文盲的文化生活
信仰、科学和迷信。
我对宗教信仰的看法从初中开始就没再更改过,麻醉劳动人民的精神鸦片。我无法确定是不是有天堂、阎罗殿、地狱或者末日审判,这些无法求证的未来就是吊在狗前面永远够不着的肉骨头,牛背上噼啪作响的鞭子。多做善事就能老来得子,拆老房子的时候挖出一罐金子什么的看上去是讨价还价的买卖。倘若没有恶报而只有善行的召唤,相对来说就要可信一点,恶报是怨恨的诅咒,基督教好歹还有个天堂,可以让好人有个去处,中国人设计的比较粗糙,干脆大家都去阎王爷那里过堂,判官勾勾画画,加加减减之后,下辈子能投胎个大户人家就是最好的报应作恶多端的那位下辈子当牛做马——多么朴素的梦想。在日常生活中很难分辨出一个中国人到底是不是虔诚的信徒,念着阿弥陀佛同时荤素不拒,反正逢年过节多捐点香火就消业了。
基督教让人挨耳光的说法有点荒诞,但是它的告解很有意思,这多少有了精神层面的东西。就形象代言人而言,十字架上面钉着个受罪的人,确实比丰腴富态的泥菩萨更有说服力。我觉得让人白扇耳光这事儿有点不合适,跟我做人原则冲突挺大;说什么你们谁有资格鄙视妓女,这个更不靠谱,简直不讲理了。忏悔给所谓的罪人留了一条后路,天堂则给了希望,这个设计比中国的佛教要科学很多。不过佛教也好基督教也罢,对地狱种种刑罚描写的事无巨细,而对好人那边一笔带过,我觉得这可能是因为设计的那个人根本没过过好日子,好日子是什么样儿的呢?顿顿有肉!据说宗教还有更高深的教义研究,于此产生各种学问和专家学者,我没有涉猎,大概的感觉,应该是和红学差不多的吧,或者和研究金庸的专家差不多的意思吧。探讨某神的神迹,我觉得和研究红楼梦到底谁写的有一拼。
我质疑这个事情并不是在说宗教不好,这个必须说清,不然我会被认定要下地狱的。我觉得信徒挺好的,有依靠,能够获得幸福感。有了主心骨,日子就会变得好过一些,神面前众生平等,莫大的安慰啊。我赞成一个人去信仰,不管是信仰宗教还是信仰马克思主义,如此容易获得快乐是件好事,比我这样一想到衰老和死亡就万念俱灰的人来说,信徒们是幸福的。
我对科学有诸多不满。科学自己制定了一套判断规则,然后以此来简单粗暴的对所有事情得出结论,这是不合理的。科学是万能的,是不容置疑的,没有科学不懂的事情,这让科学越来越像是宗教,只能遵从不能提问。一个人得了癌症,大夫会科学地说他只能活半年,准备后事吧,结果这个人想开了,该吃就吃该喝就喝,活了三年还不死,科学眼睛一瞪这是不可能的!科学太不谦虚了,凡是科学不能解释的事情都是假的。我不是科学的信徒,因为我没什么疑问要去求证,你说土星上没有生命那就没有,虽然我认为至少你对生命的定义有点狭隘。我并不是要质疑已经被科学认定了的事情,只是对这种做事方式颇有微词,我们研究明白了这么多事情,却对人类自身一直稀里糊涂,思想从哪里来,什么物质反应产生的?甚至有一种说法,爱情是化学反应——去你妈的,这和狂热的宗教信徒有什么两样。
科学对宗教信仰从来不屑一顾,而且也不妨碍某些科学家们成为虔诚的教徒,但是科学却从不肯放过迷信。迷信并没有和科学过不去,科学却感到了极大的羞辱,尊严被恶毒的亵渎,恶狠狠地追着迷信咒骂个没完。这是我看不上科学的最大原因。
你相信扶乩吗?你相信大仙算命吗?你相信黄鼠狼会迷人吗?……你当然可以说不信,但是我不能,因为我遇到过一些。不要说我遇到的是巧合,小弟我尚能分辨什么是蒙人。但是我可以做不到不迷信,敬而远之。我的字典里,迷信是这样解释的:那些存在的,科学无法证实的事情。相对科学来说,迷信的表现良莠不齐,无数心眼活法的宵小之辈打着迷信的旗号搞欺骗,使得迷信的说服力极低。我认为所谓的超自然的力量是存在的,科学无法解释,或者科学在目前错误的理解这种力量的存在。但是不要对此迷信,得个感冒也要去问问大仙怎么治这就过分了。现代都市生活几乎看不到迷信,倒是对星座血型之类的着魔不已。这让我更觉得山林草木之间,那些游荡的野兽们有着许多不为人质的秘密,他们可能不懂得去搬箱子摘香蕉吃,但是不见得他们没有其他左右事物的力量。
比如说人死了之后到底有没有灵魂,我比较倾向于人可能会有另一种存在形式的,并没有什么可靠的事实来支持这个观点,对此科学是否认的,宗教则是大加利用和宣扬,而迷信是看到了灵魂,并为灵魂们编造了许多故事。受过科学熏陶和宗教洗礼的人会鄙视这种说法,那么,你能说清楚为什么猫狗能通人性呢?
其实这篇我绕开了很多,主要是为了宣扬迷信,贬低科学,望信徒们别介意,我识字不多,读书少。有文化的人才不会有这些浅薄的话要说呢。
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Our baby is due in early June and we have not started on the nersury yet. This weekend we plan to clean out the room that will be the nersury, so that’s a start! The theme will be a sort of fairytale library – lots of books, and the ceiling will be painted with clouds and some stars (my mom is an artist who will paint the ceiling). There will be a very art deco stenciled moon and stars border, and some little fairies hanging from the ceiling by in invisible wire. LO is a girl, and we did not want super pink, frilly or princessy themes.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
Fashion and Gender
A woman wearing men’s clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society’s belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men’s fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud’s assertion that “visual impressions remain the most frequent pathway along which libidinal excitation is aroused” (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women’s clothing section is distinct from the men’s. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
Madonna has been a ’sex symbol’ for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden’s in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) ‘Master’ (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier’s corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
The ‘gaze’ plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The ‘gaze’ (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of ‘looking’ and being ‘looked at’ does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, “Signs are only meaningful on the basis of their relations to all other signs” (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society’s expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person’s gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
Yay for July babies! My LO was born July 22nd last year, on her due date. We did her nrseury based on my big love of pigs and her name, Rose. Pigs and flowers. If it were a boy I was planning on doing pigs anyway, but more colorful instead of pink. We’re going team green for the next one and my plan is to do an ugly doll theme.
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Gaultier’s design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women’s restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to ’strut’ to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women’s appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are ‘normal’. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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