Skip to main content

Chicken and egg problem (11 June 2009)

Re: An important new study has just been published giving good evidence

that states that

have higher gender equality and female security are more peaceful.

So the way to

have safer states is to give women rights.

Psychohistorians have also of course shown how violent patriarchy and ¨violence against¨women in earlier societies lead to more violent wars.

The study is: 'The Heart of the Matter" by Valerie M. Hudson et al, ¨International Security 33(2008): 7-45.

Lloyd deMause

Psychohistorians have of course also shown that imagining yourself giving praise to unsatisfied, embittered older women, at a time when previous prosperity has brought to looming proximity, the angry, disapproving, overwhelming Mother, is also a good way to buttress up your "good boy" status, and maybe delay the felt need for a day of reckoning a little while longer. Psychohistorians have of course also shown that the whole patriarchy-and-violence-against-women thing, is a bit of a chicken-and-egg problem, one not so much on the radar of those in a hurry to castigate patriarchy as worse than worse, as violent!, violent!, violent!. (Anybody remember a particular someone who made clear how, as brutal as it was, as based on fear/hatred of women (mothers) as it was, patriarchy was actually a step more civil -- less violent -- than all-is-dissolution matriarchy was? And yes, well loved children cannot but be egalitarians, and have no interest in either sex, in anyone, dominating the way.)

Link: Gender Equality (realpsychohistory, May 25, 2009)

Comments

Popular posts from this blog

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   


2) When Wade/Deadpool and Vanessa are excha…

"The Zookeeper's Wife" as historical romance

A Polish zoologist and his wife maintain a zoo which is utopia, realized. The people who work there are blissfully satisfied and happy. The caged animals aren't distraught but rather, very satisfied. These animals have been very well attended to, and have developed so healthily for it that they almost seem proud to display what is distinctively excellent about them for viewers to enjoy. But there is a shadow coming--Nazis! The Nazis literally blow apart much of this happy configuration. Many of the animals die. But the zookeeper's wife is a prize any Nazi officer would covet, and the Nazi's chief zoologist is interested in claiming her for his own. So if there can be some pretence that would allow for her and her husband to keep their zoo in piece rather than be destroyed for war supplies, he's willing to concede it.

The zookeeper and his wife want to try and use their zoo to house as many Jews as they can. They approach the stately quarters of Hitler's zoologist …

"Life" as political analogy, coming to you via Breitbart News

Immediately after seeing the film, I worked over whether or not the movie works as something the alt-right would produce to alienate us from the left. Mostly the film does work this way  -- as a sort of, de facto, Breitbart production -- I decided, though it's not entirely slam-dunk. There is no disparagement evident for the crew of the space station being a multicultural mix, for instance. Race is not invisible in the film; it feels conspicuous at times, like when the Japanese crew member is shown looking at his black wife on video conference; but the film maker, wherever he was actually raised, seems like someone who was a longtime habitat of a multicultural milieu, some place like London, and likes things that way. But the film cannot convince only as macabre relating to our current fascination with the possibility of life on Mars -- what it no doubt pretends to be doing -- because the idea of “threat” does not permeate this interest at all, whereas it absolutely saturates our …