Political Correctness; the death of Satire and critical thought

“What are the effects of this new protectiveness on the students themselves? Does it benefit the people it is supposed to help? What exactly are students learning when they spend four years or more in a community that polices unintentional slights, places warning labels on works of classic literature, and in many other ways conveys the sense that words can be forms of violence that require strict control by campus authorities, who are expected to act as both protectors and prosecutors?”

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“There’s a saying common in education circles: Don’t teach students what to think; teach them how to think. The idea goes back at least as far as Socrates. Today, what we call the Socratic method is a way of teaching that fosters critical thinking, in part by encouraging students to question their own unexamined beliefs, as well as the received wisdom of those around them. Such questioning sometimes leads to discomfort, and even to anger, on the way to understanding.

But vindictive protectiveness teaches students to think in a very different way. It prepares them poorly for professional life, which often demands intellectual engagement with people and ideas one might find uncongenial or wrong. The harm may be more immediate, too. A campus culture devoted to policing speech and punishing speakers is likely to engender patterns of thought that are surprisingly similar to those long identified by cognitive behavioral therapists as causes of depression and anxiety. The new protectiveness may be teaching students to think pathologically.”

 

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Something strange is happening at America’s colleges and universities. A movement is arising, undirected and driven largely by students, to scrub campuses clean of words, ideas, and subjects that might cause discomfort or give offense. Last December, Jeannie Suk wrote in an online article for The New Yorker about law students asking her fellow professors at Harvard not to teach rape law—or, in one case, even use the word violate (as in “that violates the law”) lest it cause students distress. In February, Laura Kipnis, a professor at Northwestern University, wrote an essay in The Chronicle of Higher Educationdescribing a new campus politics of sexual paranoia—and was then subjected to a long investigation after students who were offended by the article and by a tweet she’d sent filed Title IX complaints against her. In June, a professor protecting himself with a pseudonym wrote an essay for Vox describing how gingerly he now has to teach. “I’m a Liberal Professor, and My Liberal Students Terrify Me,” the headline said. A number of popular comedians, including Chris Rock, have stopped performing on college campuses (see Caitlin Flanagan’s article in this month’s issue). Jerry Seinfeld and Bill Maher have publicly condemned the oversensitivity of college students, saying too many of them can’t take a joke.

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[VIDEO] Myths of Mankind: The Mahabharata [52 MINS]

“Maha in Sanskrit means big and bharata refers to the great emperor Bharat, whose empire was known as Bharata varsa, and covered the entire world approximately five thousand years ago.

The center of this empire was the region known today as India.

As such, all aspects of India’s millennial (Vedic) culture are compiled in this important epic of the history of mankind.

This episode explores the myth of the Mahabharata, laying out the very roots of Indian mythology, religion and history.

The world’s greatest and longest know epic poem with 100,000 verses exceeds the Bible and all of Shakespeare’s plays put together.

The myth tells of the founding of civilisation and a protracted battle between the two wings of a royal family: the Pandavas and the Kauravas, bitterly opposed in a struggle for life and death.”

[ŽIŽEK] FROM THE MYTH TO AGAPE. “The elementary skeleton of the Hamlet narrative (the son revenges his father against the father’s evil brother who murdered him and took over his throne; the son survives the illegitimate rule of his uncle by playing a fool and making “crazy” but truthful remarks) is a universal myth found everywhere, from old Nordic cultures through Ancient Egypt up to Iran and Polynesia.”….and the “overwhelming argument for the intimate link between Judaism and psychoanalysis”

Slavoj Žižek. From the myth to agape. Journal of European Psychoanalysis. No. 8/9, p. 3-20, 1999. (English).

all of below written by Slavoj Zizek

Back in the late 1960s and 70s, in the heyday of the Lacanian Marxism, a lot of Lacan’s French followers were attracted by his anti-Americanism, discernible especially in Lacan’s dismissal of the ego-psychological turn of psychoanalysis as the ideological expression of the “American way of life.” Although these (mostly young Maoist) followers perceived Lacan’s anti-Americanism as the sign of Lacan’s “anticapitalism,” it is more appropriate to discern in it the traces of one of the standard conservative motifs: in today’s bourgeois, commercialized, “Americanized,” society, the authentic tragedy is no longer possible, which is why great conservative writers like Claudel tried to resuscitate the notion of tragedy in order to return dignity to human existence… It is precisely here, when Lacan endeavors to speak in favor of the last vestiges of old authenticity barely discernible in today’s superficial universe, that his words sound as (and are) a heap of ideological platitudes. However, although Lacan’s anti-Americanism stands for what is most “false” and ideological in his work, there is nonetheless a “rational kernel” in this ideological motif: the advent of modernism effectively undermines the traditional notion of tragedy and the concomitant notion of the mythical Fate which runs human destiny.

Hamlet Before Oedipus

When we speak about myths in psychoanalysis, we are effectively speaking about ONE myth, the Oedipus myth – all other Freudian myths (the myth of the primordial father, Freud’s version of the Moses myth) are variations of it, although necessary ones. However, with the Hamlet narrative, things get complicated. The standard, pre-Lacanian, “naive” psychoanalytic reading of Hamlet, of course, focuses on Hamlet’s incestuous desire for his mother. Hamlet’s shock at his father’s death is thus explained as the traumatic impact the fulfillment of an unconscious violent desire (in this case, for the father to die) has on the subject; the specter of the dead father which appears to Hamlet is the projection of Hamlet’s own guilt with regard to his death-wish; his hatred of Claudius is an effect of Narcissistic rivalry – Claudius, instead of Hamlet himself, got his mother; his disgust for Ophelia and womankind in general expresses his revulsion at sex in its suffocating incestuous modality, which arises with the lack of the paternal interdiction/sanction…

So, according to this standard reading, Hamlet as a modernized version of Oedipus bears witness to the strengthening of the Oedipal prohibition of incest in the passage from Antiquity to Modernity: in the case of Oedipus, we are still dealing with incest, while in Hamlet, the incestuous wish is repressed and displaced. And it seems that the very designation of Hamlet as an obsessional neurotic points in this direction: in contrast to hysteria which is found throughout all (at least Western) history, obsessional neurosis is a distinctly modern phenomenon.  Continue reading

[VIDEO] THE HISTORY AND SIGNIFICANCE OF CURSING

Engaging with different cultures and their languages is great to reflect on one’s own. Growing up listening to Dancehall Reggae, while an adolescent in the Canadian prairies, allowed me a window into linguistics that were not common currency in my geography.  What fascinated me then, was how languages/dialects which borrow from  West African origins, cultures which prior to Western cultural engagement did not find sexual connotations offensive, hold body function terms as far more offensive than cultures where religious or social dogma dictated that sex was in some way shameful.  Jamaican patois is an intriguing syncretization of the grammar and social norms of certain language groups of West African nations such as the language Twi (‘Chwee’) and the words of English. The strongest pejoratives involve toilet paper (or historically, cloth), cloth for menstrual purposes, and terms related to the anus and defecation. The act of sex itself is not a curse word, unlike societies that have evolved from Victorian Anglo norms, although incestuous sex is. The censorship of language is meaningless. Swear words exist to convey emotion, in ways that are not possible through idiotic euphemism. 

I often ponder WHY people use certain words euphemistically or with blanks or hyphens or whatever. Words are not the problem or issue or anything, it is the IDEA, the NOTIONAL SIGNIFICANCE that perhaps may be the problem. Such as racism/sexism/homophobia and how every few years, ‘society’ seems to agree than a certain ‘term’ will now be considered a pejorative. It seems some great political step has been taken, while in reality, the actual underlying concerns most likely have not changed at all. Banning words seems pretty superficial, and irrational, when real problems are left unchanged. 

The below Christian advert is currently displayed in Toronto public transit. Seems like an instruction manual on how to be a good sheep.

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Language is a tool with which to express intelligence and emotion….to display it as a badge of conformance…is…uninspired, to say the least.

[MUSIC] [VIDEO] Maylee Todd – ‘Come Around’ [LIVE @ Trinity Bellwoods Park, Toronto]

“Maylee Todd is a dynamic and multi-faceted artist, based in Toronto. Her creativity derives its inspiration from a wide range of artistic disciplines: songwriting, production, film, performance art, and design. Maylee’s music combines organic and electronic forms, including elements of boogie, bossa, space funk, psychedelia and soul. She is truly a free spirit who brings all of these seemingly disparate influences into honest, soulful, harmonious yet uncompromising vibrations.

In 2010, Maylee released her debut album Choose Your Own Adventure. The album received glowing reviews from the likes of NOW Magazine and The Globe and Mail. In 2012 single Hieroglyphics from new album Escapology (2013 Do Right Music) has already received worldwide airplay from BBC Radio 1 London, to KCRW in L.A. and J-Wave in Tokyo. Maylee has also composed original music for the film “Lullaby for Lucious & Sumat” which premieres at Cinequest Film Festival 2013 in San Jose.maylee

Amongst sharing the stage with the likes of Janelle Monae, Lee Fields, Aloe Blacc, Little Dragon, and The Budos Band, Maylee has toured in Europe, Transmusicales (Rennes, France), c/o pop (Cologne, Germany), Pop Montreal, Hillside Festival and in her home city of Toronto at Harbourfront Centre. When’s not busy touring, she performs with the monthly Motown-themed event The Big Sound alongside 30 other musicians and vocalists. She also collaborates and performs in the electronic dance outfit Ark Analog. Notably Maylee has recently developed a solo-electronic alter-ego persona called Maloo wherein she programs her own beats and rhythms primarily on a sequencer.

In concert, Maylee delivers a diverse repertoire of soulful tunes with an infectiously charismatic and joyful stage presence, full of warm humour and a performance art aesthetic. More than just a concert, Maylee Todd live is a creative experience that leaves an indelible impact.” -from mayleetodd.com

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“The Tenori-on is an electronic musical instrument designed and created by the Japanese artist Toshio Iwai and Yu Nishibori of the Music and Human Interface Group at the Yamaha Center for Advanced Sound Technology. It consists of a hand-held screen in which a sixteen-by-sixteen gridof LED switches are held within a magnesium plastic frame. Any of these switches may be activated in a number of different ways to create sounds. Two built-in speakers are located on the top of the frame, as well as a dial and buttons that control the type of sound and beats per minute produced.” – from wikipedia

[VIDEO] MARKET 707 – TORONTO’S FIRST SHIPPING CONTAINER MARKET

“Housed in retrofitted shipping containers, Market 707 is Toronto’s most unique street food and retail market. This space brings together local entrepreneurs serving up more than 10 types of delicious international street food, along with unique goods and services to create an urban food and shopping environment unlike any other.”

Market 707 on Facebook

Market 707 official website