Žurnāla «Time» 100. numurā (1999.) Ariēls Dorfmans rakstīja, ka Če Gevaras neskaidrie nāves apstākļi tikai pastiprināja viņa pielūgšanu. Komentējot fotogrāfa Fredija Albortas leģendāro Če Gevaras pēcnāves fotogrāfiju, kas visai pasaulei kalpoja kā pierādījums, ka revolucionārs ir miris, A. Dorfmans rakstīja: «Kristum līdzīgais augums gulēja gultā miris, taču spocīgā izskata acis lika domāt, ka tās tūdaļ atvērsies; šie bezbailīgie pēdējie vārdi («Šauj, gļēvuli, tu nogalināsi tikai cilvēku!»), ko kāds izdomāja vai arī dzirdēja; anonīmā apglabāšana un izlauztās rokas, it kā nogalinātāji vairāk baidītos no miruša nekā dzīva: tas viss iededzinājās to neaicinošo laiku apziņā un atmiņā. «Viņš augšāmcelsies!» kliedza jauni cilvēki 1960. gadu beigās; es atceros dedzīgos saukļus Čīlē, Santjago ielās, kuriem līdzīgi saucieni eksplodēja visā Latīņamerikā.»
(c) Wikipedia

"Mēs paziņojam pasaulei, ka Kadafi ir miris revolūcijas gūstā. Tas ir vēsturisks brīdis. Tas ir tirānijas un diktatūras gals. Kadafi ir sagaidījis savu likteni," paziņoja Pagaidu pārejas nacionālās padomes preses sekretārs Abdels Hafezs Goga valsts austrumu pilsētā Bengazi.
(c) Diena

Vladimirs "Ļeņins" Uļjanovs vs mūmija iekš Britu muzeja.

Slavenā "Ars Moriendi" otro, ilustrēto versiju ir iespējams digitāli pašķirtsīt šeit.

Īss komentārs:

By 1400 the Christian tradition had well-established beliefs and practices concerning death, dying, and the afterlife. The Ars Moriendi packaged many of these into a new, concise format. In particular, it expanded the rite for priests visiting the sick into a manual for both clergy and laypeople. Disease, war, and changes in theology and Church policies formed the background for this new work. The Black Death had devastated Europe in the previous century, and its recurrences along with other diseases continued to cut life short. Wars and violence added to the death toll. The Hundred Years' War (1337–1453) between France and England was the era's largest conflict, but its violence and political instability mirrored many local conflicts. The fragility of life under these conditions coincided with a theological shift noted by the historian Philippe Ariès whereas the early Middle Ages emphasized humanity's collective judgment at the end of time, by the fifteenth century attention focused on individual judgment immediately after death. One's own death and judgment thus became urgent issues that required preparation.

To meet this need, the Ars Moriendi emerged as part of the Church authorities' program for educating priests and laypeople. In the fourteenth century catechisms began to appear, and handbooks were drafted to prepare priests for parish work, including ministry to the dying. The Council of Constance (1414–1418) provided the occasion for the Ars Moriendi's composition. Jean Gerson, chancellor of the University of Paris, brought to the council his brief essay, De arte moriendi. This work became the basis for the anonymous Ars Moriendi treatise that soon appeared, perhaps at the council itself. From Constance, the established networks of the Dominicans and Franciscans assured that the new work spread quickly throughout Europe.
( ... tālāk ... )