āļ­.

āļąāļ¸āˇ”āļ­āˇŠ āļŠāˇšāˇ€āˇ’āļŠāˇŠ āļąāˇāļģ⎊āļ­āˇŠ 2011 āļ¯āˇ“ āļ”⎄⎔āļœāˇš “1848 ⎀⎒āļ´āˇŠāļŊ⎀āļēāļąāˇŠ āˇƒāˇ„ āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āˇ“ āļ¸āˇ–āļŊāˇāļ´āˇāļē⎚ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļ´āļ¯āļąāļ¸āˇŠâ€ āļēāļą āļ¯āˇšāˇāļąāļē⎚āļ¯āˇ“ ⎃āļŗāˇ„āļąāˇŠ āļšāˇ… āļ´āļģ⎒āļ¯āˇ’, “āļē⎔āļģāˇāļ´āļē āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇ’āļ´āˇ’āļģ⎓āļ¸āļš āļ…āļ¯āˇŠāļ¯āļģ āˇƒāˇ’āļ§āˇ’āļē⎚āļē… āļ°āļąāˇ€āˇāļ¯āļē, ⎀⎐āļŠ āļšāļģāļą āļĸāļąāļœāˇ„āļąāļē⎚ āļ´āˇ”⎅⎔āļŊ⎊ āļšāˇœāļ§āˇƒāˇŠ āļšāˇ™āļģ⎙⎄⎒ ⎀⎒āļąāˇāˇāļšāˇāļģ⎓ āļļāļŊāļ´āˇ‘āļ¸āļšāˇŠ āļ‡āļ­āˇ’ āļšāˇ… āļ´āˇŠâ€āļģāļ°āˇāļą āļ†āļģ⎊āļŽāˇ’āļš āļ…āļģ⎊āļļ⎔āļ¯āļēāļš āˇ€āˇ™āļŊ⎓ āˇƒāˇ’āļ§āˇ’āļē⎚āļē. 1846-47 āˇ€āˇƒāļģ, āļ¯āˇ„āļąāˇ€ ⎀āļą āˇƒāˇ’āļēāˇ€āˇƒāˇš āļ´āˇ™āļģ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļšāˇāļŊ āļ´āļģ⎒āļ āˇŠāļĄāˇšāļ¯āļēāļšāļ§ āˇ€āļŠāˇ āˇ€āˇ’āˇāˇāļŊ āļ´āļģ⎒āļ¸āˇāļĢāļēāļšāˇ’āļąāˇŠ āļ¸āˇāļąāˇ€ āļ¯āˇ”āļšāˇŠ āˇ€āˇšāļ¯āļąāˇ āļ…āļ­āˇŠāˇ€āˇ’āļŗāˇ’āļē⎚āļē. āļ´āˇ”⎅⎔āļŊ⎊ āˇƒāˇāļœāļ­āļēāļšāˇŠ āļ‡āļ­āˇ’ āļšāˇ… āļļāˇāļœ āˇ€āļœāˇ āļ…āˇƒāˇāļģ⎊āļŽāļšāļ­āˇŠāˇ€āļēāļšāˇ’āļąāˇŠ āļ†āļģ⎊āļŽāˇ’āļš āļ…āļģ⎊āļļ⎔āļ¯āļē āļ­āˇ€āļ­āˇŠ āļ‹āļœāˇŠâ€āļģ ⎀⎒āļē. ⎀⎒āļģ⎐āļšāˇ’āļēāˇ āļ…āļąāˇ”āļ´āˇāļ­āļē āļ…āˇ„āˇƒ āļ‹āˇƒāļ§ āļąāˇāļœāˇ”āļąāˇ’.”

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⎁⎓āļ­ āļāļ­āˇ”⎀: The Fagot Gatherers (1868-75) [āļĄāˇāļēāˇāļģ⎖āļ´āļē: Amgueddfa Cymru – āļĸāˇāļ­āˇ’āļš āļšāˇžāļ­āˇ”āļšāˇāļœāˇāļģāļē āˇ€āˇšāļŊ⎊⎃⎊]

1848 āļ¯āˇ“, “āļ´āˇ”āļģāˇ€āˇāˇƒāˇ’ āļģāļĸ⎔” āļŊ⎔⎀⎓-āļ´āˇ’āļŊ⎒āļ´āˇŠāļœāˇš āļ¯āˇ–⎂⎒āļ­ āļ´āˇāļŊāļąāļē, āļ¸āˇ’āļē⎚ āļšāˇ™āļ§āˇ’ āļšāļŊāļšāˇŠ āˇƒāˇ„āļˇāˇāļœāˇ“ ⎀⎖ āļ¸āˇ„āļĸāļą āļąāˇāļœāˇ’āļ§āˇ“āļ¸āļšāˇ’āļąāˇŠ āļ´āˇ™āļģāļŊāˇ āļ¯āļ¸āļą āļŊāļ¯āˇ“. āļšāˇāļģ⎐āļŊ⎊āļŊ, āļšāˇœāļąāˇŠāˇƒāļģāˇŠāˇ€āˇšāļ§āˇ’āˇ€āˇŠ āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļ­āˇāˇ€āļšāˇāļŊ⎒āļš āļģāļĸāļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ  āļ­āļŊāˇ āļ¯āˇāļ¸āˇ”āļąāˇ’.

1847 āļ¯āˇ“ āļšāˇœāļ¸āˇ’āļē⎔āļąāˇ’āˇƒāˇŠāļ§āˇŠ āļ´āˇŠâ€āļģāļšāˇāˇāļąāļē (The Communist Manifesto) āˇƒāˇ„ 1850 āļ¯āˇ“ āļ´āˇŠâ€āļģāļ‚⎁āļē⎚ āļ´āļąāˇŠāļ­āˇ’ āļ…āļģāļœāļŊ (The Class Struggles in France) āļ´āˇŠâ€āļģāļšāˇāˇāļēāļ§ āļ´āļ­āˇŠ āļšāˇ… āļšāˇāļŊ⎊ āļ¸āˇāļšāˇŠāˇƒāˇŠāļ§, āļ´āˇāļģāˇ’āˇƒāˇ’āļēāˇāļąāˇ” āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ¸āļģ⎊āļ¯āļąāļē āļšāˇ’āļģ⎓āļ¸ āļŊāˇāļš-āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇƒāˇ’āļ¯āˇ”⎀⎓āļ¸āļšāˇŠ ⎀⎒āļē. āļ‘āļē āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āļē āˇƒāˇ„ āļąāˇ’āļ¯āˇ„āˇƒ āļ´āˇ’⎅⎒āļļāļŗ āˇƒāļ§āļąāˇŠ āļ´āˇāļ¨ āļ´āˇ’āļ§āˇ”āļ´āˇƒ āļ‡āļ­āˇ’ āļ´āļąāˇŠāļ­āˇ’ āļœāˇāļ§āˇ”āļ¸āˇš āļšāˇ”āļģ⎒āļģ⎔ āļēāļŽāˇāļģ⎊āļŽāļē ⎄⎙⎅⎒ āļšāˇ…āˇšāļē. āļ¸āˇāļšāˇŠāˇƒāˇŠ āļŊ⎒āļē⎖ āļ´āļģ⎒āļ¯āˇ’, āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļĸāļąāļģāļĸāļē āļ‘⎄⎒ “āļšāˇāˇ…⎐āļŊ⎊ āˇƒāˇ„āˇ’āļ­, ⎃āļ¸āˇ„āļąāˇŠ āļšāˇ… āļąāˇœāˇ„⎐āļšāˇ’, āļ´āļģāˇāļĸāļē āļšāˇ… āļąāˇœāˇ„⎐āļšāˇ’ ⎃āļ­āˇ”āļģāˇ” ⎀āļą āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ¸āˇ”⎄⎔āļĢ āļ¯āˇ“āļ¸ āˇƒāļŗāˇ„āˇ  “āˇ€āˇ„āˇāļ¸ āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļ­āˇŠâ€āļģ⎃⎊āļ­āˇ€āˇāļ¯āļē āļļ⎀āļ§ āˇ„āˇāļģ⎀⎓āļ¸āļ§” āļąāˇ’āļēāļ¸āˇ’āļ­āˇ€ āļ­āˇ’āļļ⎔āļĢ⎒.

āļ¸āˇ’āļē⎚āļœāˇš āļšāˇ˜āļ­āˇ’ āļģāˇƒāˇāˇƒāˇŠāˇ€āˇāļ¯āļąāļē⎚āļ¯āˇ“ āļ¸āˇ™āļ¸ āˇƒāˇ’āļ¯āˇ”⎀⎓āļ¸āˇŠ āļļ⎐⎄⎐āļģ āļšāˇ’āļģ⎓āļ¸ āļēāļąāˇ” āļ”⎄⎔āļœāˇš āļšāļŊāˇāˇ€āˇš ⎃⎐āļļ⎑ ⎀⎐āļ¯āļœāļ­āˇŠāļšāļ¸ āļ…⎀āļ­āļšāˇŠāˇƒāˇšāļģ⎔ āļšāˇ’āļģ⎓āļ¸āļē⎒: āļ”⎄⎔āļœāˇš āļšāļŊāˇāˇ€, āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļģāˇāļ°āļ­āˇāˇ€, āļ…āļģāļœāļŊāļē āˇƒāˇ„ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē āļ¸āļœāˇ’āļąāˇŠ ⎃āļŊāļšāˇ”āļĢ⎔ ⎀⎖ āļē⎔āļœāļēāļš āļ´āļģ⎒āļ´āˇ–āļģ⎊āļĢ āļ†āˇ€āļģ⎊āļĸāļąāļēāļšāˇ’.

āļ…āļ¯ āļ¯āˇ’āļą, āļ¸āˇ’āļē⎚ āˇƒāˇ„ āļļāˇāļļāˇ’āˇƒāļąāˇŠ āļ´āˇāˇƒāļŊ⎚ āļšāˇ˜āļ­āˇ’ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļŊ⎚āļ›āļą āļŊāˇ™āˇƒ āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€, āļ¸āļąāˇ”āˇ‚āˇŠâ€āļēāļ­āˇŠāˇ€āļē, ⎃⎜āļļāˇāļ¯āˇ„āļ¸ āˇƒāˇ„ ⎀āļŠāˇāļ­āˇŠ āˇƒāˇāļ°āˇāļģāļĢ āˇƒāļ¸āˇāļĸāļēāļšāˇŠ āļ´āļģ⎒āļšāļŊ⎊āļ´āļąāļē āļšāˇ’āļģ⎓āļ¸āˇšāļ¯āˇ“ āļšāļŊāˇāļšāļģāˇ”āˇ€āˇāļœāˇš āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€ āļ´āˇ’⎅⎒āļļāļŗ āļ¯āˇ–āļģāļ¯āļģāˇŠāˇāˇ“ āļˇāˇāˇ€āļąāˇāˇ€āļąāˇŠ āļŊāˇ™āˇƒāļ¯ āļąāˇœāļąāˇāˇƒāˇ“ āļ´āˇ€āļ­āˇ“.

āļ¸āˇ’āļē⎚: āļˇāˇ–āļ¸āˇ’āļē⎚ āļĸ⎓⎀⎒āļ­āļē – āļœāˇŠâ€āļģāˇāļ¸āˇ“āļē ⎃āļ‚āļšāˇŠâ€āļģāˇāļąāˇŠāļ­āˇ’āļē⎚ āļģ⎐āļŠāˇ’āļšāļŊ⎊ āļąāˇ’āļģ⎖āļ´āļĢāļēāļšāˇŠ Read More Âģ

Toronto

Toronto International Film Festival to screen propaganda film for Israel’s genocide in Gaza

By Lee Parsons.

Reposted below is the article of the World Socialist Web Site published on 10 September 2025.

Acting as a cultural arm of Canada’s imperialist ruling elite, the Toronto International Film Festival (TIFF) will be rolling out the red carpet Wednesday for the world premiere of a film about the events of October 7, 2023 that provides propaganda cover for Israel’s genocide against the Gaza Palestinians.

The Road Between Us: The Ultimate Rescue, from director and producer Barry Avrich, is entirely silent about the Israeli state’s decades of brutal oppression and dispossession of the Palestinian people, and the violence and terror it has inflicted on the residents of Gaza and the West Bank over the past two years. The documentary film’s lens is exclusively focused on the efforts of retired Israeli Major General Noam Tibon to rescue family members caught up in the October 7 Gaza Palestinian uprising against the Zionist regime, which for more than 15 years had subjected them to a brutal and ongoing economic blockade.

Toronto

The film presents Tibon as an heroic figure. While Avrich emphatically—and laughably—claims the film is “non-political,” the not-so-subtly inferred message is that Tibon personifies the “plight” and “courage” of the Israeli people. 

The documentary centers on Tibon’s obstacles in reaching his family, who had come under fire during the attack, when Palestinian fighters entered Kibbutz Nahal Oz, which lies less than one kilometer from the Gaza border. Tibon responded to a text from his son and, as the film’s website breathlessly puts it,

With no time to spare, Noam and his wife, Gali, embarked on a ten-hour mission across a country under siege to save their familyâ€Ļ Noam navigated ambushes, roadblocks, and a collapsing security system in a relentless race against time.

The film is described in the synopsis given by TIFF as “a profoundly human story about courage, family, and the power of love in the face of unimaginable terror.”

This is foul Zionist propaganda. The constructed and entirely contrived narrative treats the events of October 7 entirely outside of history—as if they fell from the sky. Its narrative frame conforms to a “T” with that of the Israeli state and its western imperialist backers: the Hamas-led uprising was “unprovoked.” Indeed, Avrich submitted his film to TIFF under the title “Out of Nowhere.” It was the festival organizers, clearly in the interests of obscuring the film’s pro-Zionist line, who persuaded him to rename it The Road Between Us. 

Anyone who has followed the decades-long persecution of the Palestinians by the Israeli regime can only feel outraged by claims that Israel, which has been armed to the teeth by Washington and its allies, was a “country under siege” in October 2023. Since 2006, Israel had effectively maintained Gaza as an “open-air prison,” repeatedly bombing and terrorizing its population, not to mention the systematic seizures of Palestinian land and episodes of mass ethnic cleansing going back to the very formation of Israel in 1948. 

Nor can there be any other legitimate response but hostility to complacent references to “courage” and “family” after almost two years of a non-stop genocidal onslaught by Israel, backed by the imperialist powers, on the Palestinians, whose families have been torn apart, massacred, starved and left destitute. The only “unimaginable terror” is that carried out by the IDF against Gaza’s population.

The attempt by TIFF to wash the blood of the Palestinian people from the IDF by finding a “hero” among its senior ranks could not have served as a better piece of propaganda for the Netanyahu regime if they had paid for it themselves. To tout such a film as a legitimate artwork is as repugnant today as claiming that Leni Riefenstahl’s propaganda efforts were a legitimate expression of life during the Third Reich.

There are many issues a serious documentary about October 7 could have taken up, including interrogating the conditions that caused hundreds of Palestinian fighters to embark effectively on a suicide mission, and the reasons for the alleged and thoroughly unconvincing state of “unpreparedness” of the Israeli military and intelligence.

The Zionist state and military boast about their technological capability and skill at every turn when it serves their ideological and political purposes. But world public opinion is supposed to believe they found themselves entirely blind-sided in October 2023.

Extensive evidence suggests that elements high up in the Zionist regime were aware of the Islamist Hamas’ plans for October 7 well in advance, and chose to ensure that Israel’s security forces stood down to create a pretext for a long-planned onslaught on Gaza to ethnically cleanse its population and seize the tiny enclave, to implement, in fact, the “Final Solution” of the Palestinian question. After the uprising began, the IDF invoked the so-called â€œHannibal Directive,” which allows the military to kill Israeli civilians rather than let them be taken hostage.

The decision to screen the film at TIFF, which has reserved the 1,800-capacity Roy Thompson Hall for Wednesday’s premiere, has nothing to do with questions of artistic merit. On the contrary, the sordid process by which the film, initially excluded from one of the world’s most important film festivals, became a—if not the—marquee event of TIFF 2025 underscores the central role that financial and Canadian imperialist foreign policy interests play in the festival management’s decisions and those of the country’s other major cultural institutions.

The phony furor over TIFF “censorship”

On August 12, media reports emerged that TIFF had reversed its decision to screen The Road Between Us at this year’s festival, citing legal concerns that some of the footage recovered from captured GoPros by Hamas fighters had not been cleared for use, as well as a “potential threat of significant disruption.” 

These reports met with an immediate outcry of protest from the Zionist lobby in Canada, quickly joined and encouraged by the political elite and right-wing press. 

On August 13, Toronto City councillors James Pasternak and Brad Bradford issued a joint statement on X, declaring, “TIFF should not be banning or censoring films and should respect the freedoms of the arts community,” and concluding that the decision to cancel was a “moral failure.”

The very next day, TIFF capitulated to this reactionary campaign, now less than 48 hours old, and announced it would ensure the film would be screened during what is the festival’s 50th edition. With The Road Between US’s producers, explained TIFF CEO Cameron Bailey, “We have worked together to find a resolution to satisfy important safety, legal, and programming concerns.” 

This quick retreat did next to nothing, however, to appease the film’s ruling class promoters, who in the name of denouncing TIFF censorship, lashed out at the supposed intolerance of anti-Gaza genocide protesters.  

The National Post gave feature coverage to an op-ed penned by Sharren Haskel, who self-identifies as Israel’s “Canadian-born” deputy foreign minister. She voiced her outrage that TIFF sought “the ‘approval’ of terrorists,” who carry out “murders, rapes, and kidnappings,” and charged the festival with complicity “in silencing the truth.” She also slammed the Carney government for its empty announcement it would recognize a Palestinian state.

Canada, like the US and the other imperialist powers, is a key supporter of the Gaza genocide. Whether under Mark Carney or Justin Trudeau before him, the Liberal government has backed Israel’s genocidal campaign against Gaza and rampage across the Middle East to the hilt, shipping tens of millions of dollars in weaponry to Israel, while clamping down ruthlessly on anti-genocide protests at home.

Within Canada’s film industry the most prominent public statement of support for the screening of The Road Between US’s came from Susan Reitman Michaels, sister of the late producer/director Ivan Reitman, whose family is a major benefactor of TIFF. The family donated land for the home of the festival, the TIFF Lightbox complex in downtown Toronto. 

In an open letter Michaels wrote, “The irony is unbearable. My family’s gift of land to TIFF was intended as a memorial to my parents’ faith in freedom of expression, only to see that very principle eroded… What it looks like, and feels like, is the silencing of a Jewish voice at a time when Jewish voices are already being marginalized.” As intended, the letter elicited a thoroughly stage-managed “torrent of outrage,” with the festival reportedly receiving 60,000 emails objecting to the initial cancellation of the film.

The hypocrisy of Michaels and the other would-be warriors for “free speech” is staggering. None of them batted an eyelid, but on the contrary cheered on the political establishment when it systematically smeared and sought to intimidate hundreds of thousands of Canadians who participated in anti-genocide protests over the past two years. Anti-genocide activists calling for an end to Canadian imperialism’s supply of military equipment to Israel have faced arrest and harassment by the police, and in some cases the loss of their employment. The few voices who raised any criticism of the genocide within the political establishment, like former NDP member of the Ontario legislature Sarah Jama, were politically sidelined and silenced.

Moreover, the claim to be defending rights of “freedom of expression” on the one hand, while invoking the special rights of wealthy benefactors to influence programming decisions, reveals the class character of the objections.

In announcing the festival’s renewed commitment to screen The Road Between Us, TIFF CEO Bailey issued a cowardly mea culpa. “I want to apologize,” he declared, “for any hurt, frustration, or disappointment that our communication about the film has caused, and for any mischaracterizations that have taken root. We’re working now—and we will be for a while—to clarify things and to repair relationships.”

Bailey offered his fawning and, frankly, disgusting reassurance:

I want to be clear: claims that the film was rejected due to censorship are unequivocally false. Both TIFF and the filmmakers have heard the pain and frustration expressed by the public and we want to address this together.

The “pain and frustration” were not expressed by “the public,” but by TIFF’s wealthy donors, the Zionist lobby, and powerful sections of the corporate and political elite—many of them the very same forces who last year demanded that TIFF cancel screenings of a documentary that humanized Russian soldiers fighting in Ukraine.

It should be remembered that TIFF has a record of celebrating Zionism and Israel. In 2009, eight months after one of the Israeli military’s murderous assaults on Gaza, the film festival decided to honor Tel Aviv as the first city to be the subject of its new program, “City to City.” The decision provoked widespread outrage and protest.

Avrich, a Montreal-based filmmaker, has less than convincingly sought to talk his way out of any political intention behind his decision to make the film. Avrich told an interviewer for Deadline, “This film is not about politics, it’s about humanity, family and sacrifice.” 

Avrich and the IDF Major General Tibon used a joint interview with the Globe and Mail, published September 6, as an opportunity to double down on this transparent falsification, presenting their film, in the postmodernist jargon so prominent in artistic and academic circles, as simply one “story” among others. In a remark that reveals at best his indifference towards and more likely support for the greatest crime of the 21st century so far, Avrich blandly told the Globe that he was just “a guy in Canada who is attracted to a great storyâ€Ļ I didn’t see anything outside that story.” The same line was taken by Tibon, who adds in the same interview that ”we didn’t say one word of politics.” Anyone who believes a word of this rubbish …

When the Globe interviewer gave them the opportunity, to say something about the plight of the Palestinians and the ongoing genocide, both Avrich and Tibon pointedly refused to do so.

An artist unmoved by genocide and who, in the face of the systematic destruction of an entire people, “didn’t see anything outside” the fate of a senior officer in this machinery of mass murder and his immediate family, deserves only contempt. This is not a matter of artistic freedom. Rather, it reflects a tendency to revel in a kind of cold indifference to mass human suffering cultivated within a privileged layer of the middle class, whose expanding stock portfolios and bank balances are tied up with the eruption of imperialist wars over the past three-and-a-half decades, culminating in the Gaza genocide as part of a rapidly developing third world war.

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shoot2

āļšāˇ’āļēāˇāˇ‚āˇ’ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇāļœāˇš āļšāˇŠāļŊ⎀⎔āļŠāˇŠ : “āļ…āļē⎔āļ­āˇ” āļŊāˇāļˇ āļŊ⎐āļļ⎓āļ¸ āˇƒāˇ„ āļ´āˇ…⎒āļœāˇāļąāˇ“āļ¸ āļ…āļ­āˇ’āļ āˇŠāļĄāˇāļ¯āļąāļē ⎀⎓ āˇ€āˇ’āˇƒāˇŠāļ­āˇāļģāļĢāļē āˇ€āˇš…”

āļŠāˇšāˇ€āˇ’āļŠāˇŠ āˇ€āˇœāļŊāˇŠāˇ‚āˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇ’.

āļ¸āˇ™āˇ„⎒ āļ´āļŊ⎀āļąāˇŠāļąāˇš āļŊāˇāļš āˇƒāļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ ⎀⎙āļļ⎊ āļ…āļŠāˇ€āˇ’āļē⎚ (āļŊāˇāˇƒāˇ€āˇ™āļ…) 2025 āļĸ⎔āļŊ⎒ 28 āļ¯āˇ’āļą Kiyoshi Kurosawa’s Cloud: “Profiteering and revenge overlap and amplifyâ€Ļ” āļēāļą āˇ„āˇ’āˇƒāˇ’āļąāˇŠ āļ´āļŊ⎀⎖  āļŠāˇšāˇ€āˇ’āļŠāˇŠ āˇ€āˇœāļŊāˇŠāˇ‚āˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļŊ⎒āļēāļą āļŊāļ¯ āļŊ⎒āļ´āˇ’āļē⎚ āˇƒāˇ’āļ‚⎄āļŊ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē āļē⎒.

āļšāˇ’āļēāˇāˇ‚āˇ’ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ (āļ…āļšāˇ’āļģāˇ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇāļ§ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ° āļąāˇāļ­) āļ´āˇŠâ€āļģ⎀⎓āļĢ āļĸāļ´āļąāˇŠ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļšāļģ⎔⎀⎙āļšāˇ’;  āļ¸āļąāˇāˇ€āˇ’āļ¯āˇŠâ€āļēāˇāļ­āˇŠāļ¸āļš āˇƒāˇ„ ⎀⎙āļąāļ­āˇŠ āļ´āˇŠâ€āļģāļˇāˇšāļ¯āˇ€āļŊ āļ­āˇŠâ€āļģāˇāˇƒāļĸāļąāļš (horror ) āˇ‚āˇāļąāļģāļē⎚ āļšāˇ˜āļ­āˇ’ ⎃āļŗāˇ„āˇ āļ”⎄⎔ āļ´āˇŠâ€āļģāˇƒāˇ’āļ¯āˇŠāļ°āļē. āļ”⎄⎔āļœāˇš ⎀āļŠāˇāļ­āˇŠ āļ´āˇŠâ€āļģāˇƒāˇ’āļ¯āˇŠāļ° āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āˇ€āļŊ⎒āļąāˇŠ āļ‘āļšāļšāˇŠ  āļšāˇ’āļēāˇ  ( Cure-1997) ⎀āļą āļ…āļ­āļģ āļ‘āļē āˇƒāˇ”āˇ€āˇ’āˇāˇšāˇ‚āļē⎙āļąāˇŠ  āļ‡āļŸ āļšāˇ’āļŊ⎒āļ´āˇœāˇ…āļą āˇƒāˇ”āļŊ⎔ āļ¸āˇ’āļąāˇ“āļ¸āˇāļģ⎔āļ¸āˇŠ āļ¸āˇāļŊāˇāˇ€āļšāˇŠ ⎀⎒āļ¸āļģ⎊⎁āļąāļē āļšāļģāļą āļģāˇ„āˇƒāˇŠ āļ´āļģ⎓āļšāˇŠāˇ‚āļšāļē⎙āļšāˇ” āļ´āˇ’⎅⎒āļļāļ¯āˇ€ āˇ€āˇš.

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āļšāˇ’āļēāˇÂ  ( Cure-1997)

āļ‘āļšāˇŠ ⎀⎒āļ āˇāļģāļšāļē⎙āļšāˇŠ ⎃āļŗāˇ„āļąāˇŠ āļšāļģāļąāˇŠāļąāˇš āļ”⎄⎔āļœāˇš āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āˇƒāˇāļ¸āˇāļąāˇŠâ€āļēāļē⎙āļąāˇŠ, 

â€œāˇƒāļąāˇŠāˇƒāˇ”āļąāˇŠ āļ¸āļ­āˇ”āļ´āˇ’āļ§ āļēāļ§ āˇƒāˇāļŸāˇ€āˇ“ āļ‡āļ­āˇ’ āļ†āļ­āļ­āˇ“āļąāˇŠ āļģ⎐āļœāļ­āˇŠ āļ­āˇŠâ€āļģāˇāˇƒāļē āˇƒāˇ„ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­āļˇāˇāˇ€āļē āļ´āˇ’⎅⎒āļļāļŗ āļšāļ­āˇ, āļ¸āˇ…⎀⎔āļąāˇŠāļœāˇš āˇƒāˇ„ āļēāļŽāˇāļģ⎊āļŽāļē ⎃āļ¸āļœ āļļ⎜āļŗ āˇ€āļą āļ…āļ¯āˇŠāļˇāˇ–āļ­ āļ¯āˇ‘ āļ´āˇ’⎅⎒āļļāļŗ āļŊāˇāļšāļē, āˇ„āˇœāļŊ⎊āļ¸āļąāˇŠ ⎁āļļ⎊āļ¯, āļ¸āļ­āļšāļēāļąāˇŠ āˇƒāˇ„ āļ¯āļģ⎊⎁āļą āˇ€āˇ“āļ¸āˇŠ āļ´āˇ’āļŊ⎒āļļāļ¯ āˇ€āļą āļļ⎀āļē⎒; āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇāļœāˇš āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļēāļąāˇ” āļ”āļļ⎀ āļ…āļŊ⎊āļŊāˇ āļœāˇāļąāˇ“āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāļģāļą āļ…āļŗāˇ”āļģ⎔ āļļāļŊāˇ€āˇšāļœāļēāļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’ āļļ⎀ āˇƒāˇ„āļ­āˇ’āļš āļšāļģ āļœāˇāļąāˇ“āļ¸ āˇƒāļŗāˇ„āˇ āļ¯āˇ™āˇ€āļģāļšāˇŠ āļ´āˇ’āļ§āˇ”āļ´āˇƒ ⎄⎐āļģ⎓ āļ´āļģ⎓āļšāˇŠāˇ‚āˇ āļšāˇ’āļģ⎓āļ¸āļ§ āļ”āļļāļ§ āļ•āļąāˇ‘ āļšāļģ⎀āļą āˇ„āˇœāļ¯āˇ’āļąāˇŠ āļœāļąāļąāˇŠ āļļāļŊāˇ ⎃āļšāˇƒāˇŠ āļšāˇ… āļ‹āļ´āļšāļģāļĢ āˇ€āˇš.”

āļ­āˇ€āļ­āˇŠ āļ…āļē⎙āļšāˇŠ āļ´āˇ™āļąāˇŠāˇ€āˇ āļ¯āˇ™āļąāˇŠāļąāˇš, 

“āļ”⎄⎔āļœāˇš āļ āļģ⎒āļ­, āļ”⎀⎔āļąāˇŠāļœāˇš āļ¸āˇ’āļ­āˇ”āļģāļąāˇŠ āˇ„āˇ āļ†āļ¯āļģāļĢ⎓āļēāļēāļąāˇŠ āˇ„āˇ āļ”⎀⎔āļąāˇŠ āļ¸āļ‚āļ¸āˇ”āļŊāˇ āˇƒāˇ„āļœāļ­ āļļ⎐āļŗāˇ“āļ¸āˇŠ āļ‡āļ­āˇ’ āļšāļģāļœāļ­āˇŠ āļ†āļœāļąāˇŠāļ­āˇ”āļšāļēāļąāˇŠ, āļ”⎀⎔āļąāˇŠāļœāˇš āļ‡āˇƒāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āˇ’āļ§āļ¸ āˇ€āļ āļąāˇāļģ⎊āļŽāļē⎙āļąāˇŠāļ¸ āˇƒāˇš āļ¯āˇ–⎀⎒āļŊ⎒ ⎀⎐āļąāˇ’ āļ…āļ‚⎁⎔ āļļ⎀āļ§ āļļ⎒āļŗāˇ“ āļēāˇāļ¸ āļ…āˇƒāļģāļĢ āļ­āˇŠâ€āļģ⎃⎊āļ­āļē⎙āļąāˇŠ āļļāļŊāˇ āˇƒāˇ’āļ§āˇ’āļą Pulse (2001) āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļ…āļ´āˇ–āļģāˇŠāˇ€ āļ¯āļģ⎊⎁āļąāļē, āļļāˇœāˇ„āˇ āļ¯āˇ”āļģāļ§  āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇāļœāˇš āˇƒāˇ’āļąāļ¸āˇāˇ€āˇš āļąāˇ’āļģāˇŠāˇ€āļ āļąāˇāļ­āˇŠāļ¸āļš āļ´āˇŠâ€āļģāļ­āˇ’āļģ⎖āļ´āļē ⎀⎒āļē ⎄⎐āļšāˇ’āļē.”

āļ‡āļ­āˇāļ¸āˇŠ ⎀⎒āļ āˇāļģāļšāļēāˇ āˇƒāˇ„ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļ´āˇŠâ€āļģ⎚āļšāˇŠāˇ‚āļšāļē⎒āļąāˇŠ āļšāˇ’āļēāˇāˇ‚āˇ’ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ āļšāˇāļ´āˇ“ āļ´āˇ™āļąāˇ™āļą āļŊ⎚āļ›āļš-āļ…āļ°āˇŠâ€āļēāļšāˇŠāˇ‚⎀āļģāļē⎙āļšāˇ” āļŊāˇ™āˇƒ ⎃āļŊāļšāļ­āˇ’. āļ­āˇ€āļ­āˇŠ ⎀⎒āļē ⎄⎐āļšāˇ’āļēāˇāˇ€āļšāˇŠ āļąāļ¸āˇŠ, āļ”⎄⎔āļœāˇš āļ…āļŗāˇ”āļģ⎔, āļ¸āˇāļąāˇ€ ⎀⎒āļģāˇāļ°āˇ“, āļļāˇœāˇ„āˇ ⎀⎒āļ§ āļŊ⎚ ⎀⎐āļšāˇ’ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§, āļ´āˇƒāˇ”āļœāˇ’āļē āˇ€āˇƒāļģ 40 āˇƒāˇ’āļ§ 50 āļ¯āļšāˇŠāˇ€āˇ āļšāˇāļŊāļē āļ­āˇ”⎅ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āˇƒāˇ’āļąāļ¸āˇāˇ€āˇš āļ”āļ§āˇ”āļąāˇŠāļą āˇ„āˇ’āļ¸āˇ’ āļ¸āˇāļĢ⎒āļšāļšāˇŠ ⎀⎖ (āļ…āļšāˇ’āļģāˇ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ, āļ¸āˇ’āˇƒāˇœāļœāˇ”āļ āˇ’, āļ•āˇƒāˇ” āˇƒāˇ„ ⎀⎙āļąāļ­āˇŠ āļ…āļē) āļĸāļ´āļąāˇŠ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļąāˇ’āˇ‚āˇŠāļ´āˇāļ¯āļąāļē⎚ ⎃āļ¸āˇƒāˇŠāļ­ āļ´āļģāˇ’āˇ„āˇāļąāˇ’āļē āļ¸āˇ–āļģ⎊āļ­āˇ’āļ¸āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸ āˇ€āˇš.

āļšāˇŠāļŊ⎀⎔āļŠāˇŠ ⎄⎒, āļģ⎒āļēāˇ”āˇƒāˇ”āļšāˇš āļēāˇœāˇ‚āˇ’ (āļ¸āˇƒāˇāļšāˇ’ āˇƒāˇ”āļŠāˇ) āļēāļąāˇ” āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇāˇāļŊāˇ āˇƒāˇšāˇ€āļšāļē⎙āļšāˇ’, āļ”⎄⎔āļœāˇš ⎃⎐āļļ⎑ āļšāļąāˇƒāˇŠāˇƒāļŊ⎊āļŊ āļģāˇŠāˇ€āļąāˇŠāļąāˇš āļ¯āˇšāˇ€āļŊ⎊ āļ¸āˇāļģ⎊āļœāļœāļ­āˇ€ āļąāˇāˇ€āļ­ āˇ€āˇ’āļšāˇ’āļĢ⎓āļ¸āļē⎒ (online reselling). āļ”⎄⎔ (⎀āļ‚āļ āˇāˇ€āˇ™āļąāˇŠ, āļļāļŊ⎄āļ­āˇŠāļšāˇāļģāļē⎙āļąāˇŠ āˇƒāˇ„ ⎀⎙āļąāļ­āˇŠ āļšāˇŠâ€āļģāļ¸āˇ€āļŊ⎒āļąāˇŠ) āļˇāˇāļĢ⎊āļŠ āļŊāˇāļˇāļēāļ§ āļŊāļļāˇ āļœāˇāļąāˇ“āļ¸ āˇƒāˇ„ āļ’āˇ€āˇ āļ…āļ°āˇ’āļš āļ¸āˇ’āļŊāļ§ āˇ€āˇ’āļšāˇ’āļĢ⎓āļ¸ āļ´āˇ’⎅⎒āļļāļŗ āˇ€āˇ’āˇāˇšāˇ‚āļĨāļē⎙āļšāˇ’. āļ”⎄⎔ āļ­āļ¸ āļ¸āˇ™āˇ„⎙āļē⎔āļ¸āˇŠāˇ€āļŊ āļšāˇ™āļ­āļģāļ¸āˇŠ āˇƒāˇāļģ⎊āļŽāļšāļ­āˇŠāˇ€āļēāļšāˇŠ āļŊāļļāˇāļœāļ­āˇŠāļ­āˇš āļ¯ āļēāļ­āˇŠ,  āļ”⎄⎔āļœāˇš āļ´āˇŠâ€āļģāļ°āˇāļąāˇ’āļēāˇāļœāˇš āļšāˇāļ´āļēāļ§ āˇ„āˇšāļ­āˇ” ⎀āļą āļ´āļģ⎒āļ¯āˇ’ āļ”⎄⎔āļœāˇš āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇāˇāļŊāˇ āļģ⎐āļšāˇ’āļēāˇāˇ€ āļ…āļ­āˇŠāˇ„āļģ⎒āļē⎒. (“āļ¸āļ§ āˇ€āˇ™āļąāˇƒāˇŠ āļ¯āˇ™āļēāļšāˇŠ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āˇ€āˇāˇŠâ€āļēāļē⎒.” â€Ļ “āļ’āļš āļšāˇ’āˇƒāˇ’ āļ­āˇšāļģ⎔āļ¸āļšāˇŠ āļąāˇāļ­āˇ’ āļ¯āˇ™āļēāļšāˇŠ.”)

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āļšāˇŠāļŊ⎀⎔āļŠāˇŠ ( Cloud)

āļēāˇœāˇ‚āˇ’ āļ­āļ¸ āļ´āˇ™āļ¸āˇŠāˇ€āļ­āˇ’āļē ⎀āļą āļ…āļšāˇ’āļšāˇ (āļšāˇœāļ§āˇāļąāˇš ⎆⎔āļģ⎔āļšāˇāˇ€āˇ) ⎃āļ¸āļŸ āļ…āļˇāˇ’āļŊāˇāˇ‚āļšāˇāļ¸āˇ“⎀ āˇƒāˇ„ ⎃āļ¸āˇ„āļģ ⎀⎒āļ§ āļ†āˇ€āˇšāļœāˇāˇ“āļŊ⎓⎀ āļœāļ¸āˇŠāļļāļ¯ āˇ€āˇ’āˇāˇāļŊ āļąāˇ’āˇ€āˇƒāļšāļ§  āļ´āļ¯āˇ’āļ‚āļ āˇ’āļēāļ§ āļēāļē⎒. āļ”⎄⎔ āļ‰āļ­āˇ āļšāˇāļģ⎊āļēāļšāˇŠāˇ‚āļ¸ āˇƒāˇ„āˇāļēāļšāļē⎙āļšāˇ” ⎀āļą āˇƒāļąāˇ (āļŠāļē⎒āļšāļąāˇŠ āļ”āļšāˇ”āļŠāļē⎒āļģāˇ) āļ¯ āˇƒāˇšāˇ€āļēāļ§ āļœāļąāˇ“.

āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļš āļ¯āļģ⎊⎁āļąāļēāļšāļ¯āˇ“, āļēāˇœāˇ‚āˇ’āļ§ āˇ€āļ‚āļš āˇ„āˇ’āļ§āļ´āˇ” āļ´āˇāˇƒāļŊ⎊ āļ¸āˇ’āļ­āˇ”āļģ⎙āļšāˇ” āļ¸āˇ”āļĢāļœāˇāˇƒāˇ™āļą āļ…āļ­āļģ, āļ”⎄⎔ āļ´āˇ™āļąāˇŠāˇ€āˇ āļ¯āˇ™āļąāˇŠāļąāˇš āļ”⎀⎔āļąāˇŠāļ§ āˇƒāˇāļ¸āˇ€āˇ’āļ§āļ¸ â€œāļ´āˇ„āˇƒāˇ”āˇ€āˇ™āļąāˇŠ āļ¸āˇ”āļ¯āļŊ⎊ āļ‰āļ´āļē⎓āļ¸āļ§ āļ…āˇ€āˇāˇŠâ€āļē āˇ€āˇ–â€ āļļ⎀āļē⎒. “āļ¯āˇāļąāˇŠ āļĸ⎓⎀⎒āļ­āļē āļ´āˇ„āˇƒāˇ”āļ¯? āļąāˇāˇ„⎐.” āļšāˇ’āˇƒāˇ’āˇƒāˇšāļ­āˇŠāļ¸ āļ´āˇ„āˇƒāˇ” āļąāˇāļ­, “āļ¸āˇ”āļ¯āļŊ⎊ āļ‹āļ´āļēāļąāˇŠāļąāˇš āļēāˇāļąāˇŠāļ­āļ¸āˇ’āļąāˇ’.” āļąāļ¸āˇ”āļ­āˇŠ “āļ…āļ´āļ§ āļ‰āˇ€āļ­āˇŠ ⎀⎒āļē āļąāˇœāˇ„⎐āļš.” “āļ…āļ´āˇ’āļ§ āļ¸āˇ™āˇ„⎙āļ¸ āˇ€āˇ”āļĢ⎚ āļšāˇœāˇ„āˇœāļ¸āļ¯?” “āļ¸āļ§ āļšāˇ’āļēāļąāˇŠāļą āļļ⎑.” āļ¸āˇ™āļē āļēāˇœāˇ‚āˇ’ āˇ„āˇ āļ”⎄⎔āļœāˇš āˇƒāˇ„āļ āļģāļē⎒āļąāˇŠ āļ†āļ­āˇŠāļ¸ āˇ€āˇ’āļˇāˇāļœāļē āˇƒāˇ„ āļ†āļ­āˇŠāļ¸āļĨāˇāļąāļē āļšāļģāˇ ⎃āļ¸āˇ“āļ´  ⎀⎓āļ¸āˇš āļ‹āļ´āļģ⎒āļ¸āļēāļē⎒.

⎀⎒āļŊāˇāˇƒāˇ’āļ­āˇāļ¸āļē āļē⎐āļē⎒ āļšāˇ’āļēāļą āļšāˇāļąāˇŠāļ­āˇ āļļ⎑āļœāˇŠ āˇ€āˇ’āˇāˇāļŊ āļ´āˇŠâ€āļģāļ¸āˇāļĢāļēāļšāˇŠ āļ”⎄⎔ āļ…āļ­āˇŠ āļšāļģ āļœāļąāˇ“. ⎃āļąāˇ āļ”⎄⎔āļœāˇ™āļąāˇŠ āļ…āˇƒāļąāˇŠāļąāˇš, āļ’āˇ€āˇ “⎃⎐āļļ⎑āļ¯ āˇ€āˇŠâ€āļēāˇāļĸ āļ’āˇ€āˇā? āļŊāˇ™āˇƒāļē⎒.”āļ¸āļ¸ āļ’ āļļ⎀ ⎃⎜āļēāˇ āļœāˇāļąāˇ“āļ¸āļ§ āļ´āˇ™āļģ ⎀⎒āļšāˇ”āļĢ āļœāļąāˇŠāļąāˇ€āˇ,” āļēāˇœāˇ‚āˇ’āļœāˇš āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģāļē āļ‘āļēāļē⎒. āļšāˇ™āˇƒāˇš ⎀⎙āļ­āļ­āˇŠ, āļ´āˇœāļŊāˇ’āˇƒāˇ’āļē “āˇ€āˇŠâ€āļēāˇāļĸ ⎀⎒āļŊāˇāˇƒāˇ’āļ­āˇāļ¸āļē  āļˇāˇāļĢ⎊āļŠ (fake designer jobs)” āļ´āˇ’āļŊ⎒āļļāļ¯ āˇ€āˇ’āļ¸āļģ⎊⎁āļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļ´āļ§āļąāˇŠ āļœāļąāˇ“.

āļ”⎄⎔āļœāˇš āļĸāļąāˇšāļŊāļē āļ­āˇ”āļŊ⎒āļąāˇŠ āˇ€āˇƒāˇŠāļ­āˇ”⎀āļšāˇŠ āˇ€āˇ’āˇƒāˇ’ āļšāļģāļąāˇ” āļŊ⎐āļļ⎚. āļ”⎄⎔āļœāˇš āļąāˇ’āˇ€āˇƒ āļ…āˇƒāļŊ āļœāˇ”āļ´āˇŠāļ­ āļ¸āˇāļ§āļģ⎊ āļģāļŽāļēāļšāˇŠ āļąāļ­āļģ ⎀⎓, āļ´āˇƒāˇ”⎀ āļ‰āˇ€āļ­āļ§ āļ‡āļ¯āˇ“ āļēāļē⎒. āļ”⎄⎔āļœāˇš ⎃āļ­āˇ”āļģāļąāˇŠ āˇƒāˇ„ āļ´āˇŠâ€āļģāļ­āˇ’āˇ€āˇāļ¯āˇ“āļąāˇŠ āļ…āļąāˇŠāļ­āļģ⎊āļĸāˇāļŊāļē ⎄āļģāˇ„āˇ āļģ⎐⎃⎊ ⎀⎙āļ­āˇ’. “āļ…āļ´āˇš āļ´āˇ…⎒āļē āļœāļ¸āˇ”.” āļ…āˇ€āˇƒāˇāļąāļē⎚āļ¯āˇ“, āļ”⎀⎔⎄⎔ āļ”⎄⎔⎀ āļ…āļŊ⎊āļŊāˇāļœāˇ™āļą āļ‘āļē ⎃āļĸ⎓⎀⎓⎀ āļ´āˇŠâ€āļģāļ āˇāļģāļē āļšāļģāļą āļ…āļ­āļģāļ­āˇ”āļģ āļ”⎄⎔⎀ āļ´āļĢāļ´āˇ’āļ§āˇ’āļąāˇŠ āļ´āˇ”āˇ…āˇ”āˇƒāˇŠāˇƒāˇ āļ¯āˇāļ¸āˇ“āļ¸āļ§ āˇƒāˇāļŊāˇƒāˇ”āļ¸āˇŠ āļšāļģāļ­āˇ’. āļ¯āļŦ⎔⎀āļ¸ āļ…āļ´āļģāˇāļ°āļēāļ§ āļœāˇāļŊāļ´āˇ™āļąāˇŠāļąāˇš āļąāˇāļ­āˇ’ āļļ⎀ āļ´āˇ™āļąāˇš. “āļ¸āˇšāļš āļ¸āˇš āļ¯āļšāˇŠāˇ€āˇ āļ”āļļ āļšāˇ… āˇƒāˇ’āļēāļŊ⎔ āļ´āˇāļ´ āˇƒāļŗāˇ„āˇ āļ´āˇ…⎒āļœāˇāļąāˇ“āļ¸āļšāˇŠ” āļē⎐āļē⎒ āļēāˇœāˇ‚āˇ’āļ§ āļ´āˇāˇ€āˇƒāˇ– ⎀⎒āļ§, āļ”⎄⎔āļœāˇš āļ´āˇ’⎅⎒āļ­āˇ”āļģ āˇƒāˇāļ°āˇāļģāļĢ āļļ⎀ āļ´āˇ™āļąāˇš, “āļ¸āļ¸ … āļ‘āļ­āļģāļ¸āˇŠ āļąāļģāļšāļ¯?”

āļšāˇ™āˇƒāˇš ⎀⎙āļ­āļ­āˇŠ, āļģ⎔āļ°āˇ’āļģ ⎃⎊āļąāˇāļąāļēāļšāˇŠ āˇƒāˇ’āļ¯āˇ”⎀āļą āļ…āļ­āļģ, āļ‘⎄⎒āļ¯āˇ“ ⎃āļąāˇ āļ´āˇŠâ€āļģāļ°āˇāļą āļ¸āˇāļģāˇāļąāˇŠāļ­āˇ’āļš āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€āļšāˇŠ āļģāļŸ āļ¯āļšāˇŠāˇ€āļē⎒. āļ”⎄⎔āļ§ āļ´āˇāļ­āˇāļŊ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āļ­āˇ āˇƒāˇ„ āļ…āļ­āˇŠāļ¯āˇāļšāˇ“āļ¸āˇŠ āļ‡āļ­āˇ’ āļļ⎀ āļ´āˇ™āļąāˇš. āļ…āˇ€āˇƒāˇāļą āļ¯āļģ⎊⎁āļąāļē⎚āļ¯āˇ“, āļ¯āˇāļąāˇŠ āļœāˇāļšāˇ”āļģ⎒āļąāˇŠ āļšāļ¸āˇŠāļ´āļąāļēāļ§  āˇƒāˇ„ āļ¯āˇ’āļģāˇ’āˇƒāˇ”āļąāˇŠ ⎀⎖ āļēāˇœāˇ‚āˇ’, “āļ¸āļ¸ āˇ€āˇ’āļąāˇāˇāļē⎒” āˇƒāˇ„ “āļ‰āļ­āˇ’āļąāˇŠ āļąāˇ’āļģāļēāļ§ āļēāļą āˇ€āˇ’āļ°āˇ’āļē āļ¸āˇ™āļēāļē⎒” āļēāļąāˇ”⎀⎙āļąāˇŠ āļšāˇ‘āļœāˇƒāļē⎒.

Cloud ⎄⎒ āˇƒāˇ’āļ§āˇ’āļą āˇƒāˇ‘āļ¸ āļšāˇ™āļąāˇ™āļšāˇŠā āļ‘āļšāˇŠāļšāˇ ⎀āļ‚āļ āˇāļšāˇāļģāļē⎙āļšāˇŠ, āļąāļģ⎔āļ¸āļē⎙āļšāˇŠ, āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āˇ’āļē⎙āļšāˇŠ āˇ„āˇ āļ¸āļąāˇ āˇ€āˇŠâ€āļēāˇāļ°āˇ’āļē⎙āļšāˇŠ āˇ€āˇš. āļ”⎀⎔āļąāˇŠāļœāˇ™āļąāˇŠ āļ‘āļšāˇ™āļšāˇŠāˇ€āļ­āˇŠ āļąāļģāļšāļąāˇŠāļąāˇāļœāˇš ⎀⎐āļŠāˇ’ ⎃⎐āļŊāļšāˇ’āļŊ⎊āļŊāļšāˇŠ āˇ„āˇ āļ…⎀āļ°āˇāļąāļēāļšāˇŠ āļŊ⎐āļļ⎓āļ¸āļ§ āˇƒāˇ”āļ¯āˇ”āˇƒāˇŠāˇƒāˇ āļąāˇœāˇ€āˇ™āļ­āˇ’. āļĸāļ´āˇāļąāļē⎚ āˇ„āˇ ⎀⎙āļąāļ­āˇŠ āļ•āļąāˇ‘āļ¸ āļ­āˇāļąāļš āļĸ⎓⎀⎒āļ­āļē āļ´āˇ’⎅⎒āļļāļŗ āļ¯āˇ˜āˇ‚āˇŠāļ§āˇ’āļēāļšāˇŠ āļŊāˇ™āˇƒ āļ‘āļē āļšāˇ™āļ­āļģāļ¸āˇŠ āļąāˇ’⎀⎐āļģāļ¯āˇ’āļ¯? āļ‡āļ­āˇŠāļ­ āˇ€āˇāļē⎙āļąāˇŠāļ¸, āļ´āˇ’⎅⎒āļšāˇ”āļŊ⎊ āˇƒāˇ„āļœāļ­ āļ āļģ⎒āļ­ āˇ„āˇāļģ āļ…āļąāˇŠ āļšāˇ’āˇƒāˇ’āˇ€āļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’ āļšāˇ˜āļ­āˇ’ āļšāļŊāˇāļ­āˇŠāļ¸āļšāˇ€ āˇƒāˇāļģ⎊āļŽāļš āˇ€āˇ“ āļ‡āļ­, āļąāļ¸āˇ”āļ­āˇŠ āļ‘⎀⎐āļąāˇ’ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āļąāˇŠāˇ„⎒āļ¯āˇ“ āļšāļ­āˇ”⎀āļģāļēāˇ āˇ„āˇ āļšāļŽāļšāļēāˇ āļ‹āļ´āˇ„āˇāˇƒāˇāļ­āˇŠāļ¸āļšāˇ€ āˇ„āˇ ⎀⎙āļąāļ­āˇŠ āļ†āļšāˇāļģāļēāļšāˇ’āļąāˇŠ ⎀⎒āļšāļŊ⎊āļ´āļēāļšāˇŠ ⎃āļ´āļēāļē⎒ āˇ„āˇ āļ´āˇ™āļąāˇŠāļąāˇ”āļ¸āˇŠ āļšāļģāļē⎒. āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ āļ”⎄⎔āļœāˇš āļ¯āˇŠâ€āļģāˇ€āˇŠâ€āļē, āļ…āļ´āˇŠâ€āļģāˇƒāˇāļ¯āļē⎚ āˇ„āˇ āļšāˇāļ´āļē⎚ āļ‰āļŸāˇ’āļēāļšāˇŠ ⎀āļ­āˇŠ  āļąāˇœāļ¸āˇāļ­āˇ’⎀, āļ‹āļ¯āˇāˇƒāˇ“āļą āļļ⎐āļģ⎑āļģ⎔āļ¸āˇŠāļšāļ¸āļšāˇ’āļąāˇŠ ⎃āļŊāļšāļē⎒. āļ‘⎄⎒āļ¸ āļ†āļšāˇāļģāļē⎙āļąāˇŠ,  Cloud āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļĸāļ´āļąāˇŠ āļĸ⎓⎀⎒āļ­āļē⎚ āļ‘āļšāļ­āˇāļą āļ´āļŊāˇŠāˇ€āˇ™āļą āˇƒāˇ„ āļ…⎁⎔āļˇāˇ€āˇāļ¯āˇ“ āļ­āļ­āˇŠāļ­āˇŠāˇ€āļē āˇƒāˇ„ āļ‘⎄⎒ āļ‰āˇ„⎅ ⎃⎊āļŽāļģ⎀āļŊ āļ¸āˇāļąāˇƒāˇ’āļšāļ­āˇŠāˇ€āļē āļąāˇ’⎀⎐āļģāļ¯āˇ’⎀ āļ´āˇ’⎅⎒āļļ⎒āļšāˇ” āļšāļģāļąāˇ€āˇ ⎀⎒āļē ⎄⎐āļšāˇ’āļē. āļąāļ¸āˇ”āļ­āˇŠ āļšāļŊāˇāļšāļģāˇ”āˇ€āˇāļ§ āļ‘⎀⎐āļąāˇ’ āļ¸āļąāˇāļˇāˇāˇ€āļēāļąāˇŠ āļąāˇ’āļšāļ¸āˇŠāļ¸ āˇ„āļŗāˇ”āļąāˇ āļœāˇāļąāˇ“āļ¸āļ§ āˇ€āļŠāˇ āļēāļ¸āļšāˇŠ āļšāˇ’āļģ⎓āļ¸āļ§āļ¯, āļąāˇ’āˇāˇŠāļ āˇ’āļ­āˇ€āļ¸ āļ’āˇ€āˇāļē⎚  āļąāˇœāļŊ⎐āļœ āˇƒāˇ’āļ§āˇ“āļ¸āˇšā ⎀āļœāļšāˇ“āļ¸āļšāˇŠ āļ‡āļ­. 

kurosawa
2024 āļ§āˇœāļģ⎜āļąāˇŠāļ§āˇ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļ‹āˇ…⎙āļŊ⎚āļ¯āˇ“ āļšāˇ’āļēāˇāˇ‚āˇ’ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ [āļĄāˇāļēāˇāļģ⎖āļ´āļē āļĸāˇāļąāˇŠ āˇƒāˇ’āļēāļģ⎊⎃⎊ / CC BY 4.0]

2024 āļ§āˇœāļģ⎜āļąāˇŠāļ§āˇ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļ‹āˇ…⎙āļŊ⎚āļ¯āˇ“ āļšāˇ’āļēāˇāˇ‚āˇ’ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ [āļĄāˇāļēāˇāļģ⎖āļ´āļē āļĸāˇāļąāˇŠ āˇƒāˇ’āļēāļģ⎊⎃⎊ / CC BY 4.0]

āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āļē⎙āļąāˇŠ “āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āˇ“” āļēāļą āļē⎙āļ¯āˇ”āļ¸ āļˇāˇāˇ€āˇ’āļ­āˇ āļšāļģāļ¸āˇ’āļąāˇŠ ⎃āļ¸āˇāļĸ āļ¸āˇāļ°āˇŠâ€āļē ⎀⎒āļ āˇāļģāļšāļē⎙āļšāˇ” āļēāˇāļĸāļąāˇ āļšāļģāļąāˇŠāļąāˇš  Cloud  āļēāļąāˇ” “āļ¸āˇš āļ¯āļšāˇŠāˇ€āˇ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇāļœāˇš āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē āļĸ⎓⎀⎒āļ­āļē⎚ ⎀āļŠāˇāļ­āˇŠāļ¸ āļ¯āˇ”āˇ‚āˇŠāļ§ āˇ„āˇ ⎃āļ¯āˇāļ āˇāļģāˇāļ­āˇŠāļ¸āļš āļ†āļ›āˇŠâ€āļēāˇāļąāļēāļąāˇŠāļœāˇ™āļąāˇŠ āļ‘āļšāļšāˇŠ” āļļ⎀āļē⎒. āļ”⎄⎔ āļ¸āˇ™āˇƒāˇš āļ­āļģ⎊āļš āļšāļģāļē⎒:

āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē“āļĸāļ´āļąāˇŠ āļąāˇāˇ€āļ­ āˇ€āˇ’āļšāˇ”āļĢ⎔āļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļœāˇš āļģāˇāļšāˇŠāˇ‚ āļŊāˇāļšāļē āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāļģāļą āļ…āļ­āļģ, āˇƒāˇ‘āļ¸ āļąāˇ…⎔⎀⎙āļšāˇ”āļœāˇšāļ¸ āļ¸āˇ”⎄⎔āļĢ⎔⎀āļŊ āļēāļšāˇŠāˇ‚, āˇ€āˇ™āˇƒāˇŠ āļ¸āˇ”⎄⎔āļĢāļšāˇŠ ⎀⎐āļąāˇ’ āļœāˇ”āļĢāˇāļ‚āļœāļēāļšāˇŠ āļ¸āˇ–āļģ⎊āļ­āˇ’āļ¸āļ­āˇŠ āļšāļģāļēāˇ’â€Œ; āļąāļģāļšāļąāˇŠāļąāˇāļ§ āļšāˇ’āˇƒāˇ’ ⎀⎒āļ§āˇ™āļšāļ­āˇŠ āļ¸āˇƒāˇŠ āļœāļŊāˇ€āˇ āļ¸āˇ™āļ¸ āļ´āˇ’⎅⎒āļšāˇ”āļŊ⎊ āˇƒāˇ„āļœāļ­ āļ āļģ⎒āļ­ āˇƒāˇāļļ⎀⎒āļąāˇŠāļ¸ āˇƒāˇ’āļ­āļąāˇŠāļąāˇš āļšāˇ”āļ¸āļšāˇŠāļ¯āˇāļē⎒ āļļ⎐āļŊ⎓āļ¸āļ§ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āļšāˇŠ āļąāˇāļ­āˇ’āˇ€āˇ āļ¸āˇ™āļąāˇ’.”

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āļ¸āˇ™āļē “āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āļē” āļēāļąāˇ” āļšāˇ”āļ¸āļšāˇŠāļ¯ āļēāļąāˇŠāļąāļ¯ āļ‡āļ­āˇ”⎅⎔ āļļāļģāļ´āļ­āļŊ ⎀āļģāļ¯āˇ€āˇ ⎀āļ§āˇ„āˇ āļœāˇāļąāˇ“āļ¸āļšāˇ’. āļ‡āļ¯āˇ„⎒āļē āļąāˇœāˇ„⎐āļšāˇ’ āļŊāˇ™āˇƒ āļ´āˇāļŊāļąāļē⎙āļąāˇŠ āļļ⎐⎄⎐āļģ⎀ āļēāļą āļ¯āˇ™āļēāļšāļ§ āˇ„āˇƒāˇ” ⎀⎖ āļ¸āˇœāˇ€āˇ”āļąāˇŠ āˇƒāˇāļ´āˇšāļšāˇŠāˇ‚⎀ āļšāˇ”āļŠāˇ āļ´āļģ⎒āļ¸āˇāļąāļē⎚ āļ…āļ´āļģāˇāļ°āļšāļģ⎔⎀āļąāˇŠ āˇƒāˇ„  āļ…āļąāˇ™āļšāˇ”āļ­āˇŠ  āļ…āļē  āˇ€āˇ™āļ­āˇ’.

āļ…āļ°āˇŠâ€āļēāļšāˇŠāˇ‚⎀āļģāļē⎙āļšāˇ”āļœāˇš āļ´āˇŠâ€āļģāļšāˇāˇāļēāļš, āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ āļ­āļģ⎊āļš āļšāļģāļąāˇŠāļąāˇš,

“āļąāˇ–āļ­āļą āļĸāļ´āˇāļąāļē⎚ āļąāˇœāļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļ¸āˇ”āļŊ⎔ ⎀āļŊ, āļ´āˇŠâ€āļģāļ āļĢ⎊āļŠāļšāˇāļģ⎓ āˇƒāˇ’āļ¯āˇ”⎀⎓āļ¸āˇŠ ⎃āļ¸āˇ„āļģ ⎀⎒āļ§ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āˇ„āˇšāļ­āˇ”⎀āļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’⎀ āˇƒāˇ’āļ¯āˇ” āˇ€āˇš. āˇ„āˇšāļ­āˇ” ⎀⎒āļ¸āļģ⎊⎁āļąāļē āļšāļģāļą āˇ€āˇ’āļ§, āļ…āļąāˇŠāļ­āļģ⎊āļĸāˇāļŊāļē āļ¸āļœāˇ’āļąāˇŠ āˇƒāˇ”āˇ…āˇ” āļ…āļ¸āļąāˇāļ´āļšāļ¸āˇŠ āˇƒāˇ„ āļšāļŊāļšāˇ’āļģ⎓āļ¸āˇŠ ⎃āļ¸āˇ”āļ āˇŠāļ āˇ’āļ­ āļšāļģ, āļ’āˇ€āˇ āļ…āˇƒāļ¸āˇāļąāˇ”āļ´āˇāļ­āˇ’āļšāˇ€ āļ´āˇ”āļ´āˇ”āļģāˇ€āˇ ⎄āļģ⎒āļą āļ‘āļšāˇŠāļ­āļģāˇ āļ†āļšāˇāļģāļēāļš āļ´āļ¯āˇŠāļ°āļ­āˇ’āļēāļšāˇŠ āļ´āˇ€āļ­āˇ’āļą āļļ⎀ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āˇ€āˇš.”

āļ…āļ°āˇŠâ€āļēāļšāˇŠāˇ‚⎀āļģāļēāˇ āļ­āˇ€āļ¯āˇ”āļģāļ§āļ­āˇŠ āļ´āˇŠâ€āļģāļšāˇāˇ āļšāļģāļąāˇŠāļąāˇš Cloud ⎄⎒ “āļ¸āˇāļģāˇāļąāˇŠāļ­āˇ’āļš āˇƒāļ§āļą”,

 āļ…āļąāļ´āˇšāļšāˇŠāˇ‚⎒āļ­ āļŊāˇ™āˇƒ āļē⎔āļ¯āˇŠāļ°āļē⎚ āļŊāļšāˇŠāˇ‚āļą āļ…āļ­āˇŠāļ´āļ­āˇŠ āļšāļģ āļœāˇāļąāˇ“āļ¸āļ§ āļ´āļ§āļąāˇŠ āļœāļ­āˇŠ  āļļ⎀ āļē. āļ…āļē⎔āļ­āˇ” āļŊāˇāļˇ āļœāˇāļąāˇ“āļ¸ āˇƒāˇ„ āļ´āˇ…⎒āļœāˇāļąāˇ“āļ¸ āļ…āļ­āˇ’āļ āˇŠāļĄāˇāļ¯āļąāļē ⎀⎓ (āļ‘āļš āļ¸āļ­ āļ‘āļš āˇ€āˇāļ§āˇ“) āˇ€āˇ’āˇƒāˇŠāļ­āˇāļģāļĢāļē ⎀⎓, āļ…āˇ€āˇƒāˇāļąāļē⎚ āļ´āˇŠâ€āļģāļ āļĢ⎊āļŠāļšāˇāļģ⎓ āļšāˇŠâ€āļģ⎒āļēāˇāˇ€āļąāˇŠ āļšāˇŠâ€āļģ⎒āļēāˇāļ­āˇŠāļ¸āļš āļšāļģāļą āļ…āļ­āļģ, āļ”āļļ āļąāˇœāļ¯āˇāļąāˇ”⎀āļ­āˇŠāˇ€āļ¸ āļ†āļ´āˇƒāˇ” ⎄⎐āļģ⎓āļ¸āļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’⎀ āļēāļē⎒. āļ‘āļšāˇŠ āļ…āļģ⎊āļŽāļēāļšāˇ’āļąāˇŠ, āļąāˇ–āļ­āļą āļē⎔āļ¯āˇŠāļ° āļ‡āļ­āˇ’ ⎀āļąāˇŠāļąāˇš āļ¯ āļ¸āˇ™āļŊāˇ™āˇƒāļ¸ āˇ€āˇ’āļē ⎄⎐āļšāˇ’āļē.”

“āļąāˇ–āļ­āļąāļē⎚ āļē⎔āļ¯āˇŠāļ°” āļšāˇŠāˇ‚āļąāļē⎚ āļ¯āˇ’āļēāļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āˇšāļ¯āˇ“ āļ…⎄āļ¸āˇŠāļļāļē āļ¸āˇ–āļŊāļ°āˇāļ­āˇ”⎀āļšāˇŠ ⎀āļąāˇ” āļ‡āļ­āˇ’ āļļ⎀āļ§ āļąāˇ’āˇƒāˇāļš āļąāļ¸āˇ”āļ­āˇŠ, ⎃āļ¸āļšāˇāļŊ⎓āļą āļšāļŊāˇāļšāļģ⎔⎀āļąāˇŠ āļļāˇœāˇ„āˇ āļ¯āˇ”āļģāļ§ āļąāˇœāˇƒāļŊāļšāˇ ⎄āļģ⎒āļą,  ⎃āļ¸āˇāļĸāļēāļšāˇŠ āļ­āˇ”⎅ āļ‡āļ­āˇ’ āļ´āˇŠâ€āļģāļ°āˇāļą “⎃āļ§āļąāˇŠ” āļ¸āˇ™āļąāˇŠāļ¸ āļ’āˇ€āˇ āļ¯ āˇƒāˇ’āļ¯āˇ”⎀āļąāˇŠāļąāˇš āļœāˇāļšāˇ”āļģ⎔ ⎃āļ¸āˇāļĸ āˇ„āˇ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇ„āˇšāļ­āˇ–āļąāˇŠ āˇƒāˇ„ āļœāˇāļ¸āļš āļļāļŊāˇ€āˇšāļœ āļąāˇ’āˇƒāˇ āˇ€āˇš. āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ āļąāˇœāļœāˇāļšāˇ”āļģ⎔, āļ°āˇāļģāļĢāˇāˇ€āˇāļ¯āˇ“ (impressionistic) āļ¯āˇ˜āˇ‚āˇŠāļ§āˇ’āļēāļšāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļą āļ…āļ­āļģ, āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āļ”⎄⎔āļœāˇš āˇƒāˇāļ¸āˇāļąāˇŠâ€āļē āļ´āˇŠâ€āļģāˇ€āˇšāˇāļē⎙āļąāˇŠ āļ´āˇ“āļŠāˇ ⎀⎒āļŗāˇ’āļē⎒; āļšāˇ™āˇƒāˇš āļąāļ¸āˇ”āļ­āˇŠ āļ”⎄⎔āļ§ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļšāˇ”āˇƒāļŊāļ­āˇ āļ‡āļ­āˇ’ āļ…āļ­āļģ āˇƒāˇ’āļ¯āˇ”⎀⎓āļ¸āˇŠ āļĩāļŊāļ¯āˇāļē⎓ āļŊāˇ™āˇƒ āļ¸āˇ™āˇ„⎙āļē⎀āļē⎒.

āˇ€āˇ’āˇāˇāļŊāļ­āļ¸ āļ¯āˇ”āˇ‚āˇŠāļšāļģāļ­āˇāˇ€āļē ⎀āļąāˇŠāļąāˇš āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇāļœāˇš ⎀āļģ⎊āļ°āļąāļē āˇƒāˇ’āļ¯āˇ”⎀⎖ āļ‘āļšāļ­āˇāļą āļ´āļŊāˇŠāˇ€āļą āļ´āˇœāļ¯āˇ” āļ¯āˇšāˇāļ´āˇāļŊāļą āˇ„āˇ ⎃āļ‚āˇƒāˇŠāļšāˇ˜āļ­āˇ’āļē āļē⎒. āļ…āˇ€āˇƒāˇāļąāļē⎚āļ¯āˇ“, ⎃āļ¸āˇ„āļģ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āļąāˇŠāˇ„⎒ āļļāˇ’āˇ„āˇ’āˇƒāˇ”āļĢ⎔ â€œāˇāļļ⎊āļ¯ āˇƒāˇ„ āļšāˇāļ´āļē” āļ­āˇ’āļļ⎒āļēāļ¯āˇ“āļ­āˇŠ, āļ”⎄⎔āļœāˇš āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§, āļ”⎄⎔āļœāˇš āļœāˇāļŊ⎓āļē ⎃āļ¸āļšāˇāļŊ⎓āļąāļēāļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļąāˇ’āļģ⎊āļ¸āˇāļĢāļē āļšāļģāļą āļŊāļ¯ āļļāˇœāˇ„āˇ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļ¸āˇ™āļąāˇŠ, āļ…āļ­āˇŠâ€āļēāˇ€āˇāˇŠâ€āļēāļē⎙āļąāˇŠāļ¸ āļąāˇ’āˇ‚āˇŠāļšāˇŠâ€āļģ⎒āļē ⎀āļą āļ…āļ­āļģ, āļ´āˇāļ­āˇŠāļ­āļšāˇŠ āļąāˇœāļœāļ­āˇŠ āļ’āˇ€āˇ āˇ€āˇš. āļ­āˇāļąāˇ’āļąāˇŠ āļ­āˇāļą āļ­āˇ€āļ¸āļ­āˇŠ ⎄āļŗāˇ”āļąāˇāļœāļ­ āˇ„āˇāļšāˇ’ ⎀āļŠāˇāļ­āˇŠ āļ…āˇ€āˇŠâ€āļēāˇāļĸ āļģ⎐āļŠāˇ’āļšāļŊ⎊ āļ†āˇ€āˇšāļœāļēāļąāˇŠ āļļāˇœāˇ„āˇ āļ¯āˇ”āļģāļ§ āļ‹āļ¯āˇāˇƒāˇ“āļą āļšāļģ āˇ„āˇ āļ´āļšāˇŠāˇ‚āļāˇāļ­ āļ­āļ­āˇŠāļ­āˇŠāˇ€āļēāļ§ āļ´āļ­āˇŠ āļšāļģ āļ‡āļ­. āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇ āļ‡āļ­āˇāļ¸āˇŠ āļ´āˇŠâ€āļģāļ­āˇ’āļœāˇāļ¸āˇ“ āļ­āļ­āˇŠāˇ€āļēāļąāˇŠ āˇƒāˇ„ āļ¸āˇāļąāˇƒāˇ’āļš āļ­āļ­āˇŠāˇ€āļēāļąāˇŠ ⎄āļŗāˇ”āļąāˇ āļœāļąāˇ“, āļąāˇ’āˇāˇŠāļ āļē āļšāļģ āļœāļąāˇ“, āļąāļ¸āˇ”āļ­āˇŠ āļ’āˇ€āˇ āļ´āˇ’āļŊ⎒āļļāļ¯ āļšāˇ”āļ¸āļšāˇŠ āļšāˇ… āļē⎔āļ­āˇ” āļ¯āˇāļē⎒  āļąāˇœāļ¯āļąāˇ“. āļ”⎄⎔ āļ’āˇ€āˇ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļē⎒, āļ’āˇ€āˇ āļ´āˇ”āļ´āˇ”āļģāļą āˇƒāˇ”āļŊ⎔ āļ¯āˇ™āļēāļšāˇŠ āļļ⎀āļ§ āļœāˇœāļŠāļąāļŸāļē⎒, āļ´āˇƒāˇ”⎀ āļ‘āļē āļšāˇŠâ€āļģāļ¸āļē⎙āļąāˇŠ āļ¸āˇ’āļē⎑āļ¯āˇ“ āļēāļē⎒. āļ”⎄⎔ āļ­āˇ€āļ­āˇŠ āļ­āļ­āˇŠāˇ€āļēāļšāˇŠ ⎄āļŗāˇ”āļąāˇ āļœāļąāˇ“, āļ‘āļēāļ­āˇŠ  āļ´āˇœāļ¸āˇŠāļ´ āļšāļģ āļ´āˇ”āļ¸āˇŠāļļāˇ ⎄āļģ⎓, āļ‘āļē āļ¸āˇāļšāˇ“ āļēāļē⎒. āļ‘āļē ⎀⎒āļē⎔āļšāˇŠāļ­, āļ āļšāˇŠâ€āļģāˇāļšāˇāļģ, āļ¯āˇœāļ¸āˇŠāļąāˇƒāˇŠ āļ āļŊāļąāļēāļšāˇ’. ⎃āļ¸āˇāļĸāļē āļ´āˇƒāˇ”āļšāļģ āļēāļą āˇ€āˇ’āˇāˇšāˇ‚āˇ’āļ­ āļ…⎀āļ°āˇ’āļē, āļąāˇ’āˇāˇŠāļ āˇ’āļ­ â€œāļ¸āˇš āļ¸āˇœāˇ„āˇœāļ­â€ āļ¸āļœ āˇ„āˇāļģ⎓ āļœāˇœāˇƒāˇŠ āļ‡āļ­, āļąāļ¸āˇ”āļ­āˇŠ  āļ‘⎄⎒  āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļģāˇāļ°āļ­āˇ āļ¸āˇ™āļ¸ â€œāļąāˇ’āļģāļē⎙āļąāˇŠâ€ āļ¸āˇ’āļ¯āˇ“āļ¸āļ§ āļ¸āˇāļģ⎊āļœāļē āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļē⎒.

āļšāļŊāˇāļšāļģ⎔⎀āļąāˇŠ āļŊāˇāļšāļē ⎀⎒⎀⎒āļ° āļ†āļšāˇāļģ⎀āļŊ⎒āļąāˇŠ āļ…āļģ⎊āļŽāļšāļŽāļąāļē āļšāļģ āļ‡āļ­, āļšāˇ™āˇƒāˇš ⎀⎙āļ­āļ­āˇŠ āļšāˇāļģāļĢāļē â€Ļ[⎀āļąāˇŠāļąāˇš ⎀⎛⎁āļē⎒āļš āˇƒāļ­āˇŠâ€āļēāļē āļ…āˇ€āˇŠâ€āļēāˇāļĸ⎀ āļ…āļąāˇāˇ€āļģāļĢāļē āļšāˇ’āļģāˇŠâ€āļģ⎒āļ¸ āˇ„āˇ āļŊāˇāļšāļē ⎀⎙āļąāˇƒāˇŠ āļšāˇ’āļģ⎓āļ¸āļē⎒]

āļšāˇ’āļēāˇāˇ‚āˇ’ āļšāˇ”āļģāˇœāˇƒāˇāˇ€āˇāļœāˇš āļšāˇŠāļŊ⎀⎔āļŠāˇŠ : “āļ…āļē⎔āļ­āˇ” āļŊāˇāļˇ āļŊ⎐āļļ⎓āļ¸ āˇƒāˇ„ āļ´āˇ…⎒āļœāˇāļąāˇ“āļ¸ āļ…āļ­āˇ’āļ āˇŠāļĄāˇāļ¯āļąāļē ⎀⎓ āˇ€āˇ’āˇƒāˇŠāļ­āˇāļģāļĢāļē āˇ€āˇš…” Read More Âģ

Bebel

āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇ’āļļ⎒āļ¯āˇ“āļ¸

“āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇ’āļļ⎒āļ¯āˇ“āļ¸â€ – August Bebel and the political awakening of the working class – āļēāļą āļ¸āˇ™āļ¸ āļŊ⎒āļ´āˇ’āļē āļĸāļģ⎊āļ¸āˇāļąāˇ” ⎃āļ¸āˇāļĸ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļē⎚ āļąāˇ’āļģ⎊āļ¸āˇāļ­āˇ˛ ⎀āļą āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊āļœāˇš āļ¸āļģāļĢāļē⎙āļąāˇŠ āˇƒāˇ’āļē⎀āļą āˇƒāļ‚⎀āļ­āˇŠāˇƒāļģāļē āļąāˇ’āļ¸āˇ’āļ­āˇŠāļ­āˇ™āļąāˇŠ 2013 āļ…āļœāˇāˇƒāˇŠāļ­āˇ” āļ¸āˇƒ āļŊāˇāļš āˇƒāļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ ⎀⎙āļļ⎊ āļ…āļŠāˇ€āˇ’āļēāļ§ āļ‹āļŊ⎊āļģ⎒āļ āˇŠ āļģ⎒āļ´āļģ⎊āļ§āˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļŊ⎒āļēāļą āļŊāļ¯ āļ‘āļšāļšāˇ’. āļ‘āļē āˇƒāˇ’āļ‚⎄āļŊāļ§ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē āļšāˇœāļ§ āļ…āļ´āˇ’ āļ…āļ´ āļ´āļšāˇŠāˇ‚āļē⎚ (⎃⎃āļ´) āˇƒāˇ„āˇāļ¯āļģ⎀āļģ⎔āļąāˇŠāļœāˇšāļ­āˇŠ, āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļœāˇšāļ­āˇŠ āļ…⎀āļĒāˇāļąāļē ⎃āļ¯āˇ„āˇ āļ¸āˇ™āˇ„⎒ āļ´āļŊāļšāļģāļ¸āˇ”. 

Bebel
Bebel, c. 1900

āļĸāļģ⎊āļ¸āˇāļąāˇ” ⎃āļ¸āˇāļĸ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļē⎚ (SPD) āļ¸āˇ”āļŊ⎊ āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē, ⎄āļ­āļģ⎀āļą āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģāļē⎚ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļšāļ¸āˇ’āļ§āˇ”āˇ€āˇš (ICFI) āļšāˇšāļŠāļģāļē ⎃āļŗāˇ„āˇ āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļš āļ´āˇāļŠāļ¸āˇŠ āļœāˇ™āļą āļ‘āļē⎒. 1869 āļ¯āˇ“ āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ ⎀⎒āļŊāˇŠāˇ„āˇ™āļŊ⎊āļ¸āˇŠ āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ – āļ¸āˇāļšāˇŠāˇƒāˇŠ āˇƒāˇ„ āļ‘āļ‚āļœāļŊ⎊⎃⎊āļœāˇš āļ¯āˇšāˇāļ´āˇāļŊāļą āļ¸āļœ āļ´āˇ™āļąāˇŠāˇ€āˇ“āļ¸ āļēāļ§āļ­āˇš – āļ†āļģāļ¸āˇŠāļˇ āļšāļģāļą āļŊāļ¯ SPD, ⎀⎒āļ¯āˇŠâ€āļēāˇāļ­āˇŠāļ¸āļš āˇƒāļ¸āˇāļĸāˇ€āˇāļ¯āļē⎚ āļ¸āˇ–āļŊāļ°āļģ⎊āļ¸ āļ¸āļ­ āļ´āļ¯āļąāļ¸āˇŠāˇ€ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¸āˇ„āļĸāļą āˇ€āˇ’āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļēāļšāˇŠ āļœāˇœāļŠāļąāˇāļœāˇ“āļ¸āˇš āļ´āˇ…āļ¸āˇ” āļ…āļ›āļĢ⎊āļŠ āļ‹āļ­āˇŠāˇƒāˇāˇ„āļē āļąāˇ’āļēāˇāļĸāļąāļē āļšāˇ…āˇšāļē. āļ‘āļē āļĸāļģ⎊āļ¸āļąāˇ’āļē āļ´āˇ”āļģāˇ āļŊāļšāˇŠāˇ‚ ⎃āļ‚āļ›āˇŠâ€āļēāˇāļ­ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ āļ¯āˇāļąāˇ”⎀āļ­āˇŠ āļšāļģ ⎃āļ‚⎀⎒āļ°āˇāļąāļē āļšāˇ… āļ…āļ­āļģ, āļ°āļąāˇ€āˇāļ¯āļē⎚ āļ¸āˇ’āļąāˇ“⎀⎅⎀āļŊ⎊ āˇ„āˇāļģāļąāˇŠāļąāļąāˇŠ āļŊāˇ™āˇƒ āļ”⎀⎔āļąāˇŠāļœāˇš āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€ āļ´āˇ’⎅⎒āļļāļŗ āˇƒāˇ€āˇ’āļĨāˇāļąāļšāļ­āˇŠāˇ€āļēāļšāˇŠ āļ”⎀⎔āļąāˇŠ āļ­āˇ”⎅ āļ‡āļ­āˇ’ āļšāˇ…āˇšāļē.

āļ‹āļŊ⎊āļģ⎒āļ āˇŠ āļģ⎒āļ´āļģ⎊āļ§āˇŠāļœāˇš āļŊ⎒āļ´āˇ’āļē, āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇ’āļļ⎒āļ¯āˇ“āļ¸ āļ´āˇ’āļŊ⎒āļļāļ¯ āļ¸āˇ™āļ¸ āļ‰āļ­āˇ’āˇ„āˇāˇƒāļēāļ§ āˇ€āļ§āˇ’āļąāˇ āļ´āˇŠâ€āļģāˇ€āˇšāˇ āļŊāļšāˇŠāˇ‚āˇŠâ€āļēāļēāļšāˇŠ ⎃āļ´āļēāļē⎒. āļ‘āļē āļ¯āļšāˇŠāˇ‚ āļšāļ¸āˇŠāļšāļģ⎔⎀⎙āļšāˇ”āļœāˇš āˇƒāˇ’āļ§ āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āˇ“ āļąāˇāļēāļšāļē⎙āļšāˇ” āˇƒāˇ„ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ…āļ°āˇŠâ€āļēāˇāļ´āļąāļĨāļē⎙āļšāˇ” āļ¯āļšāˇŠāˇ€āˇ āļļ⎙āļļ⎙āļŊ⎊āļœāˇš āļ´āˇžāļ¯āˇŠāļœāļŊ⎒āļš āļœāļ¸āļąāˇŠ āļ´āļŽāļē āļšāˇ™āļģ⎙⎄⎒ āļ…⎀āļ°āˇāļąāļē āļē⎜āļ¸āˇ” āļšāļģāļē⎒. āļąāļ¸āˇ”āļ­āˇŠ āļ āļģ⎒āļ­āˇāļ´āļ¯āˇāļąāļēāļšāļ§ āˇ€āļŠāˇ, āļŊ⎒āļ´āˇ’āļē āļŊāˇāļš āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē⎚ ⎄⎐āļģ⎀⎔āļ¸āˇŠ āļŊāļšāˇŠāˇ‚āˇŠâ€āļēāļēāļšāˇŠ āļ‰āˇƒāˇŠāļ¸āļ­āˇ” āļšāļģāļē⎒: āļ‘āļąāļ¸āˇŠ, āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ¯āˇšāˇāļ´āˇāļŊāļąāˇ’āļšāˇ€ āˇƒāˇŠāˇ€āˇāļ°āˇ“āļą āļļāļŊāˇ€āˇšāļœāļēāļšāˇŠ āļŊāˇ™āˇƒ āļ¸āļ­āˇ”⎀⎓āļ¸ āļē⎒.

āļšāˇ™āˇƒāˇš ⎀⎙āļ­āļ­āˇŠ, āļ´āˇ…āļ¸āˇ”⎀āļą āļŊāˇāļš āļē⎔āļ¯āˇŠāļ°āļē āļ´āˇ”āļ´āˇ”āļģāˇ āļēāˇāļ¸āˇšāļ¯āˇ“ āļĸāļģ⎊āļ¸āˇāļąāˇ” āļ…āļ°āˇ’āļģāˇāļĸāˇŠâ€āļēāˇ€āˇāļ¯āļēāļ§ āˇƒāˇ„āˇāļē āļ¯āˇ“āļ¸āļ§ 1914 āļē⎔āļ¯ āļĢāļē ⎃āļ¯āˇ„āˇ āļ´āļšāˇŠāˇ‚ ⎀⎙āļ¸āˇ’āļąāˇŠ SPD āļē āļšāˇ… āļ´āˇāˇ€āˇāļ¯āˇ“āļ¸āˇ™āļąāˇŠ āļšāˇ–āļ§āļ´āˇŠâ€āļģāˇāļ´āˇŠāļ­āˇ’āļēāļ§ āļ´āļ­āˇŠ ⎀⎖ āļ‘⎄⎒ āļ´āļģāˇ’āˇ„āˇāļąāˇ’āļē, āļ…āļąāˇ”āļˇāˇ–āļ­āˇ’āˇ€āˇāļ¯āļē (empiricism) āˇƒāˇ„ āļ¸āļ­āˇ”āļ´āˇ’āļ§ āļ´āˇ™āļąāˇ”āļ¸āļ§ āļēāļ§āļ­āˇŠ ⎀⎓āļ¸ āļ­āˇ”⎅ āļ¸āˇ”āļŊ⎊ āļļ⎐⎃āļœāļ­āˇŠ āļĸāˇāļ­āˇ’āļš āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āļē⎚ āļ¸āˇāļģāˇāļąāˇŠāļ­āˇ’āļš āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļ´āˇāļš āˇ„āˇ™āˇ…āˇ’ āļšāˇ…āˇšāļē. āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ āļąāˇāļēāļšāļ­āˇŠāˇ€āļē āļœāļ­āˇŠ āļ­āˇ“āļģāļĢāļē āļ…⎄āļ¸āˇŠāļļāļēāļšāˇŠ āˇ„āˇ āļ´āˇ”āļ¯āˇŠāļœāļŊ āļ¯āˇ”āļģāˇŠāˇ€āļŊāļ­āˇāˇ€āļēāļš āļ´āˇŠâ€āļģāļ­āˇ’āļĩāļŊāļēāļšāˇŠ āļąāˇœāˇ€, āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āˇ“ āļ¸āˇ–āļŊāļ°āļģ⎊āļ¸āˇ€āļŊ⎒āļąāˇŠ āļ¯āˇ“āļģ⎊āļ āļšāˇāļŊāļēāļšāˇŠ āļ´āˇƒāˇ”āļļāˇāˇƒāˇ“āļ¸āļš āļ´āˇŠâ€āļģāļ­āˇ’āļĩāļŊāļēāļšāˇ’.

āļ¸āˇ™āļ¸ āļ´āļģāˇ’āˇ„āˇāļąāˇ’āļē⎚ ⎄āļ¯āˇ€āļ­āˇš āļ­āˇ’āļļ⎔āļĢ⎚ āļ…āļąāˇ”āļˇāˇ–āļ­āˇ’āˇ€āˇāļ¯āļēāļ§ āˇ„āˇāļģ⎓āļ¸āļē⎒ – āļ‘āļē āļēāļ§āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ’āļą āļ´āļąāˇŠāļ­āˇ’ āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļģāˇāļ°āļ­āˇ āˇ€āˇ’āˇāˇŠāļŊāˇšāˇ‚āļĢāļē āļšāˇ’āļģ⎓āļ¸ āˇ€āˇ™āļąāˇ”⎀āļ§ āļšāˇŠāˇ‚āļĢ⎒āļš āļ´āˇ™āļąāˇ”āļ¸ āˇƒāˇ„ āļ¸āļ­āˇ”āļ´āˇ’āļ§ āļšāļģ⎔āļĢ⎔ āļ¸āļ­āˇ” āļšāļģāļą āļšāˇŠâ€āļģāļ¸āļēāļšāˇ’. āļ¸āˇ™āļē SPD āļąāˇāļēāļšāļ­āˇŠāˇ€āļē āļĸāˇāļ­āˇ’āļš āļģāˇāļĸāˇŠâ€āļēāļēāļ§, āļąāˇ›āļ­āˇ’āļš āļ´āˇāļģ⎊āļŊ⎒āļ¸āˇšāļąāˇŠāļ­āˇ” āļģāˇāļ¸āˇ”⎀āļŊāļ§ āˇƒāˇ„ āļšāˇŠâ€āļģāļ¸āļē⎙āļąāˇŠ āļ´āˇŠâ€āļģāļ­āˇ’āˇƒāļ‚āˇƒāˇŠāļšāļģāļĢāļē āļšāˇ’āļģ⎓āļ¸āˇš āļ¸āˇ’āļ­āˇŠâ€āļēāˇāˇ€āļąāˇŠāļ§ āļ…āļąāˇ”⎀āļģ⎊āļ­āļąāļē ⎀⎓āļ¸āļ§ āˇ„āˇšāļ­āˇ” ⎀⎒āļē. āļ‘⎄⎒ āļ´āˇŠâ€āļģāļ­āˇ’āļĩāļŊāļē ⎀⎖āļē⎚ āļąāˇ’āļģ⎊āļ°āļą āļ´āļ‚āļ­āˇ’ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģāˇ€āˇāļ¯āļē āļ…āļ­āˇ„⎐āļģ āļ¯āˇāļ¸āˇ“āļ¸, āļ´āļšāˇŠāˇ‚āļē āļ°āļąāˇšāˇāˇŠāˇ€āļģāļē⎚ āļ…āˇ€āˇāˇŠâ€āļēāļ­āˇāˇ€āļŊāļ§ āļēāļ§āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸ āˇƒāˇ„ āļ‘āļē ⎀⎒āļ´āˇŠāļŊ⎀āļēāļ§ āļļāˇāļ°āˇāˇ€āļšāˇŠ āļļ⎀āļ§ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē ⎀⎓āļ¸āļē⎒.

āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļšāļ¸āˇ’āļ§āˇ”āˇ€āˇš āļšāˇšāļŠāļģāļē āļ…āļ­āˇŠâ€āļēāˇ€āˇāˇŠâ€āļē āļ´āˇāļŠāļ¸ āļ‹āļšāˇ„āˇ āļœāļ­ āļē⎔āļ­āˇ”āļē: ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“, āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģāˇ€āˇāļ¯āˇ“ āˇƒāˇ„ āļ…āļ´āˇāˇ„āļš āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļąāļēāļšāˇŠ āļ´āˇ€āļ­āˇŠāˇ€āˇ āļœāˇāļąāˇ“āļ¸āˇš ⎃āļ§āļą āˇƒāļŗāˇ„āˇ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļ¸āˇ„āļĸāļą āˇƒāˇ„āļēāˇāļœāļēāļšāˇŠ āˇ„āˇ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļšāˇ“āļģ⎊āļ­āˇ’āļēāļšāˇŠ āļ†āļ¯āˇšāˇ āļšāˇ… āļąāˇœāˇ„⎐āļš. āļ‘āļļ⎐⎀⎒āļąāˇŠ āļģ⎒āļ´āļģ⎊āļ§āˇŠāļœāˇš āļŊ⎒āļ´āˇ’āļē SPD ⎄⎒ āļąāˇāļœāˇ“āļ¸ āˇ„āˇ āļ´āļģāˇ’āˇ„āˇāļąāˇ’āļē āļ´āˇ’⎅⎒āļļāļŗ āļšāˇŠâ€āļģāļ¸āˇāļąāˇ”āļšāˇ–āļŊ āļ…āļ°āˇŠâ€āļēāļēāļąāļēāļ§ āļ´āˇ–āļģāˇŠāˇ€āˇ’āļšāˇāˇ€āļšāˇ’ – āļ…āļ¯ āˇ€āˇ’āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļē āļœāˇœāļŠāļąāˇāļœāˇ“āļ¸āļ§ āļšāˇāļ´āˇ€āˇ“ āˇƒāˇ’āļ§āˇ’āļą āˇ€āˇ’āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“āļąāˇŠāļ§ āļ¸āˇ™āļ¸ āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē āļ…āļ­āˇŠâ€āļēāˇ€āˇāˇŠâ€āļē āļ´āˇāļŠāļ¸āˇŠ āļœāˇ™āļą āļ¯āˇš.

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āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āļ¸āˇ’āļē āļœāˇ’āļē⎚ āˇ€āˇƒāļģ 100 āļšāļ§ āļ´āˇ™āļģ āļ¸āˇš āļ¸āˇāˇƒāļē⎚āļē. āļĸāļģ⎊āļ¸āˇāļąāˇ” ⎃āļ¸āˇāļĸ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļē⎚ (SPD) āļąāˇ’āļģ⎊āļ¸āˇāļ­āˇ˜ 1913 āļ…āļœāˇāˇƒāˇŠāļ­āˇ” 13 ⎀āļą āļ¯āˇ’āļą āˇƒāˇŠāˇ€āˇ’āļ§āˇŠāˇƒāļģ⎊āļŊāļąāˇŠāļ­āļē⎚ āļ´āˇāˇƒāˇ”āļœāˇŠ ⎃⎊āļ´āˇ āļąāļœāļģāļē⎚ āļ¯āˇ“ āˇ„āˇ˜āļ¯āļēāˇāļļāˇāļ°āļēāļšāˇ’āļąāˇŠ āļ¸āˇ’āļē āļœāˇ’āļē āļļ⎀āļ§ āˇ€āˇ– āļ´āˇ”⎀āļ­ āļŊāˇœāˇ€ āļ´āˇ”āļģāˇ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇāˇāļŊāˇ āˇƒāˇ„ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’ āļ¯āˇ’āˇƒāˇŠāļ­āˇŠâ€āļģ⎒āļšāˇŠāļšāˇ€āļŊ āļšāļ¸āˇŠāļ´āļąāļēāļšāˇŠ āˇƒāˇ„ āˇāˇāļšāļēāļšāˇŠ āļ‡āļ­āˇ’ āļšāˇ…āˇšāļē. āļļ⎙āļļ⎙āļŊ⎊ ⎀⎐āļŠ āļšāļģāļą āļĸāļąāļ­āˇāˇ€ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ†āļ¯āļģāļē āļšāļģāļą āļŊāļ¯ āļ…āļ­āļģ “āļšāļ¸āˇŠāļšāļģ⎔ āļšāļēāˇ’āˇƒāļģ⎊” āļēāļą āļ´āļ¯āˇ€āˇ’ āļąāˇāļ¸āļē⎙āļąāˇŠ āļœāˇžāļģ⎀āļēāļ§ āļ´āˇāļ­āˇŠâ€āļģ ⎀⎒āļē.

āļ‘āļēāļ§ āļ†āˇƒāļąāˇŠāļąāļē⎚āļ¸ āļļ⎙āļļ⎙āļŊ⎊āļ§ āļ‹āļ´āˇ„āˇāļģ āļ¯āļšāˇŠāˇ€āļ¸āˇ’āļąāˇŠ āļŊ⎒āļē⎜āļąāˇŠ āļ§āˇŠâ€āļģ⎜āļ§āˇŠāˇƒāˇŠāļšāˇ’ āļ¸āˇ™āˇƒāˇš āļŊ⎒⎀⎓āļē: “āļē⎔āļģāˇāļ´āˇ“āļē ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āļē⎚ ⎃āļ¸āˇƒāˇŠāļ­ āļē⎔āļœāļēāļšāˇŠāļ¸ āļœāˇ™āˇ€āˇ“ āļēāļ¸āˇ’āļąāˇŠ āļ­āˇ’āļļ⎚.” āļļ⎙āļļ⎙āļŊ⎊ “āļąāˇāļœāˇ™āļ¸āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ’āļą āļąāˇ€ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¸āˇ”āļģāļĢ⎊āļŠāˇ” āˇƒāˇ„ āļąāˇœāˇƒāˇāļŊ⎙āļą āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē āļ¸āˇ–āļģ⎊āļ­āˇ’āļ¸āļ­āˇŠ āļšāˇ…āˇšāļē… āļ¸āˇ™āļ¸ āļ¯āˇ”āļģāˇŠāˇ€āļŊ āˇ„āˇ āļ¸āˇāļŊ⎀⎓ ⎀⎓ āļœāˇ’āļē āļ¸āˇ„āļŊ⎔ āļ¸āˇ’āļąāˇ’āˇƒāˇ āļ¸āˇ”⎅⎔āļ¸āļąāˇ’āļąāˇŠāļ¸ āļ…āļ°āˇ’āˇ‚āˇŠāļ¨āˇāļąāļē⎙āļąāˇŠ āˇƒāˇāļ¯āļą āļŊāļ¯, āļ­āļąāˇ’ āļ‰āļŊāļšāˇŠāļšāļēāļšāˇŠ āļšāļģāˇ āļ´āˇ”⎄⎔āļĢ⎔ āļšāļģāļą āļŊāļ¯ āļļ⎀āļšāˇŠ āļ´āˇ™āļąāˇ™āļąāˇŠāļąāļ§ āļ­āˇ’āļļ⎔āļĢ⎒. āļ”⎄⎔āļœāˇš āļ āˇ’āļąāˇŠāļ­āļąāļē⎚, āļ”⎄⎔āļœāˇš āļ´āˇŠâ€āļģāļšāˇāˇ‚āļąāļē⎚ āˇ€āˇŠâ€āļēāļšāˇŠāļ­āļˇāˇāˇ€āļē⎚ āˇƒāˇ„ āļ”⎄⎔āļœāˇš āˇƒāˇāˇ„āˇ’āļ­āˇŠâ€āļē āļšāˇ˜āļ­āˇ’ āļ­āˇ”⎅, āļ‘āļ¸ āļ‰āļŊāļšāˇŠāļšāļē āļšāļģāˇ āļšāˇ™āļŊ⎒āļąāˇŠāļ¸ āļē⎜āļ¸āˇ” āļąāˇœāˇ€āˇ– āļļ⎔āļ¯āˇŠāļ°āˇ’āļ¸āļē ⎁āļšāˇŠāļ­āˇ’āļē⎚ āļšāˇŠāˇ‚āļē ⎀⎓āļ¸āļšāˇŠ ⎃āļŗāˇ„āˇ āļ”⎄⎔ āļšāˇ’āˇƒāˇ’ ⎀⎒āļ§āˇ™āļšāļ­āˇŠ āļ‰āļŠ āļąāˇœāļ¯āˇ™āļąāˇ” āļ‡āļ­; āļ”⎄⎔ āˇ€āˇāļœāˇāļŊāļ‚āļšāˇāļģāļē⎚ ⎃āļ­āˇ”āļģ⎙āļšāˇ” āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€, āļœāļģāˇŠāˇ€āˇ’āļ­ āˇƒāˇžāļąāˇŠāļ¯āļģ⎊āļēāˇāļ­āˇŠāļ¸āļš āˇ„āˇāļŠāļ¯āˇāļ¸āˇ“āļ¸āļ§āļ¯ āˇƒāļ¸āˇŠāļ´āˇ–āļģ⎊āļĢāļē⎙āļąāˇŠāļ¸ āļ†āļœāļąāˇŠāļ­āˇ”āļš āˇ€āˇ’āļē.  āļ’ āˇƒāļ¸āļœāļ¸ āļ”⎄⎔āļœāˇš āļ¯āˇšāˇāļ´āˇāļŊāļą āļ†āļ­āˇŠāļ¸āļē⎚ āļ‰āˇ„⎅ āˇƒāˇ”āļąāˇŠāļ¯āļģāļ­āˇŠāˇ€āļē āļ’ āļ­āˇ”⎅ āļœāˇāļļāˇŠāˇ€ āļ­āˇ’āļļ⎔āļĢ⎒. āļ”⎄⎔ āļ­āˇ”⎅⎒āļąāˇŠāļ¸ āļ”⎄⎔ āļ´āˇ’⎅⎒āļļ⎒āļšāˇ” āļšāļŊ⎚, āļ­āļ¸ āļąāˇ’āļ¯āˇ„āˇƒāˇŠ āļ´āˇāļē āļšāˇ’⎄⎒āļ´āļē āļ­āˇ”⎅ āļ‰āļœāˇ™āļą āļœāļąāˇŠāļąāˇ, āˇƒāˇ‘āļ¸ āļ¸āˇ’āļąāˇ’āļ­āˇŠāļ­āˇ”⎀āļšāˇŠāļ¸ āļ…āļœāļē āļšāļģāļą āˇƒāˇ„ āļ…āļ­āˇŠâ€āļēāˇ€āˇāˇŠâ€āļēāļ¸ āļ¯āˇš āļœāˇ’āļĸ⎔ āļŊāˇ™āˇƒ āļœāˇ’āļŊ āļœāļąāˇŠāļąāˇ āļ´āļąāˇŠāļ­āˇ’āļēāļē⎒.” [ āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇāļ­āˇ’āļšāļŠ: āļē⎔āļœāļēāļšāˇŠ āļœāˇ™āˇ€āˇ“ āļēāļē⎒ (āļļ⎙āļļ⎙āļŊ⎊, āˇ‚āˇœāļģāˇ™āˇƒāˇŠ  āˇƒāˇ„ ⎀āļē⎒āļŊāļąāˇŠāļ§āˇŠ), āļ¯āˇ™āˇƒāˇāļ¸āˇŠāļļāļģ⎊ 1915-[Political Profiles: An Epoch Passes (Bebel, Jaurès and Vaillant), December 1915]

āļ§āˇŠâ€āļģ⎜āļ§āˇŠāˇƒāˇŠāļšāˇ’, āļļ⎙āļļ⎙āļŊāˇŠāˇ€ āļ´āˇ…āļ¸āˇ” āļŊāˇāļš āļē⎔āļ¯āˇŠāļ°āļē āļ†āˇƒāļąāˇŠāļąāļē⎚ āļ´āˇāļģāˇ’āˇƒāˇ’āļē⎚ āļ…⎀āļąāˇŠāˇ„āļŊāļšāļ¯āˇ“ āļāˇāļ­āļąāļē āļšāļģāļą āļŊāļ¯ āļ´āˇŠâ€āļģāļ‚⎁ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āˇ‚āˇāļąāˇŠ āˇ‚āˇœāļģāˇ™āˇƒāˇŠ (Jean JaurÊs)  ⎃āļ¸āļŸ āˇƒāļ‚āˇƒāļąāˇŠāļ¯āļąāļē āļšāˇ…āˇšāļē. āˇ‚āˇœāļģāˇ™āˇƒāˇŠ- āļąāˇŠâ€āļēāˇāļē⎒āļš āļ´āˇāļĢ⎊āļŠāˇ’āļ­āˇŠâ€āļēāļē, āļšāˇāˇ€āˇŠâ€āļēāļ¸āļē āļ¸āļąāļƒāļšāļŊ⎊āļ´āˇ’āļ­āļē āˇƒāˇ„ ⎀āļ‚āˇāˇāļ°āˇ’āļ´āļ­āˇ’ ⎀⎒āļŊāˇāˇƒāļē⎙āļąāˇŠ ⎃āļŊāļšāˇ”āļĢ⎔ ⎀⎖ āļŊ⎚āļ›āļą āˇƒāˇ„ āļ¯āˇšāˇāļą āļ´āˇ’āļŊ⎒āļļāļ¯ āļ´āˇŠâ€āļģāļ‚⎁ āļ¯āļģ⎊⎁āļąāˇ€āˇāļ¯ āļ¸āˇ„āˇāļ āˇāļģ⎊āļē⎀āļģāļēāˇ āˇƒāˇ„ āļĸāļģ⎊āļ¸āˇāļąāˇ” āˇ„āˇƒāˇŠāļ­ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āļšāļģ⎔⎀⎙āļšāˇŠ ⎀⎓āļ¸ āļąāˇ’āˇƒāˇ āļ´āˇŠāļŊ⎙āļļ⎒āļēāˇāļąāˇ” (plebean) āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āļēāļ§ āˇƒāļ¸āˇāļą āļąāˇŠâ€āļēāˇāļē⎒āļš āļ¯āˇ˜āˇ‚āˇŠāļ§āˇ’āļēāļšāˇŠ āļ­āˇ’āļļ⎖ – āļļ⎙āļļ⎙āļŊ⎊ āļēāļą āļ¯āˇ™āļ¯āˇ™āļąāˇāļ¸ āˇ€āˇƒāļģ 100 āļšāļ§ āļ´āˇ™āļģ āļē⎔āļ¯āˇŠāļ°āļē ⎃āļ¸āļœ āļ…āˇ€āˇƒāļąāˇŠ ⎀⎖ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļšāˇāļŊ āļ´āļģ⎒āļ āˇŠāļĄāˇšāļ¯āļē ⎃āļ‚āļšāˇšāļ­āˇ€āļ­āˇŠ āļšāˇ…⎄.

āļ§āˇŠâ€āļģ⎜āļ§āˇŠāˇƒāˇŠāļšāˇ’ āļ¸āˇ™āˇƒāˇš ⎃āļŗāˇ„āļąāˇŠ āļšāˇ…āˇšāļē: “āļļ⎙āļļ⎙āļŊ⎊ āļˇāˇžāļ­āˇ’āļšāˇ€āˇāļ¯āˇ’āļē⎙āļšāˇŠ, āˇ‚āˇœāļģāˇ™āˇƒāˇŠ āˇƒāˇāļģ⎃āļ‚āļœāˇŠâ€āļģāˇ„āˇ€āˇāļ¯āˇ“ ⎀⎒āļĨāˇāļąāˇ€āˇāļ¯āˇ’āļē⎙āļšāˇŠ (eclectic idealist), āļļ⎙āļļ⎙āļŊ⎊ āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āļē⎚ āļ¸āˇ–āļŊāļ°āļģ⎊āļ¸āˇ€āļŊ āļąāˇœāˇƒāˇāļŊ⎙āļą āļ†āļ°āˇāļģāļšāļģ⎔⎀⎙āļšāˇŠ, āˇ‚āˇœāļģāˇ™āˇƒāˇŠ āļ´āˇŠâ€āļģāļ­āˇ’āˇƒāļ‚āˇƒāˇŠāļšāļģāļĢāˇ€āˇāļ¯āˇ’āļē⎙āļšāˇŠ, āļ…āļ¸āˇāļ­āˇŠâ€āļēāˇ€āˇāļ¯āˇ’āļē⎙āļšāˇŠ āļēāļąāˇāļ¯āˇ“ ⎀⎁āļē⎙āļąāˇŠ. āļąāļ¸āˇ”āļ­āˇŠ āļ¯āˇšāˇāļ´āˇāļŊāļąāļē⎚ āļ¸āˇš āˇƒāˇ’āļēāļŊ⎔ ⎀⎙āļąāˇƒāˇŠāļšāļ¸āˇŠ āļ­āˇ’āļļ⎒āļēāļ¯āˇ“āļ­āˇŠ, āļ”⎀⎔āļąāˇŠ āļĸāļģ⎊āļ¸āˇāļąāˇ” āˇƒāˇ„ āļ´āˇŠâ€āļģāļ‚⎁ ⎃āļ‚āˇƒāˇŠāļšāˇ˜āļ­āˇ’āļē⎚ āļ´āˇŠâ€āļģāˇ’āˇƒāˇŠāļ¸āļē ⎄āļģāˇ„āˇ āļ‘āļšāļ¸ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļē⎔āļœāļēāļšāˇŠ āļ´āˇ’⎅⎒āļļ⎒āļšāˇ” āļšāˇ…⎄. āļ¸āˇ™āļē āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ ⎃āļļāļŗāļ­āˇāˇ€āļŊ āļ¸āˇ™āļąāˇŠāļ¸ āļ¯āˇšāˇāˇ“āļē ⎃āļļāļŗāļ­āˇāˇ€āļŊ āļ¯- ⎃āļąāˇŠāļąāļ¯āˇŠāļ° āˇƒāˇāļ¸āļē⎚ āļē⎔āļœāļē ⎀⎒āļē.”

āļ¸āˇāļšāˇŠāˇƒāˇŠ āˇƒāˇ„ āļ‘āļ‚āļœāļŊ⎊⎃⎊āļœāˇš ⎃āļ¸āˇ“āļ´āļ­āļ¸āļē⎙āļšāˇŠ ⎀⎖ āļ”⎄⎔āļ§ āˇ€āļŠāˇ āļ…⎀⎔āļģ⎔āļ¯āˇ” 14 āļšāˇŠ ⎀āļēāˇƒāˇ’āļąāˇŠ ⎀⎐āļŠāˇ’ ⎀⎖ ⎀⎒āļŊāˇŠāˇ„āˇ™āļŊ⎊āļ¸āˇŠ āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ ⎃āļ¸āļŸ āˇƒāļ¸āˇ“āļ´ āˇƒāˇ„āļēāˇāļœāļē⎙āļąāˇŠ, āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āļĸāļģ⎊āļ¸āˇāļąāˇ” āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ´āˇ”āļļ⎔āļ¯āˇ”āˇ€āˇ ⎄āļŊ⎚āļē. āļ‘āļ­āˇ™āļšāˇ”āļ¯āˇ” ⎀⎔⎀āļ­āˇŠ, 1914 āˇ€āˇŠâ€āļē⎃āļąāļē ⎀⎐⎅⎐āļšāˇŠāˇ€āˇ“āļ¸āļ§ āļ”⎄⎔āļ§ āļąāˇœāˇ„⎐āļšāˇ’ ⎀⎒āļē.

āļļ⎙āļļ⎙āļŊ⎊ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ…āļŠ āˇƒāˇ’āļēāˇ€āˇƒāļšāļ§ āļ…āļ°āˇ’āļš āļšāˇāļŊāļēāļšāˇŠ āˇ€āˇ™āˇ„āˇ™āˇƒ āļąāˇœāļļāļŊāˇ āˇƒāˇ’āļ¯āˇ” āļšāļģāļą āļŊāļ¯ āļ¯āˇāˇ€āˇāļąāˇŠāļ­ āˇ„āˇ āˇƒāˇāļģ⎊āļŽāļš āļ¯āˇšāˇāļ´āˇāļŊāļą āˇ„āˇ ⎃āļ‚āˇƒāˇŠāļšāˇ˜āļ­āˇ’āļš āļ…āļ°āˇŠâ€āļēāˇāļ´āļąāˇ’āļš āļšāļ§āļē⎔āļ­āˇ”⎀āļŊ āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļš āļ´āˇāļŠāļ¸āˇŠ āļģāˇāˇāˇ’āļēāļšāˇŠ āļ…āļŠāļ‚āļœāˇ” āˇ€āˇš. āļ’āˇ€āˇāļē⎒āļąāˇŠ āļ¯āˇ™āļšāļšāˇŠ āļ¸āˇ™āˇ„⎒āļ¯āˇ“ āˇƒāˇāļšāļ āˇŠāļĄāˇ āļšāˇ™āļģ⎚.

āļ´āˇ…āļ¸āˇ”⎀, āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āļē⎚ āļ°āļĸāļē āļēāļ§āļ­āˇš ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ ⎃āļ¸āˇāļĸ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“āļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āˇƒāˇāļšāˇŠāˇ‚āˇāļ­āˇŠ āļšāļģāļœāļ­āˇŠ āļ¯āˇ’āļē⎔āļĢ⎔⎀, ⎀⎐āļŠ āļšāļģāļą āļ´āˇ”⎅⎔āļŊ⎊ āļ¸āˇ„āļĸāļąāļ­āˇāˇ€ āˇƒāˇŠāˇ€āˇāļ°āˇ“āļą āļ¯āˇšāˇāļ´āˇāļŊāļą āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€āļšāˇŠ āļ‰āļ§āˇ” āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āˇƒāļ¸āļ­āˇŠ āļļ⎀āļ§āļ­āˇŠ, “āļ´āˇ„⎅⎒āļąāˇŠ āļ‘āļą āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļšāˇŠ” āļ…āļąāˇ’āˇ€āˇāļģ⎊āļēāļē⎙āļąāˇŠāļ¸ āļ¯āļšāˇŠāˇ‚⎒āļĢāˇāļ‚⎁⎒āļš āļ¯āˇ’āˇāˇāˇ€āļšāļ§ āˇ€āļģ⎊āļ°āļąāļē ⎀āļą āļļ⎀āļ§āļ­āˇŠ āļ´āˇāļ­āˇ’āļģ āļ´āˇ€āļ­āˇ’āļą āˇƒāļ‚āļšāļŊ⎊āļ´ āļ´āˇŠâ€āļģāļ­āˇ’āļšāˇŠāˇ‚āˇšāļ´ āļšāļģāļē⎒. āˇƒāˇ”āļŊ⎔ āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļļ⎔āļ¯āˇŠāļ°āˇ’āļ¸āļ­āˇ”āļąāˇŠāļœāˇš āļąāˇ’āļēāˇāļĸ⎒āļ­āļē⎒āļąāˇŠ, āˇƒāˇ’āļēāļŊ⎊āļŊāļ§āļ­āˇŠ ⎀āļŠāˇ āˇ†āˇŠâ€āļģ⎐āļąāˇŠāļšāˇŠāˇ†āļģ⎊āļ§āˇŠ āļœāˇ”āļģ⎔āļšāˇ”āļŊāļē (āˇ„āˇāļģ⎊āļšāļē⎒āļ¸āļģ⎊, āļ‡āļŠāˇāļģ⎊āļąāˇ, āļ¸āˇāļģ⎊āļšāˇ–āˇƒāˇŠ, ⎄āļļāļģ⎊āļ¸āˇāˇƒāˇŠ āˇƒāˇ„ ⎀⎙āļąāļ­āˇŠ āļ…āļē-Horkheimer, Adorno, Marcuse, Habermas and others) ⎃āļ¸āļŸ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ°  ⎀⎖⎀āļąāˇŠ, 1933 āˇ€āˇŠâ€āļē⎃āļąāļē⎙āļąāˇŠ ⎀āļŠāˇāļ­āˇŠāļ¸ āļ…⎁⎔āļˇāˇ€āˇāļ¯āˇ“ āļ´āˇāļŠāļ¸āˇŠ āļ‹āļšāˇ„āˇ āļœāļ­āˇŠāˇ„. ⎄⎒āļ§āˇŠāļŊāļģ⎊āļœāˇš āļĸāļēāļœāˇŠâ€āļģ⎄āļĢāļēāļ§ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē ⎀āļœāļšāˇ’⎀ āļē⎔āļ­āˇ” āļļ⎀ āļ”⎀⎔⎄⎔ āļ…⎀āļ°āˇāļģāļąāļē āļšāˇ…⎄.

āļ‡āļ­āˇŠāļ­ āˇ€āˇāļē⎙āļąāˇŠāļ¸, ⎄⎒āļ§āˇŠāļŊāļģ⎊āļœāˇš āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎓āļē āļšāļģ⎊āļ­āˇ€āˇŠâ€āļēāļē ⎀⎖āļē⎚ ⎃āļ‚⎀⎒āļ°āˇāļąāˇāļ­āˇŠāļ¸āļš āļšāļ¸āˇŠāļšāļģ⎔ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē āˇƒāˇ„ āļ‘āļē ⎃āļ§āļąāˇŠ āļšāˇ… āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ…āļē⎒āļ­āˇ’āˇ€āˇāˇƒāˇ’āļšāļ¸āˇŠ āˇƒāˇ„ ⎃āļ¸āˇāļĸ āļĸāļēāļœāˇŠâ€āļģ⎄āļĢ āˇ€āˇ’āļąāˇāˇ āļšāˇ’āļģ⎓āļ¸āļē⎒. 1933 āļ¸āˇāļģ⎊āļ­āˇ” 24 ⎀āļą āļ¯āˇ’āļą āˇƒāˇ’āļēāļŊ⎔āļ¸ āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļ´āļšāˇŠāˇ‚ ⎄⎒āļ§āˇŠāļŊāļģ⎊āļ§ āˇ„āļ¯āˇ’āˇƒāˇ’ āļļāļŊāļ­āļŊ āļ´āˇŠâ€āļģāļ¯āˇāļąāļē āļšāļģāļą āļąāˇ“āļ­āˇ’ ⎃āļ¸āˇŠāļ´āˇāļ¯āļąāļēāļ§ āļ´āļšāˇŠāˇ‚⎀ āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļšāˇ€ āļĄāļąāˇŠāļ¯āļē āļ¯āˇ”āļąāˇŠāļąāˇš āļ¸āˇš āļąāˇ’āˇƒāˇāļē.

⎃āļ¸āˇāļĸ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“āļąāˇŠāļœāˇš āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āˇ“ āļąāˇāļēāļšāļ­āˇŠāˇ€āļē āļēāļ§āļ­āˇš āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ…āļē⎒āļ­āˇ’āˇ€āˇāˇƒāˇ’āļšāļ¸āˇŠ āˇƒāˇ„ ⎃āļ¸āˇāļĸ āļĸāļēāļœāˇŠâ€āļģ⎄āļĢ āˇƒāļŗāˇ„āˇ ⎃āļ§āļąāˇŠ āļšāˇ… āļļ⎀ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇƒāļ­āˇŠâ€āļēāļēāļšāˇ’. āļ¸āˇšāˇ€āˇāļ§ āˇƒāļģāˇŠāˇ€āļĸāļą āļĄāļąāˇŠāļ¯ āļ…āļē⎒āļ­āˇ’āļē, āļąāˇ’āļ¯āˇ„āˇƒāˇŠ āļ´āˇœāļ¯āˇ” āļ…āļ°āˇŠâ€āļēāˇāļ´āļąāļē, āļ´āˇ’āļģ⎒āļ¸āˇ’āļąāˇŠāļœāˇš āˇƒāˇ„ āļšāˇāļąāˇŠāļ­āˇāˇ€āļąāˇŠāļœāˇš ⎃āļ¸āˇāļąāˇāļ­āˇŠāļ¸āļ­āˇāˇ€āļē, āļ´āˇāļē āļ…āļ§āˇš ⎀⎐āļŠ āļšāļģāļą āļ¯āˇ’āļąāļē āˇƒāˇ„ SPD ⎄⎒ ⎀āļģ⎊āļ°āļąāļē ⎀āļą āļļāļŊāļ´āˇ‘āļ¸ āˇƒāˇ„ āļąāˇāļœāˇ“āļ¸ āļ´āˇ’⎅⎒āļļāļŗ āļļ⎒āļē⎙āļąāˇŠ āļļāˇ’āˇƒāˇŠāļ¸āˇāļģ⎊āļšāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ ⎄āļŗāˇ”āļąāˇŠāˇ€āˇ āļ¯āˇ”āļąāˇŠ āļ…āļąāˇ’āˇ€āˇāļģ⎊āļē ⎃āļ¸āˇāļĸ āļģāļšāˇŠāˇ‚āļĢ āˇ€āˇāļŠāˇƒāļ§āˇ„āļąāˇŠ āļ‡āļ­āˇ”⎅āļ­āˇŠ āˇ€āˇš.

āļļ⎙āļļ⎙āļŊ⎊āļœāˇš āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“āļē āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ­āˇ”⎅ āļœāˇāļļ⎊ ⎀⎖ āļ¯āˇāˇ€āˇāļąāˇŠāļ­ āˇāļšāˇŠāļ­āˇ’āļē āļąāˇ’āļģ⎊āļ¸āˇāļĢāˇāļ­āˇŠāļ¸āļš āļļāļŊāļē āˇƒāˇ„ ⎃āļ‚āˇƒāˇŠāļšāˇ˜āļ­āˇ’āļš āˇ€āˇ’āļˇāˇ€āļē ⎄⎙⎅⎒āļ¯āļģāˇ€āˇŠ āļšāˇ…āˇšāļē.

āļļ⎙āļļ⎙āļŊ⎊ āļēāļ§āļ­āˇš āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ āļ´āļšāˇŠāˇ‚āļē⎚ āļąāˇāļœāˇ“āļ¸, āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ´āˇŠâ€āļģāļ°āˇāļą āˇƒāļ‚⎀⎒āļ°āˇāļą āļļ⎀āļ§ āļšāļģāļą āļ´āˇŠâ€āļģāļšāˇāˇāļē āļ¯ āˇ€āˇ’āļšāļĢ⎊āļŠāļąāļē āļšāļģāļē⎒. āļēāļŽāˇāļģ⎊āļŽāļē āļąāļ¸āˇŠ  āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļąāˇāļœāˇ“āļ¸ āļ†āļģāļ¸āˇŠāļˇ āˇ€āˇ–āļē⎚ āļ­āļ¸āļąāˇŠāļœāˇšāļ¸ āˇ€āˇ’āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļēāļšāˇŠ āˇƒāˇ„āˇ’āļ­ āļ¯āˇšāˇāļ´āˇāļŊāļą āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļšāˇŠ āļŊāˇ™āˇƒ āļē. āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļ´āˇƒāˇ”⎀ āļ¸āļ­āˇ”⎀⎓ āļ‰āļšāˇŠāļ¸āļąāˇ’āļąāˇŠ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē⎚ āļ¯āļšāˇŠāˇ‚⎒āļĢāˇāļ‚⎁āļē āļ´āˇ’⎄⎒āļ§āˇ”āˇ€āˇ āļœāļ­āˇŠāˇ„. āļ”⎀⎔āļąāˇŠ ⎀⎒āļ´āˇŠāļŊ⎀āļē⎚ āļ¯āˇāļŠāˇ’ ⎀⎒āļģ⎔āļ¯āˇŠāļ°āˇ€āˇāļ¯āˇ“āļąāˇŠ ⎀⎖ āļ…āļ­āļģ, āļģāˇāˇƒāˇ āļŊāļšāˇŠāˇƒāļ¸āˇŠāļļāļģ⎊āļœāˇŠāļ§ āļ´āˇ„āļģ āļ¯āˇ”āļąāˇŠ āļ…āļ­āļģ āļļ⎙āļļ⎙āļŊ⎊āļœāˇš āļ¸āļģāļĢāļēāļ§ āļ´āˇ™āļģ āˇ€āˇƒāļģ⎀āļŊāļ¯āˇ“ āļ”⎄⎔⎀ āļļ⎊āļŊ⎐āļšāˇŠāļ¸āˇšāļŊ⎊ āļšāˇ…⎄.

āļļ⎙āļļ⎙āļŊ⎊āļ¸āļ­āˇŠ āļšāļ¸āˇŠāļšāļģ⎔⎀⎙āļšāˇŠ ⎀⎒āļē. āļ”⎄⎔ 1840 āļ´āˇ™āļļāļģāˇ€āˇāļģ⎒ āļ¸āˇāˇƒāļē⎚āļ¯āˇ“ āļšāˇœāļŊāˇāļąāˇŠ ⎄⎒ āļ¯āˇ”āļ´āˇŠāļ´āļ­āˇŠ āļšāļąāˇ’āˇ‚āˇŠāļ¨ āļ´āˇŠâ€āļģ⎂⎒āļēāˇāļąāˇ” ⎄āļ¸āˇ”āļ¯āˇ āļąāˇ’āļŊāļ°āˇāļģ⎒āļē⎙āļšāˇ”āļœāˇš āļ´āˇ”āļ­āˇ™āļšāˇ” āļŊāˇ™āˇƒ āļ‹āļ´āļ­ āļŊ⎐āļļ⎖ āļ…āļ­āļģ, āļ”⎄⎔ ⎀āļē⎃ āļ…⎀⎔āļģ⎔āļ¯āˇ” āļ…āļ§āˇšāļ¯āˇ“ āļē⎔āļģāˇāļ´āˇ“āļē ⎀⎒āļ´āˇŠāļŊ⎀āļēāļąāˇŠ āļ…āļ­āˇŠāˇ€āˇ’āļŗāˇ’āļą āļŊāļ¯āˇŠāļ¯āˇšāļē. āļ”⎄⎔āļœāˇš āˇƒāˇŠāˇ€āļēāļ‚ āļ āļģ⎒āļ­āˇāļ´āļ¯āˇāļąāļē⎚ āļ¯āˇ“, āļ‘āļ¸ āļšāˇāļŊāļē āļ­āˇ”⎅āļ¯āˇ“ āļ”⎄⎔ āļ­āļ¸ āļ´āˇ…āļ¸āˇ” ⎃āļ‚āļē⎔āļšāˇŠāļ­ āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇāļŠāļ¸ āļŊāļļāˇ āļœāļ­āˇŠ āļ†āļšāˇāļģāļē āˇ€āˇ’āˇƒāˇŠāļ­āļģ āļšāˇ…āˇšāļē. 1848-49 ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āˇ€āˇƒāļģ⎀āļŊāļ¯āˇ“, āļģāļē⎒āļąāˇŠāļŊāļąāˇŠāļŠāˇŠ āļšāļŊāˇāļ´āļē⎚ āļĸāļąāļģāļĸāˇ€āˇāļ¯āļē (Republicanism) ⎃āļŗāˇ„āˇ āļ´āˇ”⎅⎔āļŊ⎊ āˇƒāˇ„āļēāˇāļœāļēāļšāˇŠ āļ­āˇ’āļļ⎔āļĢ⎒. [āļ‘āļšāˇŠ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āļš] āļ­āļģ⎔āļĢ āļļ⎙āļļ⎙āļŊ⎊ āļ­āˇ€āļ­āˇŠ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¸āˇ’āļ­āˇ”āļģ⎙āļšāˇ” ⎃āļ¸āļŸ āļ´āˇāˇƒāļŊ⎚āļ¯āˇ“ āļģāˇāļĸāˇāļĢ⎊āļŠāˇ”⎀āļ§ āļ´āļšāˇŠāˇ‚⎀ āļšāļ­āˇ āļšāˇ… ⎀⎒āļ§, āļ”⎀⎔āļąāˇŠāļ§ āˇ„āˇœāļŗ āļœāˇ”āļ§āˇ’ ⎃āļ‚āļœāˇŠâ€āļģ⎄āļēāļšāˇŠ  āļŊ⎐āļļ⎔āļąāˇ’. āļļ⎙āļļ⎙āļŊ⎊ āļ´āˇƒāˇ”⎀ āˇ„āˇāˇƒāˇŠâ€āļēāļĸāļąāļš āļŊāˇ™āˇƒ ⎃āļŗāˇ„āļąāˇŠ āļšāˇ… āļ´āļģ⎒āļ¯āˇ’ āļ‘āļē āļ´āˇ…āļ¸āˇ” “āļ´āļąāˇŠāļ­āˇ’ āļœāˇ”āļ§āˇ’āļšāˇ‘āļ¸â€ ⎀⎒āļē.

āļ†āļ°āˇ”āļąāˇ’āļš āˇāˇ’āļŊ⎊āļ´āˇ’āļē⎙āļšāˇ” āļŊāˇ™āˇƒ āļœāļ­ āļšāˇ… āļšāˇāļŊāļē āļ­āˇ”⎅ āļ”⎄⎔ “āļšāˇāļģ⎊āļ¸āˇ’āļš āļ…āļ°āˇŠâ€āļēāˇāļ´āļą āˇƒāļ‚āļœāļ¸āļēāļ§” ⎃āļ¸āˇŠāļļāļąāˇŠāļ° āˇ€āˇ“ āļ¯āˇāļŠāˇ’ āˇƒāˇŠāˇ€āļēāļ‚ āļ…āļ°āˇŠâ€āļēāˇāļ´āļąāļēāļšāˇŠ āļŊāļļāˇ āļœāļ­āˇŠāļ­āˇšāļē. 1863 āļ¯āˇ“ āļŊāļē⎒āļ´āˇŠāˇƒāˇ’āļœāˇŠ ⎄⎒ ⎆āļģ⎊āļŠāˇ’āļąāļąāˇŠāļŠāˇŠ āļŊāˇāˇƒāˇāļŊ⎊ (Ferdinand Lassalle) āˇƒāˇāļ¸āˇāļąāˇŠâ€āļē āļĸāļģ⎊āļ¸āˇāļąāˇ” āļšāļ¸āˇŠāļšāļģ⎔ ⎃āļ‚āļœāļ¸āļē (General German Workers Association-ADAF) āļ†āļģāļ¸āˇŠāļˇ āļšāˇ… ⎀⎒āļ§, āļļ⎙āļļ⎙āļŊ⎊ āļ­āļ¸ āļ¯āˇ”āļģ⎃⎊āļŽāļˇāˇāˇ€āļē āļ´āˇ€āļ­āˇŠāˇ€āˇ āļœāļ­āˇŠāļ­āˇšāļē. āļŊāˇāˇƒāˇāļŊ⎊āļœāˇš ⎀⎒āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎓āļē (eccentric) āļ´āˇ™āļąāˇ”āļ¸ āˇƒāˇ„ āļ’āļšāˇāļ°āˇ’āļ´āļ­āˇ’ āˇ„āˇāˇƒāˇ’āļģ⎓āļ¸ āļąāˇ’āˇƒāˇ āļ”⎄⎔ ⎀⎒āļšāļģāˇŠāˇ‚āļąāļē ⎀⎖ āļ…āļ­āļģ āļ´āˇŠâ€āļģāļ­āˇ’āļœāˇāļ¸āˇ“ āļ´āˇŠâ€āļģ⎂⎒āļēāˇāļąāˇ” āļ…āļœāļ¸āˇāļ­āˇ’ āļ”āļ§āˇ āˇ€āˇœāļąāˇŠ  āļļāˇ’āˇƒāˇŠāļ¸āˇāļģ⎊āļšāˇŠ (Otto von Bismarck) ⎀⎙āļ­ āļ”⎄⎔āļœāˇš āļ´āˇŠâ€āļģāˇ€āˇšāˇāļēāļąāˇŠāļ§ āļ¯āˇāļŠāˇ’ āļŊāˇ™āˇƒ ⎀⎒āļģ⎔āļ¯āˇŠāļ° āˇ€āˇ’āļē.

āļŊāˇƒāˇāļŊ⎊ ⎃āļ¸āļŸ āļœāˇāļ§āˇ”āļ¸āˇšāļ¯āˇ“, āļļ⎙āļļ⎙āļŊ⎊ āļ¸āˇāļšāˇŠāˇƒāˇŠ āˇƒāˇ„ āļ‘āļ‚āļœāļŊ⎊⎃⎊āļœāˇš āļŊ⎚āļ›āļą āļ…āļ°āˇŠâ€āļēāļēāļąāļē āļšāˇ… āļ…āļ­āļģ ⎀⎒āļŊāˇŠāˇ„āˇ™āļŊ⎊āļ¸āˇŠ āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ ⎃āļ¸āļœ āļ”⎄⎔āļœāˇš āļ¸āˇ’āļ­āˇŠâ€āļģāļ­āˇŠāˇ€āļē āļ†āļģāļ¸āˇŠāļˇ āˇ€āˇ–āļē⎚ āļē. 1867 ⎃āļģāļ­āˇŠ ⎃⎘āļ­āˇ”āˇ€āˇš āļ¯āˇ“ āļ”⎄⎔ āļĸāļģ⎊āļ¸āˇāļąāˇ” āļšāļ¸āˇŠāļšāļģ⎔ ⎃āļ‚āļœāļ¸āˇŠ ⎃āļ¸āˇ’āļ­āˇ’āļē⎚ (Union of German Workers’ Associations) ⎃āļˇāˇāļ´āļ­āˇ’ āļŊāˇ™āˇƒ āļ­āˇšāļģ⎓ āļ´āļ­āˇŠ ⎀⎖ āļ…āļ­āļģ, āļ¸āˇāļšāˇŠāˇƒāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ ⎃āļšāˇƒāˇŠ āļšāļģāļą āļŊāļ¯ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ āļšāļ¸āˇŠāļšāļģ⎔ ⎃āļ‚āļœāļ¸āļē⎚ (International Workers Association) ⎀⎒āļ°āˇ’⎀⎒āļ¯āˇāļą āļ”⎄⎔ āļšāˇŠâ€āļģ⎒āļēāˇāļ­āˇŠāļ¸āļš āļšāˇ…āˇšāļē. āļ’āˇ€āˇ āļ´āˇŠâ€āļģāļšāˇāˇ āļšāˇ…āˇš, “āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ ⎀⎒āļ¸āˇ”āļšāˇŠāļ­āˇ’āļē ⎃āļŗāˇ„āˇ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ­āļ¸āļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠāļ¸ āˇƒāļ§āļąāˇŠ āļšāˇ… āļē⎔āļ­āˇ”āļē” āļēāļąāˇ”⎀⎙āļąāˇ’. āļ¸āˇ™āļ¸ āļ´āļ¯āļąāļ¸ āļ¸āļ­, āļļ⎙āļļ⎙āļŊ⎊ āļ‘āļ­āˇ™āļšāˇŠ āļšāļ¸āˇŠāļšāļģ⎔ ⎃āļ‚āļœāļ¸āˇŠāˇ€āļŊāļ§ āļ¯āˇāļŠāˇ’ āļŊāˇ™āˇƒ āļļāļŊāļ´āˇ‘āļ¸āˇŠ āļšāˇ… āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļŊ⎒āļļāļģāļŊāˇŠāˇ€āˇāļ¯āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļģ⎚āļ›āˇāˇ€āļšāˇŠ āļ‡āļŗāˇ“āļē.

āˇ€āˇƒāļģ āļ¯āˇ™āļšāļšāļ§ āļ´āˇƒāˇ”, āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ 1869 āļ…āļœāˇāˇƒāˇŠāļ­āˇ” āļ¸āˇāˇƒāļē⎚āļ¯āˇ“ āļ…āļēāˇ’āˇƒāˇ™āļąāˇāļ āˇŠ (Eisenach)  ⎄⎒āļ¯āˇ“ ⎃āļ¸āˇāļĸ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļšāˇŠāˇ‚āļē (Social Democratic Workers Party-SDAP) āļ†āļģāļ¸āˇŠāļˇ āļšāˇ…⎄. āļļ⎙āļļ⎙āļŊ⎊ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļģāļ āˇ’āļ­ āļ´āļšāˇŠāˇ‚ ⎀⎐āļŠāˇƒāļ§āˇ„āļą āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āļē āļ¯āˇ™āˇƒāļ§ āļąāˇāļšāˇ”āļģ⎔ ⎀⎖ āļ…āļ­āļģ, ⎀⎙āļąāļ­āˇŠ āļ¯āˇš āļ…āļ­āļģ āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļąāˇ’āˇ‚āˇŠāļ´āˇāļ¯āļą āļšāˇŠâ€āļģāļ¸āļē āļ…āˇ„āˇāˇƒāˇ’ āļšāˇ’āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇ āļšāˇāļŗāˇ€āˇ”āļ¸āˇŠ āļšāˇ…āˇšāļē. āļšāˇ™āˇƒāˇš ⎀⎙āļ­āļ­āˇŠ, “āļąāˇ’āļ¯āˇ„āˇƒāˇŠ āļĸāļąāļ­āˇ āļģāˇāļĸāˇŠâ€āļēāļēāļšāˇŠ ⎃⎊āļŽāˇāļ´āˇ’āļ­ āļšāˇ’āļģ⎓ā ⎃āļŗāˇ„āˇ ⎀⎖ āļ‰āļŊ⎊āļŊ⎓āļ¸ āˇ€āˇāļąāˇ’ āļŊ⎒āļļāļģāļŊāˇŠāˇ€āˇāļ¯āļē⎚ āļļāļŊāļ´āˇ‘āļ¸ āļ­āˇ€āļ¸āļ­āˇŠ ⎀⎐āļŠāˇƒāļ§āˇ„āļą āļ­āˇ”⎅ āļ¯āļšāˇŠāļąāļ§ āļŊ⎐āļļ⎚.

Bebel lib
āļļ⎙āļļ⎙āļŊ⎊, ⎀⎒āļŊāˇŠāˇ„āˇ™āļŊ⎊āļ¸āˇŠ āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ

āļŠāˇ…āļŸ āļœāˇ’āļ¸āˇŠāˇ„āˇāļąāļē⎚āļ¯āˇ“, āļĄāļąāˇŠāļ¯āļēāļ§ āļ¯āˇ’āļą āļ¯āˇ™āļšāļšāļ§ āļ´āˇ™āļģ āļē⎔āļ¯āˇŠāļ°āļē āļ´āˇŠâ€āļģāļšāˇāˇ āļšāˇ… āļ´āˇŠâ€āļģāļ‚⎁āļēāļ§ āļ‘āļģ⎙⎄⎒⎀ ⎃āļ§āļąāˇŠ āļšāˇ’āļģ⎓āļ¸ āˇƒāļŗāˇ„āˇ āļ´āˇŠâ€āļģ⎂⎒āļēāˇāļąāˇ” āļē⎔āļ¯ āļĢāļē ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āļē⎙āļąāˇŠ āļ‹āļ­āˇ”āļģ⎔ āļĸāļģ⎊āļ¸āˇāļąāˇ” āļģ⎓āļ āˇŠāˇƒāˇŠāļ§āˇāļœāˇŠ ⎄⎒ āļ´āˇāˇ€āļ­āˇ’ āļĄāļąāˇŠāļ¯ āˇ€āˇ’āļ¸āˇƒāˇ“āļ¸āļšāļ¯āˇ“, āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ ⎃āļ¸āļŸ āļ‘āļšāˇŠāˇ€ āļĄāļąāˇŠāļ¯āļē āļ¯āˇ“āļ¸āˇ™āļąāˇŠ ⎀⎐⎅āļšāˇ“ āˇƒāˇ’āļ§āˇ“āļ¸āˇ™āļąāˇŠ āļ´āˇƒāˇ” āļļ⎙āļļ⎙āļŊ⎊ ⎀⎛āļģāļē⎚ āļģ⎐āļŊ⎊āļŊāļšāļ§ āļ¸āˇ”⎄⎔āļĢ āļ¯āˇ”āļąāˇŠāļąāˇšāļē. 1871 āļ¸āˇāļē⎒ āļ¸āˇāˇƒāļē⎚āļ¯āˇ“ āļļ⎙āļļ⎙āļŊ⎊ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒⎀āļ¸ āļ´āˇāļģāˇ’āˇƒāˇŠ āļšāˇœāļ¸āˇ’āļē⎔āļąāļē āļ†āļģāļšāˇŠāˇ‚āˇ āļšāˇ… ⎀⎒āļ§ āļšāˇāļ´āļē āļ‹āļ­āˇŠāˇƒāļąāˇŠāļą āˇ€āˇ’āļē.

āļ´āˇƒāˇ”⎀ āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ āļēāļą āļ¯āˇ™āļ¯āˇ™āļąāˇāļ¸ āļģāˇāļĸāļ¯āˇŠâ€āļģāˇāˇ„āˇ“ āļšāˇŠâ€āļģ⎒āļēāˇāˇ€āļšāļ§ āˇƒāˇ–āļ¯āˇāļąāļ¸āˇŠ ⎀⎓āļ¸ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ°āļē⎙āļąāˇŠ ⎀āļģāļ¯āļšāļģ⎔⎀āļąāˇŠ ⎀⎖ āļąāļ¸āˇ”āļ­āˇŠ, āļļāˇœāˇ„āˇ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļ”⎀⎔āļąāˇŠāļœāˇš ⎃⎊āļŽāˇāˇ€āļģāļē ⎃āļŗāˇ„āˇ āļ”⎀⎔āļąāˇŠāˇ€ āļ´āˇŠâ€āļģ⎁āļ‚āˇƒāˇāˇ€āļ§ āļŊāļšāˇŠ āļšāˇ™āļģ⎔āļĢ⎒. 1872 āļĸ⎖āļŊ⎒ āļ¸āˇāˇƒāļē⎚āļ¯āˇ“  ⎄⎒āļē⎔āļļāļģ⎊āļ§āˇƒāˇŠāļļāļģ⎊āļœāˇŠ (Hubertusburg) āļļāļąāˇŠāļ°āļąāˇāļœāˇāļģāļē⎚ āļ”⎄⎔āļœāˇš āļ¯āļŦ⎔⎀āļ¸ āļ†āļģāļ¸āˇŠāļˇ āļšāˇ’āļģ⎓āļ¸āļ§ āļļ⎙āļļ⎙āļŊ⎊ āļ¯āˇ”āļ¸āˇŠāļģ⎒āļē⎙āļąāˇŠ āļ‘⎅⎒āļēāļ§ āļ† āˇ€āˇ’āļ§, āļ¯āˇ”āļ¸āˇŠāļģ⎒āļē āˇƒāˇšāˇ€āļšāļē⎒āļąāˇŠ āļģāˇāļĸāˇŠâ€āļē āļąāˇāļēāļšāļē⎙āļšāˇ”āļ§ āļœāļģ⎔ āļšāļģāļąāˇŠāļąāˇāļšāˇŠ āļ¸āˇ™āļąāˇŠ āļ”⎄⎔āļ§ āļ†āļ āˇāļģ āļšāˇ…⎄.

āļļ⎙āļļ⎙āļŊ⎊ āļ­āļ¸ āˇƒāˇ’āļģāļœāļ­ āļšāˇāļŊāļē āļ”⎄⎔āļœāˇš “āļšāˇāļąāˇŠāļ­āˇāˇ€ āˇƒāˇ„ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āļē” (Women and Socialism) āļąāļ¸āˇŠ āļ´āˇœāļ­ āļŊ⎒⎀⎓āļ¸āļ§ āļē⎜āļ¯āˇ āļœāļąāˇ’āļ¯āˇŠāļ¯āˇ’ , āļŊāˇƒāˇāļŊ⎊ āˇƒāˇ„ āļ‘āˇƒāˇŠāļŠāˇ“āļ’āļ´āˇ“ āļ…āļąāˇ”āļœāˇāļ¸āˇ’āļšāļē⎒āļąāˇŠ āļ‘āļšāˇ’āļąāˇ™āļšāˇāļ§ āˇƒāļ¸āˇ“āļ´ āˇ€āˇ’āļē. āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ’āļģ⎙āļąāˇŠ āļąāˇ’āļ¯āˇ„āˇƒāˇŠ ⎀⎓ āļ¸āˇāˇƒāļēāļšāļ§ āļ´āˇƒāˇ”, āļ‘āļšāˇŠāˇƒāļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āˇš ⎃āļ¸āˇŠāļ¸āˇšāļŊāļąāļē 1875 āļ¸āˇāļē⎒ āļ¸āˇāˇƒāļē⎚āļ¯āˇ“ āļœāˇāļ­āˇ ⎄⎒āļ¯āˇ“ āļ´āˇāˇ€āˇāļ­āˇŠāˇ€āˇ’āļĢ⎒. āļ¸āˇ™āļ¸ āˇƒāļ¸āˇŠāļ¸āˇšāļŊāļąāļē āˇƒāˇ’āļēāļŊ⎊āļŊāļ§āļ¸ āˇ€āļŠāˇ āļ¸āˇāļšāˇŠāˇƒāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļœāˇāļ­āˇ ⎀⎐āļŠāˇƒāļ§āˇ„āļąāļ§ (Gotha programme) āļšāļģāļą āļŊāļ¯ āļ­āˇ’āļē⎔āļĢ⎔ āˇ€āˇ’āˇ€āˇšāļ āļą āˇƒāļŗāˇ„āˇ āļ´āˇŠâ€āļģāˇƒāˇ’āļ¯āˇŠāļ°āļē.

āļ‘āļšāˇŠāˇƒāļ­āˇŠ ⎀⎓āļ¸āˇ™āļąāˇŠ āļ´āˇƒāˇ”, āļĸāļģ⎊āļ¸āļąāˇ’āļē⎚ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļšāˇŠāˇ‚āļē (SAPD) āˇ€āˇšāļœāļē⎙āļąāˇŠ ⎀āļģ⎊āļ°āļąāļē ⎀⎖ āļ…āļ­āļģ, āˇ€āˇƒāļģ 15 āļšāļ§ āļ´āˇƒāˇ” āļ‘⎄⎒ āļąāļ¸ āļĸāļģ⎊āļ¸āļąāˇ’āļē⎚ ⎃āļ¸āˇāļĸ āļ´āˇŠâ€āļģāļĸāˇāļ­āļąāˇŠāļ­āˇŠâ€āļģāˇ€āˇāļ¯āˇ“ āļ´āļšāˇŠāˇ‚āļē (SPD) āļŊāˇ™āˇƒ ⎀⎙āļąāˇƒāˇŠ āļšāˇ…āˇšāļē. āļ‘āļšāˇŠāˇƒāļ­āˇŠ ⎀⎓āļ¸āˇ™āļąāˇŠ āˇ€āˇƒāļģ āļ­āˇ”āļąāļšāļ§ āļ´āˇƒāˇ”⎀⎙āļ¯āˇŠāļ¯āˇ“āļ¸, āļ´āļšāˇŠāˇ‚āļēāļ§ āļ´āˇŠâ€āļģāˇāļ¯āˇšāˇāˇ“āļē āļ´āˇ”⎀āļ­āˇŠāļ´āļ­āˇŠ 47 āļšāˇŠ āļ­āˇ’āļļ⎖ āļ…āļ­āļģ, āļ‘⎄⎒ āļ¸āļ°āˇŠâ€āļēāļ¸ āļ†āļēāļ­āļąāļē āļŊāˇ™āˇƒ Vorwärts (Forwards) āļ´āˇāˇ€āļ­āˇ’āļĢ⎒. āļ‘āļē āļģāļē⎒āļšāˇŠāˇƒāˇŠāļ§āˇāļœāˇŠ (Reichstag) āļ¸āˇāļ­āˇ’⎀āļģāļĢ⎀āļŊāļ¯āˇ“ āˇƒāˇ’āļēāļēāļ§ 10 āļš āļĄāļąāˇŠāļ¯ āļ´āˇŠâ€āļģāļ­āˇ’⎁āļ­āļēāļšāˇŠ āļŊāļļāˇ āļœāļ­āˇŠ āļ…āļ­āļģ, āļ‘āļē āļ‘āļšāˇŠāˇƒāļ­āˇŠ ⎀⎓āļ¸āļ§ āļ´āˇ™āļģ ⎃āļ‚⎀⎒āļ°āˇāļą āļ¯āˇ™āļšāˇ™āˇ„⎒āļ¸ āļ’āļšāˇāļļāļ¯āˇŠāļ° āļ‘āļšāļ­āˇ”⎀āļ§ āˇƒāˇāļ´āˇšāļšāˇŠāˇ‚⎀ āˇƒāˇ’āļēāļēāļ§ 40 āļš āˇ€āˇāļŠāˇ’⎀⎓āļ¸āļšāˇŠ ⎀⎒āļē. āļļāˇ’āˇƒāˇŠāļ¸āˇāļģ⎊āļšāˇŠ āļ”⎄⎔āļœāˇš āļ´āˇŠâ€āļģāļ­āˇ’-⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āļąāˇ“āļ­āˇ’āļē⎙āļąāˇŠ āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģ āļ¯āˇāļšāˇŠāˇ€āˇ“āļē. āļ´āļšāˇŠāˇ‚āļē⎚ āˇƒāˇ’āļēāļŊ⎔āļ¸ āˇƒāļ‚⎀⎒āļ°āˇāļą āˇƒāˇ„ āļ´āˇ”⎀āļ­āˇŠāļ´āļ­āˇŠ āļ­āˇ„āļąāļ¸āˇŠ āļšāļģāļą āļŊāļ¯āˇ“, āļąāļ¸āˇ”āļ­āˇŠ āļ´āˇāļģ⎊āļŊ⎒āļ¸āˇšāļąāˇŠāļ­āˇ” āļšāļąāˇŠāļŠāˇāļēāļ¸ āˇƒāˇ„ āļ‘⎄⎒ āļąāˇ’āļēāˇāļĸ⎒āļ­āļē⎒āļąāˇŠāļœāˇš ⎀⎐āļŠ āļąāˇ“āļ­āˇ’ ⎀⎒āļģāˇāļ°āˇ“ āļšāˇ’āļģ⎓āļ¸āļ§ āļļāˇ’āˇƒāˇŠāļ¸āˇāļģ⎊āļšāˇŠ āļ¯āˇāļģ⎖ āļ‹āļ­āˇŠāˇƒāˇāˇ„āļē āļ…āˇƒāˇāļģ⎊āļŽāļš āˇ€āˇ’āļē.

āļąāˇ“āļ­āˇ’ ⎀⎒āļģāˇāļ°āˇ“⎀ āˇƒāˇ’āļ§āˇ’ āˇ€āˇƒāļģ⎀āļŊāļ¯āˇ“ āļļ⎙āļļ⎙āļŊ⎊ āļ¯āˇšāˇāļ´āˇāļŊāļą āļšāˇ“āļģ⎊āļ­āˇ’āļē āˇƒāˇ„ āļąāˇŠâ€āļēāˇāļē⎒āļš āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒āļšāļ¸ āļŊāļļāˇ āļœāļ­āˇŠāļ­āˇšāļē. āļ­āˇ’āļē⎔āļĢ⎔ āļšāļąāˇŠāļŠāˇāļēāļ¸āˇŠ ⎃āļ§āļąāˇŠ āļ‡āļ­āˇ’ ⎀⎒āļē. āļ¸āļ°āˇŠâ€āļē⎃⎊āļŽāˇ€āˇāļ¯āˇ“āļąāˇŠ āˇƒāˇ„ āļģ⎐āļŠāˇ’āļšāļŊāˇŠāˇ€āˇāļ¯āˇ“āļąāˇŠ āļ´āļšāˇŠāˇ‚āļē⎚ āļ´āˇŠâ€āļģāļ¸āˇ”āļ› āˇƒāˇŠāļŽāˇāļąāļē ⎃āļŗāˇ„āˇ āļ…āļģāļœāļŊ āļšāˇ…⎄. āļ…āˇ€āˇƒāˇāļąāļē⎚ āļģ⎐āļŠāˇ’āļšāļŊāˇŠāˇ€āˇāļ¯āˇ“āļąāˇŠ āļĸāļēāļœāˇŠâ€āļģ⎄āļĢāļē āļšāˇ… āļ…āļ­āļģ, āļ‘āļē āˇƒāˇ’āļēāļŊ⎊āļŊāļ§āļ¸ āˇ€āļŠāˇ āļļ⎙āļļ⎙āļŊ⎊āļœāˇš āļ‹āˇƒāˇƒāˇŠ āļ‹āļ´āˇāļē⎒āļš āˇ„āˇāļšāˇ’āļēāˇāˇ€āļąāˇŠ āˇƒāˇ„ āļšāˇ“āļģ⎊āļ­āˇ’āļē āļąāˇ’āˇƒāˇ ⎀⎒āļē. āļ¸āˇ™āļ¸ āļĸāļēāļœāˇŠâ€āļģ⎄āļĢāļēāļ§ āļ´āˇŠâ€āļģāļ°āˇāļą āˇ„āˇšāļ­āˇ”⎀ ⎀⎖āļē⎚ āļļ⎙āļļ⎙āļŊ⎊āļœāˇš āļšāļąāˇŠāļŠāˇāļēāļ¸ āļ…āļąāļąāˇŠâ€āļē ⎀⎖ āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āļē⎚ ⎀āļģ⎊āļ°āļąāļē ⎀⎙āļ¸āˇ’āļąāˇŠ āļ´āˇāˇ€āļ­āˇ’ āļ…āļ°āˇ’āļšāˇāļģāļē āļē⎒. āļ‘āļ‚āļœāļŊ⎊⎃⎊āļœāˇš āļŠāˇ–āļģ⎒āļ‚ āˇ€āˇ’āļģāˇāļ°āļē (Anti-DÃŧhring) āļ´āˇŠâ€āļģāļšāˇāˇāļēāļ§ āļ´āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸ āļšāļ¸āˇŠāļšāļģ⎔ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē āļ­āˇ”⎅ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āļē⎚ āļ…āļ°āˇ’āļšāˇāļģ⎓ ⎄āļŦ āļļ⎀āļ§ āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āļē āļ´āļ­āˇŠ āļšāļģ āļ­āˇ’āļļ⎔āļĢ⎒.

āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ āļ”⎄⎔āļœāˇš āļ†āļ°āˇāļģāļšāļģ⎔⎀āļąāˇŠ āļ¸āˇāļšāˇŠāˇƒāˇŠāˇ€āˇāļ¯āˇ“ āļ¸āˇ–āļŊāļ°āļģ⎊āļ¸ āˇƒāˇ„ ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļąāļēāļšāˇŠ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒⎀ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļą āļ­āļģāļ¸āļ§āļ¸, āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇāˇāļŊāˇ āļ­āˇ”⎅ āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“āļē⎚ āļ´āˇāˇ€āˇāļ­āˇŠāļ¸ āˇ€āˇāļŠāˇ’ ⎀⎐āļŠāˇ’āļē⎙āļąāˇŠ ⎀āļģ⎊āļ°āļąāļē ⎀⎒āļē. 1889 āļ¸āˇ„āˇ ⎀⎐āļŠ āˇ€āļģ⎊āļĸāļą āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē⎚āļ¯āˇ“ āļ¸āˇ™āļē āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒⎀ āļ¯āˇ’āˇƒāˇŠ ⎀⎒āļē. āļģ⎔⎄āļģāˇŠāˇ„āˇ’ āļ´āļ­āļŊāˇŠāˇ€āļŊ ⎀⎐āļŠ āļąāļ­āļģ āļšāˇ’āļģ⎓āļ¸āˇŠ āļ†āļģāļ¸āˇŠāļˇ āˇ€āˇ– āļ…āļ­āļģ, āļ´āˇƒāˇ”⎀ āļ‰āļšāˇŠāļ¸āļąāˇ’āļąāˇŠ āļ†āļšāļąāˇŠ, āˇƒāˇāļģ⎊āļŊāļąāˇŠāļŠāˇŠ, ⎃⎐āļšāˇŠāˇƒāļąāˇ’ āˇƒāˇ„ ⎃āļē⎒āļŊāˇ“āˇƒāˇ’āļēāˇāˇ€ (Ruhr, Aachen, the Saarland, Saxony and Silesia) āļ¯āļšāˇŠāˇ€āˇ āˇ€āˇŠâ€āļēāˇāļ´āˇŠāļ­ āˇ€āˇ’āļē. āļģ⎔⎄āļģāˇŠāˇ„āˇ’ āļ´āļ­āļŊ⎊ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ 97,000 āļšāˇŠ (āˇāˇŠâ€āļģāļ¸ āļļāļŊāļšāˇāļē⎙āļąāˇŠ āˇƒāˇ’āļēāļēāļ§ 86 āļšāˇŠ) ⎀⎐āļŠ āˇ€āļģ⎊āļĸāļąāļēāļ§ āļ‘āļšāˇŠ ⎀⎒āļē. ⎃āļąāˇŠāļąāļ¯āˇŠāļ° āļœāˇāļ§āˇ”āļ¸āˇŠ āļ‡āļ­āˇ’ ⎀⎖ āļ…āļ­āļģ ⎃⎜āļŊ⎊āļ¯āˇāļ¯āˇ”⎀āļąāˇŠ āļ¸āˇāļ¯āˇ’⎄āļ­āˇŠ ⎀⎖ āļąāļ¸āˇ”āļ­āˇŠ ⎀⎐āļŠ āˇ€āļģ⎊āļĸāļą āļ¯āˇ’āļœāļ§āļ¸ āˇ€āļģ⎊āļ°āļąāļē ⎀⎒āļē. 1890 āļ…āļ´āˇŠâ€āļģ⎚āļŊ⎊ ⎀āļą āˇ€āˇ’āļ§, ⎀⎐āļŠ āˇ€āļģ⎊āļĸāļą āˇƒāļ‚āļ›āˇŠâ€āļēāˇāˇ€ 715 āļ¯āļšāˇŠāˇ€āˇ ⎅āļŸāˇ ⎀⎖ āļ…āļ­āļģ, āļœāˇœāļŠāļąāˇāļœāˇ’āļŊ⎒, āļģ⎙āļ¯āˇ’āļ´āˇ’⎅⎒ āˇƒāˇ„ āļŊāˇāˇ„ āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āˇ€āļŊ āļ¸āˇ”⎅⎔ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ 289,000 āļšāˇŠ āˇƒāˇ„āļˇāˇāļœāˇ“ ⎀⎖⎄.

āļ‘āļ¸ āˇ€āˇƒāļģ⎚āļ¸ āļģāļē⎒āļšāˇŠāˇƒāˇŠāļ§āˇāļœāˇŠ āļ¸āˇāļ­āˇ’⎀āļģāļĢāļē⎚āļ¯āˇ“, āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ āļ´āļšāˇŠāˇ‚āļē āļ­āļ¸ āļĄāļąāˇŠāļ¯ āļ¸āˇ”⎅⎔ āļ´āˇŠâ€āļģāļ¸āˇāļĢāļē āˇƒāˇ’āļēāļēāļ§ 20 āļ¯āļšāˇŠāˇ€āˇ āļ¯āˇ™āļœāˇ”āļĢ āļšāˇ…āˇšāļē. ⎃āļ­āˇ’ āļšāˇ’⎄⎒āļ´āļēāļšāļ§ āļ´āˇƒāˇ” āļļāˇ’āˇƒāˇŠāļ¸āˇāļģ⎊āļšāˇŠ āļ‰āļŊ⎊āļŊāˇ āļ…āˇƒāˇŠ ⎀⎖ āļ…āļ­āļģ, āļ‘āļ¸ āˇ€āˇƒāļģ⎚ āļ”āļšāˇŠāļ­āˇāļļāļģ⎊ āļ¸āˇāˇƒāļē⎚āļ¯āˇ“ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ ⎀⎒āļģāˇāļ°āˇ“ āļąāˇ“āļ­āˇ’ āļ…⎀āļŊāļ‚āļœāˇ” āļšāļģāļą āļŊāļ¯āˇ“.

āļąāˇ“āļ­āˇŠâ€āļēāˇāļąāˇ”āļšāˇ–āļŊ āļ´āļšāˇŠāˇ‚āļēāļšāˇŠ āļŊāˇ™āˇƒ āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ āļ´āļšāˇŠāˇ‚āļē āļŠāļ§āļ­āˇŠ ⎀āļŠāˇ āˇ€āˇšāļœāļē⎙āļąāˇŠ ⎀āļģ⎊āļ°āļąāļē ⎀⎒āļē. 1890 āļ¯āˇ“ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯ āˇ€āˇ’āļģāˇāļ°āˇ“ āļąāˇ“āļ­āˇ’ āļ…āˇ€āˇƒāˇāļąāļē⎚ āˇƒāˇ’āļ§ 1914 āļ¯āˇ“ āļ´āˇ…āļ¸āˇ” āļŊāˇāļš āļē⎔āļ¯āˇŠāļ°āļē āļ´āˇ”āļ´āˇ”āļģāˇ āļēāˇāļ¸ āļ¯āļšāˇŠāˇ€āˇ ⎀⎖ ⎁āļ­  ⎀āļģāˇŠāˇ‚ āļšāˇāļŊāļš āļšāˇāļŊ āļ´āļģ⎒āļ āˇŠāļĄāˇšāļ¯āļēāļš āļ­āˇ”⎅ āļ‘āļē āļĸāļģ⎊āļ¸āļąāˇ’āļē⎚ āˇ€āˇ’āˇāˇāļŊāļ­āļ¸ āļ´āļšāˇŠāˇ‚āļē āļļ⎀āļ§ āļ´āļ­āˇŠāˇ€āˇ’āļē. āļąāļ¸āˇ”āļ­āˇŠ āļ´āļšāˇŠāˇ‚āļēāļ§ āļŊ⎐āļļ⎔āļĢ⎔ āļĄāļąāˇŠāļ¯ āˇƒāļ‚āļ›āˇŠâ€āļēāˇāˇ€ āļšāļ¸āˇŠāļšāļģ⎔ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē āļ­āˇ”⎅ āļ‘⎄⎒ āļļāļŊāļ´āˇ‘āļ¸āˇš āļ´āˇ”⎅⎔āļŊ⎊ āļļ⎀ āˇ„āˇ āļœāˇāļšāˇ”āļģ ⎃āļ¸āˇŠāļ´āˇ–āļģ⎊āļĢāļē⎙āļąāˇŠāļ¸ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļąāˇœāļšāļģāļē⎒.

āļ’ āļšāˇāļŊāļē⎚ āļ¯āˇ“, āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ āļ´āļšāˇŠāˇ‚āļē āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇ€āˇāļē⎙āļąāˇŠ āˇƒāˇ”āˇ€āˇ’āˇāˇšāˇ‚ ⎃āļ‚āˇƒāˇ’āļ¯āˇŠāļ°āˇ’āļēāļšāˇŠ ⎀⎒āļē: āļ¸āļąāˇŠāļ¯āļēāļ­āˇŠ, āļ‘āļē āļ´āˇ…āļ¸āˇ” ⎃⎐āļļ⎑ āļ¸āˇ„āļĸāļą āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’ āļ´āļšāˇŠāˇ‚āļē ⎀⎒āļē. āļ‘āļē ⎃āļ¸āˇāļĸāļē⎚ āˇƒāˇ’āļēāļŊ⎔ āļ°āļąāļē āļąāˇ’āļģ⎊āļ¸āˇāļĢāļē āļšāˇ… āˇƒāˇ„ āļ´āļąāˇŠāļ­āˇ’ āļģ⎄⎒āļ­ āˇƒāļ¸āˇāļĸāļēāļšāˇŠ āļœāˇœāļŠāļąāˇāļœāˇ“āļ¸āļ§ āˇƒāļ¸āļ­āˇŠ ⎀āļą āļ´āļąāˇŠāļ­āˇ’āļēāļš āˇ€āˇ’āļ āˇ’āļ­āˇŠâ€āļģ āļ…āļ´āˇšāļšāˇŠāˇ‚āˇāˇ€āļąāˇŠ, āļ‹āļ¯āˇŠāļēāˇāļœāļē āˇƒāˇ„ āļąāˇ’āļģ⎊āļ¸āˇāļĢ⎁⎓āļŊ⎒āļ­āˇŠāˇ€āļē āļ…⎀āļ¯āˇ’ āļšāˇ…āˇšāļē.

20 ⎀āļą āˇƒāˇ’āļēāˇ€āˇƒ āļ‹āļ¯āˇ ⎀⎙āļ¯āˇŠāļ¯āˇ“, āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’ āļĸ⎓⎀⎒āļ­āļē⎚ āˇƒāˇ’āļēāļŊ⎔ āļ…āļ‚⎁ āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ āļē āˇ€āˇ’āˇƒāˇ’āļąāˇŠ ⎃āļ‚⎀⎒āļ°āˇāļąāļē āļšāļģāļą āļŊāļ¯āˇ“. āļ´āˇ„āļ­ āˇƒāļ‚āļ›āˇŠâ€āļēāˇāļŊ⎚āļ›āļą āļ¸āļœāˇ’āļąāˇŠ āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ ⎄⎒ ⎀āļģ⎊āļ°āļąāļē āˇ„āˇ āļļ⎐āļŗāˇ”āļĢ⎔ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ ⎃āļ‚āˇƒāˇŠāļšāˇ˜āļ­āˇ’āļš āˇƒāļ‚⎀āļģ⎊āļ°āļąāļē āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāˇ™āļģ⎚. 1900 āˇƒāˇ„ 1914 āļ…āļ­āļģ āļļ⎙āļļ⎙āļŊ⎊āļœāˇš āļ´āļšāˇŠāˇ‚āļē āļ´āˇ”āˇƒāˇŠāļ­āļšāˇāļŊ 1,100 āļšāˇŠ āļ†āļģāļ¸āˇŠāļˇ āļšāˇ’āļģ⎓āļ¸āļ§ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ° āˇ€āˇ’āļē. āļ¸āˇ™āļ¸ āļ´āˇ”āˇƒāˇŠāļ­āļšāˇāļŊ⎀āļŊ ⎀⎙⎅⎔āļ¸āˇŠ 80,000 āļšāļ§ āļ…āļ°āˇ’āļš āļ‘āļšāļ­āˇ”⎀āļšāˇŠ āļ­āˇ’āļļ⎔āļĢ⎒. 1914 ⎀āļą āˇ€āˇ’āļ§ āļ´āļšāˇŠāˇ‚āļē⎚ ⎀⎐āļ§āˇ”āļ´āˇŠ āļŊ⎚āļ›āļąāļē⎚ āļ´āˇ”āˇƒāˇŠāļ­āļšāˇāļŊāļēāˇāļ°āˇ’āļ´āļ­āˇ’⎀āļģ⎔āļąāˇŠ 365 āļšāˇŠ āˇƒāˇ’āļ§āˇ’āļē⎄.

āļšāˇ™āˇƒāˇš ⎀⎙āļ­āļ­āˇŠ, āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ ⎄⎒ āˇ€āˇšāļœāˇ€āļ­āˇŠ āļąāˇāļœāˇ“āļ¸ āˇƒāˇ„ āļ¯āˇšāˇāļ´āˇāļŊāļą āļļāļŊāļ´āˇ‘āļ¸ āˇ€āˇāļŠāˇ’⎀⎓āļ¸ āļˇāļēāˇāļąāļš āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļ´āˇāļš āļœāˇ™āļą āļ¯āˇ”āļąāˇŠāļąāˇšāļē. āļ‘āļē 1895 āļ…āļģāˇŠāˇ†āļģ⎊āļ§āˇŠ ⎀⎐āļŠāˇƒāļ§āˇ„āļąāˇš (Erfurt Programme) āļ¯āļšāˇŠāˇ€āˇ āļ­āˇ’āļļ⎖ āļ‘⎄⎒  ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļąāļē āˇƒāˇ„ āļ´āļšāˇŠāˇ‚āļē⎚ āļ‘āļ¯āˇ’āļąāˇ™āļ¯āˇ āļšāļ§āļē⎔āļ­āˇ”⎀āļŊ āļąāˇœāˇ€āˇāˇ…⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’ āļ´āˇŠâ€āļģāļ­āˇ’āˇƒāļ‚āˇƒāˇŠāļšāļģāļĢāˇ€āˇāļ¯āˇ“ āˇƒāˇŠāˇ€āļˇāˇāˇ€āļē āļ…āļ­āļģ āļœāˇāļ§āˇ”āļ¸ āļ­āˇ“āˇ€āˇŠâ€āļģ āļšāˇ…āˇšāļē.

āļ´āļšāˇŠāˇ‚āļē⎚ āļ´āˇŠâ€āļģāļ¸āˇ”āļ› āļąāˇŠâ€āļēāˇāļēāˇāļ āˇāļģ⎊āļē⎀āļģāļēāˇ āļŊāˇ™āˇƒ āļ¸āļ­āˇ” ⎀⎖ āļšāˇāļŊ⎊ āļšāˇžāļ§āˇŠāˇƒāˇŠāļšāˇ’, “āļ‹āļ´āļģ⎒āļ¸ āˇƒāˇ„ āļ…⎀āļ¸ āˇ€āˇāļŠāˇƒāļ§āˇ„āļąāˇŠ (maximum and minimum programmes)” āļēāļą āļ”⎄⎔āļœāˇš ⎃āļ‚āļšāļŊ⎊āļ´āļē ⎃āļ¸āļŸāˇ’āļąāˇŠ ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ‰āļŊāļšāˇŠāļš āˇƒāˇ„ āļ´āļšāˇŠāˇ‚āļē⎚ āļ´āˇŠâ€āļģāļ­āˇ’āˇƒāļ‚āˇƒāˇŠāļšāļģāļĢāˇ€āˇāļ¯āˇ“ āļšāˇŠâ€āļģ⎒āļēāˇāļšāˇāļģāļšāļ¸āˇŠ āļ…āļ­āļģ āļ´āļģāļ­āļģāļē āļ´āˇ’āļē⎀⎓āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāˇ…āˇšāļē. āļ´āˇ…āļ¸āˇ”⎀⎐āļąāˇŠāļą āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“āļē⎚ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļ‰āļŊāļšāˇŠāļš āļąāˇ’āļēāˇāļĸāļąāļē āļšāˇ… āļ…āļ­āļģ āļ¯āˇ™āˇ€āˇāļąāˇŠāļąāˇ™āˇ„⎒ āļ´āļšāˇŠāˇ‚āļē⎚ āļ´āˇŠâ€āļģāˇāļēāˇāļœāˇ’āļš āļ‰āļŊ⎊āļŊ⎓āļ¸āˇŠ āļ…āļŠāļ‚āļœāˇ” ⎀⎒āļē. āļ”⎄⎔ āļ­āˇ€āļ¸āļ­āˇŠ ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ ⎀⎐āļŠāˇƒāļ§āˇ„āļą āļ†āļģāļšāˇŠāˇ‚āˇ āļšāˇ… āļąāļ¸āˇ”āļ­āˇŠ, āļ´āļšāˇŠāˇ‚āļē⎚ āļˇāˇāˇ€āˇ’āļ­āļē (practice) āļ’ āˇ€āļą āˇ€āˇ’āļ§āļ­āˇŠ “āļšāˇ… ⎄⎐āļšāˇ’ āļ¯āˇ™āļē (possibilism)” āļŊāˇ™āˇƒ ⎄⎐āļŗāˇ’āļąāˇŠāˇ€āˇ– āļģāˇāļ¸āˇ”⎀āļ§ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āˇ“ āļ…āļąāˇ”⎀āļģ⎊āļ­āļąāļēāļšāˇ’āļąāˇŠ ⎃āļ‚āļŊāļšāˇŠāˇ‚⎒āļ­ āˇ€āˇ’āļē.

āļ´āļšāˇŠāˇ‚āļē āļ­āˇ”⎅ ⎀āļģ⎊āļ°āļąāļē ⎀āļą āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āļē āˇƒāˇ„ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊ ⎀⎐āļŠāˇ’⎀āļą āļļāļŊāļ´āˇ‘āļ¸ āˇƒāļ¸āļŸ āļ‡āļ­āˇ’ ⎀⎖ āļ…āļąāļ­āˇ”āļģ āļļ⎙āļļ⎙āļŊ⎊ āļ…⎀āļ­āļšāˇŠāˇƒāˇšāļģ⎔ āļšāˇ…āˇšāļē. 1890 āļœāļĢāļąāˇŠāˇ€āļŊ āļ¸āˇāļ¯ āļˇāˇāļœāļē ⎀āļą āļ­āˇ™āļšāˇŠ, āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊ ⎀āļģ⎊āļ°āļąāļē āļ´āļšāˇŠāˇ‚āļēāļ§ āˇ€āļŠāˇ āļ´āˇƒāˇ”āļœāˇāļ¸āˇ“ ⎀⎖ āļ…āļ­āļģ āļ‘āļē āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊāļ§ āļ¯āˇšāˇāļ´āˇāļŊāļą āļąāˇāļēāļšāļ­āˇŠāˇ€āļē āˇƒāˇ„ āļ¯āˇŠâ€āļģāˇ€āˇŠâ€āļēāļ¸āļē āˇƒāˇ„āļēāˇāļœāļē āļŊāļļāˇ āļ¯āˇ”āļąāˇŠāļąāˇšāļē. āļąāļ¸āˇ”āļ­āˇŠ 1895 āļ¯āˇ“ āļ†āļģāļ¸āˇŠāļˇ āˇ€āˇ– āˇƒāˇ„ āļ´āˇ…āļ¸āˇ”⎀āļą āļŊāˇāļš āļē⎔āļ¯āˇŠāļ°āļē āļ´āˇ”āļ´āˇ”āļģāˇ āļēāļą āļ­āˇ™āļšāˇŠāļ¸ āļ´āˇāˇ€āļ­āˇ’ āļ´āˇŠâ€āļģāļ°āˇāļą āļ†āļģ⎊āļŽāˇ’āļš āļ‹āļ­āˇŠāļ´āˇāļ­āļēāļšāˇŠ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊ āļ¯āˇāˇ€āˇāļąāˇŠāļ­ āˇ€āˇŠâ€āļēāˇāļ´āˇŠāļ­āˇ’āļēāļšāˇŠ āļ¯āˇ’āļģ⎒āļ¸āļ­āˇŠ āļšāˇ… āļ…āļ­āļģ, āļ”⎀⎔āļąāˇŠ āˇƒāˇ„ āļ´āļšāˇŠāˇ‚āļē āļ…āļ­āļģ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āļ­āˇāˇ€āļē āļ¸āˇ–āļŊ⎒āļš āˇ€āˇāļē⎙āļąāˇŠ ⎀⎙āļąāˇƒāˇŠ āļšāˇ…āˇšāļē. āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ ⎃⎐āļŊāļšāˇ’āļē āļē⎔āļ­āˇ” āļ¸āˇ–āļŊāˇŠâ€āļē ⎃āļ¸āˇŠāļ´āļ­āˇŠ āļŊāļļāˇ āļœāļ­āˇŠ ⎀⎒āļ§, āļ”⎀⎔āļąāˇŠ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļ§ āˇ€āļŠ āˇ€āļŠāˇāļ­āˇŠ ⎃āļ­āˇ”āļģ⎔ ⎀⎒āļē.

āļ¸āˇ™āļēāļ§ āˇ„āˇšāļ­āˇ”⎀ āļ°āļąāˇ€āˇāļ¯āļē āļēāļ§āļ­āˇš āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊ āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€āļē⎒. āļ”⎀⎔āļąāˇŠ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠ āļąāˇ’āļēāˇāļĸāļąāļē āļšāļģāļąāˇŠāļąāˇš āļ‰āļ­āˇ āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āļ†āļģ⎊āļŽāˇ’āļš āļˇāˇ–āļ¸āˇ’āļšāˇāˇ€āļš, āļ‘āļąāļ¸āˇŠ āļ”⎀⎔āļąāˇŠāļœāˇš āˇāˇŠâ€āļģāļ¸ āˇāļšāˇŠāļ­āˇ’āļē (labour power) ⎀⎒āļšāˇ’āļĢ⎓āļ¸ āļ­āˇ”āļŊāļē⎒. āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļ†āļģ⎊āļŽāˇ’āļš āˇƒāļļāļŗāļ­āˇ āļ”⎀⎔āļąāˇŠāļœāˇš āļ´āˇāˇ€āˇāļ­āˇŠāļ¸āˇš āļ´āļ¯āļąāļ¸ āˇ€āļą āļļ⎐⎀⎒āļąāˇŠ, āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊ āļ¸āˇ–āļŊ⎒āļš āļ´āˇŠâ€āļģ⎀āļĢāļ­āˇāˇ€āļē ⎀āļąāˇŠāļąāˇš āļ´āļąāˇŠāļ­āˇ’ āļ…āļģāļœāļŊāļē āļ¸āļģ⎊āļ¯āļąāļē āļšāˇ’āļģ⎓āļ¸ āˇƒāˇ„ ⎃āļ¸āˇāļĸāˇ€āˇāļ¯āˇ“ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļēāļ§ āļ‘āļģ⎙⎄⎒ ⎀⎓āļ¸āļē⎒. āļģāˇāˇƒāˇ āļŊāļšāˇŠāˇƒāļ¸āˇŠāļļāļģ⎊āļœāˇŠāļ§ āļļāˇœāˇ„āˇ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ ⎃āļ¸āˇŠāļ¸āˇšāļŊāļąāˇ€āļŊāļ¯āˇ“ āļšāļ­āˇ āļšāˇ’āļģ⎓āļ¸ āļ­āˇ„āļąāļ¸āˇŠ āļšāļģāļą āļŊāļ¯āˇŠāļ¯āˇš āļ¸āˇš āˇ„āˇšāļ­āˇ”⎀⎙āļąāˇ’.

āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊ ⎀āļģ⎊āļ°āļąāļēāļ§ āˇƒāļ¸āļœāˇāļ¸āˇ“⎀ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āļē⎚ āļąāˇŠâ€āļēāˇāļēāˇāļ āˇāļģ⎊āļē⎀āļģāļēāˇ āļŊāˇ™āˇƒ āļ‘āļŠāˇŠāˇ€āļŠāˇŠ āļļāļģ⎊āļąāˇŠāˇƒāˇŠāļ§āļē⎒āļąāˇŠ āļ¸āļ­āˇ” ⎀⎒āļē. āļĸāˇāļ­āˇ’āļš āļģāˇāļ¸āˇ”⎀ āļ­āˇ”⎅ āļšāļ¸āˇŠāļšāļģ⎔⎀āļąāˇŠāļœāˇš āļ†āļ¯āˇāļēāļ¸āˇŠ āļ´āˇŠâ€āļģāļ­āˇ’⎁āļ­āļē⎚ āļąāˇ’āļģāļąāˇŠāļ­āļģ ⎀⎐āļŠāˇ’⎀⎓āļ¸āļšāˇŠ āļ’āˇ€āˇāļ§ āˇƒāˇ„āļ­āˇ’āļš āļšāˇ… ⎄⎐āļšāˇ’ āļļ⎀ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļ”āļ´āˇŠāļ´āˇ” āļšāļģ āļ‡āļ­āˇ’ āļļ⎀ āļ”⎄⎔ āļšāˇ’āļēāˇ āˇƒāˇ’āļ§āˇ’āļē⎚āļē. āļ‘āļļ⎐⎀⎒āļąāˇŠ, āļ´āˇ™āļąāˇ™āļą āļ†āļšāˇāļģāļēāļ§ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ¯āļģ⎒āļ¯āˇŠâ€āļģāļ­āˇāˇ€āļēāļ§ āļ‡āļ¯ āˇ€āˇāļ§āˇ“āļ¸ āļ´āˇ’⎅⎒āļļāļŗ āļ¸āˇāļšāˇŠāˇƒāˇŠāļœāˇš āļąāˇŠâ€āļēāˇāļē āļ´āˇŠâ€āļģāļ­āˇ’āļšāˇŠāˇ‚āˇšāļ´ āļšāļģāļąāˇ” āļŊ⎐āļļ āļ‡āļ­. āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¯āˇ’āļœāˇ”āļšāˇāļŊ⎓āļą āļ…āˇ€āˇāˇŠâ€āļēāļ­āˇ āˇƒāˇāļšāˇŠāˇ‚āˇāļ­āˇŠ āļšāļģāļœāļ­ āˇ„āˇāļšāˇ’⎀āļąāˇ” āļ‡āļ­āˇŠāļ­āˇš ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļąāļēāļšāˇ’āļąāˇŠ āļąāˇœāˇ€, āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āˇƒāˇāļšāˇŠāˇ‚āˇāļ­āˇŠ āļšāļģ āļœāļąāˇŠāļąāˇ āļŊāļ¯ āļ´āˇŠâ€āļģāļ­āˇ’āˇƒāļ‚āˇƒāˇŠāļšāļģāļĢ āļąāˇ’āļģāļąāˇŠāļ­āļģāļē⎙āļąāˇŠ ⎃āļ¸āˇ”āļ āˇŠāļ āļē āļšāˇ’āļģ⎓āļ¸āˇ™āļąāˇŠ āļēāļą āˇƒāˇŠāļŽāˇāˇ€āļģāļē āļļāļģ⎊āļąāˇŠāˇƒāˇŠāļ§āļē⎒āļąāˇŠ āļ†āļģāļšāˇŠāˇ‚āˇ āļšāˇ…āˇšāļē.

āļļ⎙āļļ⎙āļŊ⎊ āļ´āļšāˇŠāˇ‚āļē⎚ ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āˇƒāˇ„ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āˇ“ āļ…āļ‚⎁ āļ…āļ­āļģ ⎀⎐āļŠāˇ™āļą āļļ⎙āļ¯āˇ“āļ¸āˇŠ ⎃āļ¸āļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āˇƒāˇ„ āļļ⎙āļ¯āˇ“āļ¸āļšāˇŠ ⎀⎐⎅⎐āļšāˇŠāˇ€āˇ“āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāˇ…āˇšāļē. 1905 āļģāˇ”āˇƒāˇ’āļēāˇāļąāˇ” ⎀⎒āļ´āˇŠāļŊ⎀āļē⎙āļąāˇŠ āļ´āˇƒāˇ”⎀, 1906 āļ¯āˇ“ āļ¸āˇāļąāˇŠāˇ„āļē⎒āļ¸āˇŠ ⎄⎒ āļ´āˇāˇ€āļ­āˇ’ āļ´āļšāˇŠāˇ‚ ⎃āļ¸āˇŠāļ¸āˇšāļŊāļąāļē⎚ āļ¸āˇ„āļĸāļą āˇ€āˇāļŠ āˇ€āļģ⎊āļĸāļąāļē (mass strike) āļ´āˇ’⎅⎒āļļāļŗ āˇ€āˇ’āˇ€āˇāļ¯āļē⎙āļąāˇŠ āļ´āˇƒāˇ” āļ´āļšāˇŠāˇ‚āļē⎙āļąāˇŠ ⎀⎙āļąāˇŠ ⎀āļą āļļ⎀āļ§ āˇ€āˇ’āˇ€āˇ˜āļ­āˇ€ āļ­āļģ⎊āļĸāļąāļē āļšāļģāļ¸āˇ’āļąāˇŠ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļļ⎙āļļ⎙āļŊāˇŠāˇ€ ⎄⎒āļģ āļšāˇ’āļģ⎓āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāˇ…āˇšāļē. āļļ⎙āļļ⎙āļŊ⎊ āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ ⎃āļ¸āļŸ āļģāˇ„āˇƒāˇ’āļœāļ­ āļœāˇ’āˇ€āˇ’āˇƒāˇ”āļ¸āļšāļ§ āļ‘āļšāļŸ āˇ€āˇ– āļ…āļ­āļģ, āļ‘āļē āļŠāļŊāļœ āˇ€āˇƒāļģ⎀āļŊāļ¯āˇ“ ⎃āļ¸āˇ’āļ­āˇ’⎀āļŊ āˇƒāˇ„ āļ´āļšāˇŠāˇ‚āļē āļ­āˇ”⎅ āļ…āˇ€āˇƒāˇŠāļŽāˇāˇ€āˇāļ¯āˇ“ āļ´āˇŠâ€āļģ⎀āļĢāļ­āˇāˇ€āļē⎚ āļļāļŊāļ´āˇ‘āļ¸ āˇāļšāˇŠāļ­āˇ’āļ¸āļ­āˇŠ āļšāˇ…āˇšāļē.

1914 āļ¯āˇ“ āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“ āļąāˇāļēāļšāļ­āˇŠāˇ€āļē āļē⎔āļ¯ āˇ€āˇ’āļēāļ¯āļ¸āˇŠ ⎃āļŗāˇ„āˇ āļĄāļąāˇŠāļ¯āļē āļ¯āˇ”āļąāˇŠ ⎀⎒āļ§ āļļāˇ’āˇ„āˇ’āˇƒāˇ”āļĢ⎔ āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļ´āˇāļš āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ ⎀⎒āļē. āˇ€āˇƒāļģ ⎄āļ­āļģāļšāļ§ āļ´āˇƒāˇ”, āļąāˇœāˇ€āˇāļ¸āˇŠāļļāļģ⎊ ⎀⎒āļ´āˇŠāļŊ⎀āļē āļŊ⎚ ⎀⎐āļšāˇ’ āļŊāˇ™āˇƒ āļ¸āļģ⎊āļ¯āļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āˇƒāˇ„ āļģāˇāˇƒāˇ āļŊāļšāˇŠāˇƒāļ¸āˇŠāļļāļģ⎊āļœāˇŠ āˇƒāˇ„ āļšāˇāļŊ⎊ āļŊ⎒āļļ⎊āļąāˇ™āļšāˇŠāļ§āˇŠ āļāˇāļ­āļąāļē ⎃āļ‚⎀⎒āļ°āˇāļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļ”⎀⎔āļąāˇŠ āˇ†āˇŠâ€āļģāļē⎒āļšāˇāļ´āˇŠāˇƒāˇŠ (Freikorps) ⎄āļ¸āˇ”āļ¯āˇ āļ‘āļšāˇŠāļģ⎐⎃⎊ āļšāˇ…⎄.

āļ”⎄⎔āļœāˇš āļĸ⎓⎀⎒āļ­āļē⎚ āļ…āˇ€āˇƒāˇāļą āˇ€āˇƒāļģ⎀āļŊāļ¯āˇ“, āļ…āļ°āˇ’āļģāˇāļĸāˇŠâ€āļēāˇ€āˇāļ¯āˇ“ āļē⎔āļœāļēāļ§ āļ¸āˇāļģ⎔⎀⎓āļ¸āˇšāļ¯āˇ“ āļ¸āļ­āˇ”⎀⎖ ⎀⎒āļ´āˇŠāļŊāˇ€āˇ€āˇāļ¯āˇ“ āļ…āļˇāˇ’āļēāˇāļœāˇ€āļŊāļ§ āļ¸āˇ”⎄⎔āļĢ āļ¯āˇ“āļ¸āļ§ āļ­āļģāļ¸āˇŠ āļ­āļ­āˇŠāˇ€āļēāļš āļ”āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āļ­āˇ€āļ¯āˇ”āļģāļ§āļ­āˇŠ āˇƒāˇ’āļ§āˇ’āļē⎚ āļąāˇāļ­.

āļ‘āˇƒāˇŠāļ´āˇ“āļŠāˇ“āļē⎚ āļ›āˇšāļ¯āˇ€āˇāļ āļšāļē āļŊ⎒āļē⎜āļąāˇŠ āļ§āˇŠâ€āļģ⎜āļ§āˇŠāˇƒāˇŠāļšāˇ’ āļ­āļģāļ¸āˇŠ ⎃āļ‚āļšāˇŠāˇ‚⎒āļ´āˇŠāļ­āˇ€ āˇ„āˇ āļ¯āˇ“āļ´āˇŠāļ­āˇ’āļ¸āļ­āˇŠ āļŊāˇ™āˇƒ āļšāˇ’āˇƒāˇ’āˇ€āˇ™āļšāˇ” āļœāˇ™āļąāˇ„⎐āļģ āļ¯āˇāļšāˇŠāˇ€āˇ–āļē⎚ āļąāˇāļ­: “āļĸāļģ⎊āļ¸āˇāļąāˇ” āļąāˇ’āļģ⎊āļ°āļą āļ´āļ‚āļ­āˇ’āļē⎚ ⎃āļ‚⎀⎒āļ°āˇāļąāļē āļ…āļ›āļĢ⎊āļŠāˇ€ ⎀āļģ⎊āļ°āļąāļē ⎀⎒āļē, āļ…āļģāļ¸āˇ”āļ¯āļŊ⎊ ⎀⎐āļŠāˇ’ ⎀⎒āļē, āļ´āˇ”⎀āļ­āˇŠāļ´āļ­āˇŠ, āļąāˇ’āļēāˇāļĸ⎒āļ­āļē⎒āļąāˇŠ āˇƒāˇ„ āļąāˇāļœāļģ⎒āļš āļ¸āļąāˇŠāļ­āˇŠâ€āļģ⎓⎀āļģ⎔āļąāˇŠ ⎃āļ‚āļ›āˇŠâ€āļēāˇāˇ€ āļ…āļ›āļĢ⎊āļŠāˇ€ āļœāˇ”āļĢ āļšāļģāļą āļŊāļ¯āˇ“. āļ’ āˇƒāļ¸āļŸāļ¸ āļ´āˇŠâ€āļģāļ­āˇ’āļœāˇāļ¸āˇ“āļ­āˇŠāˇ€āļē āļ‘⎄⎒ āˇƒāˇ’āļēāļŊ⎔āļ¸ āˇƒāˇŠāļŽāˇāˇ€āļģ ⎃āļŗāˇ„āˇ ⎃⎊āļŽāˇ’āļģ⎀ āļģāļ¯āˇ āļ´āˇāˇ€āļ­āˇ”āļąāˇ’. āļĸāļģ⎊āļ¸āˇāļąāˇ” ⎃āļ¸āˇāļĸ āļĸ⎓⎀⎒āļ­āļē⎚ āļ°āˇŠâ€āļģ⎐⎀⎓āļē āļļāļŊāˇ€āˇšāļœ āļ¯āˇ™āļš āļ…āļ­āļģ āļœāˇāļ§āˇ”āļ¸āˇš āļąāˇœāˇ€āˇāˇ…⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’ āļļ⎀ āļœāļŊāˇ āļ†āˇ€āˇš āļ¸āˇ™āļ­āˇāļąāˇ’āļąāˇ’. āļąāļ¸āˇ”āļ­āˇŠ āļ¸āˇ™āļ¸ āļœāˇāļ§āˇ”āļ¸ āļ¯āˇ’āļœāˇ” āļšāļŊāļšāˇŠ āļ­āˇ’āˇƒāˇŠāˇƒāˇš āļ‡āļ­āˇ’ āļąāˇœāˇ€āˇ– āļ…āļ­āļģ, ⎃āļ‚⎀⎒āļ°āˇāļąāļē⎚ āļļāļŊāˇ€āˇšāļœ āˇƒāˇ„ ⎃āļ¸āˇŠāļ´āļ­āˇŠ āļšāˇ™āļ­āļģāļ¸āˇŠ āˇƒāˇŠāˇ€āļēāļ‚āļšāˇŠâ€āļģ⎓āļē⎀ ⎀āļģ⎊āļ°āļąāļē āˇ€āˇ–āˇ€āˇāļ¯ āļēāļ­āˇŠ, āļ‘⎀⎐āļąāˇ’ āļ­āļ­āˇŠāˇ€āļēāļšāļ§ āˇ„āˇ”āļģ⎔⎀⎓āļ¸āļ§ āļ¸āˇ”⎅⎔ āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€āļšāļ§āļ¸ āļšāˇāļŊāļē āļ­āˇ’āļļ⎔āļĢ⎒. āļ‘āļ¸āˇ™āļąāˇŠāļ¸, āˇƒāˇ‘āļ¸ āļšāˇ™āļąāˇ™āļšāˇ”āļ¸ āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļš āļœāˇāļ§āˇ”āļ¸āˇš āļąāˇœāˇ€āˇāˇ…⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’ āļļ⎀ āļœāˇāļą āļŊāˇ’āˇ€āˇŠāˇ€āļ­āˇŠ, āļšāļ­āˇ āļšāˇ…āļ­āˇŠ āˇ„āˇ āļšāˇ’āļēāˇ™āˇ€āˇŠāˇ€āļ­āˇŠ- āļ‘āļšāļ¸ āļ¸āˇāļģ⎊āļœāļēāļšāˇŠ āļ”āˇƒāˇŠāˇƒāˇš āļ‘āļšāˇ’āļąāˇ™āļš āļ¯āˇ™āˇƒāļ§ āļēāļą āļ¯āˇ”āļ¸āˇŠāļģ⎒āļē āļ¯āˇ™āļšāļšāˇŠ āļ…āļ­āļģ āļœāˇāļ§āˇ”āļ¸āˇš āļąāˇœāˇ€āˇāˇ…⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’ āļļ⎀ āļ¸āˇ™āļąāˇŠ – āļ…āˇ€āˇƒāˇāļąāļē⎚ āļ”⎀⎔āļąāˇŠ āļ­āˇ”⎅āļ¸ āļ¸āˇ™āļ¸ āļ…āļąāˇ’āˇ€āˇāļģ⎊āļēāļ­āˇāˇ€  ⎃āļ‚āˇ€āˇšāļ¯āļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļ”⎀⎔āļąāļ§ āļąāˇœāˇ„⎐āļšāˇ’  ⎀⎒āļē. ⎀āļē⎃⎊āļœāļ­ āļļ⎙āļļ⎙āļŊ⎊ āļ…āļąāˇ™āļšāˇŠ āļļāˇœāˇ„āˇ āļ¯āˇ™āļąāˇ™āļšāˇ”āļœāˇ™āļąāˇŠ āļšāˇāļ´āˇ“ āļ´āˇ™āļąāˇ”āļąāˇš āˇƒāˇ’āļ¯āˇ”⎀⎓āļ¸āˇŠ āļ’āˇ€āˇāļē⎚ āļ´āļģāˇ’āˇƒāļ¸āˇāļ´āˇŠāļ­āˇ’āļēāļ§ āļ¸āˇāļģāˇāļąāˇŠāļ­āˇ’āļš āļŊāˇ™āˇƒ āˇ„āˇšāļ­āˇ” ⎀āļą āļļ⎀āļ§ āˇ€āˇ– āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āˇ„āˇāļœāˇ“āļ¸āļšāˇ’āļąāˇŠ āļ”⎄⎔ āļ­āļ¸ āļ…āˇ€āˇƒāˇāļą āļšāˇāļŊāļē⎚ āļĸ⎓⎀āļ­āˇŠ ⎀⎖ āļļ⎐⎀⎒āļąāˇ’. ” [āļ‰āˇ„āļ­ āļšāˇ˜āļ­āˇ’āļē]

āļ•āļœāˇƒāˇŠāļ§āˇŠ āļļ⎙āļļ⎙āļŊ⎊ āˇƒāˇ„ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇ’āļļ⎒āļ¯āˇ“āļ¸ Read More Âģ

Malaka

āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ: āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē⎚ ⎃āļ¸āˇāļĸ āļ…āļģ⎊āļļ⎔āļ¯āļē āļ…⎁⎔āļˇāˇ€āˇāļ¯āļēāļ§ āˇƒāˇ„ ⎀⎒āļ´āˇŠâ€āļģāļģ⎖āļ´āļĢāļēāļšāļ§ āˇƒāˇ’āļŗāļŊ⎓āļ¸āļšāˇŠÂ 

⎃āļ‚āļĸāļē āļĸāļē⎃⎚āļšāļģ āˇ€āˇ’āˇƒāˇ’āļąāˇ’.

āļ¸āˇ™āļē 2025 āļĸ⎔āļąāˇ’ 04 āļ¯āˇ’āļą â€œBahuchithawadiya: The Social Crisis of Youth reduced to Pessimism and Caricature” āļąāļ¸āˇ’āļąāˇŠ āļ¸āˇ™āļ¸ āˇ€āˇ™āļļ⎊ āļ…āļŠāˇ€āˇ’āļē⎚ āļ´āļŊ⎀⎖ āļŊ⎒āļ´āˇ’āļē⎚ āˇƒāˇ’āļ‚⎄āļŊ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē āļē⎒.

āļ¸āˇāļŊāļš āļ¯āˇšāˇ€āļ´āˇŠâ€āļģ⎒āļēāļœāˇš āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āļ´āˇāˇŠāļ āˇāļ­āˇŠ āˇƒāˇ’āˇ€āˇ’āļŊ⎊ āļē⎔āļ° āļąāˇāļœāļģ⎒āļš āˇāˇŠâ€āļģ⎓ āļŊāļ‚āļšāˇāˇ€āˇš āļ…āļ­āļģāļ¸āļ‚⎀ āˇƒāˇ’āļ§āˇ’āļą āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē⎚ āļ´āˇŠâ€āļģāļ­āˇ’āļ¸āˇ–āļģ⎊āļ­āˇ’āļēāļšāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāļģāļą āļ…āļˇāˇ’āļŊāˇāˇ‚āļšāˇāļ¸āˇ“ āļąāļ¸āˇ”āļ­āˇŠ āļ…āˇ€āˇƒāļąāˇŠ ⎀⎒āļœāˇŠâ€āļģ⎄āļē⎚āļ¯āˇ“  āļ¸āļ‚āļ¸āˇ”āˇ…āˇāˇ€āˇ– āļšāˇ˜āļ­āˇ’āļēāļšāˇ’. āļ āļģ⎒āļ­ āļ…āļ°āˇŠâ€āļēāļēāļąāļēāļš āˇƒāˇŠāˇ€āļģ⎖āļ´āļēāļšāˇŠ āļœāļąāˇŠāļąāˇ āļ¸āˇ™āļ¸ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē  āļ…āļ°āˇŠâ€āļēāļšāˇŠāˇ‚⎀āļģāļēāˇāļœāˇšāļ¸ āˇ„āˇāļŗāˇ’āļąāˇŠāˇ€āˇ“āļ¸āļ§ āļ…āļąāˇ”⎀, “āļģ⎐āļšāˇ’āļēāˇ āˇƒāˇ”āļģāļšāˇŠāˇ‚⎒āļ­āļ­āˇāˇ€ āļąāˇœāļ¸āˇāļ­āˇ’āļšāļ¸ āļąāˇ’āˇƒāˇ āļĸ⎓⎀āļ­āˇŠāˇ€āˇ“āļ¸āļ§ āļ´āˇ„āˇƒāˇ” āļ¸āˇāļģ⎊āļœ āˇƒāˇœāļēāļą, āļ¸āˇš āļģāļ§āˇ’āļąāˇŠ āļ´āˇāļąāļēāˇāļ¸āˇš āˇƒāˇ’āˇ„āˇ’āļąāļē⎚ āļœāˇ’āļŊ⎓ āˇƒāˇ’āļ§āˇ’āļą, āļ­āļ¸ āļ´āˇāļģāļĢ⎒ āˇƒāˇ’āˇ„āˇ’āļąāļē ⎃⎐āļļ⎑ āļšāļģ āļœāˇāļąāˇ“āļ¸āļ§ āˇƒāļ¸āˇāļĸ āļ¸āˇāļ°āˇŠâ€āļē, ⎃⎊āļ¸āˇāļģ⎊āļ§āˇŠāˇ†āˇāļąāˇŠ āˇƒāˇ„ āļ…āļēāˇ’āˇ†āˇāļąāˇŠ āļˇāˇāˇ€āˇ’āļ­āˇ āļšāļģāļ¸āˇ’āļąāˇŠ āˇƒāˇ„ āˇƒāˇ’āļēāļŊ⎔ āļ¸āˇāļąāˇ€ ⎃āļ¸āˇŠāļļāļąāˇŠāļ°āļ­āˇ āļ”⎀⎔āļąāˇŠāļœāˇš āļœāˇœāļ¯āˇ”āļģ⎔ āļļ⎀āļ§ āļ´āļ­āˇŠ āļšāļģ āļœāļąāˇŠāļąāˇ ⎃āļ¸āļšāˇāļŊ⎓āļą āļ­āļģ⎔āļĢ āļ´āļģāļ´āˇ”āļģ⎚ āļ´āˇ’⎅⎒āļļ⎒āļšāˇ”⎀āļšāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļē⎒.” 

Bahuchithavadiya
āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ. āļģ⎖āļ´āļē āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļąāˇ’āļŊ āˇ†āˇšāˇƒāˇŠāļļ⎔āļšāˇŠ āļ´āˇ’āļ§āˇ”āˇ€āˇš āļ…āļąāˇ”āļœāˇŠâ€āļģ⎄āļē⎙āļąāˇ’.

āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āļ‘⎄⎒ āļ´āļģ⎊āļēāˇšāˇ‚āļĢāˇāļ­āˇŠāļ¸āļš āļ­āˇāļąāļē āˇƒāˇ„ āļ¯āˇ’⎅⎒āļŗāˇ”, āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļģ⎄⎒āļ­ āˇ„āˇ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āļģ⎐āļšāˇ’āļēāˇāˇ€āļŊ āļąāˇ’āļē⎔āļšāˇŠāļ­ āˇƒāˇ„ āļ…⎀⎒āļ¯āˇ’āļ¸āļ­āˇŠ āˇāˇŠâ€āļģāļ¸ āˇ€āˇ™āļŊāļ¯āļ´āˇœāļŊ⎚ āˇƒāˇ–āļģāˇ āļšāˇāˇ€āˇ™āļą, āļšāˇœāˇ…āļš āļ­āļģ⎔āļĢ āļ­āļģ⎔āļĢ⎒āļēāļąāˇŠ āļœāˇš āļ´āļģāļ­āˇŠāˇ€āˇāļģāˇāļ´āļĢāļē āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāˇ’āļģ⎓āļ¸ āļ¸āļœāˇ’āļąāˇŠ āļ…⎀āļ°āˇāļąāļē āļ¯āˇ’āļąāˇ āļœāˇ™āļą āļ‡āļ­. āļšāˇ™āˇƒāˇš ⎀⎙āļ­āļ­āˇŠ, āļ‘⎄⎒ āˇƒāˇ’āļąāļ¸āˇ āļģ⎖āļ´āļēāļ§ āļēāļ§āˇ’āļąāˇŠ, āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē ⎃āļ¸āˇāļĸ āļ´āļģāˇ’āˇ„āˇāļąāˇ’āļē āļ´āˇ’⎅⎒āļļāļŗ āļ…āļŗāˇ”āļģ⎔, āļ¸āļ­āˇ”āļ´āˇ’āļ§āˇ’āļąāˇŠ āļšāˇ™āļģ⎙āļą āļąāˇ’āļģ⎖āļ´āļąāļēāļšāˇŠ āˇƒāˇ„ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āˇƒāˇ„ āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļģ⎄⎒āļ­ āļ­āˇāļģ⎔āļąāˇŠâ€āļēāļē āļšāˇ™āļģ⎙⎄⎒ āļšāļŊāļšāˇ’āļģ⎓āļ¸āˇŠ āˇƒāˇ„āļœāļ­ āˇƒāˇ„ āļ…āˇ€āˇƒāˇāļąāļē⎚āļ¯āˇ“ āļ´āˇŠâ€āļģāļ­āˇ’āļœāˇāļ¸āˇ“  āļ…āļ°āˇ’āļ āˇāļ¯āļąāˇāˇ€āļšāˇŠ – āļ”⎀⎔āļąāˇŠ āļ°āļąāˇ€āˇāļ¯āļē⎚ āļœāˇœāļ¯āˇ”āļģ⎔ āļŊāˇ™āˇƒ āļąāˇœāˇ€, āļ”⎀⎔āļąāˇŠāļœāˇšāļ¸ āˇƒāļ¯āˇāļ āˇāļģ āļ´āļģāˇ’āˇ„āˇāļąāˇ’āļē⎚ āļšāˇāļģāļšāļēāļąāˇŠ āļŊāˇ™āˇƒ – āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļē⎒.

āļ´āˇŠâ€āļģāļ°āˇāļą āļ āļģ⎒āļ­āļē ⎀āļą āˇƒāˇƒāˇ’āļ­ (āļšāļŊāļĢ āļœāˇ”āļĢ⎃⎚āļšāļģ) āļģāļ§āˇš āļšāˇāļģ⎊āļ¸āˇ’āļš āļ…āļœāļąāˇ”⎀āļģ ⎀āļą āļšāˇœāˇ…āļš āļļ⎙āļ¯āˇāˇ„⎐āļģ⎓āļ¸āˇš āˇƒāˇšāˇ€āˇāˇ€āˇš āļąāˇ’āļē⎔āļ­āˇ”  āļšāļ¸āˇŠāļšāļģ⎔⎀⎙āļšāˇ’. āļ”⎄⎔ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āļ­āļ­āˇŠāļ­āˇŠâ€āˇ€āļēāļąāˇŠ āļēāļ§āļ­āˇš āˇƒāˇšāˇ€āļē⎚ āļē⎜āļ¯āˇ€āˇ āļ‡āļ­āˇŠāļ­āˇš āļ¸āˇƒāˇ”āļģ⎔ āˇƒāˇŠāˇ€āˇāļ¸āˇ’āļē⎙āļšāˇ” āˇ€āˇ’āˇƒāˇ’āļąāˇ’. āļ†āļģ⎊āļŽāˇ’āļš āˇ„āˇ ⎃āļ¸āˇāļĸ⎓āļē āļ‰āļ¯āˇ’āļģ⎒ āļœāļ¸āļąāļšāˇŠ āļ´āˇ’āļŊ⎒āļļāļ¯ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļ…āļ´āˇšāļšāˇŠāˇ‚āˇāˇ€āļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’⎀ āˇƒāˇƒāˇ’āļ­ āļ­āļ¸ āļ…⎀āļ°āˇāļąāļē āļē⎜āļ¸āˇ” āļšāļģāļąāˇŠāļąāˇš, āļē⎔āļģāˇāļ´āˇ“āļē āļģāļ§āļšāļ§ āˇ€āˇ“āˇƒāˇ āļŊāļļāˇ āļœāˇāļąāˇ“āļ¸āˇš āˇ„āˇ āļēāļ¸āˇŠ āļ¸āˇ–āļŊāˇŠâ€āļēāļ¸āļē āļ´āˇŠâ€āļģāļ­āˇ’āļŊāˇāļˇāļēāļšāˇŠ āļŊāļļāˇ āļœāˇāļąāˇ“āļ¸āˇš āļ…āļ´āˇšāļšāˇŠāˇ‚āˇāˇ€āˇ™āļąāˇŠ ⎃⎊āļ­āˇŠâ€āļģ⎓āļąāˇŠâ€“āˇ€āˇ’āˇ€āˇāˇ„āļš, āļ…āˇ€āˇ’āˇ€āˇāˇ„āļš, ⎀⎐āļŠāˇ’āļ¸āˇ„āļŊ⎊, āļļāˇāļŊ–āļ”āļąāˇŠāļŊāļē⎒āļąāˇŠ āļ¸āļŸāˇ’āļąāˇŠ āļ´āˇœāˇ…āļšāˇ€āˇ āļœāˇāļąāˇ“āļ¸ āˇƒāļŗāˇ„āˇāļē. āļ”⎄⎔āļœāˇš āļ¯āˇ™āļ´āˇ’āļ§āˇ’āļšāˇāļ§āˇŠāļ§āˇ”āļšāļ¸ āˇƒāˇ„ āļ¸āˇ™āļ¸ āļšāˇāļąāˇŠāļ­āˇāˇ€āļąāˇŠ āˇƒāˇ–āļģāˇāļšāˇ‘āļ¸ āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāļģāļąāˇ” āļŊāļļāļąāˇŠāļąāˇš āļ¸āˇŠāļŊ⎚āļ āˇŠāļĄ āļ†āļģ⎊āļŽāˇ’āļš āļšāˇŠâ€āļģāļ¸āļēāļ§ āļ´āˇŠâ€āļģāļ­āˇ’āļ āˇāļģ  āˇ€āˇāļē⎙āļąāˇŠ āļ…āļšāļ¸āˇāļ­āˇŠāļ­āˇ™āļąāˇŠ āˇƒāˇ„ āļ­āˇāˇ€āļšāˇāļŊ⎒āļšāˇ€ āļšāļģāļą āļšāˇœāļŊ⎊āļŊāļšāˇāļģ⎓ āļšāˇŠâ€āļģ⎒āļēāˇ āļŊāˇ™āˇƒ āļąāˇœāˇ€ āļ”⎄⎔āļœāˇš āļ āļģ⎒āļ­āļē⎚ āˇƒāˇ„āļĸ āˇƒāˇ„ ⎃⎊āļŽāˇ’āļģ āļŊāļšāˇŠāˇ‚āļĢ āļŊāˇ™āˇƒ āļē. āļ”⎄⎔ āļ­āˇ”⎅⎒āļąāˇŠ āļ¸āļ­āˇ”⎀āļąāˇŠāļąāˇš ⎃⎊āļŽāļģāļ¸āļē āļ¸āļąāˇ”āˇ‚āˇŠâ€āļēāļē⎙āļšāˇ” āļąāˇœāˇ€ āļąāļģ⎔āļ¸āļ­āˇŠāˇ€āļē⎚ āˇƒāˇ„ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­āļ­āˇāˇ€āļē⎚ āļœāˇ’āļŊ⎒ ⎀⎐āļ¯āļœāˇāļ¸āˇŠāļ¸āļšāˇŠ āļąāˇāļ­āˇ’ āļ´āˇ”āļ¯āˇŠāļœāļŊāļē⎙āļšāˇ’. āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļļāļģāļ´āļ­āļŊāļ¸ āļ…āˇƒāˇāļģ⎊āļŽāļš āˇ€āˇ“āļ¸āļšāˇŠ ⎀āļąāˇŠāļąāˇš āˇƒāˇƒāˇ’āļ­āļœāˇš āˇ„āˇāˇƒāˇ’āļģ⎓āļ¸āˇŠ āļąāˇ’āļģ⎖āļ´āļĢāļē,  ⎃āļ¸āˇāļĸ āļļāļŊāˇ€āˇšāļœ āˇƒāˇ„ āļ”⎄⎔ āļĸ⎓⎀āļ­āˇŠ ⎀āļą āļ¯āˇŠâ€āļģāˇ€āˇŠâ€āļēāļ¸āļē āļ­āļ­āˇŠāˇ€āļēāļąāˇŠ ⎄āļģāˇ„āˇ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļšāˇ’āļģ⎓āļ¸āļ§ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļļ⎐āļģ⎑āļģ⎔āļ¸āˇŠ āļ‹āļ­āˇŠāˇƒāˇāˇ„āļēāļšāˇŠ āļąāˇœāļœāˇāļąāˇ“āļ¸āļē⎒.

āļ¯āˇšāˇ€āļ´āˇŠâ€āļģ⎒āļē ⎃āļ¸āˇāļĸ āļĸ⎓⎀⎒āļ­āļē⎚ āļ‡āļ­āˇāļ¸āˇŠ āļ¸āļ­āˇ”āļ´āˇ’āļ§ āļŊāļšāˇŠāˇ‚āļĢ āļœāˇŠâ€āļģ⎄āļĢāļē āļšāļģ āļ‡āļ­. āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē ⎀⎒⎂āļšāˇ”āļģ⎔ āˇ„āˇāˇƒāˇ’āļģ⎓āļ¸āˇŠ āļ¸āˇāļŊāˇāˇ€āļšāˇŠ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāļģāļēāˇ’â€“āļ´āļģāļ¯āˇāļģ āˇƒāˇšāˇ€āļąāļē, āļ´āˇāˇ€āˇāļ¯āˇ“āļ¸, ⎀āļ‚āļ āˇāˇ€, āˇƒāˇ–āļģāˇāļšāˇ‘āļ¸, āļļāļŊāˇāļ´āˇœāļģ⎜āļ­āˇŠāļ­āˇ” ⎀⎒āļģ⎄⎒āļ­āļˇāˇāˇ€āļē–āļ‘⎄⎙āļ­āˇŠ āļ’ āļšāˇ’āˇƒāˇ’āˇ€āļšāļ§ āļ’āˇ€āˇāļē⎚ āļēāļ§āˇ’āļąāˇŠ āļ´āˇ€āļ­āˇ’āļą āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļģāˇāļ°āļ­āˇ ⎄⎙⎅⎒ āļšāˇ’āļģ⎓āļ¸ āˇƒāļ¯āˇ„āˇ āļ­āˇ’āļģāˇƒāˇāļģ āļ…⎀āļ°āˇāļąāļēāļšāˇŠ āļ¯āˇ’āļ¸ āˇ„āˇ āļœāˇāļšāˇ”āļģ⎒āļąāˇŠ ⎀⎒āļ¸āˇƒāˇ āļļ⎐āļŊ⎓āļ¸āļšāˇŠ āļšāļģ āļąāˇāļ­. āļ¸āˇš āļąāˇ’āˇƒāˇ āļąāļģāļšāļąāˇŠāļąāˇāļ§ āļ‰āļ­āˇ’āļģ⎒ ⎀āļąāˇŠāļąāˇš āļ’āˇ€āˇ āļ¸āļ­āˇ” āļšāļģāļą āˇƒāļ¸āˇāļĸ āļēāļŽāˇāļģ⎊āļŽāļē āļ´āˇ’⎅⎒āļļāļŗ āļ…⎀āļļāˇāļ°āļēāļšāļ§ āˇ€āļŠāˇ āļģāˇāļœ āļŊāļšāˇŠâ€āˇ‚āļĢ āļ‘āļšāļ­āˇ”⎀āļšāˇ’. āļ¸āˇ™āļē ⎄⎔āļ¯āˇ” āˇƒāˇžāļąāˇŠāļ¯āļģ⎊āļēāˇāļ­āˇŠāļ¸āļš āˇ„āˇ āļšāļŊāˇāļ­āˇŠāļ¸āļš āļ…āļŠāˇ”āļ´āˇāļŠāˇ”⎀āļšāˇŠ āļąāˇœāˇ€, āļœāˇāļšāˇ”āļģ⎔ āļ¯āˇ˜āˇ‚āˇŠāļ¨āˇ’āˇ€āˇāļ¯āˇ“āļ¸āļē āļ‘āļšāļšāˇ’. āļšāļŊāˇāļšāļģ⎔⎀⎙āļšāˇ” āļĸ⎓⎀⎒āļ­āļē āļąāˇ’āļšāļ¸āˇŠāļ¸ āļ´āˇŠâ€āļģāļ­āˇ’āļąāˇ’āļģ⎊āļ¸āˇāļĢāļē āļąāˇœāļšāļģāļē⎒; āļ”⎄⎔ āļĄāˇāļēāˇāļģ⎖āļ´ āˇāˇ’āļŊ⎊āļ´āˇ’āļē⎙āļšāˇŠ āļąāˇœāˇ€āˇš. ⎃āļ­āˇŠâ€āļēāļē ⎃⎜āļēāˇ āļ¸āļ­āˇ”āļšāļģ āļœāˇāļąāˇ“āļ¸āˇš ⎀āļœāļšāˇ“āļ¸ āļ”⎄⎔ āļ¯āļģāļē⎒. āˇƒāˇƒāˇ’āļ­āļœāˇš āļ´āˇ”āļ¯āˇŠāļœāļŊ⎒āļš āļ¯āˇ–⎂⎒āļ­āļˇāˇāˇ€āļē, āļ‘āļē āļąāˇ’āļ´āļ¯āˇ€āļą āˇƒāˇ„ āļŠāļ§ āļ´āļ§āˇ„⎐āļąāˇ’⎀ āļ´āˇ€āļ­āˇ’āļą āˇƒāˇāļļ⎑ āļŊāˇāļšāļē⎙āļąāˇŠ ⎄⎔āļ¯āļšāļŊāˇ āļšāˇ’āļģ⎓āļ¸āˇ™āļąāˇŠ, āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ āļēāļŽāˇāļģ⎊āļŽāˇ€āˇāļ¯āļēāļ§ āˇ„āˇ’āļ¸āˇ’āļšāļ¸āˇŠ āļšāˇ“⎀āļ¯, āļ…āˇ€āˇƒāˇāļąāļē⎚ āļœāˇāļšāˇ”āļģ⎔ āļ¸āļœ āˇ„āˇāļģ⎓āļ¸ āˇƒāˇ„ ⎀āļ‚āļš āļļ⎀ āļ´āˇ™āļąāˇŠāļąāˇ”āļ¸āˇŠ āļšāļģāļē⎒.

“⎃āļ¸āļšāˇāļŊ⎓āļą āļēāˇžāˇ€āļąāļē” āļąāˇ’āļēāˇāļĸāļąāļē āļšāļģāļą āļ āļģ⎒āļ­āļēāļšāˇŠ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­, āļ‹āļ´āˇāļ¸āˇāļģ⎔ āļē⎜āļ¯āˇāļœāļąāˇŠāļąāˇ āˇƒāˇ„ āļąāˇ’āļģ⎊⎃āļ¯āˇāļ āˇāļģāˇāļ­āˇŠāļ¸āļš āļļāˇāˇ€āˇŠ āļ´āˇ™āļąāˇŠāˇ€āˇ“āļ¸ āļ´āˇŠâ€āļģāļ¸āˇāļąāˇ€āļ­āˇŠ āļąāˇœāˇ€āˇš. āļēāļ¸āˇ™āļšāˇ” āļ‡āˇƒāˇ’āļē āļē⎔āļ­āˇ” ⎀āļąāˇŠāļąāˇš: āļ’ āļ‡āļē⎒? āļ¸āˇ™āļ¸ āˇ€āˇ’āˇ‚ āˇƒāˇ„āˇ’āļ­ āļ āļģ⎒āļ­āļē ⎄⎐āļŠāļœāˇƒāˇŠāˇ€āˇ āļ‡āļ­āˇŠāļ­āˇš āļšāˇ”āļ¸āļšāˇ’āļąāˇŠāļ¯? āļ”⎄⎔ āļ¸āļ­ āļšāˇŠâ€āļģ⎒āļēāˇ āļšāļģāļą āļļāļŊāˇ€āˇšāļœ āļ¸āˇœāļąāˇ€āˇāļ¯? āļ”⎄⎔āļœāˇš āļĸ⎓⎀⎒āļ­āļēāļ§ āˇ€āļœāļšāˇ’⎀ āļē⎔āļ­āˇŠāļ­āˇš āļšāˇ€āˇ”āļ¯? āļ”⎄⎔āļœāˇš āˇ„āˇāˇƒāˇ’āļģ⎓āļ¸ āļąāˇœāˇ€āˇāˇ…⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’āļ¯? āļ¯āˇšāˇ€āļ´āˇŠâ€āļģ⎒āļē āļ¸āˇš āļ´āˇŠâ€āļģ⎁⎊āļą āļœāˇāļą āļ‹āļąāļąāˇŠāļ¯āˇ”⎀āļšāˇŠ āļąāˇāļ­āˇ’ āļļ⎀ āļ´āˇ™āļąāˇš. āļ‘⎄⎒ āļ´āˇŠâ€āļģāļ­āˇ’āļĩāļŊāļē ⎀āļąāˇŠāļąāˇš āļ āļģ⎒āļ­ āļāˇāļ­āļąāļē āļ…āļ¯āˇŠāļ¯āļģāļ§ āļēāļą āˇƒāˇ’āļąāļ¸āˇāļ´āļ§āļēāļšāˇ’. āˇƒāˇƒāˇ’āļ­ āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļšāˇŠâ€āļģāļ¸āļē⎚ āļœāˇœāļ¯āˇ”āļģāļšāˇŠ āļŊāˇ™āˇƒ āˇ„āˇ āļ‘⎄⎒ āļ…āˇƒāˇāļ°āˇāļģāļĢāļēāļ§ āļ‘āļģ⎙⎄⎒ ⎀⎓āļ¸āˇš āļēāļąāˇŠāļ­āļ¸āˇŠ āˇ„āˇ āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļēāļšāˇŠ āļ¯āļšāˇŠāˇ€āļą āļ…āļē⎙āļšāˇ” āļŊāˇ™āˇƒāˇ’āļąāˇŠ āļąāˇ’āļģ⎖āļ´āļĢāļē āļąāˇœāˇ€āˇš. āļ’ āˇ€āˇ™āļąāˇ”⎀āļ§, āļ”⎄⎔ āļ´āˇ™āļąāˇ“ āˇƒāˇ’āļ§āˇ’āļąāˇŠāļąāˇš āļ‘⎄⎒ āļ¯āˇ–⎂⎒āļ­ āļļ⎀⎒āļąāˇŠ āļ´āˇŠâ€āļģāļēāˇāļĸāļą āļœāˇāļąāˇ“āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāļģāļą āļ…āļ­āļģ–āļŠāļ§ āļ´āļģ⎃⎊āļ´āļģ ⎀⎒āļģāˇāļ°āˇ“ āļŊāˇ™āˇƒâ€“āļ‘⎄⎒ āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļ´āˇāļšāˇ€āļŊ⎒āļąāˇŠ āļœāˇāļŊ⎀⎓ āļœāˇāļąāˇ“āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāļģāļą āļ‘⎄⎒ āļšāˇāļ¸āˇāļ­āˇ’ āˇƒāˇ„āļšāļģ⎔⎀āļšāˇ” āļŊāˇ™āˇƒ āļē. āļ…āˇ€āˇƒāˇāļą āˇ€āˇ’āļœāˇŠâ€āļģ⎄āļē⎚ āļ¯āˇ“ āļ”⎄⎔⎀ āļ´āˇ™āļąāˇŠāˇ€āˇ āļ¯āˇ™āļąāˇ” āļŊ⎐āļļ⎙āļąāˇŠāļąāˇš ⎀⎒⎂ āˇƒāˇ„āˇ’āļ­ āˇƒāļ¸āˇāļĸ āļšāˇŠâ€āļģāļ¸āļēāļšāˇ’āļąāˇŠ ⎄⎐āļŠāļœāˇāˇƒāˇ”āļĢ⎔ āļ…āļē⎙āļšāˇ” āļŊāˇ™āˇƒ āļąāˇœāˇ€ āļ‘⎄⎒ āļąāˇ’āļģ⎊āļ¸āˇāļĢ āļšāļģ⎔⎀⎙āļšāˇ” āļŊāˇ™āˇƒ āļē.  āļ…āļ´ āļ¯āļąāˇŠāļąāˇ “āļ­āļģ⎔āļĢāļēāˇ” āļœāˇš āļ´āˇāˇ€āˇāļ­āˇŠāļ¸ āļ…āˇ„āˇāˇƒāˇ’ ⎀⎓ āļ‡āļ­!

āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­āļ­āˇāˇ€āļē, ⎀āļ‚āļšāļšāļ¸, āˇ€āˇ’āˇāˇŠāˇ€āˇāˇƒāļē ⎄⎓āļą āˇ€āˇ“āļ¸ āļ…āļŠāļ‚āļœāˇ” āļšāļģāļœāļ­āˇŠ ⎃āļ¸āļšāˇāļŊ⎓āļą āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē⎚ āļ…āļģ⎊āļļ⎔āļ¯āļē āļ´āˇ€āļ­āˇ’āļąāˇŠāļąāˇš āļ”⎀⎔āļąāˇŠāļœāˇšāļ¸ āļ āļģ⎒āļ­āļē āļ­āˇ”⎅ āļļ⎀ āļąāˇ’āļœāļ¸āļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āļąāļģāļšāļąāˇŠāļąāˇāļ§ āļ†āļģāˇāļ°āļąāˇ āļšāļģāļē⎒. āļ¸āˇ™āļē, āļ¯āļģ⎒āļ¯āˇŠâ€āļģāļ­āˇāˇ€āļē⎙āļąāˇŠ āļ´āˇ™āˇ…⎙āļą, āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļģ⎄⎒āļ­ āˇ„āˇ āļąāˇœāˇƒāļąāˇŠāˇƒāˇ”āļąāˇŠ āļ­āļģ⎔āļĢāļē⎒āļąāˇŠ āļ¯āˇāļš āļļ⎒āļē⎙āļąāˇŠ āļ´āˇƒāˇ”āļļāˇāļą āļ¸āļ°āˇŠâ€āļēāļ¸ āļ´āļąāˇŠāļ­āˇ’āļē āˇƒāˇ„ āļ‘⎄⎒ āļļ⎔āļ¯āˇŠāļ°āˇ’āļĸ⎓⎀⎓ āļ´āˇŠâ€āļģāļšāˇāˇāļšāļē⎒āļąāˇŠ āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļœāˇ’āļĢ⎒āļē āļąāˇœāˇ„⎐āļšāˇ’ āˇ€āˇāļģ āļœāļĢāļąāļšāˇŠ āļ´āˇ”āļąāļģ⎔āļ āˇŠāļ āˇāļģāļĢāļē āļšāļģāļą āļŊāļ¯ āļ´āˇāļģāļĢ⎒ āļ…⎀āļŊāˇāļ¯āļēāļšāˇ’. āļ¸āˇ‘āļ­ āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē āļ­āˇ”āļŊ āļ­āļģ⎔āļĢāļē⎒āļąāˇŠāļœāˇš ⎀āļŠāˇāļ­āˇŠ āļšāˇāļ´āˇ“ āļ´āˇ™āļąāˇ™āļą āļ¸āˇ„āļĸāļą āļąāˇāļœāˇ’āļ§āˇ“āļ¸āļšāˇŠ 2022 āļ¯āˇ“ āļ¯āˇ”āļ§āˇ” āļģāļ§āļš āļ¸āˇ™āļ¸ āļ¸āļ­āļē āˇƒāˇ’āļąāļ¸āˇāļ­āˇŠāļ¸āļš āļ´āˇŠâ€āļģāļšāˇāˇāļąāļēāļšāˇŠ āļ…āļ­āˇŠāļšāļģ āļœāˇāļąāˇ“āļ¸, āļ´āˇŠâ€āļģāļœāˇāļŠ āļ‡āļœāˇ€āˇ”āļ¸āˇŠāļšāˇāļģāļšāļēāļšāˇŠ ⎀āļąāˇŠāļąāˇ ⎃⎚āļ¸ āļ…āļ´āļšāˇ“āļģ⎊āļ­āˇ’āļ¸āļ­āˇŠāļ¯ āˇ€āˇš. āļ…āˇ€āˇƒāˇāļąāļē⎚āļ¯āˇ“, āļ­āļģ⎔āļĢāļē⎒āļąāˇŠ āļ­āļ¸ āļ´āļąāˇŠāļ­āˇ’ ⎃āļ­āˇ”āļģāˇ ⎃⎜āļēāˇ āļœāˇāļąāˇ“āļ¸āļšāˇŠ āˇƒāˇ’āļ¯āˇ” ⎀āļąāˇŠāļąāˇš āļąāˇāļ­.

āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļ…āˇ€āˇƒāˇāļą āļ¯āļģ⎊⎁āļąāļē⎚ āļ¯āˇāļšāˇŠāˇ€āˇ™āļąāˇŠāļąāˇš āˇƒāˇƒāˇ’āļ­ āļ­āļ¸ āļ´āˇ™āļģ āļģ⎐⎀āļ§āˇ’āļŊ⎒āļšāˇāļģāļ¸āˇŠ āļ…āļ­āļ§āļ¸ āˇ„āˇƒāˇ” ⎀⎖ āļ´āˇƒāˇ”⎀ āļ´āˇ€āˇ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļ´āˇƒāˇ”āļ­āˇāˇ€āˇ’āļŊ⎊āļŊāļšāˇ’āļąāˇŠ āļ­āˇœāļģ⎀ āļ…āļąāˇŠāļ­āļģ⎊āļĸāˇāļŊāļē ⎄āļģāˇ„āˇ āļšāˇāļąāˇŠāļ­āˇāˇ€āļąāˇŠ āļ´āˇœāˇ…āļšāˇ€āˇ āļœāˇāļąāˇ“āļ¸āˇš āļšāˇŠâ€āļģ⎒āļēāˇāˇ€ āļēāˇāļąāˇŠāļ­āˇŠâ€āļģ⎒āļšāˇ€ āļąāˇāˇ€āļ­ āļ†āļģāļ¸āˇŠāļˇ āļšāļģāļą āļļ⎀āļē⎒. āļ­āļģ⎔āļĢ āˇ„āˇāˇƒāˇ’āļģ⎓āļ¸āˇŠ ⎄⎐āļŠāļœāˇƒāˇŠāˇ€āļą āˇƒāˇāļļ⎑ ⎃āļ¸āˇāļĸ āˇƒāˇ„ āļ¸āļąāˇāˇ€āˇ’āļ¯āˇŠâ€āļēāˇāļ­āˇŠāļ¸āļš āļœāļ­āˇ’āļšāļēāļąāˇŠ āļœāˇ€āˇšāˇ‚āļĢāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļ…āļ°āˇŠâ€āļēāļšāˇŠāˇ‚āļš āļ…āļŠāˇ” ⎃⎐āļŊāļšāˇ’āļŊ⎊āļŊāļšāˇŠ āļ¯āļšāˇŠāˇ€āļą āļļ⎀āļ§āļ­āˇŠ, āļ´āˇ“āļŠāˇ’āļ­ āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē āļąāˇ›āˇƒāļģ⎊āļœāˇ’āļšāˇ€āļ¸ āļ†āļ­āˇŠāļ¸āˇāļģ⎊āļŽāļšāˇāļ¸āˇ“, āˇ€āˇ’āˇāˇŠāˇ€āˇāˇƒāļē āļ­āˇāļļ⎒āļē āļąāˇœāˇ„⎐āļšāˇ’, āļ´āˇāļŠāļ¸āˇŠ āļ‰āļœāˇ™āļą āļąāˇœāļœāļąāˇŠāļąāˇ āˇƒāˇ„ āļąāˇœāļ¸āļœ āļœāˇ’āļē āļŊāˇ™āˇƒ ⎃āļŊāļšāļą āļ¸āļ°āˇŠâ€āļēāļ¸ āļ´āļąāˇŠāļ­āˇ’āļš āļ¯āˇ˜āˇ‚āˇŠāļ§āˇ’āˇ€āˇāļ¯āļēāļšāˇŠ āļ­āˇ„⎀⎔āļģ⎔ āļšāˇ’āļģ⎓āļ¸āļ§ āļ”⎄⎔āļ§ āˇ€āˇāļŠāˇ’ āļ…āļˇāˇ’āļ´āˇŠâ€āļģāˇāļēāļšāˇŠ āļ‡āļ­āˇ’ āļļ⎀āļ§āļ­āˇŠ āļ¸āˇ™āļē āļ­āˇ“āļģāļĢāˇāļ­āˇŠāļ¸āļš āˇƒāˇāļšāˇŠāˇ‚⎒āļēāļšāˇŠ āļŊāˇ™āˇƒ āļšāˇŠâ€āļģ⎒āļēāˇ āļšāļģāļē⎒.

āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎓āļē ⎃āļ‚āļšāļŊ⎊āļ´āļē ⎀āļą “āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇâ€ ⎃āļ¯āˇāļ āˇāļģāˇāļ­āˇŠāļ¸āļš āˇƒāˇ„ āļ¸āļąāˇāˇ€āˇ’āļ¯āˇŠâ€āļēāˇāļ­āˇŠāļ¸āļš āˇƒāļ‚⎁āļēāˇ€āˇāļ¯āļē⎚ ⎃⎊āļŽāˇ’āļģ āˇƒāˇ„ āˇƒāˇ„āļĸ āļ­āļ­āˇŠāˇ€āļēāļšāˇŠ āļēāˇāļĸāļąāˇ āļšāļģāļē⎒. āļ¸āˇ™āļē ⎃āļ¸āˇŠāļ´āˇ–āļģ⎊āļĢāļē⎙āļąāˇŠāļ¸ āļ…āļąāļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇ„āˇ āļ…⎀⎒āļ¯āˇŠâ€āļēāˇāļ­āˇŠāļ¸āļš āˇ€āˇš. āˇāˇŠâ€āļģ⎓ āļŊāļ‚āļšāˇāˇ€āˇš āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āˇ€āļąāˇŠāļąāˇš āļ”⎀⎔āļąāˇŠ āˇƒāˇŠāˇ€āļˇāˇāˇ€āļē⎙āļąāˇŠāļ¸ āļąāļģ⎔āļ¸ āˇ„āˇ ⎃āļ¯āˇāļ āˇāļģāˇāļ­āˇŠāļ¸āļš āļļāļ‚āļšāˇœāļŊ⎜āļ­āˇŠ ⎀⎓āļ¸ āļąāˇ’āˇƒāˇ āļąāˇœāˇ€āˇš. āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļģ⎄⎒āļ­ āļļ⎀, āļ…āļŠāˇ” ⎀⎐āļ§āˇ”āļ´āˇŠ, āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āˇ€āˇāˇƒāˇƒāˇŠāļŽāˇāļą, āˇƒāˇ–āļģāˇāļšāˇ‘āļ¸āļ§ āļŊāļšāˇŠāˇ€āˇ“āļ¸ āļ†āļ¯āˇ’āļē ⎄āļģāˇ„āˇ āļ”⎀⎔āļąāˇŠāļœāˇš āļĸ⎓⎀⎒āļ­ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āļļ⎐⎀⎒āļąāˇ’ āļ”⎀⎔āļąāˇŠ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āˇ€āļąāˇŠāļąāˇš. āˇāˇŠâ€āļģāļ¸ āˇ€āˇ™āļŊāļŗāļ´āˇœāļŊ āļ”⎀⎔āļąāļ§ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļ†āļģāļšāˇŠāˇ‚āļĢāļēāļšāˇŠ āļŊāļļāˇ āļąāˇœāļ¯āˇš. āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āļšāˇŠāˇ‚⎀āļŊ⎒āļąāˇŠ āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļ…āļ´āˇšāļšāˇŠāˇ‚āˇ āļ‰āļ§āˇ”⎀⎓āļ¸āļšāˇŠ  āļąāˇāļ­. āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļ”⎀⎔āļąāˇŠāˇ€ āļ´āˇāˇ€āˇ āļ¯āˇ“ āļ­āˇ’āļļ⎚. āļ”⎀⎔āļąāˇŠāļœāˇš āļŠāļąāˇ’āļēāˇ āļ­āˇ“āļģāļąāļēāļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’āļļ⎀ āļ…āˇƒāˇāļģ⎊āļŽāļš āˇ€āˇ“āļ¸āļšāˇŠ āļąāˇœāˇ€āˇš; āļ‘āļē āļ´āˇ”āļŊ⎔āļŊ⎊ ⎃āļ¸āˇāļĸ āļ…āļģ⎊āļļ⎔āļ¯āļēāļš āļŊāļšāˇŠāˇ‚āļĢāļēāļšāˇ’.

āļ‡āļ­āˇŠāļ­ āˇ€āˇāļē⎙āļąāˇŠāļ¸, āˇāˇŠâ€āļģ⎓ āļŊāˇāļ‚āļšāˇ“āļē āļ­āļģ⎔āļĢāļē⎒āļąāˇŠ āļ¸āˇ–āļŊ⎒āļš āˇ€āˇāļē⎙āļąāˇŠ ⎃āļ¯āˇāļ āˇāļģāˇāļ­āˇŠāļ¸āļšāˇ€ āļ´āˇ’āļģ⎒⎄⎓ āļ‡āļ­ āļēāļą āļ…āļ¯āˇ„āˇƒ āˇƒāˇ’āļ¯āˇ”⎀⎓āļ¸āˇŠ āļ¸āļœāˇ’āļąāˇŠāļ¸ āļ´āˇŠâ€āļģāļ­āˇ’āļšāˇŠāˇ‚āˇšāļ´ āļšāļģāļąāˇ” āļŊ⎐āļļ⎚. 2022 āļ¯āˇ“, āļ¯āļģāˇāļœāļ­ āļąāˇœāˇ„⎐āļšāˇ’ āļĸ⎓⎀āļą āˇ€āˇ’āļēāļ¯āļ¸, āļ‰āļąāˇŠāļ°āļą āˇ„āˇ’āļŸāļē, āļ…āļ­āˇŠāļ­āļąāˇāļ¸āļ­āˇ’āļš āļ¸āļģ⎊āļ¯āļąāļē āˇƒāˇ„ āļ´āˇāļŊāļš āļ¯āˇšāˇāļ´āˇāļŊāļą āˇƒāļ‚āˇƒāˇŠāļŽāˇāļ´āˇ’āļ­āļē⎚ āļ¯āˇ–⎂āļĢāļēāļ§ āˇ€āˇ’āļģāˇāļ°āļē āļ´āˇāļ¸āˇ’āļąāˇŠ āļ´āˇ™āļģ āļąāˇœāˇ€āˇ– ⎀⎒āļģ⎖ āļĸāļąāļ­āˇ āļąāˇāļœāˇ’āļ§āˇ“āļ¸āļšāˇ’āļąāˇŠ āļ¯āˇƒ āļ¯āˇ„āˇƒāˇŠ āļœāļĢāļąāˇŠ āļ­āļģ⎔āļąāļēāˇ ⎀⎓āļ¯āˇ’ āļļ⎐⎃ āˇƒāˇ’āļ§āˇ’āļē⎄. āļ¸āˇ™āļ¸ āˇ€āˇŠâ€āļēāˇāļ´āˇāļģāļē āļąāˇāˇƒāˇŠāļ­āˇ’āļšāˇ€āˇāļ¯āļē⎚ āļœāˇ’āļŊ⎓ āļœāˇ’āļē āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€āļšāˇ’āļąāˇŠ ⎄āļ¯āˇ’āˇƒāˇ’āļē⎚āļ¸ āļ´āˇāļą āļąāˇāļœāˇ”āļąāˇš āļąāˇœāˇ€, āļ¯āˇāļš āļœāļąāļąāˇāˇ€āļš āļąāˇ€ āļŊ⎒āļļāļģāļŊ⎊ āļ´āˇŠâ€āļģāļ­āˇ’āļ´āļ­āˇŠāļ­āˇ’āļē⎚ āˇƒāˇ„ āļ…āļ°āˇ’āļģāˇāļĸāˇŠâ€āļēāˇ€āˇāļ¯āˇ“ āļēāļ§āļ­āˇŠāļšāˇ’āļģ⎓āļ¸āˇš āļ´āˇŠâ€āļģāļ­āˇ’⎀⎒āļ´āˇāļšāˇ€āļŊāļ§ āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļē āļ¯āˇāļšāˇŠāˇ€āˇ“āļ¸āļ§ āˇ„āˇ āļ’āˇ€āˇāļ§ āļ¸āˇ”⎄⎔āļĢ āļ¯āˇ“āļ¸āļ§ āļļāļŊāļšāˇ™āļģ⎔āļĢ⎔ āļĸāļąāļœāˇ„āļĢāļēāļšāˇ’āļąāˇŠ āļ´āˇāļąāļąāˇāļœāˇ”āļąāļšāˇ’.

āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āˇƒāˇ’āļ¯āˇ” āļšāļģāļą āļ´āļģ⎒āļ¯āˇ’, āļšāˇœāļŊ⎊āļŊāļšāˇāļģ⎓ āļ†āļģ⎊āļŽāˇ’āļšāļēāļš āļ´āˇƒāˇ”āļļ⎒āļ¸āˇš, āļ”⎀⎔āļąāˇŠāļœāˇš  āˇƒāˇ„āļĸ āļ¯āˇāˇ‚ āˇƒāˇ„āˇ’āļ­ āļļ⎀ āļąāˇ’āˇƒāˇ āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļēāļ§ āļ¯āˇ’āˇāˇāļąāļ­āˇ’āļēāļšāˇŠ āļąāˇœāļ¸āˇāļ­āˇ’ āļļ⎀āļ§ āļ´āˇŠâ€āļģāļšāˇāˇ āļšāˇ’āļģ⎓āļ¸ āļ´āˇŠâ€āļģāļ­āˇ’āļœāˇāļ¸āˇ“ āļ¯āˇ˜āˇ‚āˇŠāļ§āˇ’āˇ€āˇāļ¯āˇ“ āˇ€āˇŠâ€āļēāˇāļ´āˇ˜āļ­āˇ’āļēāļšāļ§ āˇƒāˇ„āļˇāˇāļœāˇ“ ⎀⎓āļ¸āļšāˇ’. āļ¯āˇšāˇ€āļ´āˇŠâ€āļģ⎒āļē āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļēāļ§ āļ…āļąāˇāļœāļ­āļēāļšāˇŠ āˇ„āˇ āļ…āļ­āˇ“āļ­āļēāļšāˇŠ āļŊāļļāˇ āļąāˇœāļ¯āˇš. āļ”⎀⎔āļąāˇŠ ⎄⎔āļ¯āˇ™āļšāˇŠ āļ¯āˇ’āļģāˇāļ´āļ­āˇŠāˇ€āˇ“āļ¸āˇš, āļąāļģ⎔āļ¸āļ­āˇŠāˇ€āļē⎚ āˇƒāˇ„ āļ¯āˇ”āˇƒāˇ’āļģ⎒āļ­āˇš āļ´āˇāˇ€āˇ™āļą āˇƒāļ‚āļšāˇšāļ­āļšāļēāļąāˇŠ āˇ€āˇš. āļ”⎀⎔⎄⎔ āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļē, āļ…āļģāļœāļŊāļē, āˇƒāˇāļ¸āˇ–⎄⎒āļšāļ­āˇŠāˇ€āļē āˇ„āˇ āļ¯āˇšāˇāļ´āˇāļŊāļą āļ´āˇ’āļļ⎒āļ¯āˇ“āļ¸ āļ´āˇ’āļŊ⎒āļļāļ¯ āļšāˇ’āˇƒāˇ’āļ¯āˇ” ⎄⎐āļŸāˇ“āļ¸āļšāˇ’āļąāˇŠ āļļāļŊ āļœāˇāļąāˇŠāˇ€āˇ™āļąāˇŠāļąāˇš āļąāˇāļ­. āļšāļģ⎊āļ¸āˇāļąāˇŠāļ­āļē⎚ āˇƒāˇ„ ⎀⎒āļģāˇāļ°āļ­āˇāˇ€āˇš āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ⎃⎊āļŽāˇāļąāļē ⎀āļą āļšāˇœāˇ…āļš āļąāļœāļģāļē⎚āļ¯āˇ“ āļ´āˇ€āˇ āˇƒāˇƒāˇ’āļ­āļ§ āļšāˇ’āˇƒāˇ’āˇ€āˇ’āļ§āˇ™āļš āˇ€āˇāļŠ āˇ€āļģ⎊āļĸāļąāļēāļšāˇŠ, āļĸāļą āļģ⎐āļŊ⎒āļēāļšāˇŠ āˇ„āˇ āˇƒāˇāļ¸āˇ–⎄⎒āļš āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļēāļšāˇŠ āļœāˇāļą āļ‰āļŸāˇ’ āļšāļģāļą āˇƒāļ‚āˇ€āˇāļ¯āļēāļšāˇŠ ⎀āļ­āˇŠ ⎄āļ¸āˇ” āļąāˇœāˇ€āˇš. āˇƒāˇ€āˇ’āļĨāˇāļąāˇ’āļš āļ´āļąāˇŠāļ­āˇ’ āļē⎔āļ¯ āļ´āˇ’āļē⎀āļģāļēāļąāˇŠ, āļ‘āļąāļ¸āˇŠ, āļšāļ´āˇŠāļ´āˇāļ¯āˇ”⎀, āļ´āˇ”āļ¯āˇŠāļœāļŊ⎓āļšāļģāļąāļē, āļĢāļē āļ…āļģ⎊āļļ⎔āļ¯ āˇ„āˇ āˇƒāˇ’āˇ€āˇ’āļŊ⎊ āļē⎔āļ¯āˇŠāļ°āļē āļ…āˇ€āˇƒāļąāˇŠ ⎀⎓āļ¸āˇ™āļąāˇŠ āļ´āˇƒāˇ” āļ¸āˇ„āļĸāļą āļĸ⎓⎀⎒āļ­āļē āļ¸āˇ’āļŊ⎒āļ§āļģ⎒āļšāļģāļĢāļē āļšāˇ’āļģ⎓āļ¸ āļ†āļ¯āˇ“ āļģāļ§āˇš āļ‘āļ¯āˇ’āļąāˇ™āļ¯āˇ āļĸ⎓⎀⎒āļ­āļē⎚ āļąāˇœāˇ€āˇāˇ…⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’ āļēāļŽāˇāļģ⎊āļŽāļēāļąāˇŠ, āļ´āˇ’āļŊ⎒āļļāļŗāˇ€ āļ‰āļœāˇ’ āļšāˇ’āļģ⎓āļ¸āļšāˇŠ ⎀āļ­āˇŠ āļąāˇāļ­. āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē–āļ‘⎄⎒ āļ…āļ­āˇ’āļ¸āˇ„āļ­āˇŠ āļ´āˇāˇ€āˇāļ­āˇŠāļ¸ āˇƒāˇ„ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇ€āˇāļ¯āļœāļ­āˇŠāļšāļ¸ āļ­āˇ’āļļ⎒āļēāļ¯āˇ“āļ­āˇŠâ€“āļšāˇœāļ­āˇāļąāļšāˇ€āļ­āˇŠ ⎃⎜āļēāˇāļœāļ­ āļąāˇœāˇ„⎐āļš. āļ’ āˇ€āˇ™āļąāˇ”⎀āļ§, āˇƒāˇ‘āļ¸ āļšāˇ™āļąāˇ™āļšāˇ”āļ¸ āˇ€āˇ’āļąāˇŠāļ¯āˇ’āļ­āļē⎙āļšāˇ” āˇ„āˇ ⎀āļ‚āļ āˇāļšāˇāļģāļē⎙āļšāˇ” ⎀āļą āļąāˇāļœāļģ⎒āļš āļ¸āˇ„āļŊ⎊ āļąāˇ’āˇ€āˇāˇƒ āˇƒāˇ„ āļœāļĢ⎔āļ¯āˇ™āļĢ⎔āļ¸āļē ⎃āļļāļŗāļ­āˇāˇ€āļŊ⎒āļąāˇŠ ⎃āļ¸āļąāˇŠāˇ€āˇ’āļ­ āˇ€āˇāļē⎔āļģāˇāļ°āļšāˇ€ ⎃āļ‚āˇ€āˇ˜āļ­ āˇ€āˇ–  āļŊāˇāļšāļēāļšāˇŠ āļ…āļ´āļ§ āļ´āˇ™āļąāˇŠāˇ€āļąāˇ” āļŊ⎐āļļ⎚.

āˇƒāˇƒāˇ’āļ­, āļ†āļœāļ¸āˇ’āļš āļ¯āˇšāˇāļąāˇ, āļĸāˇŠâ€āļēāˇāļ­āˇ’āˇāˇāˇƒāˇŠāļ­āˇŠâ€āļģ āˇƒāˇ„ āļģ⎒āļē⎐āļŊ⎒āļ§āˇ’ āˇāˇâ€“āļ­āļģ⎔āļĢāļēāļąāˇŠ ⎄⎐āļŠāļœāˇƒāˇŠāˇ€āˇ āļœāˇāļąāˇ“āļ¸āļ§ āļ…āļ¯āˇ„āˇƒāˇŠ āļšāļģāļąāˇ ⎃⎚ āļ¯āļšāˇŠāˇ€āļą āˇ€āˇāļŠāˇƒāļ§āˇ„āļąāˇŠâ€“⎀⎒āļšāˇāˇāļąāļē āļšāļģāļą āļģ⎖āļ´āˇ€āˇāˇ„⎒āļąāˇ“ āļąāˇāļŊ⎒āļšāˇ ⎄āļģāˇ„āˇ āļēāļą āļąāļ¸āˇ”āļ­āˇŠ āļšāˇ’āˇƒāˇ’ ⎀⎒āļ§āˇ™āļšāļ­āˇŠ āļ´āˇŠâ€āļģāˇ€āˇ˜āļ­āˇŠāļ­āˇ’, āļ¯āˇšāˇāļ´āˇāļŊāļąāļē āˇ„āˇ ⎀⎒āļģāˇāļ°āļ­āˇ āļģ⎐āļœāļ­āˇŠ āļ’āˇ€āˇ āļ’ āļ…āļ­āļģ āļąāˇœāˇ€āˇš. ⎃āļ­āˇ”āļģāˇ āļ¯āˇ”āļģ⎃⎊āļŽ āļē, āļ…āļģāļœāļŊāļē āļąāˇ’āˇ‚āˇŠāļĩāļŊ āļē. āļ¸āˇ™āļē āļ…⎄āļ¸āˇŠāļļāļēāļšāˇŠ āļąāˇœāˇ€āˇš, āļ’ āˇ€āˇ™āļąāˇ”⎀āļ§ āļ‘āļē, āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļ…āļ°āˇŠâ€āļēāļšāˇŠāˇ‚āļšāļœāˇš āļ´āļąāˇŠāļ­āˇ’ āļ‰āļ¯āˇ’āļģ⎒āļ¯āļģ⎊⎁āļąāļē ⎄⎙⎅⎒āļ¯āļģāˇ€āˇŠ āļšāļģāļą, ⎄⎒āļ­āˇāļ¸āļ­āˇ āˇƒāˇ’āļ¯āˇ”āļšāˇ… āļ­āˇšāļģ⎓āļ¸āļšāˇŠ āˇ€āˇš.

āļ´āļąāˇŠāļ­āˇ’ āļ…āļģāļœāļŊāļē āļēāļąāˇ” āļ´āļąāˇŠāļ­āˇ’ āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļē āˇƒāˇ„ āˇƒāˇ„āˇāļ¯āļģāļ­āˇŠāˇ€āļē āļēāļą āļ¯āˇ™āļšāˇ™āˇ„⎒āļ¸ āļ‰āˇ„āļŊāļ¸ āļ´āˇŠâ€āļģāļšāˇāˇāļąāļēāļē⎒ – āļ‘āļē āˇƒāˇ’āļŊ⎊āļŊāļģ āļšāļ¸āļ§, āļ†āļ­āˇŠāļ¸āˇāļģ⎊āļŽāļšāˇāļ¸āˇ“āļ­āˇŠāˇ€āļēāļ§ āˇ„āˇ ⎃āļ¯āˇāļ āˇāļģ āļąāļģ⎔āļ¸āļ­āˇŠāˇ€āļēāļ§ āļ‰āļŠāļšāˇŠ āļąāˇœāļ­āļļāļē⎒. āļ‘āļē āˇƒāˇāļ¸āˇ–⎄⎒āļš āļ…āļģāļœāļŊāļē āļ­āˇ”āļŊ⎒āļąāˇŠ āļœāˇœāļŠāļąāˇāļœāˇ”āļąāˇ” ⎃āļ¸āˇāļĸ ⎀āļœāļšāˇ“āļ¸, ⎀⎒āļąāļē āˇƒāˇ„ āˇƒāˇ„āļšāļ¸āˇŠāļ´āļąāļē āļ´āˇ’āļŊ⎒āļļāļŗ āļœāˇāļšāˇ”āļģ⎔ ⎄⎐āļŸāˇ“āļ¸āļšāˇŠ āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē⎚ āļ­āļģ⎔āļĢāļē⎒āļąāˇŠāļ§ āļŊāļļāˇ āļ¯āˇ™āļē⎒. āļ…āļģāļ¸āˇ”āļąāļšāˇŠ āļąāˇāļ­āˇ’, āļ†āļ­āˇŠāļ¸āˇāļģ⎊āļŽāļšāˇāļ¸āˇ“ āˇƒāˇ„ āļ…āˇ€āˇ’āˇāˇŠāˇ€āˇāˇƒāļ¯āˇāļēāļš āļŊāˇ™āˇƒ āļ´āˇ’āļąāˇŠāļ­āˇāļģ⎔ āļšāˇ™āļģ⎙āļą āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē⎚ āļ¸āļ°āˇŠâ€āļēāļ¸ āļ´āļąāˇŠāļ­āˇ’āļš āˇ€āˇ’āļ´āˇŠâ€āļģāļģ⎖āļ´āļĢāļē āļģ⎐āļš āļœāˇāļąāˇ“āļ¸āļ§ āļąāļ¸āˇŠ, āļ´āļąāˇŠāļ­āˇ’ āļ…āļģāļœāļŊāļē āļ”⎀⎔āļąāļ§ āļ¸āˇ”āļĢ āļąāˇœāļœāˇāˇƒāˇŠāˇ€āˇ“āļ¸ āļ…āļ­āˇŠâ€āļēāˇ€āˇāˇŠâ€āļē āˇ€āˇš. āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§ āļąāˇ’āļģ⎊āļ¸āˇāļ´āļšāļēāˇ āļąāˇ’āˇāˇŠāļ āˇ’āļ­āˇ€āļ¸ āļ­āˇāļģāˇāļœāˇ™āļą āļ‡āļ­āˇ’ āļ¸āˇāˇ€āļ­ āļ¸āˇ™āļēāļē⎒: ⎃āļ¸āˇāļĸ ⎃āļ­āˇŠâ€āļēāļē āļ†āļŊāˇāļšāˇ€āļ­āˇŠ āļšāļģāļąāˇ€āˇāļ§ āˇ€āļŠāˇ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āˇƒāˇ„āļ­āˇ’āļš āļšāļģāļąāˇŠāļąāˇš, āļ‘⎄⎒ āļ´āˇŠâ€āļģāļ°āˇāļą āļ āļģ⎒āļ­āļē, āˇƒāˇāļ¸āˇ–⎄⎒āļš āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļē ⎃āļ¸āļŸ āˇ€āļą āļšāˇ’āˇƒāˇ’āļ¯āˇ” āļ¸āˇ”āļĢāļœāˇāˇƒāˇ“āļ¸āļšāˇŠ āļ¸āļœ āˇ„āˇāļģ⎓āļ¸āˇ™āļąāˇŠ, āļ°āļąāˇšāˇāˇŠāˇ€āļģ āļ…āļœāļ­āˇ“āļąāˇŠ ⎀āļŊāļ‚āļœāˇ” āļšāļģāļą āļģāˇāļ¸āˇ”⎀āļšāˇŠ āļ­āˇ”⎅ āˇƒāˇ’āļģ⎀⎓ āˇƒāˇ’āļ§āˇ“āļ¸ āļē⎒.

āļ¸āˇ‘āļ­ āļ¯āˇāļš āļšāˇ’⎄⎒āļ´āļē āļ­āˇ”⎅ āļĸāˇāļ­āˇŠâ€āļēāļąāˇŠāļ­āļģ⎀ āļ¸āļ­āˇ” ⎀⎖ āļ´āˇāˇŠāļ āˇāļ­āˇŠ-āļąāˇ–āļ­āļą āˇƒāˇ’āļąāļ¸āˇāˇ€ ⎃āļ¸āļŸ āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ āˇ€āˇ’āˇāˇāļŊ ⎀āļ´āˇƒāļģ⎒āļēāļšāˇŠ āļļ⎙āļ¯āˇ āļœāļąāˇ“ – āļ¸āˇ™āˇ€āˇāļąāˇ’ āˇƒāˇ’āļąāļ¸āˇ āļ´āļ§, ⎃āļ¸āˇāļĸāļē⎚ āļšāˇ”āļąāˇ” āļšāļ¸ āˇƒāˇ„ ⎃āļ¯āˇāļ āˇāļģāˇāļ­āˇŠāļ¸āļš āļ´āˇ’āļģ⎒⎄⎓āļ¸ āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāļģāļ¸āˇ’āļąāˇŠ ⎃āļ¸āˇāļĸāļē āˇ€āˇ’āˇ€āˇšāļ āļąāļē āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āļ¯āˇ„āˇƒāˇŠ āļšāļģāļą āļļāˇāˇ€āˇŠ āļ´āˇ™āļąāˇŠāˇ€āˇ āˇƒāˇ’āļ§āˇ’āļą āļ¸āˇ”āļ­āˇŠ āļēāļŽāˇāļģ⎊āļŽāļē⎚ āļ¯āˇ“ āļ’āˇ€āˇ āļ‘āˇƒāˇš ⎀āļąāˇŠāļąāˇš āļ¸āļąāˇŠāļ¯āˇāļē⎒ āļēāļąāˇŠāļą āļ´āˇ’⎅⎒āļļāļŗ āļ…⎀āļļāˇāļ°āļēāļšāˇŠ āˇ„āˇ, āļąāˇ’āˇƒāˇāļšāˇ€āļ¸, āļ‰āļ¯āˇ’āļģ⎒ āļ¸āˇāˇ€āļ­āļšāˇŠ āļŊāļļāˇ āļąāˇœāļ¯āˇš. āļ¸āˇšāˇ€āˇ āļĸ⎓⎀⎒āļ­āļē āļ‘⎄⎒ āļ´āˇ–āļģ⎊āļĢāļ­āˇŠāˇ€āļē āˇƒāˇ„ āļ āļŊāļąāļē āļ­āˇ”⎅ ⎃āļ‚āļĸāˇāļąāļąāļē āļšāļģāļą āļšāļŊāˇ āļšāˇ˜āļ­āˇ’ āļąāˇœāˇ€āˇš – āļ’āˇ€āˇ, āļŠāļ§ āˇ€āˇ’āļ´āļģ⎓āļ­āˇ€, āˇ„āˇšāļ­āˇ”āļšāˇāļģāļš [āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē āˇ„āˇ āļ´āļąāˇŠāļ­āˇ’ ⎃āļļāļ¯āļ­āˇ āļ­āˇ”āļŊ] āˇƒāˇ„ āļąāˇ’āļēāˇāļĸāļšāļ­āˇŠāˇ€āļē [āļ´āļąāˇŠāļ­āˇ’ āļ…āļģāļœāļŊāļē⎚] ⎀⎒āļˇāˇāļœ āļšāˇ’āļģ⎓āļ¸ āļ‰āˇ€āļ­āˇŠ āļšāļģāļą āļŊāļ¯ āļąāˇ‚āˇŠāļ§āˇāļ´āˇšāļšāˇŠāˇ‚āˇāˇ€āˇš  āļąāˇ’āˇƒāļŊ āļĄāˇāļēāˇāļģ⎖ āˇ€āˇš.

āļēāļ¸āˇ™āļšāˇ”āļ§ āļ¸āˇ™āļē, āļ´āˇŠâ€āļģāļ°āˇāļą āļ āļģ⎒āļ­āļē (⎀⎒āļĸ⎚) āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē ⎃āļ¸āļŸ āˇ„āļ¸āˇ”⎀⎓āļ¸āˇ™āļąāˇŠ ⎄⎐āļŠāļœāˇāˇƒāˇ™āļą āļ°āļģ⎊āļ¸āˇƒāˇšāļą āļ´āļ­āˇ’āļģāˇāļĸāļœāˇš āļ…āˇ„āˇƒāˇŠ āļœāˇ€āˇŠāˇ€ (1974) ⎀⎐āļąāˇ’ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļēāļšāˇŠ āˇ„āˇ  ⎃⎐⎃āļ¯āˇ’āļē ⎄⎐āļš. āļ‘⎄⎒āļ¯āˇ“  āļ‘āļ¸ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āļ…āˇ€āˇƒāļąāˇŠ ⎀āļąāˇŠāļąāˇš āļ…āļ­āˇŠāˇ„⎐āļģ āļ¯āˇāļ¸āˇ“āļ¸āˇ™āļąāˇŠ āļąāˇœāˇ€, ⎀⎒āļĨāˇāļąāļē⎚ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļēāļšāˇŠ āļēāˇāļĸāļąāˇ āļšāļģāļ¸āˇ’āļąāˇŠ āļ‘⎄⎒ āļ´āˇŠâ€āļģāļ°āˇāļą āļ āļģ⎒āļ­āļē āˇ€āˇ˜āļ­āˇŠāļ­āˇ“āļē ⎃āļ¸āˇ’āļ­āˇ’ āļ…āļģāļœāļŊāļēāļšāļ§ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ° āˇ€āˇ™āļ¸āˇ’āļąāˇ’. āļ‘āˇƒāˇšāļ­āˇŠ āļąāˇāļ­āˇ’āļąāļ¸āˇŠ, ⎀⎒āļ¯āˇšāˇāļēāļšāļ§ āˇƒāļ‚āļšāˇŠâ€āļģāļ¸āļĢāļē ⎀⎓āļ¸āļ§ āļ‡āļ­āˇ’ āļ´āˇ™āļŊāļšāˇ”āļ¸ āļšāˇšāļąāˇŠāļ¯āˇŠâ€āļģ āļšāļģāļœāļ­āˇŠ āļļ⎖āļŠāˇ“ āļšāˇ“āļģ⎊āļ­āˇ’āˇƒāˇšāļąāļœāˇš āļ¸āˇ’āļŊ⎊āļŊ⎚ ⎃⎜āļēāˇ (2004) ⎃āļŊāļšāˇ āļļāļŊāļąāˇŠāļą: āļ‘⎄⎒ āļ āļģ⎒āļ­ āˇ€āˇ’āļŊāˇāļ´āˇ’āļšāļēāļąāˇŠ āˇ„āˇ āļļ⎒āļēāļœāˇ”āļŊ⎊āļŊāļąāˇŠ āļŊāˇ™āˇƒ āļąāˇœāˇ€, āļšāˇ’āˇƒāˇ’āˇ€āļšāˇŠ āļšāļģāļšāˇ’āļēāˇ āļœāļ­ āļąāˇœāˇ„⎐āļšāˇ’ āļ­āļ­āˇŠāˇ€āļēāļšāļ§ āļ‡āļ¯ āļ¯āˇāļ¸āˇ”āļĢ⎔ āˇ„āˇ āļ´āˇŠâ€āļģāļ­āˇ’āļāļ­āˇ’āļšāļ­āˇāˇ€āļąāˇŠ āļ¯āļģāˇāļœāļ­āˇŠ, āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļ´āˇ“āļŠāļąāļēāļąāˇŠ āļ¸āļœāˇ’āļąāˇŠ ⎄⎐āļŠāļœāˇāˇƒāˇ”āļĢ⎔ āļ´āˇ”āļ¯āˇŠāļœāļŊāļēāļąāˇŠ āļŊāˇ™āˇƒ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļšāˇ™āļģ⎙āļē⎒. āļ¸āˇ™āļ¸ āļšāˇ˜āļ­āˇ’ āļ­āˇ”⎅, āļ āļģ⎒āļ­ āļ´āļģ⎒āļĢāˇāļ¸āļē āˇ€āˇš, āļ…āļģāļœāļŊ āļšāļģāļ­āˇ’, āļ‘āļ¸āˇ™āļąāˇŠāļ¸ āļ”⎀⎔āļąāˇŠ ⎀āļ§āˇ āļ‡āļ­āˇ’ ⎃āļ¸āˇāļĸ āļļāļŊāˇ€āˇšāļœ āˇƒāļ¸āļŸ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ°āˇ’āļ­ āˇ€āˇš. āļ”⎀⎔āļąāˇŠ āļ‰āļ­āˇ’āˇ„āˇāˇƒāļē āļ­āˇ”āļŊ āļĸ⎓⎀āļ¸āˇāļą āļē. āļœāˇāļšāˇ”āļģ⎔ āļ…āļģ⎊āļļ⎔āļ¯ āˇ€āļŊ⎒āļąāˇŠ  āļœāˇŠâ€āļģ⎄āļĢāļē ⎀⎓ āļ‡āļ­āˇ’ ⎀āļģ⎊āļ­āļ¸āˇāļą āˇƒāļ¸āˇāļĸāļē āļ­āˇ”⎅, āļ´āļąāˇŠāļ­āˇ’ āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļē⎚ āļ‹āļœāˇŠâ€āļģ āļ¸āļ§āˇŠāļ§āļ¸āļšāˇŠ āļąāˇœāˇ€āˇāˇ…⎐āļšāˇŠāˇ€āˇ’āļē ⎄⎐āļšāˇ’ āļŊāˇ™āˇƒ āļ´āļ¸āļąāļšāˇŠ āļąāˇœāˇ€ ⎀āļŠ āˇ€āļŠāˇāļ­āˇŠ āļ´āˇāˇ„⎐āļ¯āˇ’āļŊ⎒ āļŊāˇ™āˇƒāļ­āˇŠ  āļ¯āˇ’āˇƒāˇŠāˇ€āˇš.

āˇƒāˇƒāˇ’āļ­â€“āļ‘āˇƒāˇšāļ¸ āļ”⎄⎔āļœāˇš āļąāˇšāˇ€āˇāˇƒāˇ’āļš āļ¸āˇ’āļ­āˇ”āļģāˇ āļ¯â€“āļģ⎐āļšāˇ’āļēāˇāˇ€āļšāˇŠ ⎃⎜āļēāļą āļļ⎀āļšāˇŠ āļąāˇœāļ´āˇ™āļąāˇŠāˇ€āļē⎒: āļ”⎄⎔ āļģ⎐āļšāˇ’āļēāˇ āļ‰āļŊ⎊āļŊ⎔āļ¸āˇŠāļ´āļ­āˇŠâ€āļģ āļ‰āļ¯āˇ’āļģ⎒āļ´āļ­āˇŠ āļąāˇœāļšāļģāļē⎒. āļ”⎄⎔ āļšāˇ’āˇƒāˇ’āļ¸ āļ¯āˇšāˇāļ´āˇāļŊāļą āļšāļ­āˇ āļļ⎄āļš āļē⎙āļ¯āˇ™āļąāˇŠāļąāˇš āļąāˇāļ­. āļ”⎄⎔āļ§ āļ´āˇŠâ€āļģāˇ€āˇ˜āļ­āˇŠāļ­āˇ’ āļœāˇāļą āļ‹āļąāļąāˇŠāļ¯āˇ”⎀āļšāˇŠ āļąāˇāļ­. āļ”⎄⎔ āļē⎔āļģāˇāļ´āļēāļ§ āˇƒāļ‚āļšāˇŠâ€āļģāļ¸āļĢāļē ⎀⎓āļ¸ āļœāˇāļą āļšāļ­āˇ āļšāļģāļą āļąāļ¸āˇ”āļ­āˇŠ āļ’ āˇƒāļŗāˇ„āˇ āļ…āļģ⎊āļŽāˇ€āļ­āˇŠ āļ´āˇ’āļē⎀āļģāļšāˇŠ āļąāˇœāļœāļąāˇ“. āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āˇ’āļē āļ†āļģāļ¸āˇŠāļˇ āˇ€āˇ– āļ†āļšāˇāļģāļēāļ§āļ¸ āļ‘āļšāļ­āˇāļą āļ´āļŊāˇŠāˇ€āˇ™āļ¸āˇ’āļąāˇŠ āļ…āˇ€āˇƒāļąāˇŠ āˇ€āˇš. āļ¸āˇ™āļē āļ…āļšāˇŠâ€āļģ⎒āļēāļ­āˇŠāˇ€āļēāļ§ āļ´āļ­āˇŠāˇ€āˇ“āļ¸ āļ´āˇ’⎅⎒āļļāļŗ āļšāļŊāˇāļ­āˇŠāļ¸āļš āļœāˇ€āˇšāˇ‚āļĢāļēāļšāˇŠ āļąāˇœāˇ€ āļēāļŽāˇāļģ⎊āļŽāļē ⎃āļ¸āļŸ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ° āˇ€āˇ“āļ¸ āļ´āˇŠâ€āļģāļ­āˇ’āļšāˇŠāˇ‚āˇšāļ´ āļšāˇ’āļģ⎓āļ¸āļšāˇ’. āļ…āļ¯ āļŊāļ‚āļšāˇāˇ€āˇš ⎃⎐āļļ⎑ āļ­āļģ⎔āļĢ āļ­āļģ⎔āļĢ⎒āļēāļąāˇŠ āļąāˇ’āļšāļ¸āˇŠāļ¸ āļąāˇāˇƒāˇŠāļ­āˇ’āļšāˇ€āˇāļ¯āˇ“ āļœāˇœāˇ„āˇœāļģāˇ”āˇ€āˇš āļŊ⎐āļœ āļąāˇœāˇƒāˇ’āļ§āˇ’āļ­āˇ’. āļ”⎀⎔āļąāˇŠ āļģ⎐āļšāˇ’āļēāˇ ⎃⎜āļēāļ¸āˇ’āļąāˇŠ, ⎃āļļāļŗāļ­āˇ āļœāˇœāļŠāļąāļŸāˇ āļœāļąāˇ’āļ¸āˇ’āļąāˇŠ, ⎀⎒āļģāˇāļ°āļ­āˇāˇ€āļŊāļ§ āˇƒāļ¸āˇŠāļļāļąāˇŠāļ° āˇ€āˇ™āļ¸āˇ’āļąāˇŠ, āļšāļŠāˇ ⎀⎐āļ§āˇ™āļą āļŊāˇāļšāļēāļš āļ”⎀⎔āļąāˇŠāļœāˇš ⎃⎊āļŽāˇāļąāļē āļ­āˇšāļģ⎔āļ¸āˇŠ āļœāˇāļąāˇ“āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāļģāļ­āˇ’. āļ¯āˇšāˇ€āļ´āˇŠâ€āļģ⎒āļēāļœāˇš āˇƒāˇƒāˇ’āļ­ āļ¸āˇš āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€āˇš āļąāˇ’āļēāˇāļĸāļąāļēāļšāˇŠ āļąāˇœāˇ€āˇš. āļ”⎄⎔ āļ‘āļēāļ§ āļ‘āļģ⎙⎄⎒ āļ…āļ´āˇ€āˇāļ¯āļēāļšāˇ’.

Ena Sendijarević āˇ€āˇ’āˇƒāˇ’āļąāˇŠ āļģāļ āļąāˇ āļšāˇœāļ§ āļ…āļ°āˇŠâ€āļēāļšāˇŠāˇ‚āļĢāļē āļšāļģāļą āļŊāļ¯ Take Me Somewhere Nice (2019) āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļģ⎄⎒āļ­ āļ­āļģ⎔āļĢāļē⎒āļąāˇŠāļœāˇš āļąāˇ’āļģ⎖āļ´āļĢāļē āļœāˇāļą āļ…āļ¯āˇ„āˇƒāˇŠ āļ¯āļšāˇŠāˇ€āļ¸āˇ’āļąāˇŠ āļŠāˇšāˇ€āˇ’āļŠāˇŠ āˇ€āˇāļŊāˇŠāˇ‚āˇŠ āļ¸āˇ™āˇƒāˇš āļąāˇ’āļģ⎓āļšāˇŠāˇ‚āļĢāļē āļšāļģāļē⎒: â€œāˇƒāˇ’āļąāļ¸āˇāļšāļģ⎔, āļœāˇāļŊ⎓āļē āļ­āļģ⎔āļĢ āļ´āļģāļ¸āˇŠāļ´āļģāˇāˇ€ āļ­āˇ€āļ¸āļ­āˇŠ ⎀⎒āļšāˇŠāˇ‚⎒āļ´āˇŠāļ­āˇ€ āļąāˇ€ āļ¯āˇ’āˇāˇāļąāļ­āˇ’āļēāļšāˇŠ, āļēāļ¸āˇŠ ⎃⎊āļŽāˇāˇ€āļģ, āˇƒāˇ”āˇƒāļ‚āļēāˇāļœāˇ“, āļ¯āˇšāˇāļ´āˇāļŊāļąāˇ’āļš āˇƒāˇ„ ⎃āļ¯āˇāļ āˇāļģāˇāļ­āˇŠāļ¸āļš āļē⎜āļ¸āˇ” āļŊāļšāˇŠāˇ‚āˇŠâ€āļēāļēāļšāˇŠ ⎃⎜āļēāļ¸āˇ’āļąāˇŠ āˇƒāˇ’āļ§āˇ“āļ¸āˇš āļ´āļģ⎒āļ¸āˇāˇ€ āļ…⎀āļ­āļšāˇŠāˇƒāˇšāļģ⎔ āļšāļģāļē⎒. āļļāˇœāˇ„āˇ āļ­āļģ⎔āļĢāļē⎒āļąāˇŠ, ⎃āļģāļĢāˇāļœāļ­āļē⎒āļąāˇŠ ⎀⎔⎀āļ­āˇŠ āļąāˇāļ­āļ­āˇŠ, āļļāˇāļŊ⎊āļšāļąāˇŠ āļ´āˇŠâ€āļģāļ¯āˇšāˇāļē⎚ āļĸ⎓⎀āļ­āˇŠ ⎀āļąāˇāˇ€āˇ– āˇ„āˇ āļąāˇāļ­āļ­āˇŠ, ⎀āļģ⎊āļ­āļ¸āˇāļąāļē⎚āļ¯āˇ“, āļ´āˇ€āļ­āˇ’āļą āˇƒāˇāļšāˇƒāˇŠāļ¸ āļœāˇāļą āļ´āˇ’⎅⎒āļšāˇ”āļŊ⎙āļąāˇŠ āļ´āˇƒāˇ”⎀āļą āļ…āļ­āļģ āļ­āˇ€āļ¸āļ­āˇŠ ⎀⎒āļšāļŊ⎊āļ´āļēāļšāˇŠ ⎃⎜āļēāˇāļœāˇ™āļą āļąāˇœāļ¸āˇāļ­āˇ’⎀, ‘āļ…āļ­āļģāļ¸āˇāļ¯āˇ’’ āļ­āļ­āˇŠāˇ€āļēāļš āļ´āˇƒāˇ”āˇ€āˇš. āļ¸āˇ™āļ¸ ‘āļ…āļ­āļģāļ¸āˇāļ¯āˇ’’ āļ­āļ­āˇŠāˇ€āļē ⎀āļ­āˇŠāļ¸āļąāˇŠ āļ¸āˇœāˇ„āˇœāļ­āˇš ‘āļ¸āˇ„āˇ āˇƒāˇ’āļ¯āˇŠāļ°āˇ’āļēāļ§-āļ´āˇ™āļģ’ āļœāˇ”āļĢāˇāļ‚āļœāļē ⎃āļ¸āļŸ āļļ⎐āļŗāˇ“ āļ‡āļ­.”

āˇ€āˇœāļŊāˇŠāˇ‚āˇŠāļœāˇš āļ…āļ¯āˇ„āˇƒ āļ¯āˇšāˇ€āļ´āˇŠâ€āļģ⎒āļēāļ§ āˇƒāˇ„ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļ”⎄⎔āļœāˇš āļ´āˇŠâ€āļģāˇ€āˇšāˇāļēāļ§ āļ‘āļšāˇƒāˇš āļ…āļ¯āˇāˇ… āˇ€āˇš. āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē⎚ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­ āļļ⎀ āļœāˇŠâ€āļģ⎄āļĢāļē āļšāļģ āļœāļąāˇŠāļąāˇ āļąāļ¸āˇ”āļ­āˇŠ āļ‘āļ¸ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­āļ­āˇāˇ€āļē⎚ ⎃āļ‚āļšāˇŠâ€āļģāˇāļąāˇŠāļ­āˇ’āļ¸āļē, ⎃⎜āļēāˇ āļē⎑āļ¸āˇšÂ  āˇƒāˇŠāˇ€āļˇāˇāˇ€āļē–āļ‘āļąāļ¸āˇŠ, āļ­āļģ⎔āļĢ āļĸāļąāļēāˇ āļ´āˇ€āļ­āˇ’āļą āļ´āˇ’⎅⎒⎀⎙āļŊ āļ´āˇŠâ€āļģ⎁⎊āļą āļšāļģāļ¸āˇ’āļąāˇŠ ⎀⎒āļšāļŊ⎊āļ´ āˇƒāˇ™āˇ€āˇ“āļ¸āļ§ āļ´āļ§āļąāˇŠ āļœāļąāˇŠāļąāˇ āļ´āˇ”āļŊ⎔āļŊ⎊ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļ¸āˇœāˇ„āˇœāļ­ āˇ„āˇ āļ…⎀⎒āļąāˇ’āˇāˇŠāļ āˇ’āļ­āļ­āˇāˇ€ ⎃āļ¸āˇŠāļļāļąāˇŠāļ° āļšāļģāļą āļ´āˇ”āļģ⎔āļšâ€“āļœāˇŠâ€āļģ⎄āļĢāļē āļšāļģ āļœāˇāļąāˇ“āļ¸āļ§ āļ…āļ´āˇœāˇ„āˇœāˇƒāļ­āˇŠ āˇ€āˇš.

āļ‘āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€, āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āļ‘āļē āļ‰āˇƒāˇŠāļ¸āļ­āˇ” āļšāˇ™āļģ⎔āļĢ⎔ āˇƒāˇ”āˇ…āˇ” āļ°āļąāˇšāˇāˇŠāˇ€āļģ ⎃⎊āļŽāļģāļē ⎃āļ¯āˇ„āˇ āļ¯āˇ˜āˇ‚āˇŠāļ¨āˇ’āˇ€āˇāļ¯āˇ“āļ¸āļē āļ´āˇāˇ‚āļĢāļēāļšāˇ’. āļ‘āļē, āļ¯āˇ”āļ´āˇŠāļ´āļ­āˇ”āļąāˇŠ āˇƒāˇ„ āļģ⎐āļšāˇ’āļēāˇ ⎀⎒āļģ⎄⎒āļ­āļēāļąāˇŠ āļ­āļ¸āļąāˇŠāļœāˇšāļ¸ āļ‰āļģāļĢāļ¸āļ§ āˇ€āļœāļšāˇ’⎀ āļē⎔āļ­āˇ” āļļ⎀āļ­āˇŠ, āļ”⎀⎔āļąāˇŠ āļšāļ¸āˇŠāļ¸āˇāļŊ⎒, āļ…āˇ€āˇ’āˇāˇŠāˇ€āˇāˇƒāˇ“, āļ¯āˇ–⎂⎒āļ­ āˇƒāˇ„ āļ…āļ°āˇ’- āļŊ⎒āļ‚āļœāˇ’āļšāļ­āˇŠāˇ€āļēāļ§ āˇ„āˇ”āļģ⎔ ⎀⎖⎀āļąāˇŠ āļļ⎀āļ§ āˇ€āļą āļ”⎀⎔āļąāˇŠāļœāˇš āļ´āļģāˇāļĸāļšāˇ€āˇāļ¯āˇ’ āļ¸āļ­āļē ⎃⎊āļŽāˇ’āļģ āļšāļģāļē⎒. āļ‘āļē āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļē āļ´āˇ’āļąāˇŠāļ­āˇāļģ⎔ āļšāļģāļąāˇŠāļąāˇš ⎃āļ¸āˇāļĸ āļ´āļģ⎒⎀āļģ⎊āļ­āļąāļē⎚ āļąāˇ’āļēāˇāļĸ⎒āļ­āļēāˇ āļŊāˇ™āˇƒ āļąāˇœāˇ€ ⎃āļ¯āˇāļ āˇāļģ āļ´āļģāˇ’āˇ„āˇāļąāˇ’āļē⎚ āļ…āˇƒāˇ–āļ āˇ’ ⎀⎅āļšāˇŠ āļŊāˇ™āˇƒ āļē. āļēāˇžāˇ€āļąāļēāļąāˇŠ āˇƒāˇāļąāˇ”āļšāļ¸āˇŠāļ´āˇ’āļ­āˇ€ āļąāˇ’āļģ⎖āļ´āļĢāļē āļąāˇœāļšāˇ™āļģ⎚. āļ¸āˇš āļ†āļšāˇāļģāļē⎙āļąāˇŠ, āļ´āˇ€āļ­āˇ’āļą āļ­āļ­āˇŠāļ­āˇŠāˇ€āļēāļ§ āļ…āļˇāˇ’āļēāˇāļœ āļšāˇ’āļģ⎓āļ¸āļ§ āļ…āļģ⎊āļ¸āˇ”āļĢāļšāˇŠ āļąāˇāļ­āˇ’ āļ…āļēāļœāˇš āļ¯āˇ˜āˇ‚āˇŠāļ§āˇ’āˇ€āˇāļ¯āˇ“ āļ…āˇ€āˇāˇŠâ€āļēāļ­āˇ ⎃āļŗāˇ„āˇ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē āˇƒāˇšāˇ€āļē āļšāļģāļē⎒. āļ¸āˇ™āļē, āļ´āˇŠâ€āļģāļ­āˇ’āļģāˇāļ°āļē ⎃āļŗāˇ„āˇ āļ‹āļ­āˇŠāļ´āˇŠâ€āļģāˇāˇƒāļē(irony) āļ¯ āļ´āļąāˇŠāļ­āˇ’ āˇ€āˇ’āˇāˇŠāļŊāˇšāˇ‚āļĢāļē ⎃āļŗāˇ„āˇ āˇ€āˇŠâ€āļēāˇāļ°āˇ’ ⎀⎒āļ¯āˇŠâ€āļēāˇāˇ€(pathology) āļ¯ āļ†āļ¯āˇšāˇ āļšāļģāļą āļŊāˇāļš āļ¯āˇāļšāˇŠāļ¸āļšāˇŠ āˇƒāˇ„āˇ’āļ­ āļ´āˇāˇŠāļ āˇāļ­āˇŠ-āļąāˇ–āļ­āļą āļ…⎁⎔āļˇāˇ€āˇāļ¯āļē⎚ āļ´āˇŠâ€āļģāļ¸āˇ”āļ¯āˇŠâ€āļģāˇāˇ€āļē⎒.

āļ¯āˇšāˇ€āļ´āˇŠâ€āļģ⎒āļēāļ§ āļ¯āļšāˇŠāˇ‚āļ­āˇ āļąāˇāļ­āˇ”āˇ€āˇ āļąāˇœāˇ€āˇš āļē⎐āļē⎒ ⎄⎐āļŸāˇ€āˇ™āļą āļ…āˇ€āˇƒāˇŠāļŽāˇ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļ‡āļ­. āļ”⎄⎔āļœāˇš  “āļœāˇ”⎀āļąāˇŠāˇ€āˇ’āļ¯āˇ”āļŊ⎒ āļšāļ­āˇ” āļœāļĢāļąāˇāˇ€āļšāˇŠ āļ”⎄⎔ āļļāļŊāˇāļ´āˇœāļģ⎜āļ­āˇŠāļ­āˇ” āļ­āˇāļļ⎒āļē ⎄⎐āļšāˇ’ āļšāļŊāˇāļšāļģ⎔⎀⎙āļšāˇ” āļļ⎀ ⎃āļąāˇāļŽ āļšāļģāļē⎒. āļ”⎄⎔āļ§ āļ¯āˇ˜āˇāˇŠâ€āļē ⎃āļ‚āļēāˇāļĸāļąāļē ⎃āļ¯āˇ„āˇ ⎄⎐āļŸāˇ“āļ¸āļšāˇŠ, āļˇāˇāˇ‚āˇāˇ€ āļšāˇ™āļģ⎙⎄⎒ ⎃āļ‚āˇ€āˇšāļ¯āˇ“āļ­āˇāˇ€āļšāˇŠ āˇƒāˇ„ āļ†āˇ€āˇ˜āļ­āˇ’āļˇāˇ“āļ­āˇ’āļš (claustrophobic) āļąāˇāļœāļģ⎒āļš āļĸ⎓⎀⎒āļ­āļē āļąāˇ’āļģ⎖āļ´āļĢāļē āļšāˇ’āļģ⎓āļ¸āļ§ āˇ€āˇ’āļ āļšāˇŠāˇ‚āļĢ āˇ„āˇāļšāˇ’āļēāˇāˇ€āļšāˇŠ āļ‡āļ­. āļ‘⎄⎙āļ­āˇŠ, ⎀āļ­āˇŠāļ¸āļąāˇŠ āļ…⎀āļ°āˇ’āļē⎚āļ¯āˇ“, āļ¸āˇ™āļ¸ āļšāˇ”āˇƒāļŊāļ­āˇ, āļšāļ¸āˇŠāļšāļģ⎔ āļ´āļąāˇŠāļ­āˇ’āļš āļ­āļģ⎔āļĢāļēāļąāˇŠ āļ¸āˇ”⎄⎔āļą āļ¯āˇ™āļą āˇƒāļ¸āˇƒāˇŠāļŽ āˇƒāļ¸āˇāļĸ āˇ„āˇ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āļœāļ­āˇ’āļšāļ­āˇŠāˇ€āļē āļœāˇŠâ€āļģ⎄āļĢāļē āļšāļģ āļœāˇāļąāˇ“āļ¸āļ§ āļ…āļ´āˇœāˇ„āˇœāˇƒāļ­āˇŠ ⎀⎖ āļŊāˇāļš āļ¯āˇāļšāˇŠāļ¸āļšāˇŠ ⎀āļą, āļ…āļŊāˇāļ¸āˇ”āļŊāˇāˇ€āˇ– āļ¸āļ°āˇŠâ€āļēāļ¸ āļ´āļąāˇŠāļ­āˇ’āļš āˇƒāˇŠāļŽāļģāļēāļš āļ´āļ§āˇ” āļąāˇ’āļ¸āˇŠāˇ€āˇ…⎒āļąāˇŠ ⎄⎐āļŠāļœāˇāˇƒāˇ”āļĢ⎔ āļŊāˇāļš āļ¯āˇāļšāˇŠāļ¸āļšāˇ’āļąāˇŠ āˇƒāˇ“āļ¸āˇ ⎀⎓ āļ‡āļ­.

āļšāļŊāˇ āļšāˇ˜āļ­āˇ’āļēāļšāˇŠ ⎁⎔āļˇāˇ€āˇāļ¯āˇ“ ⎀⎒āļē āļē⎔āļ­āˇ” āļąāˇāļ­, āļąāļ¸āˇ”āļ­āˇŠ āļ‘āļē ⎃āļ­āˇŠâ€āļēāˇ€āˇāļ¯āˇ“ ⎀⎒āļē āļē⎔āļ­āˇ”āļē. āļ‘āļē āļ¸āˇ’āļąāˇ’āˇƒāˇŠ āˇ„āˇāˇƒāˇ’āļģ⎓āļ¸āˇŠ ⎄⎐āļŠāļœāˇƒāˇŠāˇ€āļą āļēāļ§āˇ’ āļ­āļŊāļē⎚ āļ´āˇ€āļ­āˇ’āļą āļļāļŊāˇ€āˇšāļœ āˇ„āˇ™āˇ…āˇ’ āļšāˇ’āļģ⎓āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāˇ… āļē⎔āļ­āˇ”āļē. āļšāļŊāˇāļšāļģ⎔⎀⎙āļšāˇ” āļĸ⎓⎀⎒āļ­āļē ⎃āļ‚āļĸāˇāļąāļąāļē āļšāˇ’āļģ⎓āļ¸ āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€, āļ…āļąāˇāļœāļ­āļē⎚ ⎀⎄āļąāˇŠāļ­āļģāˇāˇ€ āļ…āļģ⎊āļ° āˇ€āˇāļē⎙āļąāˇŠ āļ‰āˇ€āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āļ§ āļ‹āļ­āˇŠāˇƒāˇāˇ„ āļšāˇ… āļē⎔āļ­āˇ”āļē. āļ”⎄⎔ āļ…āļ¯ āļēāļŽāˇāļģ⎊āļŽāļē āļœāˇāļą āˇƒāˇ‘āˇ„āˇ“āļ¸āļšāļ§ āļ´āļ­āˇŠ āļąāˇœāˇ€āļą āˇ€āˇ’āļ§, āļ”⎄⎔ āļ‘āļē āļ´āļģāļ¸āˇāļ¯āļģāˇŠāˇāˇ“ “⎄⎙āļ§ āļ¯āˇ’āļą” āļ´āˇŠâ€āļģāˇ’āˇƒāˇŠāļ¸āļē ⎄āļģāˇ„āˇ āļ¯āˇāļš “āļ¸āˇ’āļąāˇ’āˇƒāˇ āļ”⎄⎔āļœāˇš āļ´āļģāļ¸āˇāļ¯āļģāˇŠāˇāˇ“āļē ⎀⎒āļŊāˇāˇāļē⎙āļąāˇŠ āļ´āˇ™āļąāˇŠāˇ€āˇ’āļē āļē⎔āļ­āˇ”āļē”.

āļ‘.āļšāˇš. āˇ€āˇœāļģ⎜āļąāˇŠāˇƒāˇŠāļšāˇ’ āļŊ⎒⎀⎖ āļŊāˇ™āˇƒ, 

“āļ¸āˇ’āļąāˇ’āˇƒāˇ āļ”⎄⎔āļœāˇš  ⎃āļ¸āˇŠāļ´āˇ–āļģ⎊āļĢ āļ‹āļ­āˇŠāļ­āļ¸ āļ­āļ­āˇŠāˇ€āļē āļšāļģāˇ āļē⎑āļ¸āˇš āˇƒāˇ’āˇ„āˇ’āļąāļē, āļ…āļˇāˇ’āļŊāˇāˇ‚āļē (yearning) āˇƒāˇ„ āļ¸āļąāļ¯āˇœāļŊ (Longing) āˇ„āˇœāļŗāļ¸ āļšāļŊāˇāļšāļģ⎔⎀āļąāˇŠāļœāˇš āļąāˇ’āļģ⎊āļ¸āˇāļĢāˇāļ­āˇŠāļ¸āļš āļšāˇāļģ⎊āļēāļē⎚ āļ´āļ¯āļąāļ¸ āˇƒāˇš āļ´āˇ€āļ­āˇ’āļą āļ…āļ­āļģ, āļ‘āˇƒāˇš āļ­āˇ’āļļ⎓āļ¯ āļ‡āļ­” (āļšāļŊāˇāˇ€ āļĸ⎓⎀⎒āļ­āļē ⎃āļ‚āļĸāˇāļąāļąāļē āļšāˇ’āļģ⎓āļ¸ āļŊāˇ™āˇƒ āˇ„āˇ ⎃āļ¸āļšāˇāļŊ⎓āļą āļŊāˇāļšāļē, 1923) 

āļ¸āˇš āļ…āļģ⎊āļŽāļē⎙āļąāˇŠ āļšāļŊāˇāˇ€ āļ“āļ­āˇ’āˇ„āˇāˇƒāˇ’āļš āˇƒāļ‚āļĸāˇāļąāļąāļē⎚ āļ¸āˇāļ°āˇŠâ€āļēāļēāļšāˇŠ āļļ⎀āļ§ āļ´āļ­āˇŠāˇ€āˇš. āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ āļ¸āˇ™āļ¸ āļšāˇāļģ⎊āļēāļē⎚āļ¯āˇ“ āļ…āˇƒāļ¸āļ­āˇŠ āˇ€āˇš. āļ‘āļē āļ…āļ´āˇš āļšāˇāļŊāļē⎚ ⎃⎐āļļ⎑ āļ…āļģāļœāļŊ⎀āļŊ⎒āļąāˇŠ ⎀⎒āļ­āˇāļąāˇŠ ⎀⎙āļ¸āˇ’āļąāˇŠ āļ¸āˇ’āļąāˇ’āˇƒāˇŠ āļ…āˇƒāˇāļģ⎊āļŽāļšāļ­āˇŠāˇ€āļē⎚ āˇƒāˇ“āļ­āļŊ, āļ´āˇ’⎅⎒āļšāˇ”āļŊ⎊ āˇƒāˇ„āļœāļ­ āļ āˇ’āļ­āˇŠâ€āļģāļēāļšāļ§ āļ´āˇƒāˇ”āļļāˇƒāˇ’āļą āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļēāļšāˇ’.

āļ…āˇ€āˇƒāˇāļą āˇ€āˇ’āļœāˇŠâ€āļģ⎄āļē⎚ āļ¯āˇ“, āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ āļēāļąāˇ” āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē āļ´āˇ’⎅⎒āļļāļŗāˇ€ āļąāˇœāˇ€, āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē āļ…⎀āļļāˇāļ° āļšāļģ āļœāˇāļąāˇ“āļ¸āļ§ āļēāļ¸āˇŠ ⎃āļ¸āˇāļĸ ⎃⎊āļŽāļģāļēāļšāļ§ āļ‡āļ­āˇ’ āļąāˇœāˇ„⎐āļšāˇ’āļēāˇāˇ€â€“āļ”⎀⎔āļąāˇŠ āļ­āˇ”⎅⎒āļąāˇŠ ⎃āļ¸āˇāļĸāļē⎚ āļ¯āˇ’āļģāˇāļ´āļ­āˇŠāˇ€āˇ“āļ¸āˇš āļšāˇāļŠāļ´āļ­āļšāˇŠ āļ´āļ¸āļĢāļšāˇŠ āļąāˇœāˇ€, āļ‘āļē āļ…āļŊ⎔āļ­āˇŠ āļšāˇ’āļģ⎓āļ¸āˇš ⎀⎒āļˇāˇ€āļē āļ¯āˇāļšāˇ“āļ¸āļ§ āļ…āˇƒāļ¸āļ­āˇŠāˇ€āˇ“āļ¸â€“āļ´āˇ’āļŊ⎒āļļāļ¯ āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļēāļšāˇŠ āˇ€āˇš. āļ¸āˇš āļ āˇ’āļ­āˇŠâ€āļģāļ´āļ§āļē⎚ āļ›āˇšāļ¯āˇ€āˇāļ āļšāļē āļ‘āļēāļē⎒. 

āļļ⎄⎔āļ āˇ’āļ­āˇ€āˇāļ¯āˇ’āļēāˇ: āļ­āˇāļģ⎔āļĢāˇŠâ€āļēāļē⎚ ⎃āļ¸āˇāļĸ āļ…āļģ⎊āļļ⎔āļ¯āļē āļ…⎁⎔āļˇāˇ€āˇāļ¯āļēāļ§ āˇƒāˇ„ ⎀⎒āļ´āˇŠâ€āļģāļģ⎖āļ´āļĢāļēāļšāļ§ āˇƒāˇ’āļŗāļŊ⎓āļ¸āļšāˇŠÂ  Read More Âģ

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Bahuchithawadiya: The Social Crisis of Youth reduced to Pessimism and Caricature

By Sanjaya Jayasekera.

Malaka Dewapriya’s film Bahuchithawadiya (The Undecided) is an ambitious but ultimately disoriented work that attempts to offer a portrait of the youth adrift in post-civil-war urban Sri Lanka. The film takes the form of a character study, which according to Director’s own introduction, “presents a  reflection of the youth of this time, who are searching for easy ways to survive due to lack of job security and are immersed in the dream of escaping this country, using social media, smartphones, and iPhones to achieve their old dream, and making all connections their victims.” 

Bahuchithavadiya
Bahuchithawadiya. Image courtesy of film’s official facebook page.

The film has garnered attention for its experimental tone and portrayal of alienation among the impoverished unemployed – jobless or precariously employed and exploited in the gig economy – youth in Colombo. However, beneath its cinematic form, the film offers a bleak, superficial depiction of social decay and a disheartening and ultimately reactionary indictment of working-class and unemployed youth—not as victims of capitalism, but as the agents of their own moral downfall.

The protagonist, Sasitha (Kalana Gunasekara), is a delivery worker in Colombo, the industrial capital of the country. He is employed under precarious conditions by a miserly boss. With no prospects for economic or social mobility, Sasitha turns his attention to seducing women online—married, unmarried, older, younger—all in the hopes of securing a visa to a European country or gaining some financial benefit. His duplicity and exploitation of these women are portrayed not as unwilling and temporary predatory responses to a brutal economic system but as intrinsic and permanent features of his character. What emerges out of him is not a layered human being, but a cypher of cynicism and indecision. Herein lies one of the film’s most serious failings: the absence of any serious attempt to explain the portrayal of Sasitha’s behavior through the social forces and material conditions in which he lives.

Dewapriya has captured certain surface features of social life. The film presents a series of acidic behaviours—adultery, betrayal, cheating, exploitation, desperation—yet none are given sustained focus or examined in depth to reveal their underlying contradictions. As a result, the viewer is left with a collection of symptoms, rather than an understanding of the social reality that gives rise to them. This is not merely an aesthetic or artistic shortcoming, but a deeply ideological one. An artist does not simply replicate life; he is not a photographer. He bears the responsibility of discovering truth. By isolating Sasitha’s personal corruption from the real world that produces it and stands in contradiction to it, Bahuchithawadiya, despite its claims to realism, ultimately proves to be profoundly evasive and dishonest.

It is not enough to show that a character, representing “contemporary youth”, is indecisive, manipulative, and amoral. One must ask: why? What has shaped this poisonous character? What forces act upon him? Who is responsible for his life? Is his behaviour inevitable? Dewapriya seems uninterested in these questions. The result is a film that verges on character assassination. Sasitha is not portrayed as a victim of the capitalist system, nor as someone with even the faintest sense of resistance to its injustices. Instead, he appears as its willing accomplice—both seeking to benefit from its corruption and attempting, paradoxically, to escape its consequences. In the final analysis, he is shown not as someone shaped by a toxic social order, but as one of its architects. “The youth”, as we have known it, has ceased to be!

The viewer is invited to conclude that the crisis of contemporary youth lies in their own character: their indecision, their dishonesty, their lack of conviction. This is an old slander, repeated countless times by the middle class and its intellectual spokespersons, who recoil in fear at the sight of the impoverished, unemployed, and restless young. That this view should find cinematic expression in a country that in 2022 witnessed one of the most significant mass uprisings of youth in recent history is both telling and damning. Ultimately, the youth does not happen to find their class enemy. 

The film’s final scene shows Sasitha mechanically resuming his practice of seducing women online, without the slightest remorse—even after having been caught red-handed in his previous deceptions. This serves as a conclusive testament that the filmmaker is less concerned with exploring the real social and psychological dynamics shaping youth behavior, and more intent on confirming a middle-class ideology that views oppressed youth as inherently selfish, untrustworthy, incorrigible, and erratic.

The film’s central concept—”Bahuchithawadiya”—suggests a permanent, innate condition of moral and psychological ambiguity. This is entirely ahistorical and unscientific. The youth of Sri Lanka are indecisive not because they are naturally cynical or morally bankrupt. They are uncertain because their lives are uncertain: jobless, underpaid, precariously housed, exploited. The labor market offers no security. Political parties offer no hope. Trade unions have betrayed them. Their so-called indecision is not a failing; it is a symptom of a broader social crisis.

Indeed, the idea that Sri Lankan youth are fundamentally morally degraded is refuted by events themselves. In 2022, tens of thousands of young people took to the streets in an unprecedented mass uprising, protesting the unbearable cost of living, fuel shortages, authoritarian repression, and the corruption of the ruling political establishment. This movement did not emerge suddenly from a generation lost in nihilism, but from a population forced to resist and confront the consequences of decades of neoliberal policy and imperialist subjugation.

To assert, as the film does, that youth have no direction because, in the backdrop of a predatory economy,  they are inherently flawed, is to participate in a reactionary ideological project. Dewapriya offers the youth no future and no past. They are merely floating signifiers of decay, cynicism, and amorality. They are uninfluenced by any sense of resistance, struggle, solidarity, or political awakening. Even in Colombo, the epicenter of industry and protest, Sasitha never encounters a strike, a rally, or even a conversation that hints at collective resistance. There is not even a passing allusion to conscious class war measures–austerity, privatization, debt crises, or the militarization of public life following the end of the civil war—realities that are inescapable features of everyday life in the country. The working class —despite its overwhelming presence and historical importance—is nowhere to be found. Instead, we are shown a hermetically sealed world of urban apartments and transactional relationships, in which everyone is either a victimizer or a dupe.

Sasitha flicks through television channels airing religious sermons, astrology segments, and reality shows—programs ostensibly meant to shape the youth—but never news, politics, or protest. The enemy is distant, and the struggle is futile. This is no accident, but a deliberate artistic choice—one that lays bare the filmmaker’s class perspective.

Class struggle is the highest expression of both class resistance and solidarity—one that leaves no room for pettiness, selfishness, or moral cynicism. It imparts to working-class youth a profound sense of social responsibility, discipline, and empathy forged through collective struggle. To preserve the middle-class caricature of youth as aimless, self-serving, and unreliable, it becomes essential that they not be shown to be confrontated with class struggle. This is precisely the path the filmmaker has chosen: by omitting any encounter with collective resistance, the film ensures that its protagonist remains trapped within a framework that validates bourgeois prejudices rather than illuminating social truth.

Bahuchithawadiya shares a great deal with the postmodern cinema that has emerged internationally in recent decades—films that purport to critique society by depicting its filth and moral decay, but which in reality offer no understanding of why things are the way they are, and certainly no path forward. These are not works of art that cognize life in its fullness and movement—but snapshots of despair, stripped of causality and agency.

One would compare this to a film like Dharmasena Pathiraja’s Ahas Gauwa (1974), where the main character Wije is shaped by his encounters with the working class. That film ends not with resignation, but with the protagonist joining a trade union struggle, suggesting a transformation in consciousness. Or consider Boodee Keerthisena’s Mille Soya (2004), which, while also centered on the desire to migrate, does not present its characters as predators or cowards, but as desperate and conflicted individuals shaped by historical pressures. In these works, characters evolve, struggle, and relate to the social forces around them. They are alive in history. In today’s society, gripped by deep crisis, a heightened degree of class resistance is not only inevitable but increasingly evident.

Sasitha—so too his roommate—is not shown looking for work: he submits no job applications. He engages in no political talk at all. He has no interest in news. He speaks of migrating to Europe but takes no meaningful steps to do so. The film ends as it began: in stasis. This is not an artistic exploration of paralysis, but a refusal to engage with reality. Real young people in Sri Lanka today are not simply wallowing in nihilism. They are searching for work, forming relationships, joining protests, and trying to understand their place in a collapsing world. Dewapriya‘s Sasitha is not a representation of this generation; he is a libel against it.

Commenting on the depiction of unemployed youth in Take Me Somewhere Nice (2019), written and directed by Ena Sendijarević, David Walsh observes that the filmmaker “underestimates the extent to which the younger generation globally is still at sea, looking for a new orientation, for some stable, coherent political and moral reference point. Many young people, refugees or not, from the Balkans or not, are ‘in-between’ at present, disgusted by the existing set-up and not yet having found an alternative. This ‘in-between-ness’ is bound up with the ‘on-the-eve’ quality of the present moment.”

Walsh’s comment is equally applicable to Dewapriya and his approach in his film. Bahuchithawadiya captures the uncertainty of youth but fails to grasp the transitional, searching character of that uncertainty—its link to a broader historical moment in which masses of young people are questioning the existing order and beginning to look for alternatives.

Moreover, the film is an ideological fodder to the petty-bourgeois strata from which it emerges. It confirms their defeatist view that the poor and unemployed are to blame for their own fate, that they are lazy, treacherous, corrupt, and oversexed. It paints the working class not as the agent of social transformation, but as a cesspool of moral degradation. The youth are not portrayed sympathetically. In this way, the film serves the ideological needs of those who have no intention of challenging the status quo. This is the hallmark of postmodern pessimism—a worldview that substitutes irony for resistance and pathology for class analysis. 

There are moments in the film that suggest Dewapriya is not without talent. A number of his previous “radio stories” confirm that he is a promising artist. He has a feel for visual composition, a sensitivity to language, and a certain flair for portraying claustrophobic urban life. But these gifts are, at this stage, limited by a worldview shaped by the narrow horizons of a disoriented middle-class layer, a worldview that remains unable to grasp the full social and historical dynamics confronting the working class youth.

A work of art does not need to be optimistic, but it must be truthful. It must seek to reveal the underlying forces that shape human behavior. An artist should not only cognize life, but should attempt to partially lift the veil of future. When he is dissatisfied with today’s reality, he has to see it through the prism of an ideal “tomorrow” and “show man in his ideal”.

As A.K. Voronsky wrote: 

“The dream, yearning and longing for man drawn up to his full height has been and continues to be the foundation of the creative work of the best artists” (Art as the Cognition of Life, and the Contemporary World, 1923)

In this sense, art becomes a means of historical cognition. Bahuchithawadiya fails in this task. It is a film that flinches from the real struggles of our time and retreats into a cold, contemptuous portrait of human failure.

In the final analysis, Bahuchithawadiya is not a film about youth, but about the inability of a certain social layer to comprehend the youth—to see in them not just a mirror of society’s decay, but the potential for its renewal. That is the tragedy of this film. 

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The Conscience of Sinhala Cinema: Malini Fonseka’s enduring Cinematic Legacy

By Sanjaya Wilson Jayasekera

We are posting here a brief obituary of Sri Lanka’s veteran actress Malini Fonseka, written by comrade Sanjaya Jayasekera and published on his personal website and social media on 25 May 2025. This articles was also published by the daily newspaper themorning.lk Here. Nearly six-decade of the cinematic career of actress Fonseka deserves a full and extended review.

malini
Malini Fonseka

The demise of actress Malini Fonseka on May 24, 2025, marks the end of a cinematic epoch. She is undoubtedly the “Queen of Sinhala Cinema,” as she has been often referred to by millions of her fans, aged and young. Nearly six-decade of her career was not a simple arc of celebrity, but a deep and continuous cinematic identification with the lives of ordinary people, especially women, under the weight of history, patriarchy, backwardness and class oppression. In a country where cinema often struggles between the tides of commercialism, populism, nationalism and repression, Fonseka remained a moral and aesthetic lodestar, truthfully imbuing her characters with emotion, quiet resistance, and tragic insight.

To merely describe Fonseka as a beloved actress is to evade the seriousness of her contribution. She was an artist of social consciousness—her performances bore the weight of Sri Lanka’s post-independence traumas, its unfulfilled democratic promises, and the contradictions of a backward capitalist society pressing in from every side.

In Lester James Peries’ Nidhanaya (1972), one of the greatest Sri Lankan films ever made, Fonseka plays the innocent, ill-fated woman preyed upon by a man whose wealth and obsession lead to murder. Her character is not merely a victim but a mirror held up to a crumbling feudal order. Fonseka conveys, through silence and subtle gestures, a person slowly awakening to the forces arrayed against her. Her sacrifice is not just personal—it is metaphorically the death of innocence in a society entrapped by its own past.

In Beddegama (1980), based on Leonard Woolf’s The Village in the Jungle, Fonseka as Punchi Menika inhabits a world of colonial exploitation and rural destitution. This is not melodrama but precise, economical realism. Fonseka does not “perform” poverty and female endurance—she lives it. Her face, increasingly lined by anxiety and despair, communicates the pain of a society ground down by injustice, hunger and disease, made worse by the cruelty of an indifferent state.

Equally remarkable is her performance in Dharmasena Pathiraja’s Bambaru Avith (1978). In this film, Fonseka delivers one of her most restrained yet potent performances of the role of a young lady in a coastal village caught in the maelstrom of social disintegration and the predatory arrival of urban outsiders. Fonseka’s portrayal is marked by an acute sensitivity to the class tensions simmering beneath the film’s surface. Her role is not simply a symbol of rural innocence but a deeply aware, emotionally complex figure who senses the destruction bearing down on her community. In a film that critiques both the romanticization of village life and the corrosive effects of capitalist intrusion, Fonseka embodies the silent tragedy of a society being commodified. With minimal dialogue and subtle expressions, she gracefully communicates despair, resignation, and the quiet resistance of a woman rooted in her world but unable to halt its unraveling.

Bambaru Avith
Bambaru Avith: Malini Fonseka with Vijaya Kumaratunga

In Akasa Kusum (2008), directed by Prasanna Vithanage, as Sandhya Rani, a faded film star confronting the ruins of her career and personal life, Fonseka embodies the alienation and disillusionment of an artist discarded by an industry that once idolized her, and without any social insurance. The film alludes to the stardom of Fonseka herself. Vithanage’s film, while ostensibly a character study, inadvertently exposes the broader social decay under capitalism, where cultural memory is short and individuals are reduced to commodities. Fonseka’s restrained yet deeply expressive performance underscores the tragedy of a woman whose labor and talent have been exploited, then abandoned—a microcosm of the artists’ precarious existence in a profit-driven system. The film’s critique of bleak nostalgia and the fleeting nature of fame resonates with the broader crisis of art under conditions where everything, including human creativity, is subordinated to the market. While Akasa Kusum does not explicitly engage with class struggle, Fonseka’s portrayal of Sandhya’s isolation and resilience speaks to the perseverance of ordinary people amid systemic indifference. 

Fonseka’s performances in a wide range of other films—including Eya Dan Loku Lamayek (1977), Siripala Saha Ranmenika (1978), Ektamge (1980) and Yasa Isuru (1982) —as well as in teledramas such as Pitagamkarayo (1997), are etched into the collective memory of Sri Lankan audiences. In each of these roles, she brought to life women shaped by their social conditions, investing them with dignity, emotional depth, and a quiet intensity that transcended the screen. Whether portraying the struggles of urban motherhood, the constraints of poverty, caste and patriarchy, or the conflicted desires of village life, the veteran actress was able to truthfully reveal the deeper realities of the society around her.

Like several other leading actors of her generation, Fonseka was a significant historical product of her time. By the 1970s, Bollywood’s musical and melodramatic cinema exerted a powerful influence over Sri Lankan audiences, who flocked to theaters largely drawn by star appeal. Sinhala cinema, still emerging as a serious artistic medium, had to contend with the commercial dominance of Indian films. Fonseka’s rise to stardom was not merely a matter of charishma; her compelling screen presence, combined with the emotional depth and authenticity she brought to nearly every role, enabled her to capture the imagination of a broad audience. In doing so, she played a crucial role in affirming the cultural legitimacy and artistic potential of Sinhala-language cinema, as part of the world cinema.

Fonseka’s popularity, unmatched for decades, was not simply built on glamour but on the deep compassion she earned. For the oppressed, she did not offer escapism; she offered recognition and fight. Her status as “queen” is a title she earned from the sincere presentation of the struggles of those who loved her. 

Her art reminds us of what cinema can be: a site of conscience, a record of the oppressed, and a spark of rebellion. She belongs to that rare tradition of film actors—like Smita Patil, Giulietta Masina, and Liv Ullmann—who made of their bodies and voices a battlefield of history.

In the later years of her life, Fonseka became associated with the bourgeois nationalist establishment, serving as a Member of Parliament from 2010 to 2015 under the government of then-President Mahinda Rajapaksa. While no political concessions can be made to her alignment with Sinhala nationalist politics, her profound contributions to cinema—rooted in social realism and the depiction of the oppressed—remain of enduring artistic and historical value. Her body of work deserves to be critically appreciated, drawn inspiration from and preserved as a significant part of both Sri Lankan and world cinema.

Malini Fonseka will be remembered not merely as a great actress, but as an artist of the oppressed masses. Her characters will continue to live, as all genuine art does, not only in memory but in the continuing struggles of those they represented.

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