Social Critics

"Throughout the past few years, every time I committed an action or was subjected to a series of attacks, I had never felt the need to justify myself, this all changed today; today I felt the importance of clarifying many things due to the harsh and unfair criticism I am facing this time; criticism that has reached the point of questioning my loyalty to my country, which is completely unacceptable. Our home country is big enough not to impose one nature on all spectrums of its society."

"I am, in my own homeland, convicted and imprisoned for the crime of being a human rights defender, a feminist and an opponent of the death penalty. [But] not only have my imprisonment and my recent 16-year sentence not made me feel any regret, they have actually strengthened my convictions and commitment to defending human rights more than ever before."

"I remain very optimistic about a bright future for my country and its citizens."

"We have to all realise that criticising some phenomena in our home country does not equate to hating it, wishing evil upon it nor is it an attempt to shake its balance, it's the total opposite. Any Saudi citizen might be upset by some incidents that occur in the Kingdom, but that is only a direct sign of one's interest in the betterment of one's own country and one's hope to see Saudi Arabia as a global leader."

"I am a 44-year-old woman condemned to 22 years in prison by the Islamic Republic of Iran and I know very well that this is not the end of the story, I have no doubt that those who provided the ink for penning such rulings and those who used it to write them, as well as the noble people of my country, all know I have committed no crime or sin to deserve such a harsh punishment. I have faith in the path I have chosen, the actions I have taken, as well as my beliefs. I am determined to make human rights a reality [in Iran] and have no regrets. If those who claim to be spreading justice are firm on their judgment against me, I am also firm on my faith and beliefs. I will not waiver under tyrannical punishments that will limit my freedom to the four walls of the prison cell. I will endure this incarceration, but I will never accept it as lawful, human or moral, and I will always speak out against this injustice."

"Our intent for this gathering was to protest some of the plans by members of the Parliament which are targeting women’s bodies and psyche. Plans such as the ‘Plan on Protection of Promoters of Virtue and Preventers of Vice’ and the ‘Plan to Protect Chastity and Hijab’ have issues and vocabulary that may be abused in the Iranian society and turned into excuses for violence [against women]."

"They are only deceitful words that make a mockery of justice when a judicial system detains, convicts and punishes people according to the biased and malicious opinions of security-military agencies and denies prisoners their legal rights."

"Respective authorities would not allow in those whom they know will slander the Kingdom and directly insult its citizens."

"Killing, imprisoning or denying the rights of a human being is not injustice against one person; it enchains and kills a whole society."

"Lately, I appeared in some foreign media channels, which resulted in more attacks against me, and the number of threats of murder or physical harm against me have increased due to the creation of ugly hashtags by instigators, for the purpose of inciting and mobilizing followers against me; this does not represent a tolerant society at all. In these interviews, I spoke about my experience and what I went through personally, and I always ended what I said with my optimism towards the future of the Kingdom and its youth, but - unfortunately - this part was usually omitted during the editing stages of said interviews. What the majority does not know is that, for the past 4 years, I have refused to appear in interviews with foreign media channels, because I knew of the threat that they pose to individuals and for fear of being used as a media tool wrongfully, as well as the tendency of some reporters to paint an ugly picture of Saudi Arabia by exploiting and cutting out parts of what is being said by its citizens - especially those who were part of the Kingdom's scholarship program - without any attempt to show the full picture in a fair and professional manner."

"I am with the uprising of women in the Arab world because I can think and fully practice my religion (like men). Also, I’m in debt to my daughter to offer her an honorable life."

"I will win. Not immediately, but definitely."

"According to Aurobindo,... there are passages in which the spiritual interpretation of the Dasas, Dasyus and Panis is the sole one possible and all others are completely excluded. There are no passages in which we lack a choice either between this interpretation and a nature-poetry or between this interpretation and the reading of human enemies."

"Hedged in though she [Savitri] is by mortality, her life‘s movement keeps the measure of the Gods. Painting her being and its human-divine beauty Sri Aurobindo achieves some of his supreme effects. Perhaps his grandest capture of the mantra are the nine verses which form the centre of a long passage, variously mantric, in which Savitri‘s avatarhood is characterised (...) A hieratic poetry, demanding a keen sense of the occult and spiritual to compass both its subjective and objective values, is in this audacious and multi-dimensioned picture of a highly Yogic state of embodied being. Not all might respond to it and Sri Aurobindo knew that such moments in Savitri would have to wait long for general appreciation. But he could not be loyal to his mission without giving wide scope to the occult and spiritual and seeking to poetise them as much as possible with the vision and rhythm proper to the summits of reality. Of course, that vision and that rhythm are not restricted to the posture and contour of the summits, either the domains of divine dynamism or (...) or the mid-worlds, obscure or luminous, fearsome or marvellous, of which Savitri‘s father, King Aswapathy, carries out a long exploration which is one of the finest and most fascinating parts of the poem. They extend to the earth-drama too and set living amongst us the mysteries and travails of cosmic evolution, like that dreadful commerce of Savitri with one to whom Sri Aurobindo gives no name:"

"“the true nature of the campaign in which SudAs is engaged… (is the) conquest over supernatural agents who… stand inwardly antagonistic to the Divine light.”...[The DAsas ranged against SudAs,] were “supernatural deniers and destroyers of the inner and spiritual progress of spiritual initiates,”269 and the Aryas ranged against him were “the lords of higher states of being and consciousness in the inner world, beyond whom the Aryan man would go and who therefore resent his progress and join hands with the DAsas/Dasyus, the obstructors in that occult dimension.”"

"The case for a fresh perspective in the post-Alexandrine epoch is argued in a positive tone which may create the impression in some places that the writer has no misgiving at all about any element of his thesis. As said at the very start of this Introduction, no historian can afford to be cocksure: he must always keep his mind plastic. But he is allowed to state as forcibly as he can whatever he believes to be worthy of audience - all the more if he is pleading on behalf of something that has seemed a lost cause . The present writer has no wish to appear in the eyes of historians a convinced heretic. He is prepared for criticism, open to correction and agreeable to further dialogue. What he has not bargained for is indifference. His hope is to deserve, by setting about his job as honestly and thoroughly as possible, the right of the Themistoclean appeal: "Strike, but hear!""

"As there are no depictions of the cow, in contrast to the pictures of the bull, which are abundant, should we conclude that Harappa and Mohenjo- daro had only bulls? And what about that mythical animal, the unicorn, which is the most common pictorial motif on the seals? Was the unicorn a common animal of the proto- historic Indus Valley? Surely, the presence or absence of depictions cannot point unequivocally to the animals known and decide for or against Aryanism?"

"We may legitimately conclude: "Th ere were a number of Saka Eras. Two of them were much older than that of 78 A.D ., and one of them which both Bhattotpala and Varahamihira have used to indicate the epochs of their works went back to the middle of the 6th century before Christ: the year 551-550."

"Whatever we may say, by way of criticism, about fixing the Kaliyuga in 3102 B.C., the Bhārata War in 3138 B.C., the coronation of Mahapādma Nanda in 1638 B.C. or, since the Nandas Purānically reigned 100 years, the beginning of the Mauryas in 1538 B.C, we cannot help being struck by the precision with which this chronology leads us to synchronise Chandragupta I with Sandrocottus."

"Even without our calculations about the kingdoms and dynasties of the post-Andhra epoch, the very fact that the Puranas can terminate the Andhras in 390 B.C. and that a Chandragupta of Pataliputra arrives on the scene not long after—this very fact is enough, with Sandrocottus in the last quarter of the 4th century B.C., to make us sit up and take sharp notice of the extraordinary coincidence."

"It seems impossible to doubt that Prithu Vainya at the commencement and Chandragupta I, founder of the Imperial Gupta in Magadha, at the termination are what the Indian informants of Megasthenes intended when they spoke of a series of 153 kings from Dionysus to Sandrocottus. Through Megasthenes the Purānic chronology of the rise of the Imperial Guptas in the last quarter of the 4th century B.C. appears to be completely vindicated."

"Surely, there is a limit even to the lack of the historical sense we may attribute to Indian chronologists. Critics of the Puranic time-scheme would definitely overshoot the mark by asking us to believe that an Indian living day after day under a particular king could be mad enough to push publicly the same monarch back in history by more than 6 centuries. Here is a reductio ad absurdum of the modern criticism and of the chronology currently accepted."

"It is telling that the pioneering work on this topic by K.D.Sethna has been thoroughly ignored by India's politically motivated historians."

""Here is the book I was looking for," I had said to myself aloud as I finished the first edition of The Problem of Aryan Origins by K.D. Sethna... [it was] undoubtedly a brilliant piece of research. I had seen in this book the birth of a new dawn on the horizon of Indian historiography... It was in the midst of this stifling atmosphere that K.D. Sethna's work came like a breath of fresh air. But now a whole school of historians is coming forward... All of them recognize K.D. Sethna as the forerunner in the field. Future generations are bound to hail him as the harbringer of a new dawn."

"Shortly after the abuse of Quinn began, Anita Sarkeesian, a prominent feminist media critic and blogger, began to receive a similar wave of threats. ... When Sarkeesian released a new video in her Tropes vs Women series, the mob, already attacking Quinn, connected the two women, seeing them as part of the same 'threat', and trolls began to abuse Sarkeesian as well. After her address was found and posted online, amid a mass of renewed death and rape threats, Sarkeesian, like Quinn, was forced to flee her home."

"Buying 1,000 dollar shoes ... — @anitasarkeesian"

"Anime is the most disgusting, sexist, and misogynistic form of media to ever come out of Japan. Anime defiles women and caters to perverts and losers. These cartoons are corrupting teenagers and promoting rape culture."

"When the media we create excludes girls and women, fails to depict them as leaders and innovators or treats them as little more than side-kicks, love interests and sex objects, is it any wonder that women are systematically excluded and under-represented in so many careers and leadership positions?"

"Well, maybe the princess shouldn't be a damsel and she could save herself."

"I'm exhausted. I know that it's not unusual for nonprofits to have a life cycle shorter than a lot of people would like, but there are unique challenges when they're so entwined with an individual (me) who has become a symbol (oops), for better and for worse. I'm hoping that it will be valuable to share the reality of the bone-deep burnout that comes from consistently saying yes to the growth of Feminist Frequency, often at the expense of protecting my personal boundaries, and the workload of our team. While I've already said my piece about the harassment that myself and others have experienced over the years, reflecting on it now I can express both a sense of pride that conversations about online abuse have become part of our lexicon, and a reality that it has come at the cost of my health and wellbeing."

"It gets worse and worse, it reinforces this idea of women as sexual objects, right; there's this idea of women as playthings for their amusement ... [that] we are not meant to be treated with respect."

"The "mystical pregnancy" is one of the tropes that I loathe the most, because while other tropes represent women in stereotypical ways, this one hits us on a biological level."

"[On the Gamergate controversy] Ethics in journalism is not what's happening, in any way."

"There's no such thing as sexism against men. That's because sexism is prejudice + power. Men are the dominant gender with power in society."

"For this video I tried to get a glimpse of Batman's rear end, but it's as if his cape is a piece of high-tech Wayne-Industries equipment designed to cover up his butt at all costs."

"Not a coincidence it's always men and boys committing mass shootings. The pattern is connected to ideas of toxic masculinity in our culture."

"Why are [...] female characters in combat roles wearing high-heels? With all the fighting, running and climbing these women have to do, dressing them in high-heels is clearly a decision rooted in sexualized aesthetic pleasure rather than believability."

"It's both possible, and even necessary, to simultaneously enjoy media while also being critical of its more problematic or pernicious aspects."

"Princess Peach is in many ways the quintessential stock-character version of the damsel in distress."

"Since mobile, indie and retro inspired games are built on a legacy of inequality in the medium the new wave of 80s and 90s nostalgia has brought with it a resurrection of the worst of the old-school damsel in distress stereotypes. Indeed, many of these new titles essentially function as love letters to the trope as a way of paying homage to classic games of years gone by."

"Anita Sarkeesian: For me, the big picture has always been culture change, and pop culture was just a vehicle and a medium through which cultural change can happen or it can be influenced by; so it's not actually about video games. But it's about video games, right?"

"Anita Sarkeesian: I think it's important to recognize that harassment is, as someone had mentioned, not just what is legal and illegal, right? Harassment is threats of violence, but it's also the day-to-day grind of "you're a liar", "you suck", making all these hate videos to attack us on a regular basis, and the mobs that come from those hate videos, et cetera."

"Geraldine Doogue: I'm intrigued by Anita saying she had to learn about systems. You had to learn about the sociology of systems and structural change, and that was obviously quite a journey for you."

"We can trace the "woman as reward" trope all the way back the beginning of the medium itself as [...] upon successful completion of many arcade games, players were rewarded with a related "smooch of victory" trope, so named for the kiss the hero received as a reward for rescuing a kidnapped princess. Sometimes the prize is blatant, as with the "standard hero reward" in which the king will give his daughter to the hero. On other occasions it's taken a step further by employing the parallel of "sex for victory" or "rescue sex" trope."

"If you want to get to know a character, learn about their interests, goals or desires, their butt is probably not going to give you that information."

"The preference for [the term] 'queer' represents, among other things, an aggressive impulse of generalizations; it rejects a minoritizing logic of toleration or simple political interest-representation in favor of a more thorough resistance to regimes of the normal. ... For both academics and activists, 'queer' gets a critical edge by defining itself against the normal rather than the heterosexual. ... The insistence on 'queer' ... has the effect of pointing out a wide field of normalization, rather than simple intolerance, as the site of violence."

"Én egy őrkutya vagyok. Egy csahos kutya. A közvélemény előretolt állása. Nekem az a feladatom, hogy jelezzem, ha valami veszélyt érzékelek. Ha valami silány, hitvány, ízléstelen, hazug, álságos, képmutató, szemét, ócska, igénytelen, förtelmes vagy emberhez méltatlan. Világ életemben ezt műveltem, ezt képviseltem. (Puzsér Róbert: "Én egy őrkutya vagyok" - Szily Nóra interjúja, life.hu, 2012. április 10.)"

"Én nem a személyiségemet árulom. Én álláspontokat képviselek. Véleményt mondok. Erről beszéljünk! Ez legyen a téma, ne az én egyéniségem! Az egy váz. Egy keretrendszer. Nem érdemes sem figyelemre, sem rajongásra, sem szeretetre. (Puzsér Róbert: "Én egy őrkutya vagyok" - Szily Nóra interjúja, life.hu, 2012. április 10.)"

"Miért gondolja a Burger King, hogy az éhes embereknek imponál a fasizmus? (Reklámtörvényszék #3 - Burger King)"

"Egy kezemen meg tudom számolni, hány alkalmas ember dolgozik ma a médiában. De siralmas a helyzet a színház, a filmgyártás és a képzőművészet területén is. Az egész magyar kultúra mélységes válságban van, a rothadás, ami uralja az országot – kulturálisan, gazdaságilag, politikailag, etikailag és mentálökológiailag – mindent elemésztő. (Idegen test az RTL Klubon - Puzsér Róbert-interjú, hvg.hu, 2012. március 20.)"