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Blackshirt 10/12/2020 (Mon) 22:31:44 ID: 875fba No.10395
Bought this just now. $7usd ebook. Looks a lot like what we've all been talking about for the last several years. I'll look into what is required to de-drm it so I can upload it here (too new for libgen and b-ok to have it) for you, but failing that it's cheap.
>>10395 Hopefully you are able to get it uploaded, I know I would appreciate it and most likely several anons here would as well. It certainly looks interesting.
Getting good already
>>10560 Why does it seem like you're on a timer?
>>10565 I think (could be wrong) that it's some sort of weird estimate of how long one has left in a chapter if they are reading at a given reading speed.
"Let us introduce a nuance in understanding the fight, combat, battle which uncovers a fine distinction between the possible authenticity and non-authenticity of Dasein on the battlefield. A warrior may advance to face his enemy in two different ways. First is to don one’s best war gear, chain mail, guards, noble helmet, to take the sword adorned with gold, mount a stately warhorse, surround oneself with an equally noble and impressive suite, ensigns, flags, and command to blow into horns and beat the drums. Second is to face the enemy bare, smeared with soot or ash, intoxicated with substances, or in a frenzy without any external impact, with only a simple and reliable sword and a wooden shield. The first is the konung, jarl, king as an embodiment of the will to power, who shares some of his status with things (a personalized sword, ensign, decorated horse) and delegates it to the suite (noble clans, sons, vassals). The heat of belligerence here is abated by the beauty of representation of might (Macht) through surrounding people and things, for such beauty demands ipso facto power and will to not let it go, to keep it by the lord. At the same time it does not mean that such a warrior lacks valour, courage, the knowledge of martial art, the skill and the nobleness of prosecution of war. But this environment of luxury, of things and men, already dissembles a distance and alienation from the element of war, the conversion of its flames into the lustre of dress, of gold, of fame. This is the path of the warrior of the Right Hand. The second path is the one of the warrior whose nature is closer to the element of war, frenzied and in divine possession of the As Odin. He is perfectly indifferent to the material store and property he might or might not have. He enters the battle as if he were already dead, non-present as a person, but only a warrior for the sake of the battle here-and-now, during which he blazes up with an authentic mode of being. The vivid examples of such warriors are berserkers and úlfhéðnar (wolf warriors) and mythical einherjars, who spend their days fighting each other. De-personalization of such a warrior is conducted not only through de-identification with material attributes (getting bare-chested, smearing with dirt and ash, intoxication), but sometimes through possession by a beast’s spirit — the one of a bear or wolf, which he had to overcome during the initiation and gaining aegis of this beast as a martial totem. For such a warrior the battle-and-death is the life-here-and-now. While life and death here is correctly understood not through dialectics of thesis and antithesis which are sublated in the synthesis of transfer “through death to a new life.” On the contrary, life and death must be comprehended literally as simultaneous, synchronous, as the same one action indeed, in the spirit of Zen-koan that breaks conventional and customary logic (generally speaking, it should be renounced at all, when it comes to myth and the question of beyng). Only when openly going to his doom, the warrior is living a fully authentic life. During a truce a warrior lives the life “borrowed” from death and the battle to be. This is the path of the warrior of the Left Hand." ~Svarte, Gods In The Abyss
>>10565 I assume it's >>10566 I have never actually used Kindle before, I generally buy physical books or pirate them from libgen or b-ok and read them on FBreader or Ebookdroid.
Sorry the formatting in these copypastes are so fucked "Another Icelandic word translated as giant, titan is Jötun or Jötna, a masculine noun from the strong verb “eta,” meaning “to eat,” “to eat up.” Therefore the name Jötnar stands for the “gorging,” “devouring.” As long as this process gives name to them, it might be inferred that such endless devouring is provoked by an endless hunger that is shortage, deficiency, which cannot be satisfied. Eating is an act of appropriating, placing food or anything that sinks in the mouth into oneself, into a cramped chthonic womb. Jötnar are “cold-blooded” creatures, icy and suffering an endless hunger, shortage, deficit — according to their nature. But the question is: why is a Jötunn called hrímkalda, mildly-cold, non-frosty instead of hot, which would be natural if it comes to devouring things and hiding them in the womb? It is supposed to be hot where things are digested, being treated with heat and acids to be broken down. But Jötnar are hrímkalda, rime-giants. A constant hunger, essential indigence coupled with not hot but a cold womb, present a chthonic appropriative nature of these giants in Germanic myth. Their perception is the perception of devouring, even fire is perceived as merely the fastest and most ravenous devourer of all (see “The Ballad of Alvís”; the tale of Thor’s travel to Utgard in the Prose Edda book Gylfaginning, chapter 44). The Jötnar devour all things in existence without digesting, they only hide, appropriate to their wombs with no purpose of remaking, converting things into something new, they cannot help but shove everything into their buried rocky rime bosoms, they act only by operation of indigence. Translating the simple, as it seems, statement that Ymir was a rime giant, we tend to use a simple image, which our mind promptly offers of a gigantic creature with blue skin covered with hoarfrost and ice. But doing so, we miss the essential understanding of this mythological figure. In “The Prophecy of the Völva,” she states that the first entities to emerge from the Gaping Abyss were Jötnar, the devouring. But is it possible for them, as for any other figures and things, to emerge prior to their essence, and to become what they are, to become essential afterwards? Were this the case, certain entities would have emerged, which later, in the process of devouring, would have become “the devouring creatures,” Jötnar, therefore obtaining their essence. But the Völva is unambiguous: Ek man jötna — “Jötnar I remember” — that is, those-who-are-already-Jötnar. So the essence of “the devouring Titans” is not constant eating upon their emergence; by which they gain their name and nature, but the other way around: Jötnar emerge only because and when a devouring indigent essence present. A Jötunn is a Jötunn because he devours, or rather he is-as-the-devouring. He exists-in-devouring; in other words, the material incarnation of a Jötunn surges to meet its essence, which is “to-be-through-devouring.” So, hrímkalda jötun, the rime giant, is to be understood as “one who devours [things] in his poverty and conceals them in the rime-frosty entrails of the earth.” So, concealing of things is what the emergence of the “already-devouring” directly owes to. Ymir is the chief giant, or the first one, according to some sources. Slaying him, the Aesir create the world. It is described as re-naming his body parts: the bones become mountains; the skull becomes the heavens; the brain becomes the clouds, etc."
Continued: "What we clearly observe here is a common Indo-European motif of the proto-being dismemberment and fashioning the world out of his parts (see the myths of the cosmic man Purusha) and also a common magical practice of enchanting through the name, naming and re-naming things, casting a spell over one thing by giving it a name, and thus — the essence, of another thing. According to this, Ymir is pictured as an anthropomorphous creature, whose anatomic structure can be disassembled into separate organs, which can be assigned a new, elemental, rather than organic, nature. But following the understanding exposed above, Ymir appears to be of not biological, anthropomorphic, organic or natural nature. His nature is to conceal things in the cold bowels of the Earth through devouring them in his poverty. The devoured things are not digested, but only deprived of their own essence and life in the lightless realm, in some sort of [a transient] nonexistence, denial of things’ present being, of their representation as “here I am, alive and functioning, etc.” From this point of view, the slaying of Ymir, who was honoured as the main devourer, and further fashioning of the world — is discharging of the concealed in the womb after the death of the “devouring poverty.” Ymir’s scale is better understood given the fact that from his concealing womb the whole Germanic Cosmos comes out in its ordered form. To draw an analogy with re-naming magic dealing with Ymir’s body parts, we may say that, if the essence of Jötunn’s unparted existence is “to-conceal-through-eating-out-of-poverty,” then his death is the opposite: the revealing-through-non-concealment of the holistic integrity of things. What has been deprivation, reduction to a sort of nonexistence (non-presence), upon death turns into (being renamed) sufficiency, abundance, bringing everything to an ordered presence — which is the main content of the Greek term “κόσμος,” Cosmos. It is the Aesir who eliminate poverty, bringing Cosmos to an order and presence, a natural abundance. Now that we know more about the nature of the conflict between the Jötnar and the Aesir, we may notice that the metahistorical Titanomachy of the Aesir and Jötnar is the battle of the Gods and on the one hand and the indigence, deprivation, concealment-as-appropriation of the light by the chthonic Earth, concealment of the order of the universe (making it merely disappear or being scattered), the attacks of the “devourers” against non-concealed being — on the other. Once again we encounter war in the very foundation of the world. Characteristic traits of swallowing Titans can be plainly observed in the figures of the wolf Fenrir and the dog Garm who swallow the sun, the moon, and Odin during Ragnarök. The same traits can be found in a more distant reflection in folklore — in the grim (if read not sanitized, without modern adaptations) European fairy tale “Little Red Riding Hood,” where the Big Bad Wolf swallows her and her grandmother whole. The word Þurs in Old Icelandic means either “giant” or “sullenness.” Etymologically the root goes back to the Teutonic *thurs, from the Proto-Indo-European *ters, which means “dry.” The modern English “thirst” originates from the same root, the verb “thirst” has the shade of want, indigence — a typical Titanic trait of the Titans."
How much does it expect you to know about Heidigger?
>>10639 It holds your hand, don't worry.

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