SI N'OS HUVIERA MIRADO - Cristóbal de Morales (1500 - 1553)
35 minutes ago
AMY GOODMAN: Dr. Maté, there’s a whole debate about education in the United States right now. How does this fit in?
DR. GABOR MATÉ: Well, you have to ask, how do children learn? How do children learn? And learning is an attachment dynamic, as well. You learn when you want to be like somebody. So you copy them, so you learn from them. You learn when you’re curious. And you learn when you’re willing to try something, and if it doesn’t work, you try something else.
Now, here’s what happens. Caring about something and being curious about something and recognizing that something doesn’t work, you have to have a certain degree of emotional security. You have to be able to be open and vulnerable. Children who become peer-oriented—because the peer world is so dangerous and so fraught with bullying and ostracization and dissing and exclusion and negative talk, how does a child protect himself or herself from all that negativity in the peer world? Because children are not committed to each others’ unconditional loving acceptance. Even adults have a hard time giving that. Children can’t do it. Those children become very insecure, and emotionally, to protect themselves, they shut down. They become hardened, so they become cool. Nothing matters. Cool is the ethic. You see that in the rock videos. It’s all about cool. It’s all about aggression and cool and no real emotion. Now, when that happens, curiosity goes, because curiosity is vulnerable, because you care about something and you’re admitting that you don’t know. You won’t try anything, because if you fail, again, your vulnerability is exposed. So, you’re not willing to have trial and error.
And in terms of who you’re learning from, as long as kids were attaching to adults, they were looking to the adults to be modeling themselves on, to learn from, and to get their cues from. Now, kids are still learning from the people they’re attached to, but now it’s other kids. So you have whole generations of kids that are looking to other kids now to be their main cue-givers. So teachers have an almost impossible problem on their hands. And unfortunately, in North America again, education is seen as a question of academic pedagogy, hence these terrible standardized tests. And the very teachers who work with the most difficult kids are the ones who are most penalized.
AMY GOODMAN: Because if they don’t have good test scores, standardized test scores, in their class—
DR. GABOR MATÉ: They’re seen as bad teachers.
AMY GOODMAN:—then they could be fired. They’re seen as bad teachers, which means they’re going to want to kick out any difficult kids.
DR. GABOR MATÉ: That’s exactly it. The difficult kids are kicked out, and teachers will be afraid to go into neighborhoods where, because of troubled family relationships, the kids are having difficulties, the kids are peer-oriented, the kids are not looking to the teachers. And this is seen as a reflection. So, actually, teachers are being slandered right now. Teachers are being slandered now because of the failure of the American society to produce the right environment for childhood development.
AMY GOODMAN: Because of the destruction of American childhood.
DR. GABOR MATÉ: That’s right. What the problem reflects is the loss of the community and the neighborhood. We have to recreate that. So, the schools have to become not just places of pedagogy, but places of emotional connection. The teachers should be in the emotional connection game before they attempt to be in the pedagogy game.
Sure, we're constantly reminded of the disrespect for human life of these ex-Confederates (the Bridges/Cogburn character rode with the notrious Captain Quantrill of Missouri--the state where all the rules of war vanished into bloodlust). But we're also constantly reminded of the strange sort of cultivation that made these manly men (and woman) more able to articulate who they are than we are. The language of the film echoes that of the novel, where basically unlettered men speak with a formal and precise pagan grace. There's something civilized and even lawful in the violently state-of-nature Indian territory. These men and especially the very young woman are in some ways more civilized than we are, although, of course, not in many ways.
The film shows us what's to be said for and against the virtue that animated the Confederacy and the postbellum southern frontier. It doesn't varnish the truth about honor, even as it displays the virtue it can become when ennobled by personal love.
Patriotism, not nationalism, should inspire the citizen. The ethnic nationalist who wants a linguistically and culturally uniform nation is akin to the racist who is intolerant toward those who look (and behave) differently. The patriot is a 'diversitarian'; he is pleased, indeed proud of the variety within the borders of his country; he looks for loyalty from all citizens. And he looks up and down, not left and right.There is a problem with the word nation -- taken to refer to a people or ethnic group, then it seems absurd for one particular ethnic group to be linguistically and culturally divided. How is it really an united ethnic group with out a common culture? But I assume he is talking about the modern nation-state (or a multi-ethnic federation/empire), one that is prone to suppressing the legitimate cultural aspirations and exercises of its constitutent communities and peoples. If he were talking about a smaller political community, an ancient Greek polis, for example, I'd say that he was wrong. But I do not think he intended for his remark to cover all polities of all sizes.
As far as I can find out, there is absolutely no historical warrant for the idea that King George VI was urged to use the f-word by his speech therapist during his attempt to cure his stammer.
So why did the makers of the film The King’s Speech feel the need to insert a scene in which this happens?
Even if it did happen, there are other ways of letting us know that it did, apart from showing it.
If the British Board of Film Classification had any courage or resolve, they would have stuck by their decision to give the film a ‘15’ rating and so sharply reduced its market, solely because of this passage.
The producer, director and scriptwriters could not have been certain that the BBFC would cave in. They were prepared, therefore, to risk significant commercial damage for this cause.
I know that, to get their laughs, many modern ‘comedians’ rely almost completely on the f-word’s fading power to shock. But I think there is more to it than that. In much of the entertainment industry there is a militant desire to destroy taboos and upset the gentle, for its own sake. Revolutionaries love to debauch and corrupt.
How better to do this than to portray the trembling, retiring Bertie, who never wanted the throne and was happiest at home with his small family, spitting out dirty words?
I’d say shame on them if I thought they understood words of more than four letters.