ما صدقوا سمعوا عن انفلونزا الخنازير وفي 48 ساعة طلعوا توصية بإعدام الخنازير، رغم عدم ظهور المرض في مصر !
يا ترى الدافع هو الحرص على الصحة العامة ولا كره حيوان الخنزير المسكين بسبب الهوس الديني؟
طيب ولما تحصل وفيات من الإنفلونزا الأسيوية حنعمل إيه؟
حنعدم كل الأسيويين؟
ملحوظة: مصر هي الدولة الوحيدة في العالم التي ظهرت فيها الدعوة لإعدام كل الخنازير، ليس الخنازير المصابة أو الخنازير الموجودة بمزارع بها خنازير مصابة أو بالقرب من مزارع بها خنازير مصابة، ولكن كل الخنازير!
أنا مش معترض على نقل المزارع خارج الكتلة السكنية، أو تصحيح أوضاعها الصحية والبيئية، أو التنظيف أو الرعاية الصحية أو الرقابة البيطرية - كل ده واردإنما قتل 300 ألف حيوان بدل نقل المزارع؟ لا يمكن أن أضحك على نفسي وأتجاهل أن المحرك للقرار هو كراهية عميقة لدى الأغلبية لحيوان أصم واحتقار في اللاوعي لمن يأكلونه أو يربونه.
Egyptian Parliament demands killing of all pigs! Not infected animals, or animals in or near farms where disease symptoms are suspected, but ALL ANIMALS?
I hate the way these pig farms are operated - have been operated - for decades. The right decision would have always been to relocate to new areas out of the city with improved hygenic conditions and tight medical supervision. However I can NOT fool myself but see this in the context of deeply-rooted hate for the poor animal and negative feelings against those who eat it. Another facet of our religious hysteria.
*******************************************
المشهد الثاني:
مجلس الشعب يطالب
بتجريم "الفكر" البهائي
"اليوم السابع: وسط تحذيرات برلمانية من انتشار الفكر البهائى داخل مصر، طالبت اللجنة المشتركة من الدفاع والأمن القومى والشئون الدينية بالبرلمان المصرى بإصدار قانون عاجل يجرم الفكر البهائى ومحاكمة المروجين له ... "
تعليق:
لجنة مشتركة من الدفاع والأمن القومي والشئون الدينية؟
طبعاً حرصاً على السلام الاجتماعي، شوفتوا العضو المحترم شكله مسالم ازاي في الصورة؟
طيب تجريم "الفكر" البهائي إزاي يعني؟
حيجيبوا جهاز كشف الفكر البهائي؟
يقعدوا "المتهم" بالفكر الوحش ويعملوله مسح ذري على دماغه ولو الجهاز حس بنشاط بهائي يصفر؟
دا بدل ما يقبضوا على المجرمين اللي حرقوا بيوت البهائيين وشردوهم؟
ولا يمكن الحرق ده كان عشان مواجهة الفيروس البهائي؟ زي انفلونزا الخنازير كده؟
Many readers who usually like what I write, will not like what I wrote here. To all of you I will tell this. You most certainly will one day dislike what I say.
You will not always like what I write. Because I will always write what I believe to be right. And that is always bound to upset someone else!
I am deeply troubled by the Egyptian Police going around arresting people who publicly breakfast during the days of Ramadan. Please don't get me wrong. I love traditions and I want everyone, or almost everyone, to be a part of them if possible. I love Ramadan although my waking and sleeping schedule is radically disturbed by it. I enjoy Eid although I seem to put on a few kilos every Eid. A few kilos which I never seem to be able to shed after Eid. I am fond of Christmas and used to play Santa Claus myself. I adore Shemu, an ancient Egyptian Tradition of celebrating Easter, which we now call Sham El Nessim and I even like to paint the eggs and eat salted fish and fresh onions in spring celebrations.
I believe that in a society where most people fast, it would be courteous of those who do not fast to keep a low profile. Be mindful of those who do. I think of this as a form of social courtesy, kind of an extension to the "being nice to your neighbor" creed sort of thing. Yet, I am deeply disturbed by actions of the Egyptian police and not only because there is no law to support their self-appointed role of now enforcing a certain social behavior. It just reminds me of the Saudi Mutawwa, or religious police.
So, although I would just love it if most of us, even all of us, joined in the celebration of the social events and feasts related to our heritage, Islamic, Christian and Egyptian, I still find it unacceptable to enforce this by law. To be truly honest, I am not offended the least bit by those who don't join in celebration or those who eat publicly while others fast. But that's just me. Living in a conservative society which has recently been swept by symptoms of religious hysteria, I can understand that there would be quite a few people who would be offended by those publicly breakfasting during the days of Ramadan.
But being lightly offended is something, yet demanding the arrest and punishment of those who break the social code is another. This is what it is all about, really. Pressures to conform to social code and anger at those who do not conform. It has nothing to do with religion, because religion is a personal, and not a social thing. Only God can judge people for not praying or fasting, but in our case society is playing God. Society wants to punish those who do not conform.
I am most troubled by those supporting these unlawful arrests saying that it will bring order to our streets and preserve social harmony. To those I ask a simple question.
Do you believe, that those who do NOT in fact, celebrate the same social events as you, by observing fasting, or some other religious or social tradition, should be ARRESTED for this?
Please think carefully now. I am not asking you if you LIKE it when they breakfast publicly, I am asking you if you think that they should be ARRESTED for breaking fast publicly. I ask everyone of those supporting punishment, have you always observed every tradition without exception and never done anything that would part from those traditions in your life? In these instances, where you were naughty and broke the traditions, do you think that you should have been jailed if you were caught?
OK, maybe you have always observed the traditions. So, let me ask you in a different way.
We want our children to be nice and mindful of our traditions. Most of us do. I am sure it will help them be socially popular for that. It may impede them in some other areas of growth, creativity and critical thinking, but I must admit that they will be more socially successful if they did that - i.e., observe all or most of the socially accepted traditions.
Now the question; if they, our children, your children, broke some social traditions once or twice what do we do with them? I realize that it may not be nice and may in fact be anti-social to do that. But, for breaking social tradition, without PHYSICALLY causing damage to anyone else, do they deserve, in your opinion to be arrested? Do you agree that your loved ones should be arrested on such charges? Sort of let them suffer, it will teach them a lesson? A lesson of what exactly? Hypocrisy?
Or do you prefer to live in a more tolerant society, whereby those social-code-breakers, who could very well be your relatives or loved ones, who occasionally or even frequently ignore the social traditions, without really causing any serious physical harm to anyone, would be just FROWNED upon by those offended? Yes, be frowned upon - and possibly punished in some social ways, like for instance, that those most offended will not invite them to the next party or refrain from befriending them - yet, they will be tolerated - their rights and freedoms respected? Remember, some of us, those who are most deeply hurt by this mindfulness, will still punish them, in personal ways. They will not only frown at them, but they will also vote for someone else, should those naughty ones decide at some point in the future to run for mayor or some other public office.
Again, I am not asking you to LIKE what they do; I am asking you a TOTALLY different question. I am asking you if you believe that they should be ARRESTED. Lose their Freedom even for a few hours for publicly breaking fast during the days of Ramadan.
So, what should it be?
Frown or Jail?
Tolerance ... or COERCION?
A moderate society or tightly governed one where laws and jail are used to enforce social behavior in matters which are really considered well within the domain of personal freedom??
Now, what shall it be?
"I am not asking you to be exactly like me. I am asking you to stop forcing me to be exactly like you."
Humanity has witnessed a sad interruption in the progress of human sciences and arts starting around the forth century A.D. This gap of almost a thousand years mainly started as a result of the restrictive nature of the Roman or Byzantine Empire which ruled much of the world in the middle ages. By the 3rd Century A.D., man was standing on the verge of unlocking the great mysteries of the universe surrounding him. Greco-Egyptian scientists in Alexandria had theorized significant scientific frameworks to mathematics, geometry, physics and astronomy. Philosophy, art, literature, drama and religion had also reached new heights with the marriage of Greek philosophy and the vast body of Egyptian knowledge accumulated and stored by Egyptian monks and scholars over 4,000 years of tedious progress on the banks of the Nile.
The Fayum portraits stand witness to the validity of the artistic side of this argument. The Fayum portraits date back to 1st to 3rd Centuries A.D. They represent a development of the Egyptian funerary tradition which had manifested itself before in wall carvings, masks, ornaments and artifacts found in tombs of ancient Egyptians. But the portraits are so advanced in their artistic style, that can only be compared to paintings of the masters who came 1,500 years later! ''It is not until 15 centuries later, in the faces painted by Titian or Rembrandt's depiction of his own features as he saw them reflected in the mirror, that the same artistry that characterizes many of the anonymous painters of the Fayum is witnessed again,'' Euphrosyne C. Doxiadis, a Greek artist and author of ''The Mysterious Fayum Portraits,'' wrote in an essay in the catalogue accompanying an international show for the Mummy Portraits titled ''Ancient Faces'' in 1997. So, how, when and why did the art of painting stood still, indeed seemed to be "forgotten"?
Sinful Art
I believe that it had to do with restrictive and fanatic religious beliefs of monotheistic religions which soon swept the Middle East, indeed the world, coming out of the Middle East. At first it was the Roman or Byzantine Empire which employed Christianity probably as the only "official religion of the Empire". In 391, Christian Emperor Theodosius I ordered the destruction of all pagan temples, and the Christian Patriarch Theophilus of Alexandria complied with this request. Socrates Scholasticus provides the following account of the destruction of the temples in Alexandria in the fifth book of his Historia Ecclesiastica, written around 440:
“ At the solicitation of Theophilus, Bishop of Alexandria, the Emperor issued an order at this time for the demolition of the heathen temples in that city; commanding also that it should be put in execution under the direction of Theophilus. Seizing this opportunity, Theophilus exerted himself to the utmost to expose the pagan mysteries to contempt."
Colorless Centuries
The effect of this decree which banned the building of temples and the carving of images and sacred hieroglyphs was catastrophic on Egyptian arts which until that moment were connected to Egyptian religions and related rituals. The new religion came with its own set of rituals relating to death restricting Egyptian funerary traditions. The religious hysteria also had some serious implications on the progress of science and arts. Hypatia of Alexandria, daughter of the philosopher Theon, who made such attainments in Mathematics, Philosophy and science, was assassinated by an angry Christian mob. One day in March 415CE, during the season of Lent, her chariot was waylaid on her route home by a Christian mob. She was stripped naked and dragged through the streets to the newly Christianized Caesareum church and killed. Some reports suggest she was flayed with oyster shells and burned.
Islamic rulers, who governed Egypt soon after the Arab invasion in 639-641 A.D. also took a hostile attitude towards painting of human and animal images. This is why Islamic arts widely employed plants and geometrical shapes, avoiding depiction of human faces and figures to avoid revival of the worship of idols. The world was well into the dark ages. Almost ten colorless centuries had to pass before such art could be revived during the renaissance.
Resurrection of the Last Painter
How did the "last painter” feel, knowing that there are no more apprentices to carry forward this artistic tradition? I can only begin to imagine the tremendous grief of this last talented man, knowing that with his death, his craftsmanship will soon be forgotten. But with the discovery of Fayum Portraits, these painters were summoned from the death and given a new life. The world today recognizes their art and talent some 1,600 years after their death and celebrates their works in major museums around the world. And after centuries of forgetfulness and artistic amnesia, we now pay tribute to those anonymous artists and salute their craft. The works of their "sinful" brushes are now "sacred" artifacts to many art lovers around the world.
The Artists Back to painters of Fayum Portraits, there has been some controversy on the identity of the artists. Some researchers believe that those artists were Greco-Romans. This is somehow, in my opinion due to racial bias of the historians of the 19th and 20th centuries who adopted a Euro-centrist approach to the origins of classical civilizations and culture. Martin Bernal, in his trilogy, "Black Athena", which might just as well have been titled "Egyptian Athena", describes this bias and ascertains that much of the achievements of these classical civilizations should be credited to the Ancient Egyptians and People of the Levant. Why would Greco-Roman artists be found in such abundance in Fayum of all places? It only makes sense that these artists were Egyptian, and that their art is the natural progress of Egyptian arts depicted on the walls of tombs and temples for several thousands of years.
The Faces
Not only did the painters were Greco-Romans, some historians claim that the persons, the deceased depicted in those portraits also represent Greek settlers in Egypt. Those historians provide their theory that "It is estimated that as much as 30 percent of the population of Fayum was Greek during the Ptolemaic period, with the rest being native Egyptians." But, why would Greeks be concentrated in Fayum of all places, and why would they adopt these funerary traditions evidently Egyptian in origin and spirit? Examining the faces, they appear to be typically Egyptian, faces you would still see today walking the streets of towns and villages of Egypt.
Mummy portraits have been found in all parts of Egypt, but they are especially common in the Fayum area, particularly from Hawara and Antinoopolis and this is why they acquired this common name. "Fayum Portraits" should, therefore, be thought of as a stylistic, rather than a geographic, description [3].
The evidence, however, shows that when the dental morphology [1] of the Roman-period Fayum mummies was compared with that of earlier Egyptian populations, it was found to be "much more closely akin" to that of dynastic Egyptians than to Greeks or other European populations. So much for the subjects of these portraits being Greek! One can start to question the alleged Greek identity of the painters as well!
The Art
In an attempt to downplay the artistic value of these portraits, some analysts suggest that the Portraits were sort of mass produced. That they followed some sort of repetitive "templates" which the artists adapted to the specific faces of the subjects. The Fayum Portraits discovered, however, show unique captivating features which strike you with the depth of the Character of each person. We can not imagine how this could have been possible using such mass-production techniques. And even if such mass-production techniques were used, it can only take place when art is well-developed on the hands of Masters, such that less famous painters can imitate and mass-produce such authentic and genuine artistic advances. But according to Walker [2], "C.A.T. scans of all the complete mummies represented reveal a correspondence of age and, in suitable cases, sex between mummy and image, confirming that the paintings were made at the time of death. In addition, some portraits were painted directly onto the coffin; for example, on a shroud or another part." This further shows that the portraits were in fact individually painted and discounts the validity of the mass-production claims.
The dry weather of Egypt undoubtedly helped these paintings to survive centuries of neglect such that we can see them today almost intact and in such excellent condition which allows us to appreciate the art and beauty of these works. Together with the surviving frescoes and objects from Pompeii and Herculaneum, and tomb frescoes in Macedonia, Fayum portraits are the best preserved paintings from ancient times and are renowned for their remarkable naturalism.
Many museums around the world have fine examples of Fayum mummy portraits on display, notably the British Museum, the Royal Museum of Scotland, the Metropolitan Museum of Art in New York and the Louvre in Paris.
Oblivious
So, why then are these portraits not famous? How come we never heard about them before in Egypt? I believe that religious sentiments prevented these masterpieces from becoming local heroes at home and subsequently worldwide. The Portraits date back to what is known in Egypt as the "Coptic Period", to approximately mean the time when Egypt was predominantly Christian. This period is viewed with hostility by the authorities which prefer to connect Egypt more with its Islamic, rather than Christian heritage. But this is quite unfair for a number of reasons. First, we have not seen any Christian icons or symbols worn by the subjects. These portraits date back to the period between 1st and 3rd Centuries A.D. Egypt was then divided between old religions such as the Isis Cult, Hermetic traditions, Gnosticism and Christianity. And because of the funerary traditions observed in the mummies, it is unlikely that the subjects were indeed Christians. In fact, the title "Coptic" simply means Egyptian, derived from the Greek word describing Egypt "aiguptios", a word then modified by the Arabs to "Copts" which they used to refer to native Egyptians. On the other hand, until when can we ignore this "Coptic" period? We believe it is time Egyptians make peace with their past in its entirety.
Face the Ancestors
So, here they are, faces of the Ancestors, looking at us from centuries long-past, they are denied their Egyptian Identities by the Europeans, and denied resurrection by their own countrymen. But we believe that they deserve resurrection. They deserve recognition. And if we owe the living respect, we owe nothing to the dead but the truth.
********************************************************* Wael Nawara Published in
1) Irish JD (2006). "Who were the ancient Egyptians? Dental affinities among Neolithic through postdynastic peoples.". Am J Phys Anthropol 129 (4): 529-43
2) Susan Walker, Morris Bierbrier: Ancient Faces, Mummy Portraits from Roman Egypt, London 1997
Humanity has witnessed a sad interruption in the progress of human sciences and arts starting around the forth century A.D. This gap of almost a thousand years mainly started as a result of the restrictive nature of the Roman or Byzantine Empire which ruled much of the world in the middle ages. By the 3rd Century A.D., man was standing on the verge of unlocking the great mysteries of the universe surrounding him. Greco-Egyptian scientists in Alexandria had theorized significant scientific frameworks to mathematics, geometry, physics and astronomy. Philosophy, art, literature, drama and religion had also reached new heights with the marriage of Greek philosophy and the vast body of Egyptian knowledge accumulated and stored by Egyptian monks and scholars over 4,000 years of tedious progress on the banks of the Nile.
The Fayum portraits stand witness to the validity of the artistic side of this argument. The Fayum portraits date back to 1st to 3rd Centuries A.D. They represent a development of the Egyptian funerary tradition which had manifested itself before in wall carvings, masks, ornaments and artifacts found in tombs of ancient Egyptians. But the portraits are so advanced in their artistic style, that can only be compared to paintings of the masters who came 1,500 years later! ''It is not until 15 centuries later, in the faces painted by Titian or Rembrandt's depiction of his own features as he saw them reflected in the mirror, that the same artistry that characterizes many of the anonymous painters of the Fayum is witnessed again,'' Euphrosyne C. Doxiadis, a Greek artist and author of ''The Mysterious Fayum Portraits,'' wrote in an essay in the catalogue accompanying an international show for the Mummy Portraits titled ''Ancient Faces'' in 1997. So, how, when and why did the art of painting stood still, indeed seemed to be "forgotten"?
Sinful Art
I believe that it had to do with restrictive and fanatic religious beliefs of monotheistic religions which soon swept the Middle East, indeed the world, coming out of the Middle East. At first it was the Roman or Byzantine Empire which employed Christianity probably as the only "official religion of the Empire". In 391, Christian Emperor Theodosius I ordered the destruction of all pagan temples, and the Christian Patriarch Theophilus of Alexandria complied with this request.
Socrates Scholasticus provides the following account of the destruction of the temples in Alexandria in the fifth book of his Historia Ecclesiastica, written around 440:
" At the solicitation of Theophilus, Bishop of Alexandria, the Emperor issued an order at this time for the demolition of the heathen temples in that city; commanding also that it should be put in execution under the direction of Theophilus. Seizing this opportunity, Theophilus exerted himself to the utmost to expose the pagan mysteries to contempt."
Colorless Centuries
The effect of this decree which banned the building of temples and the carving of images and sacred hieroglyphs was catastrophic on Egyptian arts which until that moment were connected to Egyptian religions and related rituals. The new religion came with its own set of rituals relating to death restricting Egyptian funerary traditions. The religious hysteria also had some serious implications on the progress of science and arts. Hypatia of Alexandria, daughter of the philosopher Theon, who made such attainments in Mathematics, Philosophy and science, was assassinated by an angry Christian mob. One day in March 415CE, during the season of Lent, her chariot was waylaid on her route home by a Christian mob. She was stripped naked and dragged through the streets to the newly Christianized Caesareum church and killed. Some reports suggest she was flayed with oyster shells and burned.
Islamic rulers, who governed Egypt soon after the Arab invasion in 639-641 A.D. also took a hostile attitude towards painting of human and animal images. This is why Islamic arts widely employed plants and geometrical shapes, avoiding depiction of human faces and figures to avoid revival of the worship of idols. The world was well into the dark ages. Almost ten colorless centuries had to pass before such art could be revived during the renaissance.
Resurrection of the Last Painter
How did the "last painter" feel, knowing that there are no more apprentices to carry forward this artistic tradition? I can only begin to imagine the tremendous grief of this last talented man, knowing that with his death, his craftsmanship will soon be forgotten. But with the discovery of Fayum Portraits, these painters were summoned from the death and given a new life. The world today recognizes their art and talent some 1,600 years after their death and celebrates their works in major museums around the world. And after centuries of forgetfulness and artistic amnesia, we now pay tribute to those anonymous artists and salute their craft. The works of their "sinful" brushes are now "sacred" artifacts to many art lovers around the world.
The Artists
Back to painters of Fayum Portraits, there has been some controversy on the identity of the artists. Some researchers believe that those artists were Greco-Romans. This is somehow, in my opinion due to racial bias of the historians of the 19th and 20th centuries who adopted a Euro-centrist approach to the origins of classical civilizations and culture. Martin Bernal, in his trilogy, "Black Athena", which might just as well have been titled "Egyptian Athena", describes this bias and ascertains that much of the achievements of these classical civilizations should be credited to the Ancient Egyptians and People of the Levant. Why would Greco-Roman artists be found in such abundance in Fayum of all places? It only makes sense that these artists were Egyptian, and that their art is the natural progress of Egyptian arts depicted on the walls of tombs and temples for several thousands of years.
The Faces
Not only did the painters were Greco-Romans, some historians claim that the persons, the deceased depicted in those portraits also represent Greek settlers in Egypt. Those historians provide their theory that "It is estimated that as much as 30 percent of the population of Fayum was Greek during the Ptolemaic period, with the rest being native Egyptians." But, why would Greeks be concentrated in Fayum of all places, and why would they adopt these funerary traditions evidently Egyptian in origin and spirit? Examining the faces, they appear to be typically Egyptian, faces you would still see today walking the streets of towns and villages of Egypt.
Mummy portraits have been found in all parts of Egypt, but they are especially common in the Fayum area, particularly from Hawara and Antinoopolis and this is why they acquired this common name. "Fayum Portraits" should, therefore, be thought of as a stylistic, rather than a geographic, description [3].
The evidence, however, shows that when the dental morphology [1] of the Roman-period Fayum mummies was compared with that of earlier Egyptian populations, it was found to be "much more closely akin" to that of dynastic Egyptians than to Greeks or other European populations. So much for the subjects of these portraits being Greek! One can start to question the alleged Greek identity of the painters as well!
The Art
In an attempt to downplay the artistic value of these portraits, some analysts suggest that the Portraits were sort of mass produced. That they followed some sort of repetitive "templates" which the artists adapted to the specific faces of the subjects. Although there exists common features between certain portraits, many of the Fayum Portraits discovered, however, show unique captivating features which strike you with the depth of the Character of each person. We cannot imagine how this could have been possible using such mass-production techniques. And even if in some cases such mass-production techniques were used, it can only take place when art is well-developed on the hands of Masters, such that less famous painters can imitate and mass-produce such authentic and genuine artistic advances. But according to Walker [2], "C.A.T. scans of all the complete mummies represented reveal a correspondence of age and, in suitable cases, sex between mummy and image, confirming that the paintings were made at the time of death. In addition, some portraits were painted directly onto the coffin; for example, on a shroud or another part." This further shows that the portraits were in fact individually painted and limits the validity of the mass-production claims.
The dry weather of Egypt undoubtedly helped these paintings to survive centuries of neglect such that we can see them today almost intact and in such excellent condition which allows us to appreciate the art and beauty of these works. Together with the surviving frescoes and objects from Pompeii and Herculaneum, and tomb frescoes in Macedonia, Fayum portraits are the best preserved paintings from ancient times and are renowned for their remarkable naturalism.
Many museums around the world have fine examples of Fayum mummy portraits on display, notably the British Museum, the Royal Museum of Scotland, the Metropolitan Museum of Art in New York and the Louvre in Paris.
Oblivious
So, why then are these portraits not famous? How come we never heard about them before in Egypt? I believe that religious sentiments prevented these masterpieces from becoming local heroes at home and subsequently worldwide. The Portraits date back to what is known in Egypt as the "Coptic Period", to approximately mean the time when Egypt was predominantly Christian. This period is viewed with hostility by the authorities which prefer to connect Egypt more with its Islamic, rather than Christian heritage. But this is quite unfair for a number of reasons. First, we have not seen any Christian icons or symbols worn by the subjects. These portraits date back to the period between 1st and 3rd Centuries A.D. Egypt was then divided between old religions such as the Isis Cult, Hermetic traditions, Gnosticism and Christianity. And because of the funerary traditions observed in the mummies, it is unlikely that the subjects were indeed Christians. In fact, the title "Coptic" simply means Egyptian, derived from the Greek word describing Egypt "aiguptios", a word then modified by the Arabs to "Copts" which they used to refer to native Egyptians. On the other hand, until when can we ignore this "Coptic" period? We believe it is time Egyptians make peace with their past in its entirety.
Face the Ancestors
So, here they are, faces of the Ancestors, looking at us from centuries long-past, they are denied their Egyptian Identities by the Europeans, and denied resurrection by their own countrymen. But we believe that they deserve resurrection. They deserve recognition. And if we owe the living respect, we owe nothing to the dead but the truth.
ما حدث في نجع حمادي وفرشوط والاسكندرية والكشح وغيرهم وسوف يحدث ويتكرر في أماكن وصور أخرى، هو نتيجة مؤسفة لحالة الهيستريا الدينية وفيروس الهوس الديني الذي تسلل إلى كل ركن من حياتنا حتى أصبحنا مرضى نفسيين عصابيين محاصرين في عقولنا بتمتمات وهمهمات تكرارية تشل تفكيرنا وحركتنا ونمونا.
المرض ليس فقط في عقل من أطلق الرصاص، بل هو في عقل وضمير الأمة ... في الإعلام، والتعليم، والأمن، ومجلس الشعب وكل سلطات وهيئات الدولة.
الفيروس تسرب إلى الكتب والصحف والمجلات والخطب والمسلسلات والأفلام والملابس والأعياد والعادات والتقاليد.
الفيروس يقتلنا ببطء ونحن سعداء راضين.
الفيروس نشاهده ونسمعه ونلبسه ويلبسنا ونأكله ونشربه مع كل وجبة ونهز رؤسنا مأمنين.
الفيروس موجود في كل شريط كاسيت بيحكي عن الثعبان الأقرع.
في كل فتوى بتقولك إن جارك كافر ويستاهل الحرق في جهنم وأوعى تصاحبه.
في كل خطبة صاحبها بيزعق وبيكفر أصحاب الديانات "المحرفة".
في كل كتاب مدرسي بيرسخ الإقصاء والبلطجة الدينية.
في كل تليفزيون مليان ناس بينصبوا باسم الدين.
في كل جماعة سياسية بتضحك على الشعب باسم الدين.
في كل كتاب أصفر بيفسر الدين على مزاج ناس ماتوا من ألف سنة وبيحرم الاجتهاد.
في كل قرار سياسي بيستغل الدين والجماعات الدينية عشان يبرر وجود نظامه المستبد.
في كل برنامج بيستهدف غسل مخ الناس وتشريبهم خزعبلات لا علاقة لها بالحياة ولا بالعلم ولا حتى بالدين.
في كل ميكروفون عالي بيجبر المسلمين وغير المسلمين انهم يسمعوا الصلاة والخطبة بالعافية.
في كل مطران أو أنبا أو شيخ أو بابا عايز يرسخ سلطته السياسية من خلال الدين.
مظاهر الهوس الديني في السطور المنشورة
من ضمن أعراض الهوس الديني أن ننظر لهذه المظاهر بصفتها أشياء إيجابية وخيرة بينما هي أشياء سلبية تمزق الوطن وتغيب الشعب في قشور وطقوس وهمهمات وخرافات وأفعال تكرارية هوسية لا طائل من ورائها
المريض بالهوس كثيراً ما لا يرى أنه مريض
بل يظن أنه سيد العاقلين وأنه المهدي المختار لإنقاذ البشرية وهدايتها
تعجبت من العديد من الزملاء الذين أخذوا في انتقاد الفريق المصري لسجوده بعد إحراز الأهداف أو الانتصارات.
والشعب المصري بفطرته ومنذ فجر التاريخ عرف أن للكون نظاماً رائعاً فآمن بهذا النظام من خلال العديد من الديانات والفلسفات والتجليات الروحية.
من غير المنطقي ومن غير الليبرالي أن ننتقد الآخرين لأنهم يؤمنون بمعتقدات تختلف مع معتقداتنا، طالما لا يضرنا هذا بشيء بينما نجدهم يستمدون طاقة إيجابية من هذه القوة الدافعة الروحية.
تحية مصرية لمنتخب الساجدين - القوة الدافعة الروحية لا يمكن الاستهانة بها، ولا يمثل هذا دعوة للتواكل أو الدروشة، لكن الإيمان في جوهره هو إدراك لوجود نظام رائع لهذا الوجود، وهذا الإدراك يتجلى في معادلات فيزياء الكم كما يتجلى عند مشاهدة أصغر خلية حية
Having humbly coined the term "Religious Hysteria" myself to describe religionizing every activity from going to the toilet to riding an elevator, I guess I also have the right to say this. It is perfectly normal for someone to thank their chosen God when they manage to achieve a significant accomplishment.
تحدثنا من قبل عن فيروس الهوس الديني، وما يحيط به من مظاهر تطرف وأفعال تكرارية هوسية عصابية، وأمراض متعددة بدءاً بكراهية الآخر والعجز عن التعايش السلمي معه، والامتناع عن التفاعل الصحي مع المجتمع – بدءاً بالاختباء وراء النقاب أو الهجرة العقلية للقرون الأولى، أو الهجرة المادية - وصولاً للإرهاب ومحاولة إزالة الآخر تماماً من الوجود
منابع ومسببات الفيروس كثيرة ومنها
قيام جماعة الإخوان المسلمين والجماعات الإسلامية بخلق حالة من الهوس الديني لتسهيل سعيهم نحو السلطة - فيروس الهوس الديني تسرب لوعي ملايين المصريين من خلال المساجد - الكتب الصفراء - أشرطة الكاسيت - الإعلام الرسمي - الإعلام الموازي - التعليم - ... إلخ
تحالف بين مؤسسات الاستبداد العسكري ولاستبداد الديني (الضباط الأحرار والإخوان) - (السادات والجماعات) ... لتحقيق أهداف سياسية - مثل - رغبة السادات في القضاء على التيار اليساري من خلال تمكين التيار الديني (دولة العلم والإيمان - الرئيس المؤمن - تقفيش الطلبة اليساريين وتمكين المتأسلمين – تعديل المادة الثانية من الدستور لتغيير طبيعة الدولة نحو الدولة الدينية ... ) وهكذا
ضعف الدولة الرسمية وعجزها عن القيام بدورها في التعليم والصحة والرعاية الاجتماعية - فلجأ الناس للدول والدويلات الموازية - سواء الخدمات التي يقدمها الجامع أو الكنيسة ...(أنظر الدولة الموازية)
سعي حثيث من الكنيسة لأن تصبح الـ سلطة الـ سياسية التي تمثل المسيحيين وتدافع عن قضاياهم المدنية والسياسية –أنظر التمييز الديني – رؤية ثقافية
الأفكار العنصرية المتخلفة للإخوان والسلفيين والدعاة المتعصبين التي تنتقص من مواطنة غير المسلمين وتفتئت على حقوقهم
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المجتمع اليوم مريض بفيروس الهوس والتطرف الديني، وعلاج هذا لا يكون بترك الدين - بل بإصلاح الفكر الديني الإسلامي والمسيحي - علاوة على إصلاح الفكر المدني العلماني في مصر أيضاً – ونبذ التطرف واحتكار الحقيقة واحترام الأديان والمتدينين - وإفساح المجال أمام القوى السياسية والفكرية المدنية ومحاربة الغلو في كل مكان بنشر أفكار التسامح والتعايش، ومدينة التعليم والإعلام والسياسة، إلخ.
