Abortion has been a bitterly contentious subject for decades if not millennia. The recently concocted controversy re Planned Parenthood’s practice of selling harvested fetal tissue to medical researchers has brought the subject front and center once more. And, while I’m not particularly interested in the current hokum, I would like to share my thoughts on why this debate has never gone anywhere. Continue reading “The semiotics of abortion”
Anybody who’s been reading this blog for a while knows that I like the the CBS TV series NCIS. And, while the show may be a bit corny, that doesn’t mean it doesn’t occasionally hit the nail right on the head. Here are some examples of NCIS episodes predicting real world events. Let me know if you have examples I missed.
While watching old episodes of NCIS recently, I was surprised by how fake one of the cadavers appeared. Usually, props and makeup on the show look pretty realistic considering it’s an older program. Then I realized what made this body look so artificial: The woman had no nipples. That’s right: no nipples, no areolae–just pale, bulbous blobs protruding from a patulous thorax.
Ever wonder how common/acceptable certain words have been in English writing over the past couple centuries? Google Ngram Viewer can give you a rough idea. For this first installment, I look at two correlative concepts–love and hate–and their epitomic activities–sex and murder–since 1800. Whether the below chart represents their relative popularity over the past couple centuries or just the willingness of publishers to allow folks to write about them doesn’t seem all that important. Either possibility is telling.
Tania Bruguera is a controversial performance artist of international acclaim. Born in Havana, Cuba in 1968, Bruguera grew up in a time when Cuba’s relations with the global community, and the United States in particular, were strained. Receiving degrees from the Cuban Instituto Superior de Arte and the American School of the Art Institute of Chicago, Bruguera would eventually establish residences in both Havana and Chicago, travel the world, and receive awards and academic acclaim both for her artwork and for her efforts as a public speaker, political activist, and founder and director of Arte de Conducta, the first Cuban performance-art program.
“Hair is political” has become a commonplace statement in black feminist circles. I don’t know that Chimamanda Ngozi Adichie is responsible for popularizing the phrase, but she certainly seems to be the person saying it most often these days. The first time I can recall hearing someone discuss the racial-cum-gender politics of hair was at the 2011 Annual Women’s Studies Conference in Pensacola, Florida. The speaker, Aphrodite Kocieda, described the straightening and lengthening of hair—and white mimicry in general—as a tool black women use to obtain visibility in a “racist, sexist, patriarchal society.”
That was a long time ago, but all this talk about racist hair and political hair lately has me wondering: What about white folk’s hair? If the straightening of black hair represents racial sublimation and an attempt to conform to other groups’ standards of beauty, then what does the curling and perming of European/white hair signify?
For Christian feminist theologians fighting patriarchy within the church and within the larger Christian religious tradition, the patriarchal image of God is an issue of primacy. As many battles as feminists and egalitarian reformers may win, whether it be the ordination of women or a simple revocation of the one-sided dictate for wives to submit to their husbands, the ultimate head of the church remains a patriarchal deity. Woman remains therefore, symbolically if not spiritually and practically, subordinate to man. To reconcile this inequity between man and woman as imago Dei, theologians have turned to the scriptures (canonical and apocryphal) and to the history of scriptural interpretation and lived faith to determine whether Christianity is an intrinsically patriarchal tradition or if it has simply been hijacked by men “who have made God in their own image” (Engelsman 1994, 156). If god is not wholly male, in image and in nature, then the Christian tradition is not intrinsically patriarchal and can evolve to meet modern standards of equality.
This post will not explore the concept of the Judeo-Christian god as a necessarily literal being having a set gender or nature. Herein the concept of god will receive treatment as a mythic character, subject to the mores of changing culture and evolving tradition. The nature of this god is best described as unknowable, transcending understanding, without limitation. Therefore, when we speak of the gender of god we are speaking not of literal gender but of the metaphors used to describe some divine attribute in a way that humankind can relate to it. When exclusively male-gender god metaphors are used, women are excluded from the central religious body and relegated to a lower spiritual standing than men. If female-gender god metaphors exist, and have existed from the beginning of the tradition, then the patriarchy of the current tradition is a construct not of the founders of the faith but of later men with an agenda and ideology askew of the tradition’s original intent.