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What is most curious is that humans of poorer classes are usually the ones who cultivate an unlimited adoration for their mother for having raised th… - Julio Cabrera
" "What is most curious is that humans of poorer classes are usually the ones who cultivate an unlimited adoration for their mother for having raised them with so many sacrifices. They suffer all kinds of misery, extreme poverty, disease, delinquency, discrimination, exclusion and torture, never realizing that it was their parents who put them in that situation for their own pleasure or due to irresponsible carelessness. And when the child commits some harmful act driven by the despair in which they were placed, people still sympathize with the "poor mother" for having a child that is "so ungrateful". All inherited misery magically becomes the child's responsibility! The same argumentative scheme which is applied here, is also applied in the theodicies: the impeccable Parent created their child out of love, gave them something very valuable, and also made them "free", while the child, being free, sinned, thus behaved wrongly and defiled this very valuable thing which was given to them, causing dissatisfaction for their unfortunate parent. It is an almost tragicomic scheme, because it seems to be exactly the opposite: our parents gave us, for their own pleasure and benefit, something of very dubious value which we, as a result of subjection and necessity – that is, very far from any real "freedom" – have to try to improve with a lot of our effort. As long as we do not reverse this prevailing valuation in our societies, ethical issues cannot even begin to be seriously considered, because the mother's viscerally egocentric and manipulative relationship with their children will continue to be regarded as a paradigm of ethical morality, which seems, at least, to be a crucial error of appreciation, a very serious mythology, a colossal mystification.
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About Julio Cabrera
Julio Cabrera is an Argentine philosopher living in Brazil. He is best known for his works on "negative ethics" and cinema and philosophy.
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Julio Cabrera (philosopher)
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Additional quotes by Julio Cabrera
Psychoanalysis's interest in discursive breakdown is not merely theoretical, but also because it is regularly marked by suffering, by some kind of emotional involvement (...) Suffering is not an external "accompaniment" to linguistic anomalies, but a constituent part of them. The discursive break is the manifestation of a psychic break. The generation of language anomalies and discontinuities is linked to the attempt to avoid displeasure. The actual compactness of the linguistic chain, that is, the correct filling of it through authentic signs would generate unbearable suffering.
Margens das filosofias da linguagem
A good deal of uncertainty and suffering will still await the baby after the primary crying stage. The baby will have to be nourished, one of the most delicious ceremonies for the two proud genitors. However, for the baby, it is still not very clear what goes in and what comes out of his small body. He does not know what it means to eat or defecate, but both things are unpleasant, so he cries bitterly at the moment of wanting to ingest and at the moment of expelling. There is not for him much difference between the two (the baby has not yet been taught to conceal this shameful proximity). All of the inescapable and tyrannical bodily necessities are already presented to the baby in the form of new cries and sufferings. Progenitors will become increasingly conscious of this and they will keep saying: “He’s crying; maybe he’s hungry”; “He’s crying; maybe he’s cold”; “He’s crying; maybe he’s tired”, without ever arriving at the ominous “He’s crying because he was born”.
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These are huge, even colossal, temporal modules of the transition of all things toward their end, which—from our minuscule, singular, finite, and perspectival temporal module—make us see as static and permanent what is impregnated and corroded with temporality, fluidity, and terminality. It is as if being itself appeared while already hiding its decaying nature. The human mechanisms of concealing the terminality of being follow the concealing rhythm of being itself; every human tends to hide their terminal temporality and its frightening lack of value behind a slow and reassuring temporality. If we could grasp, even for an instant, the swift temporality of the terminal nature of being—like that mad scientist in Terence Fisher's The Man Who Could Cheat Death (1959), who ages and dies in a few seconds in front of the cameras—we would be horrified. We can endure the terminal nature of being only because it is given to us little by little, in a periodic temporality.
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