Burning Fiercely 6 Letters
Burning Fiercely 6 Letters – TALLINN, Estonia (AP) — Moscow’s barrage of missile attacks on cities across Ukraine are drawing congratulatory comments from Russian officials and pro-Kremlin experts, who have been active in recent weeks criticizing the Russian military for a series of embarrassing setbacks in battlefield
Nationalist Russian commentators and state media war correspondents hailed Monday’s attack as a fitting and long-awaited response to Ukraine’s successful offensive in the northeast and south and the weekend attack on a key bridge between Russia and Crimea. The Black Sea peninsula, the glorious Russia, praised. It was connected in 2014.
Burning Fiercely 6 Letters
However, many argued that Moscow must continue the intensity of Monday’s missile attacks to win the war now. Some analysts have suggested that Russian President Vladimir Putin is becoming a hostage to the views of his allies on how to proceed with the campaign in Ukraine.
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Tatyana Stanovaya, founder of the independent think tank R.Politik, wrote in an online comment on Monday: “Putin’s initiative is weakening and he is more dependent on the circumstances and what makes him ‘victory’ (in Ukraine). .
“The fear of failure is so strong, especially for those who are now fully engaged in this military adventure, that Putin’s indecisiveness, with his logic of ‘we haven’t started anything yet’ and ‘stalled tactics have paid off’ has become a problem “, the analyst said.
Putin’s supporters have been calling for concrete steps on the Ukrainian battlefield for weeks. The calls increased over the weekend, shortly after an explosion on the Kerch Bridge connecting Crimea to Russia sent shockwaves around the world. The bridge, the longest in Europe, is a prominent symbol of Russia’s military might and was inaugurated by Putin himself in 2018.
“And?” Margarita Simonyan, head of state-funded RT television, took to social media to wonder about Moscow’s response to the attack on the bridge.
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“This is one of those cases where the country needs to show that we can fight back,” wrote Alexander Kots, a war correspondent for Russia’s leading tabloid, Komsomolskaya Pravda.
“It’s time for war! Strictly, even brutally. Regardless of Western criticism,” Sergey Mironov, a senior Russian lawmaker who heads the state-backed A Just Russia party, tweeted Saturday. “There will be no major sanctions. They don’t say worse things. We have to do our work. We started – we have to go to the end. There is no way back. It’s time to answer!”
The response came on Monday morning, with Moscow launching dozens of missiles simultaneously at Ukrainian cities, killing and wounding and causing untold damage to Ukraine’s critical infrastructure. The attacks, which hit 15 Ukrainian cities, most of them regional capitals, cut power lines, damaged railway stations and roads, and left cities without water.
For the first time in months, Russian missiles exploded in the heart of Kiev, dangerously close to government buildings.
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Putin said on Monday that the attacks were in retaliation for “terrorist” actions by Kiev targeting the Kerch Bridge, and vowed a “severe” and “appropriate” response if Ukraine carries out further attacks that threaten Russia’s security. bring
“Here comes the answer,” RT’s Simonyan tweeted on Monday after the attacks. “The Crimean bridge was a very red line from the beginning.”
The powerful leader of Chechnya, a Russian region in the North Caucasus, Ramzan Kadyrov said he is now “100%” happy with how the Kremlin’s “special military operation” is going. He was among the most ardent supporters of “harder measures”. in Ukraine, he even called for the use of low-yield nuclear weapons.
In addition, the happiness of the supporters of the Kremlin came with the request of Putin and the Russian army to continue with the speed and intensity of the attacks and damage to the infrastructure of Ukraine.
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Aksyonov emphasized in his statement that if such activities were carried out every day to destroy the enemy’s infrastructure, then everything would have ended in May and the Kyiv regime would have been defeated.
RT’s main host Anton Krasovsky, after posting a video of himself dancing on a balcony with a Z hat on, said in another Telegram post that the damage to Ukraine’s power lines is not enough! It’s not enough!”
Another state television journalist, Andrei Medvedev, called Monday’s attacks “a logical step, which not only demands society for a long time – the military situation demands a different approach to hostilities.”
“And so it was. But does it change much?” Medvedev, who works for Russia’s state television group VGTRK and is a member of the Moscow City Council, wrote on Telegram.
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“If strikes on critical infrastructure become regular, if strikes on railways, bridges and power plants become part of our tactics, then yes, it (situation) changes.” But so far, according to (official) statements, no decision has been made to enter Ukraine into the Middle Ages,” Medvedev wrote.
Political analyst Stanova noted in a Telegram post on Monday that there had been “strong pressure” on Putin to “go for aggressive actions, big bombs” and that he had to act.
“As of today, one can say that Putin agreed to take a more aggressive line. And it is related to his understanding of the situation. But it’s a drain – there’s no way back,” Stanovaya wrote.
Black News Hour Presented by The Boston Globe by Black journalists at The Boston Globe, “Black News Hour,” a new radio program, provides credible news that connects with our community and addresses deeper issues that affect expanding in our city. War/Image, on view from November 11 to February 3, is an impressive, comprehensive exhibition at the Museum of Fine Arts, Houston. As chief curator Anne Wilkes Tucker explains in the excellent catalogue, that’s the key to the title: this is not just a show of war photographs. It is a demonstration and exploration of the relationship between the two and how that relationship has changed. There are many scenes of war, but the water field extends beyond the battlefield – both in space and in space – to include the preparations for war, the refugees fleeing its aftermath, the damage to property and the physical and psychological consequences of conflict. Photographs taken by some of the most famous photographers – more than 280 are on display – in medieval history, by aerial reconnaissance units and unknown fighters and civilians, photographs from the archives of photo agencies such as Magnum, military and personal archives. to pull. family albums. It’s a wonderful show, full of familiar pictures, surprising new ones and – if one consults the catalog – surprises about famous pictures.
Allison Collection December 1943
More than a few featured images are either fake or fabricated. That is, to put it very simply, because the blurring of the distinction between “real” and “organized”, or “real” and “fake”, becomes one of the themes of the show. The problem emerges from the start, with a pair of famous Roger Fenton photographs of Death Valley (1856) from the Crimean war – one of which shows more cannon fire than the other. (slide #1) The science battle that was first photographed continues furiously. I thought this question was definitively addressed by Errol Morris in his book
But John Stauffer in the catalog argues for the opposite conclusion. The “Dead Rebel Sharp Shooter” was dragged into Alexander Gardner’s famous photo from the Civil War (slide #2) where he appears to be dead and is positioned in a way that the rifle – not his, but carrying an accessory. by the photographer – added extra pathos.
As in the Civil War, in the First World War: it was impossible to photograph the real war. One of the reasons why the famous footage of soldiers marching overhead during the Battle of the Somme is fake because it’s on film. Filmed on a training ground, it shows a soldier being shot, falling down, looking at the camera – and folding his arms before dying. Among the most striking photographs of the war, James Frank Hurley’s “An Episode After the Battle of Zonnebeke” (c.1918) (slide #3) appears to be a coherent expression of our idea of the Western Front – because, as it turns out, it is a composite print made from multiple negatives. As Siegfried Sassoon wrote in his poem “Cinema Hero”: “It is true / It somehow never happened.”
The complexity of Hurley’s image contrasts with Wesley David Archer’s image of a pilot escaping from his burning plane (c.1933) (slide #4). It’s a picture full of uncertainty because we don’t know if the parachute will open. All we know now, thanks to his widow, is that it was built with a model airplane. Armed with this knowledge you go back to the original and… it still looks amazing! You don’t feel so much cheated by it as an admirer of someone who could create such a truth after (or independently of) the truth.
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Everyone is familiar with the suspicions surrounding Robert Capa’s “Death of a Loyal Militia” (1936) (slide #5) during the Spanish Civil War. No one