- Sep 22, 2013
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Oliver Cromwell was an English politician and a fierce pragmatist in the tumultuous earlier days of controversial changes in British monarchy. He is remembered for instilling ideas about incendiary and libertine (and even dangerous) critique of monarchy itself.
Ma Barker was a notorious American bank robber in a time of social unrest and she formed a deadly bandit band with her daring and wayward sons and effectively became an icon of outlaw philosophy.
Rasputin was a controversial and relentlessly efficient Russian ruler whose radical and strongly-challenged beliefs in oligarchy established him as a figure of governance might.
There is value in understanding how these three intriguing historical figures are related, since, arguably, they all evoke considerations of unusual social organization complexity as it relates to 'daredevil' courage.
I'm thinking of the cult-favorite street justice themed Tim Burton film "Batman Returns" (1992) which presents the story of a psychologically scarred vigilante named Batman who tackles three ominous nemeses named Penguin (a demonic crime-master), Catwoman (a cunning stalker), and a terrible tycoon named Max Shreck (a dangerous man who capitalizes on human frailty).
Penguin, Catwoman, and Shreck are characters Burton uses to create a portrait of why and how the human mind creates a mosaic of 'villains' to understand social organization.
Perhaps Cromwell, Barker, and Rasputin somehow fit together in a crusader puzzle.
Why do we feel hypnotized by daredevil behavior? Do we invite people to take outrageous risks on our behalf? Are daredevils simply the flip-side of hero cops?
Every time I sit down to write a note about the nobility and heroism associated with police forces such as the fabled and esteemed Scotland Yard, I can not help but feel equally interested in writing about the intrigue and bravado associated with rogue outlaws, daredevils, and iconoclastic rulers such as Rasputin.
Should I feel haunted by this mental dichotomy? How do I explain to my son that daredevil courage is as intriguing as jurisprudence and civil procedure when he asks me about "Batman Returns" (1992)?
I feel I can not continue writing about this subject without coming to some sort of personal resolution in my mind, lest I go mad.
Ma Barker was a notorious American bank robber in a time of social unrest and she formed a deadly bandit band with her daring and wayward sons and effectively became an icon of outlaw philosophy.
Rasputin was a controversial and relentlessly efficient Russian ruler whose radical and strongly-challenged beliefs in oligarchy established him as a figure of governance might.
There is value in understanding how these three intriguing historical figures are related, since, arguably, they all evoke considerations of unusual social organization complexity as it relates to 'daredevil' courage.
I'm thinking of the cult-favorite street justice themed Tim Burton film "Batman Returns" (1992) which presents the story of a psychologically scarred vigilante named Batman who tackles three ominous nemeses named Penguin (a demonic crime-master), Catwoman (a cunning stalker), and a terrible tycoon named Max Shreck (a dangerous man who capitalizes on human frailty).
Penguin, Catwoman, and Shreck are characters Burton uses to create a portrait of why and how the human mind creates a mosaic of 'villains' to understand social organization.
Perhaps Cromwell, Barker, and Rasputin somehow fit together in a crusader puzzle.
Why do we feel hypnotized by daredevil behavior? Do we invite people to take outrageous risks on our behalf? Are daredevils simply the flip-side of hero cops?
Every time I sit down to write a note about the nobility and heroism associated with police forces such as the fabled and esteemed Scotland Yard, I can not help but feel equally interested in writing about the intrigue and bravado associated with rogue outlaws, daredevils, and iconoclastic rulers such as Rasputin.
Should I feel haunted by this mental dichotomy? How do I explain to my son that daredevil courage is as intriguing as jurisprudence and civil procedure when he asks me about "Batman Returns" (1992)?
I feel I can not continue writing about this subject without coming to some sort of personal resolution in my mind, lest I go mad.
