Wednesday, November 18, 2009

and what about Jocasta?




I am currently reading “Jocasta’s children” by Christiane Olivier and lately everyone around me talks (usually in bad terms) about motherhood. It makes me wonder why… But I won’t write about the book now. There are too many thoughts based on this book and the charming style of the apparently pop writing on very complicated concepts. What I want to explore a bit is Winnicot’s idea of the “good-enough mother”. Because I had too much Freud and Lacan lately, I need a break from the phallic fathers. For Winnicot the mother is not absent and she is not frustrating the child, she is the positive presence. The real question here is if Winnicot’s theoretization of the mother is positive or not. And I think not. The mother is important but she has no desire, she is not scary, she is not aggressive, she has no orgasms, she is just an objective presence, the good-enough mother. Running away from Lacan, I end up in a bigger trap: Winnicot’s mother is not a real woman, she is just another misogynist myth, a male phantasy, a beautiful ideal. The good enough mother is the source of ultimate blame for real mothers. Because no one can achieve the good-enough high standards that patriarchal cultures impose for women (where the mother is the only one responsible for child care). This social aspect is devastating for the individual mothers, for children and for society at large. The good-enough mother has to be repressed by society for her too much power, for the fear of infantile helplessness. Men deny their helplessness and construct their domination attitude towards the world and their heterosexuality, where the gender roles are kept imbalances and mothers are in control, just not to become too good and too powerful.  The external ideal of the mother is the perfect patriarchal blame in the Oedipal travel. And that brings back Olivier’s book and what we still tend to forget: what about Jocasta’s desire for Oedipus?  

Tuesday, November 17, 2009

The single story

Chimamanda Adichie gives a mind blowing lecture on single stories (with a lot of personal examples and a focus on the single story of Africa). Her criticism on the single storytelling is very convincing and makes you wonder about your own construction of stereotypes, easy readings of  otherness and the function of tourism (I always had in mind this type of single story when I hear touristic stories from far away lands and people, all these stories are so similar and unidimensional). After hearing Chimamanda Adichie, all my single stories came to mind and I was fascinated by her not-so-Foucauldian definition of power: Power is the ability not just to tell the story of another person, but to make it the definitive story of that person. 

The single story has serious implications when power is involved: besides the othering/objectification of a person or a group of people as an unified universalized/atemporal object, the single story is "what they become" and no one can beat the white colonial man at telling single stories (I am just curios, aren't they bored by the monotony of their own storytelling? I am. completely. ). But better watch the whole 20 minutes of wisdom:




via Sociological Images

Friday, November 6, 2009

Falling in love

Minsky explains it so nice and simple in her chapter on Freud: "Before we are able to fall in love with another person, we fall in love with our mother's breast, our faeces, our clitoris or penis because they give us pleasure, and importantly, our first primitive sense of identity." I always think of this when I observe children or I hear remarks related to them: experiences of self are based on pleasurable sensations. When old people apparently "become children" they return to pleasurable sensations: their pleasurable pain is an expression of love and getting in touch with a body that is feeling (beyond sexual difference, phallic phase and Oedipus). This does not necessarily apply to heavily sedated Americans.

Monday, November 2, 2009

quote of the day



An actor working for the new class needs to re-examine all the canons of the past. The very craft of the actor must be completely reorganized.”                          (Vsevolod Meyerhold)

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