mydimietjes ~motjes ~maatjes ~gaatjes & ~straatjes
myDi{r}evoluties while we sleep:
'mydivirgins & ~warriors
at your service'
't Is dus
allemaal genetica,
erfelijke aanleg, opvoeding, socialisatie &
'toevallige' invloeden die ons allen maken tot wat we zijn geworden of ooit kunnen zijn?
Geen goden, godinnen, engelen, duivels, hemel/hel, mystieke mysteries
meer mogelijk noch
nodig?!
Toen
we nog
niets anders ter
beschikking hadden was 't wel handig
om verklaringen uit onze duim [e.d.] te kunnen gaan zuigen
en zo onze werkelijkheid op te bouwen naar eigen beeld en gelijkenis:
je moet toch wat met oog&hand~coordinatie, groter herseninhoud, ander dieet &
al die ontdekkingen met ons zelf & elk ander, stokken
en stenen, vissen, vogels, dieren [mensen] vangen,
keelklanken, mimiek, taal, nomadisme, boerenland
met dorpjes & stadjes, zeilschepen, legioenen met
steeds beter wapens & wetenschappelijke
beheersingsmethoden, mengsels van
veronderstellingen, steeds nieuwer
mogelijkheden, ander taalgebruik
& vooruitgang?!!
Iets dergelijks
gaat natuurlijk ook op
voor mannelijk/vrouwelijk,
kind/volwassene, school/werk,
gewoonte/experiment & wat er verder nog allemaal aan vastzit
tussen onze oren & achter onze ogen: 'multiculti'~
media/moraal!
Ondertussen
zaten we er 2000 jaar geleden
maar mooi mee: hoe te verwoorden wat verandert & op komst
is dag in dag uit & jaar na jaar? Hoe
leggen we dat alles vast,
dragen we het over
& veranderen
onderweg?
Emancipaties,
'feminisme', bevrijdingstheologie
& wereldwijde {r}evoluties gaan nu steeds sneller:
"She is not after audaciuous VIRAGO but docile VIRGO,"
not, that is, triumphant warrior,
but sacrificed
virgin!
There is,
however, yet one more wrinkle
to be added to this kind of analysis, for the submissive neck for
decapitation does not carry prescisely the meaning of the feminine death via piercing the throat, either, but suggests rather the reclaiming of a variety of masculinized honor,
like the submission to death
of a defeated
gladiator.
Thus all
of the ambiguities of gendering,
honor, and death remain in play while clearly restraining the audacity,
the representation of female martyr as VICTORIOUS gladiator, as VIRAGO, that characterized the second-century texts. "Perhaps we should resist the temptation to seek a 'final word'
which would resolve the tensions and ambiguities of the late fourth-century tale
into one all-too-neat
judgment!"
The
female martyr
remained a highly charged symbol,
owing to her subversions of sexuality and gender,
but she functioned now most readily as an example for the male ascetic.
As virilized woman, she could have functioned as an ego ideal for Christian women, an ideal that conduces to the overturning of gendered hierarchies and even of gender itself,
as signified by Thecla's lioness and her
own androgynous
mien.
As
passive virgin,
mirrored by the feminized male lion
Thecla is no longer primarily a figure for the virilized female,
but rather for the feminiaed male, the male who upom perceiving her is inspired, like the lion,
to a complete renunciation of his "naturally"
violent. leonine, male sexuality ~
which is not to say that
he achieves
it.
The
masculinization and
pluralization of the lions in the Ambrose version
is significant of their transformation into an icon of the audience watching the martyrdom
[and the audience reading martyrology], at least insofar
as these are male.
This
audience [and
the writers/readers] are thus called upon to identify
both with the lion and with the victim of that lion, with both the figure of an oppressive male
and that of a resistant virgin.
One way
of saying this would be that in the earlier version,
one could imagine at least a female subjectivity in some sense behind the text.
The implied aythor COULD be female!
The implied author of Ambrose's text
is unambiguously, if complexly, gendered male.
Thus, the virgin becomes available
for male identification.
This
female lion
in the earlier text,
we could argue, supports the earlier readings of the Apocryphal Acts
as narratives of female autonomy and perhaps as even female-authored narratives?
Has the retreat from this position been TOO precipitous?!
Our interest today is thus still centered on apostles,
ascetic women & questions of audience:
je ziet 't elke dag om je heen in sterk
toenemende mate voor homolesbo/
bibonobobolleboosjes & veel meer
mensen van alle geslachten en
samenstellingen, 'unmade',
'redesigned', -adjusted,
'gezalfd' a.h.w.
reeds.
'mydivirgins & ~warriors
at your service'
't Is dus
allemaal genetica,
erfelijke aanleg, opvoeding, socialisatie &
'toevallige' invloeden die ons allen maken tot wat we zijn geworden of ooit kunnen zijn?
Geen goden, godinnen, engelen, duivels, hemel/hel, mystieke mysteries
meer mogelijk noch
nodig?!
Toen
we nog
niets anders ter
beschikking hadden was 't wel handig
om verklaringen uit onze duim [e.d.] te kunnen gaan zuigen
en zo onze werkelijkheid op te bouwen naar eigen beeld en gelijkenis:
je moet toch wat met oog&hand~coordinatie, groter herseninhoud, ander dieet &
al die ontdekkingen met ons zelf & elk ander, stokken
en stenen, vissen, vogels, dieren [mensen] vangen,
keelklanken, mimiek, taal, nomadisme, boerenland
met dorpjes & stadjes, zeilschepen, legioenen met
steeds beter wapens & wetenschappelijke
beheersingsmethoden, mengsels van
veronderstellingen, steeds nieuwer
mogelijkheden, ander taalgebruik
& vooruitgang?!!
Iets dergelijks
gaat natuurlijk ook op
voor mannelijk/vrouwelijk,
kind/volwassene, school/werk,
gewoonte/experiment & wat er verder nog allemaal aan vastzit
tussen onze oren & achter onze ogen: 'multiculti'~
media/moraal!
Ondertussen
zaten we er 2000 jaar geleden
maar mooi mee: hoe te verwoorden wat verandert & op komst
is dag in dag uit & jaar na jaar? Hoe
leggen we dat alles vast,
dragen we het over
& veranderen
onderweg?
Emancipaties,
'feminisme', bevrijdingstheologie
& wereldwijde {r}evoluties gaan nu steeds sneller:
"She is not after audaciuous VIRAGO but docile VIRGO,"
not, that is, triumphant warrior,
but sacrificed
virgin!
There is,
however, yet one more wrinkle
to be added to this kind of analysis, for the submissive neck for
decapitation does not carry prescisely the meaning of the feminine death via piercing the throat, either, but suggests rather the reclaiming of a variety of masculinized honor,
like the submission to death
of a defeated
gladiator.
Thus all
of the ambiguities of gendering,
honor, and death remain in play while clearly restraining the audacity,
the representation of female martyr as VICTORIOUS gladiator, as VIRAGO, that characterized the second-century texts. "Perhaps we should resist the temptation to seek a 'final word'
which would resolve the tensions and ambiguities of the late fourth-century tale
into one all-too-neat
judgment!"
The
female martyr
remained a highly charged symbol,
owing to her subversions of sexuality and gender,
but she functioned now most readily as an example for the male ascetic.
As virilized woman, she could have functioned as an ego ideal for Christian women, an ideal that conduces to the overturning of gendered hierarchies and even of gender itself,
as signified by Thecla's lioness and her
own androgynous
mien.
As
passive virgin,
mirrored by the feminized male lion
Thecla is no longer primarily a figure for the virilized female,
but rather for the feminiaed male, the male who upom perceiving her is inspired, like the lion,
to a complete renunciation of his "naturally"
violent. leonine, male sexuality ~
which is not to say that
he achieves
it.
The
masculinization and
pluralization of the lions in the Ambrose version
is significant of their transformation into an icon of the audience watching the martyrdom
[and the audience reading martyrology], at least insofar
as these are male.
This
audience [and
the writers/readers] are thus called upon to identify
both with the lion and with the victim of that lion, with both the figure of an oppressive male
and that of a resistant virgin.
One way
of saying this would be that in the earlier version,
one could imagine at least a female subjectivity in some sense behind the text.
The implied aythor COULD be female!
The implied author of Ambrose's text
is unambiguously, if complexly, gendered male.
Thus, the virgin becomes available
for male identification.
This
female lion
in the earlier text,
we could argue, supports the earlier readings of the Apocryphal Acts
as narratives of female autonomy and perhaps as even female-authored narratives?
Has the retreat from this position been TOO precipitous?!
Our interest today is thus still centered on apostles,
ascetic women & questions of audience:
je ziet 't elke dag om je heen in sterk
toenemende mate voor homolesbo/
bibonobobolleboosjes & veel meer
mensen van alle geslachten en
samenstellingen, 'unmade',
'redesigned', -adjusted,
'gezalfd' a.h.w.
reeds.
17 sep 2008 - bewerkt op 17 sep 2008
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