I had been watching Sabrina for a few weeks and will be continuing to watch most of the third season with the guy who shows up once in a month. Talk about promises. But since both of us have been so eagerly waiting to watch every episode, following almost all the dialogues, gestures and motives - we came across a gender narrative that keeps on re-surfacing. And while I have been smitten with Pagan and Marxist ideas about the expansion of the periphery of feminism that we generally associate ourselves with, he has much more to offer from an intricate understanding of non-Abrahamic (and hence Abrahamic) religious studies.
I've been engrossed in Betty Friedan's "A Problem with No Name" and Sam Beam's 'Woman King', typically "You will, you will never make me learn/ To lay beneath the mountain/ Cause I'll only lie/ Down by the waterside at night", for like, almost a year now and everytime I hear somebody talking about anything associated with witchery, before she knows, I am brutally analysing every aspect of the remark she just made.
From the moment Lilith's character was exposed in the show, I was secretly waiting for her to negate Satan (referred to as the dark lord) in every move she subsequently made. Lilith's taken on marriage, her temporary feelings for a mortal lover that was cut short by the devil's intervention and her co-dependency weaved a dark cloud of grievances that however, were only fleeting clouds that never caused the thunderstorm. All hell broke loose, in as figurative a sense as metaphorical because of the Satan's child who somewhere is also Satan's bride.
In one of our term papers this year, we are studying family and kinship in Southern India and its evolution over time. In the south, one of the children in the family were sacrificed to goddess as a man irrespective of her physical gender orientation and was barred from marrying another human being. Now, the conversion of the sacrifice from a female to a male, before the ritual could be performed is typically patriarchal. However, the true odd thing about the whole situation is that the sacrifice was made to a woman - a Goddess and not a God. We now know that one of the sole reasons, if not the sole true reason behind the continuity of family and kinship in every part of the world, irrespective of the kind of authoritarian control was indeed in order to retain property and refute fragmentation of what we can now refer to as stock capital. But why a Goddess and not a God?* Turns out there exists some sort of Oedipal complex in this context and that the power allocated to the hands of the goddess is nothing but a gesture. This false channelisation/pretence is ultimately statutory if not severely exploitaive in its course.
There is a sense of catharsis in the Electra complex noted in the first context (Sabrina) of this post. The child (bride) who can raise hellfire has the autonomy to initiate or exemplify a certain action. She can do something. She can do. She. Can. And that is exactly what makes the show a distinct delicacy to my taste buds that can't stop savouring the idea of a deep, intersectional idea of feminism. This one's truly post-third wave and it's vivacious, bold, beautiful in its own way.
We also had to go through Evans-Pritchard's account of the kind of witchcraft practised by the Azande of North-Central Africa for one of our minor courses this year and there is a strange relationship visible between the subjugation of a word as a certain part of speech in pure linguistic and somewhat subconsciously semantic state. For example, goddess is a word that is often used as an adjective and more often than not, probably as an adjective only in the twenty first century post-neoliberal world. Therein, goddess becomes familiar, and can be used as a
collecive noun instead of god, which is more often than not still noted "God" and denotes an esoteric domain we the mortals and the insignificant are supposed not to delve into very much. God is supreme, God is proper noun. "Goddess" is qualifier, "Goddess" could easily be "goddess". The Azande did not discriminate very much aligning by the conventional gender narratives we are familiar with according to Evans-Pritchard's work. The word witchcraft in itself, has almost always been used as a noun whereas in the craft in there is usually used to denote a verb. Witchcraft has been marked perhaps as to what really is the small intestine which the autopsy performers suggest what might be lying beneath the xiphoid cartilage and on the upper right corner of the liver. Witchcraft has also been referred to as the witches themselves sometimes! This is intriguing, given the role of the active and passive, and how parts of speech might be linked to performativity and the superior/inferior dichotomy in the pragmatic world.
To be continued...
I've been engrossed in Betty Friedan's "A Problem with No Name" and Sam Beam's 'Woman King', typically "You will, you will never make me learn/ To lay beneath the mountain/ Cause I'll only lie/ Down by the waterside at night", for like, almost a year now and everytime I hear somebody talking about anything associated with witchery, before she knows, I am brutally analysing every aspect of the remark she just made.
From the moment Lilith's character was exposed in the show, I was secretly waiting for her to negate Satan (referred to as the dark lord) in every move she subsequently made. Lilith's taken on marriage, her temporary feelings for a mortal lover that was cut short by the devil's intervention and her co-dependency weaved a dark cloud of grievances that however, were only fleeting clouds that never caused the thunderstorm. All hell broke loose, in as figurative a sense as metaphorical because of the Satan's child who somewhere is also Satan's bride.
In one of our term papers this year, we are studying family and kinship in Southern India and its evolution over time. In the south, one of the children in the family were sacrificed to goddess as a man irrespective of her physical gender orientation and was barred from marrying another human being. Now, the conversion of the sacrifice from a female to a male, before the ritual could be performed is typically patriarchal. However, the true odd thing about the whole situation is that the sacrifice was made to a woman - a Goddess and not a God. We now know that one of the sole reasons, if not the sole true reason behind the continuity of family and kinship in every part of the world, irrespective of the kind of authoritarian control was indeed in order to retain property and refute fragmentation of what we can now refer to as stock capital. But why a Goddess and not a God?* Turns out there exists some sort of Oedipal complex in this context and that the power allocated to the hands of the goddess is nothing but a gesture. This false channelisation/pretence is ultimately statutory if not severely exploitaive in its course.
'Lady Lilith' by Dante Gabriel Rossetti
There is a sense of catharsis in the Electra complex noted in the first context (Sabrina) of this post. The child (bride) who can raise hellfire has the autonomy to initiate or exemplify a certain action. She can do something. She can do. She. Can. And that is exactly what makes the show a distinct delicacy to my taste buds that can't stop savouring the idea of a deep, intersectional idea of feminism. This one's truly post-third wave and it's vivacious, bold, beautiful in its own way.
We also had to go through Evans-Pritchard's account of the kind of witchcraft practised by the Azande of North-Central Africa for one of our minor courses this year and there is a strange relationship visible between the subjugation of a word as a certain part of speech in pure linguistic and somewhat subconsciously semantic state. For example, goddess is a word that is often used as an adjective and more often than not, probably as an adjective only in the twenty first century post-neoliberal world. Therein, goddess becomes familiar, and can be used as a
collecive noun instead of god, which is more often than not still noted "God" and denotes an esoteric domain we the mortals and the insignificant are supposed not to delve into very much. God is supreme, God is proper noun. "Goddess" is qualifier, "Goddess" could easily be "goddess". The Azande did not discriminate very much aligning by the conventional gender narratives we are familiar with according to Evans-Pritchard's work. The word witchcraft in itself, has almost always been used as a noun whereas in the craft in there is usually used to denote a verb. Witchcraft has been marked perhaps as to what really is the small intestine which the autopsy performers suggest what might be lying beneath the xiphoid cartilage and on the upper right corner of the liver. Witchcraft has also been referred to as the witches themselves sometimes! This is intriguing, given the role of the active and passive, and how parts of speech might be linked to performativity and the superior/inferior dichotomy in the pragmatic world.
To be continued...
0 Comments
What are your perspectives?