#cssr

What Do HuliJings Eat, Wrong Answers Only apparently

@cerbykerby just gives & gives idk what to tell you

Videla som tento komentár na FB k včerajšiemu slovenskému víťaztvu v hokeji nad Fínmi a mal vyše 2000 páčikov (najviac v danej komentárovej sekcii). A len som si tak pomyslela, že s Čumblrákmi sme seriózne najväčšia bromance/romance or whatever we are na svete. Žiadne štáty takto spolu nevýchadzajú, ani tie rozpadnuté. (Bývalá Juhoslávia atď.)

Keby sme boli ship na Ao3, aká trópa by sme boli?

Something about Wei Wuxian's inherited vengeance.

Where did Wei Wuxian get that vengeance from? Mild-mannered Jiang Fengmian? Benevolent and kind Jiang Yanli? Cangse Sanren, who Wei Wuxian remembers saying something along the lines of remember the good things people do for you not the bad? Wei Changze?

The child of Cangse Sanren and Wei Changze would've likely done something along the lines of protecting the common people and fighting for justice during the Sunshot campaign, but did Wei Wuxian do that?

No, I tell you truly, Wei Wuxian is also the child of Yu Ziyuan. Did they have anything resembling a healthy relationship? No. But the child of Cangse Sanren and Wei Changze wouldn't slaughter thousands in unholy vengeance. Wouldn't extract oceans of blood for every drop stolen.

But the child of Yu Ziyuan would.

That isn't to say, he's only the child of Yu Ziyuan, no, we see glimpses of the influences of his other parental figures throughout the story.

Look at how he doesn't flinch from leaving the proverbial (paradise) mountain to save the wen remnants (CSSR), look at his compassion for the common people (Jiang Yanli); His sense of loyalty (Wei Changze), level headedness (Jiang Fengmian).

Something about how conscious he is of debt. Does that stem from his inherent preference of righteous action? His desire to do right? Yes. But I wouldn't discount his awareness of debt also coming from a quasi-maternal figure like Yu Ziyuan. Now there is a woman aware of debt, what she owes and what is owed to her.

Everyone is shaped by the adult figures in their life, and we inherit many things from them, such as traumas, perspectives and traits.

artist: Viktoria Banova-Jirankova

I refrained from talking on this topic as it's not a debate in my french leftist circles but seeing how it's prevalent here on tumblr, I think it's a good opportunity to talk about some concepts.

First of all, on a linguistic note, people people create words to suit their needs. The etymology doesn't matter : if transandrophobia is created to description "the specific oppression that trans men suffer", it does not imply that mysandry exists. It's an opression specific to an identity.

This bring me to a critique of some interpretation of intersectionalty. That it would only be intersection of oppressions. As you can't be oppress as a man, there is no intersection between being a man and being trans (so no need to use a different word than general transphobia).

This interpretation is honestly baffling. I'll take an example that I think everybody will agree on : Black men are more often arrested by police (or killed, or put in prison...) than white people because of the racial integral state. But also more than black women, why is that, how can we explain that this police brutality is more harsh on black men ? The same reason as the stereotypes saying that black men are more violent, criminal... This is a specific oppression for black men (who may choose to create a word to describe it).

This is not to say that black men are more opressed than black women. There are differences on the kind of racism that they suffer. Intersectionality is not the addition of oppression, it is used to describe specific interactions of class, race and gender and the social relations associated with them. (even if in general men oppress women, everything depend on the social relations)

(If you'd like to delve deeper into the subject, I suggest you read up theories on subaltern masculinities.)

There are still a lot of critics of intersectionality to do. As a materialist, I prefer the notion of co-substantiality of the social relations (CSSR) (coined by Danièle Kergoat, french sociologist).

A social relation is a antagonistic relation between two social groups around an issue. it's a relation of material and ideal production.

Social relations are co-substantial : they form a knot that cannot be cut at the level of social practices (except from an analytical sociology perspective) and they are co-extensif : when deployed, the social relations of class, gender and race reproduce and co-produce with each other.

CSSR doesn't naturalized the categories for example : "workers and woman" are part of gender and class relations. Sometimes in the struggle, they can form a collectif subject, original in its practices, but a subject always in process and not reductible to that category.

This is the main issue with intersectionality "mapping the margins" this means fixing the categories, naturalizing them. This concept struggles to reflect a shifting and historical relation of domination.

Multiplicity of categories hide the social relations. But we cannot separate social categories and social relations where they were made. Working with those categories is risking to leave blind spot. Spots that can be the strongest aspects of domination, just as they can be bearers of resistance.

Co-substantiality is the complex dynamic interweaving of all social relations; each leaving its mark on the others, modulating each other, building each other up in a reciprocal way; the fact that they form a system does not exclude contradictions between them.

Main theme of Tri orísky pro Popelku / Drei Haselnüsse für Aschenbrödel (1973; Three Wishes For Cinderella), dir. Václav Vorlícek.

Undoubtedly the most famous of the Czechoslovakian / East German fairy tale film cooperations, it is often hailed as a European fairy tale classic and a feminist iteration of the age old story of Cinderella. Though most of the cast were Czech, the film also became a cult classic in the GDR and later reunified Germany.

Libuše Šafránková (1953-2021) plays the part of the abused orphaned stepdaughter who goes on to marry the prince after setting him a riddle.