<i>Whoosh!</i> Issue 76 - March/April 2003


Page 2


Note 01:
Aristotle. Poetics. Trans. Stephen Halliwell. Loeb Classical Library, Harvard University Press, 1999. Section 1453a.
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Note 02:
Cf. Robert Weisbrot. Xena: Warrior Princess - The Official Guide to the Xenaverse. New York, Doubleday, 1998, page 220.
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Note 03:
Leon Trotsky. My Life. Penguin, 1988, page 494.
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Note 04:
THE PRICE, Act III, Sc. 5, Whoosh! Transcript
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Note 05:
"War [is] a real political instrument, a continuation of political commerce, a carrying out of the same by other means." Carl von Clausewitz. On War. Penguin Ed., 1982, page 119.
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Note 06:
"War therefore is an act of violence intended to compel our opponent to fulfill our will." Clausewitz, ibid., page 101.
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Note 07:
Trotsky. Their Morals and Ours. New York, Pathfinder, 1974, pages 24-25.
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Note 08:
Machiavelli. The Prince. Chapter XV. Translation W.K. Mariott March, available in the Marxists Internet Archive, as in the Marxists CD Archive, 2002 ed, Reference Writers section.
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Note 09:
Machiavelli. The Prince. chapter XVII.
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Note 10:
Trotsky. My Life. Page 427.
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Note 11:
Kym Taborn called my attention to NAKED PREY, and the influence of ZULU is acknowledged by Steven L. Sears in his interview to Bret Ryan Rudnick ("An Interview with Steven L. Sears", Whoosh!, issue 22, July 1998, paragraphs [127] to [134]). Also, I had a look at the Amazon.com site and the Internet Movie Database.
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Note 12:
Marcel Detienne & J.P, Vernant, Les Ruses de L'Intelligence: La Mètis des Grecs, Paris, Flammarion, 1974, page 302.
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Note 13:
THE PRICE, Act II, Sc.4.
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Note 14:
Machiavelli, The Prince, chapter XXVI.
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Note 15:
THE PRICE, Act II, Sc.5. Cf. Lee Reams, "A Price Second To None," Whoosh!, issue 64, January 2002, paragraph [14]
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Note 16:
Clausewitz, On War, pages 116-117.
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Note 17:
Cf. Robert Weisbrot, The Official Guide, op.cit., page 220.
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Note 18:
In itself, that is real enough, but the Gabster is still miles away from the self-righteousness that would become the hallmark of the character later, as in the Missy Good episode LEGACY [117/605].
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Note 19:
Weisbrot, ibid., loc.cit.
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Note 20:
Trotsky, Their Morals and Ours, page 51.
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Note 21:
Trotsky, ibid, page 49.
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Note 22:
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Note 23:
Cf. Reams, "A Price Second to None", op.cit., paragraph [19].
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Note 24:
Lasting popularity of Clausewitz as a military thinker is due mostly to the quality of his writing, but also to the fact that he was constantly quoted by Marx's friend (dare I say soulmate?) Engels, who was a military history buff, therefore becoming a mandatory reference for all Marxists hence.
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Note 25:
Sun Tzu, Art of War, III, 2. Translation from the Chinese by Lionel Giles, available at the Marxists Internet Archive, as also in the Marxists CD Archive 2002, Reference Writers section.
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Note 26:
ibid., III, 18.
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Note 27:
Ariel Dorfman and Armand Mattelart, How to Read Donald Duck, New York, International General, 1991, page 48.
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Note 28:
Reams, "A Price Second to None", op.cit., paragraph [18].
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Note 29:
Carolyn Skelton, "Xena and Gabrielle Go Camping: Artifice, Exaggeration, Parody, and Masquerade", Whoosh!, Issue 35, August 1999, paragraph [62]. For the sake of exactitude, I must also admit that the moribund "Brazilian" Horde soldier at the beginning of Act III could also have chosen to paint himself with the colors of Jamaica, or, probable for a series filmed in New Zealand, the Solomon Islands. However, Jamaica and the Solomon Islands do not appear much at the Soccer World Cup.
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Note 30:
Marx and Engels, The German Ideology, Moscow, Progress, 1976, page 49.
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Note 31:
Machiavelli, The Prince, chapter V.
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Note 32:
Something that has direct relevance here: in a superb doctoral dissertation about the societal relevance of the Xena: Warrior Princess fandom phenomenon, fully available on the Internet, Christine Boese remarks that, in order to fully appreciate the unconventional, middle-class dissenter character of hardcore nutball Xenite fandom, one must do as she did by forswearing any (vulgar) Marxist-like approach: "I had no previously conception of a 'false consciousness' from which I was going to help Xenites break free. Mine was a kind of dialogical activism, learning from Xenites in the way advocated by [Paulo] Freire, as well as Sullivan and Porter."
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Note 33:
THE PRICE, Act IV, Sc.7.
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Carlos Eduardo Rebello de Mendonça, "In Illo Tempore: An Introduction to a Marxist Analysis of The Making of a Postmodern Mythology in Xena: Warrior Princess," Whoosh! #49 (October 2000)

Carlos Eduardo Rebello, "The Death of the Lidador: Joxer's Death and the Problem of Self-Fulfillment," Whoosh! #55 (April 2001)


the author Carlos Eduardo Rebello
I am an Associate Professor of Sociology at the Rio de Janeiro State University since 1993. Received my Ph.D in 1996, at the Graduate Studies Institute of Rio de Janeiro (IUPERJ) in 1996, with a thesis about the sociological relevance of J.M. Keynes' economic theory. Afterwards, I engaged in the writing of a (still unpublished) manuscript on Trotsky's writings. I have been increasingly concerned with the problem of the intellectual roots of postmodern thinking, especially in the field of mass culture. Having been besides an Ancient History buff since my teenage days, I eagerly seized the opportunity to write the work above, which I later developed as part of course (both in undergraduate and graduate level) on Mass Culture taught between 2001 and 2002 and expect soon to expend into book-length. Published in 2002 my first book chapter, a review of the work by Marxist historian Ellen Meikisins Wood on slavery in Classical Athens.

Favorite episode: Of course, THE PRICE (44/220);but also WHEN FATES COLIDE (130/618), a masterwork of compression of the best in the series.
Favorite line: The "This is war!" line in THE PRICE (44/220), but also Xena to Julius Caesar in WHEN FATES COLLIDE (130/618): "No matter what life you live, you'll always be scum. Not even the Fates could change that."
First episode seen: By some coincidence, SINS OF THE PAST (01/101), in 1998.
Least favorite episode: THE GIANT KILLER (27/203) because it could be good but it failed. MARRIED WITH FISHSTICKS (105/515) is so bad that it falls in a category by itself; it is so bad that it is actually good, in the way of an Ed Wood movie.



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