#riane eisler

[haggishlyhagging]

Although there have been exceptions, the evolutionary model of man the hunter-warrior has colored most interpretations of Paleolithic art. Only in later twentieth-century excavations in eastern and western Europe and Siberia has the interpretation of both new and old finds gradually begun to change. Some of the new researchers were women, who noted the female genital imagery and also leaned toward more complex religious rather than the "hunting magic" explanations of Paleolithic art. And as more scholars were secular scientists rather than monks like Abbé Breuil (whose "moral" interpretations of religious practices colored so much of the nineteenth- and early twentieth-century Paleolithic research), some of the men who reexamined the cave paintings, figurines, and other Paleolithic finds now also began to question tenets once accepted by the scholarly establishment.

An interesting example of this questioning relates to the stick and line forms painted on the walls of Paleolithic caves and engraved in bone or stone objects. To many scholars, it seemed obvious that they depict weapons: arrows, barbs, spears, harpoons. But as Alexander Marshack writes in The Roots of Civilization, one of the first works to frontally challenge this standard interpretation, these line paintings and engravings could just as easily be plants, trees, branches, reeds, and leaves. Moreover, this new interpretation would account for what would otherwise be a remarkable absence of pictures of such vegetation among a people who, like contemporary gatherer-hunter peoples, must have relied heavily on vegetation for food.

In Paleolithic Cave Art, Peter Ucko and Andrée Rosenfeld had also wondered about the peculiar absence of vegetation in Paleolithic art. They further noted another curious incongruity. All other evidence showed that a particular kind of harpoon called biserial didnt appear until the late Paleolithic or Magdalenian age—even though scholars kept "finding" them in "sticks" thousands of years earlier in the wall paintings of prehistoric caves. Moreover, why would Paleolithic artists want to depict so many hunting failures? For if the sticks and lines were in fact weapons, the pictures had them chronically missing their targets.

To probe such mysteries, Marshack, who was not an archaeologist, hence not bound by earlier archeological conventions, thoroughly examined the engravings on a bone object that had been described as pictures of harpoons. Under a microscope he discovered that not only were the barbs of this supposed harpoon turned the wrong way but the points of the long shaft were also at the wrong end. But what did these engravings represent if they were not "wrong way" weapons?

As it turned out, the lines easily conformed to the proper angle of branches growing at the top of a long stem. In other words, these and other engravings conventionally described as "barbed signs" or "masculine objects" were probably nothing more than stylized representations of trees, branches, and plants.

-Riane Eisler, The Chalice and the Blade: Our History, Our Future

[ammitapologist]

Been reading The Chalice and the Blade by Riane Eisler and it makes me so sad i just want to get my thoughts out.

Male dominator social organization wasn't always there. It doesn't have to be like this, but way I see it, it's going to be near impossible to go back to a egalitarian partnership organization like the Goddess worshipping people unless a huge catastrophe happens and modern society is swept away.

[psychologypsp]

Organizational Consultation XXXI: The Appreciative Leader: From A Traditional Perspective

Organizational Consultation XXXI: The Appreciative Leader: From A Traditional Perspective

How does one address this interplay between order and chaos? How does one move beyond the contextual model of leadership to a more fully appreciative model? I propose that contemporary leaders must not only embrace multiple roles and functions in their organization. They must embrace a multitude of roles that come from different eras in our society and that represent a complex interweaving of…

[sororfeminarum]

My Dianic/Female Centered witch reading list (will update as I get more)!

The Holy Book of Women’s Mysteries by Z. Budapest (because obviously)

The Chalice and the Blade by Riane Eisler

Who Cooked the Last Supper? by Rosalind Miles

The Skeptical Feminist by Barbara G. Walker

The Spiral Dance by Starhawk

Women’s Rites, Women’s Mysteries by Ruth Barrett

The Pagan Book of Living and Dying by Starhawk

Moon Time by Lucy H. Pearce

Witches, Midwives, and Nurses by Barbara Ehrenreich and Deirdre English

Women Who Run With The Wolves by Clarissa Pinkola Estes

WomanRunes by Starhawk and Molly Remer

Whole and Holy: A Goddess Devotional by Molly Remer

You are the Placebo by Joe Dispenza

The Power of Ritual by Casper Ter Kuile

Feel free to leave some recommendations! I really like hearing especially about non-pagan books that influenced your practice (like the last two listed here were for me)!

Blessed be! 🌙💫✨

[feminismisstillahatemovement]

so I was expecting to see it pinned but I can't: could you summarize why you hate feminism? I feel like it's doing a lot of good but I'm wanting to see other perspectives better of that makes sense?

I really ought to have something pinned so I don't have to keep writing new responses, but I always find there are new angles that need expressing and I never feel I've written one specific post that addresses everything.

I was a feminist myself from the age of 13, when I read Marilyn French's novel The Woman's Room, and within another 5 or 6 years I'd gotten pretty radicalized and gone out and bought my own copy of Valerie Solanas' SCUM Manifesto, along with a bunch of Riot Grrrl records. I stayed in that echo chamber for quite a few years, but increasingly started noticing things that didn't - and couldn't - make sense and asking questions of the movement that no-one within it could answer, and as soon as I did, I was out of the cult. If you try doing that yourself, you'll find the same will happen to you.

I'm at a loss to know how to summarize in a brief and easy-to-digest way the way my life and thinking has developed since then, and what the most pertinent points to relay should be.

Basically, what I'd most noticed was the disconnect between what the feminist movement claims to be and what it actually is. The more involved in feminism any person becomes, the more callous, hateful and contemptuous towards men they will become. If Feminism WAS just a movement that seeks to treat men and women equally, as it publicly claims, then it wouldn't make any sense that that should be the entirely predictable outcome every time: you'd expect the most radical feminist to be the most loving and fairminded towards every man she encounters, instead of gleefully calling for his genocide.

On top of that, the bedrock claims of feminism the past 50 years or more - Patriarchy, rape culture, pay gap, glass ceiling, etc. - are all revealed to be self-evidently false if you scrutinize them with any rigor at all. To be a feminist today you have to believe all human civilization is a conspiracy invented by men to benefit all men through the oppression and exploitation of all women, the world over. But no man knows anything about this conspiracy, which occurred in every disconnected and uncontacted corner of the globe, without a single exception, and there is no evidence or even attempt to theorize how and where this conspiracy is supposed to have taken place (the only attempt I've even heard any feminist trying is Riane Eisler's fanciful and thoroughly discredited theory of "matrifocal" cultures existing at some point in Ancient Greece, that run contrary to everything we know of the past from all historical records and archeology, as well as the rest of the world at that time).

What feminists call "The Patriarchy" is, in reality, the gendered division of labor that we (and other mammals) evolved over millions of years to best survive in a hostile natural world. To frame nature itself as an evil and oppressive human conspiracy is utterly insane and enormously destructive to millions of people's mental health and ability to connect to others.

Feminism has done, and continues to do, massive harm to relations between the sexes, because by framing every second human being on planet earth as The Oppressor, and the other half of the human race as innately abused and perpetually bedraggled Victims, it makes love between the sexes impossible, if taken at all seriously.

It's important to make the differentiation between Feminism (a far-left political ideology) and Women (half of the human race): feminism does not speak on behalf of the majority of women, and never has (the last I heard, only around 10-15% of women identify as such, depending on where you ask). You can support equal rights and opportunities for all without lending your support to the idiotic ideas of class/gender war mostly borrowed from Marxist theories, which is what most of feminism from the second wave onwards has been based on. Although I tend to avoid labels myself, many people today feel much more comfortable identifying as egalitarians rather than feminists, because it removes the century of hateful sexist baggage that word brings with it.

This is already getting quite long, so I guess I'll leave it there, but I'm happy to expand on any specific aspect of feminist belief you may want more detail on. It's easier to get into the nuts and bolts when the topic is not so broad.

[burlveneer-music]

Tiptons Sax Quartet & Correo Aereo - Mujer o Bruja

During the worldwide COVID-19 Pandemic, two powerful ensembles joined forces in Seattle Washington in late 2020 to research and create the history of the role of women in culture. Written and directed by Madeleine Sosin, MUJER O BRUJA? takes us on a journey inspired by partnership societies of the Paleolithic Era, revealing the advent of the Dominator Systems and organized religion, and looking towards a balanced future. The musicians in Correo Aereo duo and the all-women Tiptons Sax Quartet developed ideas and compositions with digital technologist Jing ‘Jude’ Dai for a full year during the pandemic. The group developed the piece in 2021 by video conference and met in Seattle In October 2021 for a 2-week creative residency. where they honed, rehearsed and premiered. MUJER O BRUJA’s world premiere was a co-production of Wayward Music and the Earshot Jazz Festival in Seattle on October 22/23, 2021 at the Chapel Performance Space in the Good Shepherd Center. The ensemble went on to record and mix the audio at Stone Gossard’s Studio LITHO in Seattle. Inspired by The Chalice & The Blade by Riane Eisler Conception & Direction: Madeleine Sosin Creative Technologist, Visual Concept & Curation, Digital Artist, Video Production: Jude Dai Visual Curation & Concept: Madeleine Sosin Produced by Amy Denio Co-Producers: Madeleine Sosin and Jessica Lurie MUSICIANS/COMPOSERS: Correo Aereo Duo: Abel Rocha: harp, guitar, percussion, voice / Madeleine Sosin: violin, percussion, voice + Tiptons Sax Quartet Amy Denio: alto sax, clarinet, accordion, guitar, voice / Jessica Lurie: soprano & alto sax, flute, auxiliary percussion, kazoo, voice / Sue Orfield: tenor sax, piano, percussion, voice / Tina Richerson: baritone & alto sax, percussion, voice / Elizabeth Pupo Walker: percussionist in absentia

[determinate-negation]

Have you ever read or heard of riane eisler? What do you think of her?

no i havent

[cleverwordsandotherstuffilike]

"So many of the models of courage we've had, ones that are still taught to boys and girls, are about going out to slay the dragon, to kill," says Riane Eisler. "It's a courage that's born out of fear, anger, and hate. But there's this other kind of courage. It’s the courage to risk your life, not in war, not in battle, not out of fear . . . but out of love and a sense of injustice that has to be challenged. It takes far more courage to challenge unjust authority without violence than it takes to kill all the monsters in all the stories told to children about the meaning of bravery."

[1mademe7]

“Sumienie jest rozpuszczalne w alkoholu”

-Riane Eisler-

[haggishlyhagging]

It of course makes eminent sense that the earliest depiction of divine power in human form should have been female rather than male. When our ancestors began to ask the eternal questions (Where do we come from before we are born? Where do we go after we die?), they must have noted that life emerges from the body of a woman. It would have been natural for them to image the universe as an all-giving Mother from whose womb all life emerges and to which, like the cycles of vegetation, it returns after death to be again reborn. It also makes sense that societies with this image of the powers that govern the universe would have a very different social structure from societies that worship a divine Father who wields a thunderbolt and/or sword. It further seems logical that women would not be seen as subservient in societies that conceptualized the powers governing the universe in female form—and that "effeminate" qualities such as caring, compassion, and nonviolence would be highly valued in these societies. What does not make sense is to conclude that societies in which men did not dominate women were societies in which women dominated men.

-Riane Eisler, The Chalice and the Blade: Our History, Our Future

[nordseehexe]

Die traditionellen Ritual-Werkzeuge innerhalb der Wicca-Bewegung sind:

Das (Schwert oder) der/das Athame: Der zweischneidige, schwarze Zeremonialdolch (zur Lenkung von Energie, fast nie zum Schneiden benutzt).

Bolline: Das weiße Messer (für praktische Tätigkeiten wie Kräuter schneiden und Kerzen schnitzen).

Der Stab: ein Zauberstab, der zur Lenkung von Energien dienen soll.

Pentakel: Eine rituelle Scheibe (auch Schild), auf dem ein Pentagramm (fünfzackiger Stern mit nach oben gerichteter Spitze) in einem Kreis abgebildet ist.

Weihrauchfass: Zum rituellen Räuchern.

Peitsche: Als Zeichen von Macht und Dominanz.

Kordel: Findet beim Schwören verschiedener Eide Verwendung, wird auch als „das Maß“ bezeichnet, weil die Kordel der Körpergröße des Trägers/der Trägerin entsprechen soll.

In einigen Traditionen finden zum Teil folgende Utensilien Verwendung:

Besen (u. a. für rituelle Reinigung von negativen Energien).

Buch der Schatten (früher auch Grimoire genannt) Ein Buch mit magischen Ritualen, Zauberformeln, Rezepten u. ä., das dem Novizen bei der Initiation übergeben wird.

Kelch: Wird bei Gelöbnis- und Einweihungszeremonien benutzt.

Kessel: Dabei handelt es sich normalerweise um einen schmiedeeisernen Kochtopf, der sowohl für rituelle Mahlzeiten als auch zum Räuchern verwendet wird.

Kuchen und Wein: Werden für den „gesellschaftlichen Teil“ nach einem Ritual verwendet.

Salz und Weihwasser: Werden bei Weihe-Ritualen verwendet.

Pendel: Ein schwerer Gegenstand an einer Schnur, der durch Kontakt mit dem medialen Bewusstsein Weissagungen ermöglicht.

Weihwedel: Ein Kräuterbündel o. ä., mit dem man vor oder während eines Rituals Wasser versprengt.

Labrys: Eine Doppelaxt nach minoischem Vorbild, die links am Altar gelagert wird.

Athame und Zauberstab werden mit der rechten Hand (bei Linkshändern der linken Hand) gehalten. Diese Hand, die auch „Schutzhand“ genannt wird, steht symbolisch für den Punkt, an dem die persönliche Kraft aus dem Körper strömt. Die linke Hand (bei Linkshändern die rechte Hand) dagegen heißt „rezeptive Hand“, weil durch sie Energie in unseren Körper strömt. In manchen Ritualen symbolisiert der Kelch das weibliche Prinzip (den Schoß) und die Athame das männliche Prinzip (den Phallus), ganz im Sinne von Riane Eislers „Kelch und Schwert“, bei einigen Traditionen/Pfaden ist die Bedeutung von Athame und Stab (und die jeweilige Zuordnung zur Himmelsrichtung) vertauscht.

[psychologypsp]

Organizational Consultation XXX: Leadership and the Appreciative Perspective

Organizational Consultation XXX: Leadership and the Appreciative Perspective

We have now completed our journey around the Appreciative Triangle. We have ventured into the domains of information, intentions and ideas, and have delved into three appreciative strategies that relate to each of these domains: assessment (information), chartering (intentions) and empowerment (ideas). We have explored three strategies along the way that bridge these three domains: benchmarking…

[feminismisstillahatemovement]

So you *are* a man.

How did you get into Marilyn Frye and all the feminist authors you say you’ve read at length?

Marilyn French. And I found her book The Women's Room when I was 13 because I read a lot and I'm an empathetic human being always trying to do good in the world, and at that age easily-influenced, so I quickly took on its worldview of comfortable middle-class women living lives of terrible deprivation, and that led me to Germaine Greer, who I still consider a pretty good writer - certainly the best of the feminist authors - and then well-intentioned but-deluded women like Riane Eisler and then openly hateful and genocidal monsters like Andrea Dworkin and Valerie Solanas.

Most men become feminists because they like and want to help women much more than they like and want to help men, and believe the political propaganda all around them that tells them identifying as a feminist is something every good man must do if he wants to help women. It is only later, if at all, that they begin to examine and question in any depth the deeply disturbed, divisive and societally-destructive ideology they're in reality supporting by doing so.

[vomitnest]

INTRODUCING RIANE EISLER. SHE IS A WORLD RENOWNED CULTURAL ANTHROPOLOGIST WHO HAD A PROFOUND INFLUENCE ON TERENCE MCKENNA, WHO IS DEAD NOW, AND WAS MORE FAMOUS FOR DRUGS THAN HE WAS FOR HIS CENTRAL MESSAGE, WHICH WAS ANARCHISM AND GLOBAL SALVATION FROM CONSUMER CULTURE AND CRASS MATERIALISM.