Home > Topic > their relations
1 " Modern man, in so far as he is still Cartesian (he is of course going far beyond Descartes in many respects), is a subject for whom his own self-awareness as a thinking, observing, measuring and estimating " self" is absolutely primary. It is for him the one indubitable " reality," and all truth starts here. The more he is able to develop his consciousness as a subject over against objects, the more he can understand things in their relations to him and one another, the more he can manipulate these objects for his own interests, but also, at the same time, the more he tends to isolate himself in his own subjective prison, to become a detached observer cut off from everything else in a kind of impenetrable alienated and transparent bubble which contains all reality in the form of purely subjective experience. Modern consciousness then tends to create this solipsistic bubble of awareness - an ego-self imprisoned in its own consciousness, isolated and out of touch with other such selves in so far as they are all " things" rather than persons. "
2 " What is important is to deeply understand things and their relations to each other. This is where intelligence lies. The fact of being quick or slow isn’t really relevant. "
3 " To emancipate woman is to refuse to confine her to the relations she bears to man, not to deny them to her; let her have her independent existence and she will continue nonetheless to exist for him also: mutually recognising each other as subject, each will yet remain for the other an other. The reciprocity of their relations will not do away with the miracles – desire, possession, love, dream, adventure – worked by the division of human beings into two separate categories; and the words that move us – giving, conquering, uniting – will not lose their meaning. On the contrary, when we abolish the slavery of half of humanity, together with the whole system of hypocrisy that it implies, then the 'division' of humanity will reveal its genuine significance and the human couple will find its true form. "
― Simone de Beauvoir
4 " How miserably hypocritical, you might say, but no sooner am I offered a chance to flee Hell than I yearn to stay. Few families hold their relations as closely as do prisons. Few marriages sustain the high level of passion that exists between criminals and those who seek to bring them to justice. It’s no wonder the Zodiac Killer flirted so relentlessly with the police. Or that Jack the Ripper courted and baited detectives with his - or her - coy letters. We all wish to be pursued. We all long to be desired. "
― Chuck Palahniuk , Damned (Damned, #1)
5 " The basic principle of structural analysis, I was explaining, is that the terms of a symbolic system do not stand in isolation—they are not to be thought of in terms of what they 'stand for,' but are defined by their relations to each other. One has to first define the field, and then look for elements in that field that are systematic inversions of each other. Take vampires. First you place them: vampires are stock figures in American horror movies. American horror movies constitute a kind of cosmology, a universe unto themselves. Then you ask: what, within this cosmos, is the opposite of a vampire? The answer is obvious. The opposite of a vampire is a werewolf. On one level they are the same: they are both monsters that can bite you and, biting you, turn you, too, into one of their own kind. In most other ways each is an exact inversion of the other. Vampires are rich. They are typically aristocrats. Werewolves are always poor. Vampires are fixed in space: they have castles or crypts that they have to retreat to during the daytime; werewolves are usually homeless derelicts, travelers, or otherwise on the run. Vampires control other creatures (bats, wolves, humans that they hypnotize or render thralls). Werewolves can't control themselves. Yet—and this is really the clincher in this case—each can be destroyed only by its own negation: vampires, by a stake, a simple sharpened stick that peasants use to construct fences; werewolves, by a silver bullet, something literally made from money. "
― David Graeber , The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy
6 " Rarely do wonder tales end unhappily. They triumph over death. The tale begins with " Once upon a time" or " Once there was" and never really ends when it ends. The ending is actually the beginning. The once upon a time is not a past designation but futuristic: the timelessness of the tale and its lack of geographical specificity endow it with utopian connotations - " utopia" in its original meaning designated " no place," a place that no one had ever envisaged. We form and keep the utopian kernel of the tale safe in our imaginations with hope.The significance of the paradigmatic functions of the wonder tale is that they facilitate recall for teller and listeners. They enable us to store, remember, and reproduce the utopian spirit of the tale and to change it to fit our experiences and desires, owing to the easily identifiable characters who are associated with particular assignments and settings ...The characters, settings, and motifs are combined and varied according to specific functions to induce wonder, It is this sense of wonder that distinguished the wonder tales from such other oral tales as the legend, the fable, the anecdote, and the myth; it is clearly the sense of wonder that distinguishes the literary fairy tale from the moral story, novella, sentimental tale, and other modern short literary genres. Wonder causes astonishment, and as manifested in a marvelous object or phenomenon, it is often regarded as a supernatural occurrence and can be an omen or a portent, It gives rise to admiration, fear, awe, and reverence. The Oxford Universal Dictionary states that wonder is " the emotion excited by the perception of something novel and unexpected, or inexplicable; astonishment mingled with perplexity or bewildered curiosity." In the oral wonder tale, we are to wonder about the workings of the universe, where anything can happen at any time, and these happy or fortuitous events are never to be explained. Nor do the characters demand an explanation - they are opportunistic, are encouraged to be so, and if they do not take advantage of the opportunity that will benefit them in their relations with others, they are either dumb or mean-spirited. The tales seek to awaken our regard for the miraculous condition of life and to evoke in a religious sense profound feelings of awe and respect for life as a miraculous process, which can be altered and changed to compensate for the lack of power, wealth, and pleasure that is most people's lot. Lack, deprivation, prohibition, and interdiction motivate people to look for signs of fulfillment and emancipation. In the wonder tales, those who are naive and simple are able to succeed because they are untainted and can recognize the wondrous signs. They have retained their belief in the miraculous condition of nature, revere nature in all its aspects. They have hot been spoiled by conventionalism, power, or rationalism. In contrast to the humble characters, the villains are those who use words intentionally to exploit, control, transfix, incarcerate, and destroy for their benefit. They have no respect or consideration for nature and other human beings, and they actually seek to abuse magic by preventing change and causing everything to be transfixed according to their interests. Enchantment equals petrification. Breaking the spell equals emancipation. The wondrous protagonist wants to keep the process of natural change flowing and indicates possibilities for overcoming the obstacles that prevent other characters or creatures from living in a peaceful and pleasurable way. "
7 " Hitherto men have always formed wrong ideas about themselves, about what they are and what they ought to be. They have arranged their relations according to their ideas of God, of normal man, etc. The products of their brains have got out of their hands. They, the creators, have bowed down before their creations. "
― Karl Marx , The German Ideology / Theses on Feuerbach / Introduction to the Critique of Political Economy