To understand Jordan Peterson’s encouraging of young men to become heroes in service to the maternal principle, especially within the context of marriage, we must turn to his ideological pedigree in the formulations of Carl Jung. Jung characterized the hero archetype as bound up with what he called ‘the Great Mother archetype,’ believing that male heroism rests on resisting the negative mother or, alternatively, acting as servant to a positive mother. Jung’s mother-tied concept of the hero is laid out in his Symbols of Transformation, an idea that Peterson reiterates when he treats motherly women as an axis mundi who provide essential meaning to male striving (a position I touched on in a 2017 article titled The Gynocentrism of Jordan Peterson). 

Peterson refers to Freud’s claim that the Oedipus myth is a “failed hero story,” but he proposes, following Jung, that relationships men have with mothers and other feminine figures might be more positive and more inspirational than the taboo interpretation insisted upon by Freud. Whether such relationships with inspiring or nurturing female figures be positive or negative, Peterson appears to miss Freud’s point that both of these options still belie an incestuous entanglement with mother imagos.

In this video for example, Peterson claims that positive mothers give birth to heroes.  He illustrates this point by reference to an image of Hercules who floats on a chaotic ocean in what he refers to as a “feminine boat,” which is a metaphor for an uplifting, positive mother. In this lecture he reminds his female students of their role in creating and sustaining heroes: “That’s what you’re trying to produce if you’re a good mother, it’s this figure that can go out into the unknown armed, accurate and able to pay attention,” and he adds that mothers create male heroes who “can take on the troubles of the world.”

Might this be why Peterson places such strong emphasis on women becoming mothers – that they might breed and nurture the next generation of male heroes? That male heroes might then have a female boat to float their heroic mindset? Further, what might happen if we replaced all of Peterson’s inspiring female figures with inspiring male figures?

There is no way, at least in my reading, of understanding Peterson’s kind of feminine-tied heroism as anything other than a mother fixation. The archetypalist James Hillman agrees that “contrary to the classical analytical view, we would suggest that the son who succumbs and the hero who overcomes both take their definition through the relationship with the magna mater… When mother determines the role, then regardless how it is played its essence is always the same: a son. And, as Jung says of assertive heroism:

“Unfortunately, however, this heroic deed has no lasting effects. Again and again the hero must renew the struggle, and always under the symbol of deliverance from the mother”¹

What we are dealing with by over-emphasizing the role of mothers is the creation of two male archetypes: Mother’s son (Oedipus), and Mother’s hero (Hercules). Readers will be aware that Hercules’ relationship with female figures leaves him riddled with guilt and pathology, and Oedipus is the ultimate example of malignant, incestuous heroics who is unable to enact his heroism as anything but the result of his relationship with female figures. But the Oedipal path is not the only way to view the male hero, as Hillman describes;

The [maternal] dragon demands battle and the hero myth tells us how to proceed. But suppose we were to step out altogether from the great mother, from Jocasta and Oedipus and the exhausting, blinding heroics…. If Freud was right that Oedipus is the stuff of neurosis, then the corollary follows that Oedipus-heroics are the dynamism of neurosis. Heroism is thus a kind of neurosis, and the heroic ego is neurotic ego. Creative spirit and fertile matter are there embraced and embattled to the destruction of both.²

So far I’ve been referring only to a classical Jungian concept of the male hero, and to Jordan Peterson’s reliance on same.³ The hero archetype in Jung’s writings is intimately bound up with the mother archetype (being a hero for mother / or fighting against the dragon mother), or otherwise tied up with feminine figures (inspiratress, or muse). These are archetypes that can be contrasted with other kinds of male hero who have zero entanglement with feminine figures.

Aside from the mother’s heroes described above, there are a number of variations detailed by Joseph Campbell in his famous work The Hero With a Thousand Faces. Campbell wasn’t a Jungian, and he was suspicious of Jungian dogmas, once claiming “I’m not a Jungian! I’m much more interested in diffusion and relationships historically than Jung was, so that the Jungians think of me as a kind of questionable person.”⁴  Likewise, Campbell’s conception of the hero is not beholden to Jungian or Freudian orthodoxies.

Campbell paints the hero’s journey as a stepping off into the unknown, into a more gutsy hero’s journey as compared with stepping out into the world as ‘mother’s hero’ to do her bidding. As Campbell characterized it, a more masculine hero’s journey might entail leaving the mother-world behind and seeking atonement with the father, which Campbell describes; “When the child outgrows the popular idyl of the mother breast and turns to face the world of specialized adult action, it passes, spiritually, into the sphere of the father—who becomes, for his son, the sign of the future task… Whether he knows it or not, and no matter what his position in society, the father is the initiating priest through whom the young being passes on into the larger world.”

As one facebook poster put it;

“The hero’s journey as described by Joseph Campbell begins by ‘Separation,’ the departure from the status quo. To me this personally I associate this to stepping out of and leaving the gynocentric view of the status quo.”

Leaving behind the gynocentric world is precisely what is entailed. To whit, Campbell writes:

This first stage of the mythological journey—which we have designated the “call to adventure”—signifies that destiny has summoned the hero and transferred his spiritual center of gravity from within the pale of his society to a zone unknown. This fateful region of both treasure and danger may be variously represented: as a distant land, a forest, a kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop, or profound dream state; but it is always a place of strangely fluid and polymorphous beings, unimaginable torments, superhuman deeds, and impossible delight. The hero can go forth of his own volition to accomplish the adventure, as did Theseus when he arrived in his father’s city, Athens, and heard the horrible history of the Minotaur; or he may be carried or sent abroad by some benign or malignant agent, as was Odysseus, driven about the Mediterranean by the winds of the angered god, Poseidon.⁵

That refers to the father-inspired hero. For the mother-bound hero, however, this broader journey is renounced in favor of remaining within the family complex and enacting a pale heroism on its behalf. As Campbell tells;

Often in actual life, and not infrequently in the myths and popular tales, we encounter the dull case of the call unanswered… The literature of psychoanalysis abounds in examples of such desperate fixations. What they represent is an impotence to put off the infantile ego, with its sphere of emotional relationships and ideals. One is bound in by the walls of childhood; the father and mother stand as threshold guardians, and the timorous soul, fearful of some punishment, fails to make the passage through the door and come to birth in the world without.⁵

Campbell entertained a few gynocentric beliefs of his own that were popular in academia in his time. Mercifully, he formulated the hero’s Journey on the principle of men stepping out into new horizons without the need for maternal or feminine fixations, and on that journey he said it is frequently male figures who serve to encourage, inspire and guide the male hero – fathers, brothers, ancestral spirits, male mentors and guides. Campbell’s hero provides a welcome change from Oedipal hero which sees men going from enmeshment with mothers straight into the married arms of a maternal wife as Peterson encourages for young men. In other words Campbell’s hero template for men is explicitly Red Pill, as contrasted with gynocentric fixation on parental figures and roles.

Paul Elam, who has devoted much of his life to imparting the wisdom of self-determinism to men, made this incisive response regarding the comparison of Campbell’s and Peterson’s concepts of the hero:

 

After floating a description of this ‘Campbellian’ kind of hero on Twitter and describing his more masculine pedigree, a few people asked whether this path was suitable for all men; eg., straight, gay, soft, hard, nerd or Canadian lumberjack. The answer is yes, because we all have maternal influences dominating our childhood and have a choice to move into adult life remaining enmeshed or obsessed with feminine forces (Peterson), or otherwise to place the accent on atonement with the world of men and with adventure (Campbell). The choice, as always, is yours.

References:

[1] James Hillman, ‘The Great Mother, Her Son, Her Hero, And The Puer,’ in Fathers and mothers; five papers on the archetypal background of family psychology, Spring Publications (1973)
[2] Karl Kerenyi, James Hillman, Oedipus Variations: Studies in Literature and Psychoanalysis. Spring Publications (1995)
[3] Note: As well as deriving inspiration from Jung’s conception of the hero, Peterson leans heavily on the work of Jungian Erich Neumann (The Great Mother, and The Origins And History of Consciousness) whose writings display an obsession with mother imagery. For readers wanting to investigate how irrational Neumann’s ideas are, see the excellent critique by Wolfgang Giegerich titled ONTOGENY = PHYLOGENY? A Fundamental Critique of Erich Neumann’s Analytical Psychology (1975).
[4] Joseph Campbell. An open life: Joseph Campbell in conversation with Michael Toms. Larson Publications (1988)
[5] Joseph Campbell, The hero with a thousand faces (rev. ed.). Bollingen Series, 17. (1990)

The following excepts are from The Routledge Handbook on Identity in Byzantium. The chapter (23), written by Adam J. Goldwyn is titled ‘Byzantium in the American Alt-Right Imagination: Paradigms of the Medieval Greek Past Among Men’s Rights Activists and White Supremacists.’

Despite this over-the-top title insinuating that all men’s issues groups are “alt-right” (a false claim) and that they are somehow aligned with “white supremacists” (also a false association), Adam has nevertheless utilized some valid source material for his critique of the theory that cultural gynocentrism emerged during the Middle Ages, and has presented it with some fidelity. I have limited the following excerpts to the author’s critique of material on this website – gynocentrism.com. At the Notes section at bottom, I provide a few corrections to the author’s comments.

* * *

The most detailed articulation of MRA views of the Middle Ages can be found in the work of Peter Wright, whose website gynocentrism.com exemplifies these trends of men’s gender based subjugation to women and the development of specialised pseudo-jargon for describing it.^a Indeed, its tagline, “Gynocentric culture was born in the Middle Ages with the practices of romantic chivalry and courtly love. It continues today relatively unchanged,”¹² with its Greco Latinate title, reflects the importance of specialised pseudo-academic language to the formation of MRA ideology, while also providing the Middle Ages as the moment for the rise of this new system of male oppression.¹³

Wright’s “timeline of gynocentric culture” centres the medieval romance in this narrative of historical development. He begins by arguing that “Prior to 1200 AD broadspread gynocentric culture simply did not exist, despite evidence of isolated gynocentric acts and events. It was only in the Middle Ages that gynocentrism developed cultural complexity and became a ubiquitous enduring cultural norm.”¹⁴ Indeed, Wright identifies 1102 as the year when “Gynocentrism meme first introduced,” ascribing the fault to William II of Aquitaine, who, in addition to writing troubadour poetry, “part[ed] with the tradition of fighting wars strictly on behalf of man, king, God and country,” as exemplified by his having “the image of his mistress painted on his shield.”¹⁵

The second entry in the timeline comes in 1152, when William’s granddaughter Eleanor of Aquitaine began to “utilise poetry and song for setting expectations of how men should act around them, thus was born the attitude of romantic chivalry promoting the idea that men need to devote themselves to serving the honour, purity and dignity of women.”¹⁶ Thus, medieval romance becomes the vehicle by which gynocentric values were spread. Other dates in the timeline also suggest the centrality of the medieval romance: Wright specifies 1180, when Marie de Champagne directs Chretien de Troyes to write “a love story about Lancelot and Guinevere elaborating the nature of gynocentric chivalry” and the 1188 publication of Andreas Capellanus’s The Art of Courtly Love as moments of particular importance.¹⁷ The twelfth-century origins of gynocracy from within the genre of the romance is also important for MRA use of Byzantine literature since the twelfth century saw a similar revival of romance writing in Constantinople.¹⁸

For Men’s Rights Activists, the past is not a thing that merits dispassionate study for its own sake; rather, its value lies in how their interpretation of it can reveal the ways in which society continues to empower women at the expense of men. Thus, the timeline’s concluding entry, “21st century: Gynocentrism continues,” makes explicit the connection between the deep history of gynocentrism and the influence of the medieval romance on contemporary society:

The modern feminist movement has rejected some chivalric customs such as opening car doors or giving up a seat on a bus for women; however, they continue to rely on ‘the spirit of chivalry’ to attain new privileges for women: opening car doors has become opening doors into university or employment via affirmative action; and giving up seats on busses has become giving up seats in boardrooms and political parties via quotas. Despite the varied goals, contemporary gynocentrism remains a project for maintaining and increasing women’s power with the assistance of chivalry.¹⁹

In addition to giving examples of how the underlying principles of medieval chivalry manifest themselves in modern culture, Wright’s conflation of feminism with the Civil Rights movement is also a standard tactic in MRA rhetoric. Donna Zuckerberg refers to the transference of racial discourse to gender discourse as “the appropriative bait-and-switch” by which MRA members “appropriate to disastrous effect a topic that is about race and the legacy of slavery and use it to support an ideology that allows white men to restrict women’s reproductive freedom by limiting access to abortion and birth control.”²⁰ Thus, in this instance, a historically informed reading would acknowledge that affirmative action and ending restrictions on bus seating were not policies rooted in gender; rather, they were policies of racial desegregation. The language of civil rights is thus turned to the empowerment of MRA.

[…]

In “The Birth of Chivalric Love,” for instance, Peter Wright defines several key terms, each of which has its own modern parallel. “Damseling,” for instance, “is a popular shorthand for women’s projection of themselves as damsels in distress. [ … W]omen have been taught from generation to generation to mimic juvenile characteristics via the use of makeup and vocal intonations, along with a feigning of distress typical of children–which collectively works to extract utility of men.”²² Having laid out the historical roots of damseling in the Middle Ages and in the medieval romance, Wright applies this paradigm to contemporary politics in a post entitled “Damseling, chivalry and courtly love (part two).”²³

Arguing that damseling has “been referred to as grievance feminism, victim feminism, and even fainting-couch feminism,” Wright offers the contemporary example of Anita Sarkeesian, who urged that game designers diversify the kinds of characters and plot arcs available to female characters in video games, concluding that “Sarkeesian’s case is particularly poignant because, from the many subjects she could have highlighted to damsel herself for attention, she chose to damsel herself over the very existence of damsels. This demonstrates that even when disavowing the medieval pageant of damsels in distress, feminists continue to enact it even while obfuscating their complicity in the tradition.”²⁴ Thus, the medieval archetype of the damsel in distress becomes redefined in a way that actually gives the woman agency over the men in the medieval romance, and this then becomes the paradigm for modern ways of considering gendered power dynamics.

Similarly, Wright argues that “Courtly Ladies (= Feminists). Feminists today refer to courtly ladies of the late Middle Ages as the first feminists.”²⁵ Having redefined a commonly understood medieval concept with a counterintuitive new definition, Wright then goes on to make the connection between medieval and modern: “Not surprisingly this was the time [12th to 14th centuries] when powerful women were able to establish the female-headed “courts of love” which acted in a comparable way to today’s Family Courts in that both arbitrated disputes between couples.”²⁶ The family court, as an institution in which women’s parental rights and bodily and economic autonomy are sometimes guaranteed by the force of the state, is a frequent target of Men’s Rights Activism. Parallel to the concept of the Courtly Lady as feminist is the Troubadour, further subdivided into Troubadour 1 and Troubadour 2. Troubadour 1 is a “PUA [pick-up artist] and Game promoter [ … whose] job was to spread the word about the virtues of chivalric love through music, song, poetry, and storytelling.”²⁷

MRAs oppose this type of troubadour because, even though their behaviour is insincere in that they only perform chivalry as a way to “gain sex,” they nevertheless support the intellectual underpinnings of chivalry and thus gynocentrism.²⁸ Troubadour 2 is defined as “Protofeminist Men Sometimes derogatorily named ‘manginas’. Troubadour 2 is a sincere believer in chivalric love, unlike Troubadour 1, who uses the rhetoric of chivalry only to advance his own ends. Thus, where Troubadour 1 and Troubadour 2 have the same function in supporting chivalry, Troubadour 2 is a figure of greater scorn insofar as he voluntarily submits to this system: “Think of today’s version being the typical protofeminist men who work slavishly to pass on the message of their feminist superiors, much as these troubadours slaved to advocate the narcissistic idiosyncrasies of their Ladies.”²⁹

None of these figures is the subject of as much derision as the “White Knight,” whom Wright defines as “such heroic individuals, men who are gallant in so many ways, but mostly the wrong ways such as showing-off to undeserving women and concomitantly delighting in competing with and hurting other men.”³⁰ Wright exemplifies this concept by comparing the ‘?nterprise of the Green Shield with the White Lady … a chivalric order founded by Jean le Maingre and twelve knights in 1399 committing themselves to the protection of women” with the contemporary “White Ribbon Campaign in which male ‘ambassadors’ pledge an oath to all of womanhood to never condone, excuse or remain silent about violence against women, and to intervene and take action against any man accused of wrongdoing against a woman.”³¹

Wright here suggests that men who willingly submit to women are foolish and contemptible: these men abandon their own agency, believe all women who claim they have been the subject of violence, and, as importantly, pledge to fight other men. Such groups thus endanger men’s rights both by subordinating men to women and by acting violently against other men. This is particularly wrongheaded in that MRA ideology suggests that it is in fact men, not women, who are the object of gender-based violence and that men should never do harm to other men for the sake of women. From this, Wright again suggests the continuity between medieval and modern ideas of gynocracy: “The similarities in these gallant missions make clear that the lineage of white knights has progressed seamlessly into the modern era.”³² Taken together, these (and the many other instances of medieval redefinition) create a shared in-group idiolect that allows men to analyse both literary texts and contemporary behaviour.

Notes

12 “Gynocentrism and its Cultural Origins,” accessed August 20, 2019, www.gynocentrism.com/.
13 Zuckerberg notes that the “misuse of the language of scholarly interpretation” is also a key feature of MRA rhetoric (Dead White Men, 43).
14 Peter Wright, “Timeline of Gynocentric Culture,” October 11, 2013, accessed August 20, 2019, https://gynocentrism.com/2013/10/11/timeline-of-gynocentric-culture/. As a demonstration of the way that these ideas migrate around the manosphere, this timeline was also posted to avoiceformen.com, perhaps the main MRA site, accessed August 20, 2019, https://www.avoiceformen.com/gynocentrism/timeline-of-gynocentric-culture/.
15 For the significance of the figure of the troubadour to MRA thought, see below.
16 Wright, “Timeline of Gynocentric Culture.”
17 Wright, “Timeline of Gynocentric Culture,” also suggests, without any evidence, that “Chretien de Troyes abandoned this project before it was completed because he objected to the implicit approval of the adulterous affair between Lancelot and Guinevere that Marie had directed him to write.”
18 Though the contextual nuances of the rise of romance writing and the classification of various texts within the Byzantine revival are subjects of much debate, the broad contours of the field as outlined in seminal work ?n the subject, Roderick Beaton’s The Medieval Greek Romance (Cambridge: CUP, 1989), remain largely intact. The revival is broken down into roughly two periods: those of the twelfth century produced under the Komnenian dynasty in the twelfth century and hence called the Komnenian novels and those published under the Palaiologan dynasty from the thirteenth to fifteenth centuries. For translations of the three extant Komnenian novels, see Elizabeth Jeffreys, Four Byzantine Novels: Theodore Prodromos, Rhodanthe and Dosikles; Eumathios Makrembolites, Hysrnine and Hysminias; Constantine Manasses, A?standros and Kallithea; Niketas Eugenianos, Drosilla and Charikles (Liverpool: Liverpool UP, 2012). For translations of three of the Palaiologan romances, see Gavin Betts, Three Byzantine Novels (London: Roudedge, 2019) and, more recently, Kostas Yiavis, Imperios and Margarona: Rhymed Version (Athens: Cultural Foundation of the National Bank of Greece, 2019). For a recent scholarly overview of the Palaiologan romances, see Adam Goldwyn and Ingela Nilsson, eds., Reading the Late Byzantine Romance: ? Handbook (Cambridge: CUP, 2019).
19 For Zuckerberg’s broader analysis of this as it relates to the appropriation of race, gender, and classical literature, see Zuckerberg, Dead White Men, 42.
20 Zuckerberg, Dead White Men, 41.
21 Adam Kostakis, “Pig Latin,” May 24, 2014, accessed August 20, 2010, https://gynocentrism.com/2014/05/24/pig-latin/. For “frame theory” or “frame control” as an MRA rhetorical strategy, see Zuckerberg, Dead White Men, 39.
22 Peter Wright, “Damseling, Chivalry and Courtly Love (Part One),” July 3, 2016, accessed August 20,
2019, https://gynocentrism.com/2016/07/03/damseling-chivalry-and-courtly-love-part-one/.
23 Wright, “Damseling (Part Two).“
24 Wright, “Damseling (Part Two).“
25 Peter Wright, “The Birth of Chivalric Love,” July 14, 2013, accessed August 20, 2020, https://gynocentrism.com/2013/07/14/the-birth-of-chivalric-love/.
26 Wright, “Birth of Chivalric Love.”
27 Wright, “Birth of Chivalric Love.”
28 For which, see Zuckerberg, Dead White Men, 2018, in which she notes that “Members of the men’s rights movement see pickup artists as participating in and contributing to gynocentrism; by placing so much value ?n women as sex objects, they inadvertently afford women power over them. Pickup artists, meanwhile, believe that sexual success is a key element of being a true alpha male, and they believe those in the men’s rights movement channel their sexual frustration into social activism because they are unable to convince women to have sex with them” (17).
29 Wright, “Birth of Chivalric Love.”
30 Wright, “Birth of Chivalric Love.” “Gallantry” is another term of derision drawn from the Middle Ages to function in the present: gallantry is derided as a form of male acquiescence to gynocracy through which it lost its militaristic connotations and became associated with indulgent behavior towards women.
31 Wright, “Birth of Chivalric Love.”
32 Wright, “Birth of Chivalric Love.”

_______________________________________

Comments by Peter Wright

Paragraph 1. The author makes a claim that I use “pseudo jargon” and offers as the only example a google search byline: “Gynocentric culture was born in the Middle Ages with the practices of romantic chivalry and courtly love. It continues today relatively unchanged.”

The words used here, such as ‘chivalry’ and ‘courtly love,’ hardly amount to pseudo jargon, nor does the proposition that courtly love entails a degree of pedestalization of women – a practice that can be fairly referred to as gynocentric. The only other word cited as pseudo jargon is “damseling” which is shorthand for the universally recognized trope of the “Damsel in distress” – which again hardly amounts to difficult, or esoteric pseudo jargon. I will leave it to the author to clarify whether there are more troublesome words that he didn’t mention in his critique, or perhaps by ‘pseudo jargon’ he is referring to common parlance unfamiliar in academic fields such as his own which are infected with gender-studies jargon?

Paragraph 3. Quote: “For Men’s Rights Activists, the past is not a thing that merits dispassionate study for its own sake; rather, its value lies in how their interpretation of it can reveal the ways in which society continues to empower women at the expense of men.” Could not the preceding charge be made of the feminist lens which has, over the last 50 years, completely dominated most academic readings of history? If the answer is reasonably a yes, then a dispassionate emphasis on the gynocentric facets of historical writings & societies is a necessary step to balance the academic ledger.

Paragraph 4. Quote: “In addition to giving examples of how the underlying principles of medieval chivalry manifest themselves in modern culture, Wright’s conflation of feminism with the Civil Rights movement is also a standard tactic in MRA rhetoric…” I’m not aware that I have done this anywhere on this website nor in my published books, and in fact don’t remember using the phrase “civil rights movement” in relation to feminism anywhere. This charge appears to be a completely fabricated one, as applied to my work. Not to put too fine a line on this topic I have, nevertheless, lost count of the thousands of feminists (both obscure and prominent) who do compare the feminist movement with the civil rights movement for African Americans – and I could provide an extremely long list of citations for same.

The author continues, quote: “Thus, in this instance, a historically informed reading would acknowledge that affirmative action and ending restrictions on bus seating were not policies rooted in gender; rather, they were policies of racial desegregation.” Again, the ‘bait-and-switch’ appears to be the author’s own, substituting a bizarre strawman in place of proper analysis of the written word. Perhaps the author can enlighten about which offending text he is referring to.

Footnote 17. Quote: Wright, “Timeline of Gynocentric Culture,” also suggests, without any evidence, that “Chretien de Troyes abandoned this project before it was completed because he objected to the implicit approval of the adulterous affair between Lancelot and Guinevere that Marie had directed him to write.” – The source for this sentence was and remains hyperlinked in the original paragraph on gynocentrism.com (from its first publication date in October 2013). The sentence source is the Wikipedia article on Lancelot, the Knight of the Cart which reads in part, “Marie de Champagne was well known for her interest in affairs of courtly love, and is believed to have suggested the inclusion of this theme into the story. For this reason, it is said that Chrétien could not finish the story himself because he did not support the adulterous themes.” [Wikipedia citation for this claim is: Uitti, Karl D. (1995). Chrétien de Troyes Revisited. New York, New York: Twayne Publishers. ISBN 0-8057-4307-3.].

 

*Errors like those detailed above are extremely common in gender-studies informed writers – writers who rush to the apriori goal of establishing non-feminist approaches to literature as a bogeyman. That said, Adam Goldwyn’s above piece, while carrying several flawed assumptions, provides a superior effort to that of Christa Hoddap whose book on men’s issues literature titled Men’s Rights, Gender, and Social Media is saturated with transliteration errors, errors of attribution (sloppily ascribing several texts to the wrong authors), citing of debunked and out-of-date assumptions from gender-studies writers, and ultimately offering conclusions that reaffirm misandric feminist fantasies about non-feminist, male-focused writings. In her favor Hodapp does, like Goldwyn, isolate some representative sources of literature to analyze (as compared with the standard feminist practice of citing unrepresentative, extreme, outlier texts) even as her conclusions amount to hyperbolic misrepresentations for the most part. I will provide a short review of Hodapp’s book in future, if time allows.

 

The following is a sampling of men’s human rights initiatives constituting the early men’s rights movement, a list that could be easily expanded into thousands of initiatives by the diligent researcher. Bear in mind that although we are talking of a single men’s movement, it is more accurately defined as the aggregate of separate initiatives in the same manner as separate feminist initiatives are spoken of as one movement:

1810 A network of meeting places under the collective name ‘Henpeck’d Husbands Club’ are established for men who were enduring abusive behavior from wives. The club set up dozens of chapters across Britain and in Europe, which offered support and advice for men enduring emotional or physical abuse.  1856  A long newspaper article entitled A Word for Men’s Rights is published in Putnam’s Monthly, which discusses sexist laws that oppressed men and benefited women, including the practice of frivolous, unjustified lawsuits for supposed breach of marriage promise. 1857  A Mr. Todd proposes a “Men’s Rights Conference” be held in response to exaggerations of the women’s rights movement. 1875  Article entitled Women’s and Men’s Rights appeared in the 1875 volume Historic and literary miscellany by G.M.D. Bloss 1886  Ernest Belfort Bax, England, writes his first major commentary on gynocentrism and misandry, ‘Some Bourgeois Idols; Or Ideals, Reals, and Shams.’ 1890s  New York Alimony Club (informal) 1896  Ernest Belfort Bax, England, co-authors book, The Legal Subjection of Men (Twentieth Century Press). 1896  Anti-Bardell Bachelor Band, Atlanta Georgia. Formed to fight against a national campaign headed by activist Charlotte Smith (Women’s Rescue League) to promote a tax on bachelors. Another, similar effort was made by the Hoboken Bachelor’s Club in Hoboken, New Jersey. 1898  League for Men’s Rights formed by Mr. William Austin in London. The movement is reported in newspapers of the time as a “Men’s Rights Movement”. 1907 Wisconson salons start “men’s rights” movement to stop wealthy wives financially abandoning disabled husbands in men’s refuges. 1908  Ernest Belfort Bax, England, republishes his 1896 book, The Legal Subjection of Men (New Age Press) 1911  Anti-Alimony Association, New York 1912  Ernest Belfort Bax, England, writes a landmark book ‘The Fraud of Feminism’ in which he called feminism a fraud and discussed “female privilege” 1912  Anti-alimony leader: George Esterling – Denver, Colorado 1925  Samuel Reid, “Alimony Sam,” the “alimony martyr” of California 1926  Men’s Rights organizations formed Bund für Männerrechte, Vienna, founded by Sigurd von Hoeberth (Höberth) and Leopold Kornblüh in March 1926. In January 1927 the Bund split into two organizations circa: Aequitas (Hoeberth), Justicia (Kornblueh); journal “Self-Defense” 1926  Themisverbandes (Men’s Rights organization for female members, Sigurd Höberth von Schwarzthal). The founding of this organization led to a schism in Bund January 1927  Aequitas Weltbund für Männerrechte (Aequitas Word Federation for Men’s Rights) (international), Vienna, following a schism in Bund für Männerrechte (Federation for Men’s Rights). This was Sigurd Hoeberth’s new organization for men’s rights which welcomed female members. 1927  Justitia Verein für Männer und Familienrecht (Justitia Society for Men’s Rights and Family Rights), Vienna, founded by Leopold Kornblüh following a schism in Bund für Männerrechte (Federation for Men’s Rights). This group did not allow female members. 1927  Alimony Club of Illinois, Society of Disgruntled Alimony Payers, Chicago, founded by Dr. Vernon B. Cooley and second wife, Mrs. Bessie Cooley 1927  Alimony Payers Protective Association, led by Robert Gilbert Ecob 1927  Milwaukee Alimony Club, Wisconsin 1927  Fifty-Fifty League, London; manifesto “The Sex War” 1928  Tibet Men’s Rights organization (name of org. unknown), founded by Amouki 1929  ‘World’s League for the Rights of Men’ formed in the UK, advocating for male issues, and holding an anti-“ultra-feminist” stance. The League had chapters in Vienna, Berlin, Munich, and other Continental centres. 1930  D. A. M. Association, Kansas City, Missouri, founded by French L. Nelson 1930  National Sociological League, Dr. Alexander Dallek, executive secretary 1931  Organization “The Modern Men’s Rights Movement” (formation date unknown) publishes broadsheet, The Gauntlet outlining goals for gender equality and “emancipation of man from feminist domination.” 1932  Alimony Club of New York County (Adolph Wodiska) (cited Jan. 9, 1932) 1932  Ohio Alimony Association, Cleveland 1933  National Divorce Reform League, Theodore Apstein (cited Feb. 14, 1933) 1933  “Men’s rights” org ‘1933 Men’s Association’ started by lieutenant colonel R. A. Broughton, England 1935  Alimony Reform League, New York 1948  Society for Men’s Rights forms to address various forms of social and legal discrimination against men, London. 1948  Men’s rights magazine ‘Men’s Review’ launched in England, with at least two consecutive volumes circulated across the country. 1960 Divorce Racket Busters (incorporated 1961 as U.S.A. Divorce Reform, Inc.) – California – Reuben Kidd. This initiative continued to operate into the late 1960’s.

^{Feature image: Ernest Belfort Bax.}

For a more detailed overview of the Men’s Human Rights Movement,
click on the following Amazon title:

The following articles explore the similarity of courtly & romantic love with the structural practices of BDSM. 

• Courtly Romance as Sadomasochistic Erotica – by Tom Driver (2020)
• Sadomasochism and Courtly Love – by Emmanuel-Juste Duits (1999)
• Male Masochism in Victorian Women’s Literature – by Carol Siegal (1995)
• Male Masochism and Culture in – by Arnold Kamiat (1936)
• Guinevere and Lancelot- by William de Leftwich Dodge (1910)
• Male Masochism in Courtly Love – by Jean Markale (1987)
• The Masochism of Sir Lancelot – By Tom Driver & C.S. Lewis (2024)

 

Gamma bias refers to a cognitive gender bias theory developed by Seager & Barry (2019).¹

Gamma bias refers to the operation of two concurrent biases: alpha bias (exaggerating or magnifying gender differences) and beta bias (ignoring or minimizing gender differences). Gamma bias occurs when one gender difference is minimized while simultaneously another is magnified, resulting in a doubling of cognitive distortion.²

Seager & Barry state that gamma bias works by magnifying women’s issues and achievements and minimizing men’s issues and achievements. Alternatively, the dynamic is reversed and employed to minimize negative female traits and behaviors, while magnifying or exaggerating negative male traits or behaviors.

Theories on the purpose of gamma bias

Hypotheses regarding the growth of gamma bias and the disfavoring of males include evolutionary pressures for males to protect and provide for women which involves a reluctance to view men as vulnerable. Alternatively there is the sociological explanation of ‘ingroup’ and ‘outgroup’ bias which may have developed around men and women in the form of social conventions.¹

A more detailed explanation is provided by gynocentrism theory³ which posits the genesis of gamma bias in medieval Europe where feudal class distinctions between lords and their subjects were re-applied to relationships between men and women under the euphemistic labels of “chivalry” and “courtly love.” The application of such class distinctions led C.S. Lewis to refer to it as “the feudalisation of love,” making the observation that this sociological development “has left no corner of our ethics, our imagination, or our daily life untouched.”

Lewis explains that European society drifted essentially from a social feudalism to a sexual feudalism, fostering a convention of male chivalry in service to elevated Ladies of aristocratic society — a convention that moved by degrees, over time, to be embraced by all classes of people. The psychological operations supporting the ‘feudalization of love’ are numerous and involve gamma bias, male gender blindness, and misandry to name a few. The internal operations result in a gender empathy gap which reinforces the root medieval trope.

References:

[1] Seager, M., Barry, J.A. (2019). Cognitive Distortion in Thinking About Gender Issues: Gamma Bias and the Gender Distortion Matrix. In: Barry, J., Kingerlee, R., Seager, M., Sullivan, L. (eds) The Palgrave Handbook of Male Psychology and Mental Health. Palgrave Macmillan
[2] John Barry & Martin Seager, Can we discuss gender issues rationally? Yes, if we can stop gamma bias
[3] Wright, Peter. Gynocentrism As A Narcissistic Pathology. New Male Studies 12, no. 1 (2023).

Further reading:

• Gynocentrism defined
• Gynocentrism theory lectures
• Gynosympathy
• Women-are-wonderful effect
• Gynomyopia
• Confirmation bias
• Schema bias

 

By “archetype” I can only refer to the phenomenal archetype, that which manifests itself in images. The noumenal archetype per se cannot by definition be presented so that nothing whatsoever can be posited of it. In fact whatever one does say about the archetype per se is a conjecture already governed by an archetypal image. This means that the archetypal image precedes and determines the metaphysical hypothesis of a noumenal archetype. So, let us apply Occam’s razor to Kant’s noumenon. By stripping away this unnecessary theoretical encumbrance to Jung’s notion of archetype we restore full value to the archetypal image.’

(Hillman 1971).

The archetypal school rejects the noun “archetype,” even as it retains the adjective “archetypal.” For Hillman (1983), the distinction between archetypes and archetypal images, which Jung regards as comparable, respectively, to Kantian noumena and phenomena, is untenable. According to him, all that individuals ever encounter psychically are images – that is, phenomena. Hillman is a phenomenologist or an imagist: “I’m simply following the imagistic, the phenomenological way: take a thing for what it is and let it talk” (p. 14). For the archetypal school, there are no archetypes as such – no neo-Kantian categories, or noumena. There are only phenomena, or images, that may be archetypal.

For Hillman, the archetypal is not a category but a consideration – a perspectival operation that an individual may perform on any image. Thus Hillman (1977, pp. 82–83) says that “any image may be considered archetypal.” The archetypal is “a move one makes rather than a thing that is.” To consider an image archetypal is to regard it as such, from a certain perspective, to endow it operationally with typicality – or, as Hillman prefers to say, with “value.” Thus, perspectivally, an individual may “archetypalize” any image. Merely considering it so makes it so – or, as Hillman (1975/1979) says, merely capitalizing it makes it so – as in the “Sunburnt Girl” (p. 63). In effect, the archetypal school embraces what Jung tries (never, he admits, entirely with success) to avoid – that is, what he (CW 9.i, p. 59) calls “metaphysical concretism.” Jung says that “any attempt at graphic description” of an archetype inevitably succumbs to metaphysical concretism “up to a point,” because the qualitative aspect “in which it appears necessarily clings to it, so that it cannot be described at all except in terms of its specific phenomenology.” Concrete descriptive qualities cling quite obviously to an archetype like the Great Mother (less evidently to an archetype like the Anima, which is more abstract) – as they also do to the Sunburnt Girl. Most Jungians would be reluctant to dignify the Sunburnt Girl as equal in status to the Great Mother – or even to regard the image as “archetypal” at all. When Hillman capitalizes the Sunburnt Girl, he considers the image archetypal, typical, or valuable. He does not posit or infer the metaphysical existence of archetypes prior to the images. For archetypal psychologists, any and every image, even the most apparently banal, can be considered archetypal.

This post-Jungian, post-structuralist usage of the term “archetypal” is controversial. Most Jungians retain the term “archetype” and continue to define it as Jung did. One Jungian analyst, V. Walter Odajnyk (1984), criticizes Hillman for adopting the name “archetypal psychology.” According to Odajnyk, Hillman should simply have called the school “imaginal psychology” to avoid unnecessary terminological ambiguity. “Archetypal psychology,” Odajnyk (1984, p. 43) says, “sounds as though it were based on the Jungian archetypes, when in fact it isn’t.” This criticism is cogent to Jungians who remain strict structuralists. It is unpersuasive to archetypal psychologists, for they believe that the archetypal, or the typical, is in the eye of the imaginer – or in the imagination’s eye. In a sense, the archetypal is in the eye of the beholder – the subject who beholds an image – but it is also, in another sense, in the eye of the imagination, a transcendent dimension that archetypal psychologists regard as ultimately irreducible to any faculty immanent in the subject.

Source: Michael Vannoy Adams, ‘The Archetypal School,’ Chapter-6 in The Cambridge Companion to Jung. 2008

Archetypal Image

ARCHETYPAL psychology axiomatically assumes imagistic universals, comparable to the universali fantastici of Vico (Scienza Nuova, par. 381), that is, mythical figures that provide the poetic characteristics of human thought, feeling, and action, as well as the physiognomic intelligibility of the qualitative worlds of natural phenomena. By means of the archetypal image, natural phenomena present faces that speak to the imagining soul rather than only conceal hidden laws and probabilities and manifest their objectification.

A psychological universal must be considered psychologically. An archetypal image is psychologically “universal,” because its effect amplifies and depersonalizes. Even if the notion of image regards each image as an individualized, unique event, as “that image there and no other,” such an image is universal because it resonates with collective, trans-empirical importance. Thus, archetypal psychology uses “universal” as an adjective, declaring a substantive perduring value, which ontology states as a hypostasis. And, the universals problem for psychology is not whether they exist, where, and how they participate in particulars, but rather whether a personal individual event can be recognized as bearing essential and collective importance. Psychologically, the universals problem is presented by the soul itself whose perspective is harmoniously both the narrow particularity of felt experience and the universality of archetypally human experience. In Neoplatonic thought, soul could be spoken of as both my soul and world soul, and what was true of one was true of both. Thus, the universality of an archetypal image means also that the response to the image implies more than personal consequences, raising the soul itself beyond its egocentric confines (soul-making) and broadening the events of nature from discrete atomic particulars to aesthetic signatures bearing information for soul.

Because archetypal psychology gives priority to particular pattern over literal particle – and considers that particular events are always themselves imagistic and therefore ensouled – imagination too is assumed to be primordially patterned into typical themes, motifs, regions, genres, syndromes. These kinds of patterns inform all psychic life. Gilbert Durand (1960, 1979) – following upon the lines opened by Bachelard – and Durand’s Centre de Recherche sur l’Imaginaire (w3.u-grenoble3.fr/cri/) have been charting the inherent organization of the imaginary as the basis of cultural anthropology and sociology, even as the basis of psychological meaning in all consciousness. Durand’s papers published in the Eranos Yearbooks since 1964 present a range of archetypal cultural analysis.

Archetypal psychology has pressed beyond the collection of objective data and the correlation of images as verbal or visual symbols. If archetypal images are the fundamentals of fantasy, they are the means by which the world is imagined, and therefore they are the models by which all knowledge, all experiences whatsoever become possible: “Every psychic process is an image and an ‘imagining,’ otherwise no consciousness could exist …” (CW 11:?889). An archetypal image operates like the original meaning of idea (from Greek eidos and eidolon): not only “that which” one sees but also that “by means of which” one sees. The demonstration of archetypal images is therefore as much in the act of seeing as in the object seen, since the archetypal image appears in consciousness itself as the governing fantasy by means of which consciousness is possible to begin with. Gathering of data does less to demonstrate objectively the existence of archetypes than it does to demonstrate the fantasy of “objective data.”

Furthermore, unlike Jung who radically distinguishes between noumenal archetype per se and phenomenal archetypal image, archetypal psychology rigorously refuses even to speculate about a nonpresented archetype per se. Its concern is with the phenomenon: the archetypal image. This leads to the next step: “… any image can be considered archetypal. The word ‘archetypal’ rather than pointing at something … points to something, and this is value … by archetypal psychology we mean a psychology of value. And our appellative move is aimed to restore psychology to its widest, richest, and deepest volume so that it would resonate with soul in its descriptions as unfathomable, multiple, prior, generative, and necessary. As all images can gain this archetypal sense, so all psychology can be archetypal… ‘Archetypal’ here refers to a move one makes rather than to a thing that is” (Hillman 1977b).

Here, archetypal psychology “sees through” itself as strictly a psychology of archetypes, a mere analysis of structures of being (gods in their myths), and, by emphasizing the valuative function of the adjective archetypal, restores to images their primordial place as that which gives psychic value to the world. Any image termed archetypal is immediately valued as universal, trans-historical, basically profound, generative, highly intentional, and necessary.

Since “archetypal” connotes both intentional force (Jung’s “instinct”) and the mythical field of personifications (Hillman’s “gods”), an archetypal image is animated like an animal (one of Hillman’s frequent metaphors for images) and like a person whom one loves, fears, delights in, is inhibited by, and so forth. As intentional force and person, such an image presents a claim – moral, erotic, intellectual, aesthetic – and demands a response. It is an “affecting presence” (Armstrong 1971) offering an affective relationship. It seems to bear prior knowledge (coded information) and an instinctive direction for a destiny, as if prophetic, prognostic. Images in “dreams mean well for us, back us up and urge us on, understand us more deeply than we understand ourselves, expand our sensuousness and spirit, continually make up new things to give us – and this feeling of being loved by the images … call it imaginal love” (Hillman 1979a). This message-bearing experience of the image – and the feeling of blessing that an image can bring – recalls the Neoplatonic sense of images as daimones and angels (message bearers). “Perhaps – who knows? – these eternal images are what men mean by fate” (CW 7:?183).

Although an archetypal image presents itself as impacted with meaning, this is not given simply as revelation. It must be made through “image work” and “dream work” (Hillman 1977b, 1979a). The modes of this work may be concrete and physical as in art, movement, play, and occupational therapies; but more importantly (because less fixedly symbolic), this work is done by “sticking to the image” as a psychological penetration of what is actually presented including the stance of consciousness that is attempting the hermeneutic. Image work is not legitimately such unless the implicit involvement of a subjective perspective is admitted from the start, for it too is part of the image and in its fantasy.

Image work requires both aesthetic culture and a background in myths and symbols for appreciation of the universalities of images. This work also requires a series of tactical moves (Hillman and Berry 1977), frequently linguistic and phonetic (Sardello et al. 1978; Severson 1978; Kugler 1979b) and etymological (Lockhart 1978, 1980; Kugelmann 1983), and also grammatical and syntactical experimentation (Ritsema 1976; Hillman 1978a). Other tactical moves concerning emotion, texture, repetitions, reversals, and restatements have been described by Berry (1974).

The primary intention of this verbal work with images is the “recovery of soul in speech” (Sardello 1978a), which at the same time reveals the erotic and aesthetic aspect of images – that they captivate, charm, persuade, have a rhetorical effect on soul beyond their symbolic content. Image-work restores the original poetic sense to images, freeing them from serving a narrational context, having to tell a story with its linear, sequential, and causal implications that foster first-person reports of the egocentric actions and intentions of a personalistic subject. The distinction between image and narrative (Berry 1974; Miller 1976a) is fundamental to the distinction in imaginative style between archetypal polytheistic psychology and traditional psychologies that are egocentered, epic narrations (therapy).

Three further developments in theory of archetypal images are worth attention. Paul Kugler’s work (1978, 1979a) elaborates an acoustic theory of images as structures of invariant meaning apart from linguistic, etymological, semantic, and syntactical meaning. Charles Boer and Peter Kugler (1977) have correlated archetypal images with the theory of perception of J.?J. Gibson, asserting that archetypal images are afforded directly by the environment (and are not subjective), so that “archetypal psychology is mythical realism.” Casey (1979) sets forth the idea that imagination is so closely related with time, both psychologically and ontologically, that actual image-work not only takes time into soul or makes temporal events soul events but also makes time in soul.

Source: Hillman, James. Archetypal Psychology: A Brief Account (Uniform Edition). Spring Publications.

 

 

 

 

 

 

 

Process philosophy assumes that the universe and human systems are ‘continually becoming.’ It emphasizes the elements of change and novelty as contrasted with a belief in permanence of forms, and uniformity. In the Greek tradition Heraclitus said that no person ever steps into the same river twice, because on the second attempt it is not the same river and he is not the same man.

Vaginoplasty, womb transplants, hormone blockers, hormone injections. These things represent the crowning achievement of cultural feminism, creating a kind of unforeseen gyno-dystopia resulting from the elevation of all things female. That same feminism exerts a gravitational pull that tends to filter all human events through its interpretive lens.

Many women show their participation in the feminist worldview via postures of gendered narcissism, while men might show their participation in it by acts of chivalry or, more recently, by initiating changes to their sexual and gender orientation (MtF) in order to become more like women.

Gynocentric feminism is the soil from which the transgender revolution has sprouted, and it represents nothing less than a dissolution of centuries of accumulated gender customs. As Simone de Beauvoir famously stated, “One is not born, but rather becomes, a woman. No biological, psychological, or economic fate determines the figure that the human female presents in society; it is civilization as a whole that produces this creature.”

To explore the outcome of this thinking a bit further, I’lI start with a quote from the brilliant Darren J. Beattie from Revolver News:

It used to be that getting a high SAT score and getting into an elite college was the greatest path to social mobility in the United States

Now, it is becoming m to f trans

— Darren J. Beattie ? (@DarrenJBeattie) August 26, 2022

I think Darren’s comment is important in that it emphasizes the historical tilt toward MtF orientation as holding higher currency than FtM – particularly in the USA. That remains the case, although a more recent behavioral anomaly among teenage girls is falsely skewing the data. This representative sample from the 2021 Canadian Census tells the story:

 

From this table we see that a statistical anomaly results from a fad among many of the 15 – 24 age group; an experimental phase, especially among teen girls. Above this age bracket, trans-identification appears contingent on an internal sense of self as transgender. After age 29, all age brackets have more MtF which supports the theory that there are different motivations, and levels of psychological identification, per age group. I will note in passing that many parents are noticing peer pressure to transition among the younger age groups of girls, as one Mumsnet mother testifies:

The mother of an 11-year-old girl tells Mumsnet that her daughter is feeling ostracised because she is one of the few girls in her class who doesn't say she is transgender. Several of the replies are mothers saying they are experiencing this with their daughters as well pic.twitter.com/BFrWi3StTy

— ripx4nutmeg (@ripx4nutmeg) August 23, 2022

The historical rise of cultural gynocentrism

Putting the teenage anomaly to one side, we can say that gynocentrism remains a predominant motivator for transgender choice in the European and Anglosphere contents, especially in the USA which has for centuries been a champion of more extreme forms of gynocentrism, as demonstrated by the following prima facie observations:

In 1846 a London Sun article describes American culture as an epicenter of exaggerated gynocentrism & chivalry:

I am convinced that a lady, no matter what her age and attractions might be, could journey through the whole extent of the union, not only without experiencing a single annoyance, but aided in every possible way with unobtrusive civility. Indeed a great number of Saphonisbas and Almiras do travel about, protected only by the chivalry of their countrymen and their own undoubted propriety.

To them the best seats, the best of everything, are always allotted. A friend of mine told me of a little affair at New York Theatre, the other night, illustrative of my assertion. A stiff-necked Englishman had engaged a front place, and of course the best corner: when the curtain rose, he was duly seated, opera-glass in hand, to enjoy the performance. A lady and a gentleman came into the box shortly afterwards; the cavalier in escort, seeing that the place where our friend sat was the best, calling his attention, saying “The lady, sir,” and motioned that the corner should be vacated. The possessor, partly because he disliked the imperative mood, and partly because it bored him to be disturbed, refused. Some words ensued, which attracted the attention of the sovereign people in the pit, who magisterially enquired what was the matter?

The American came to the front of the box and said, “There is an Englishman here who will not give up his place to a lady.” Immediately their majesties swarmed up by dozens over the barriers, seized the offender, very gently though, and carried him to the entrance; he kicked, cursed, and fought all in vain: he excited neither the pity nor the anger of his stern executioners; they placed him carefully on his feet again at the steps, one man handing him his hat, another his opera glass, and a third the price he had paid for his ticket of admission, then quickly shut the door upon him, and returned to their places. The shade of the departed Judge Lynch must have rejoiced at such an angelic administration of his law! – England in the New World.

In 1856, author of Putnam’s Monthly Magazine published the following summary of the relations between men and women in America:

“Long before the cry of woman’s rights was openly raised, the powers and prerogatives of the American husband had been gradually undermined. Usage superseded law, and trampled it under foot. Sentiment put logical consistency at defiance, and the American husband has thus become a legal monster, a logical impossibility, required to fly without wings, and to run without feet.

“While the wife is thus rendered to a great extent independent of her husband, he, by a strange inconsistency is still held, both by law and public opinion, just as responsible for her as before. The old and reasonable maxim that ‘he who dances must pay the piper,’ does not apply to wives—they dance, and the husband pays. To such an extent is this carried, that if the wife beats her husband, and he, having no authority to punish her in kind, applies to the criminal courts for redress, she will be fined for assault and battery, which fine he must pay, even thought she has plenty of money of her own. or, in default of paying, go to jail! Such cases are by no means of unprecedented occurrence in our criminal courts.

In 1903 culture critic Max O’Rell observed the following about gynocentrism in the USA:

“The government of the American people is not a Republic, it is not a monarchy: it is a gynarchy, a government by the women for the women, a sort of occult power behind the scenes that rules the country.”

Price Collier observed in 1909:

In England the establishment is, as a rule, at any rate from a man’s point of view, more comfortable than the American home. Americans staying any time in England, whether men or women, are impressed by the fact that it is the country of men. Likewise the English, both men and women, who visit America are impressed by the fact that America is the country of women.

The Kalgoorlie Newspaper reported the following in 1910:

“In Europe the aristocracy is largely relieved from drudgery in order that they may cultivate the graces of life. In America the attempt is being made to relieve the women of all classes from drudgery, and we are glad to see that some of them at least are making good use of the leisure thus afforded them. It is a project involving unprecedented daring and self-sacrifice on the part of American men, this making an aristocracy of half the race. That it is possible yet remains to be proved. Whether it is desirable depends upon whether this new feminine aristocracy avoids the faults of the aristocracy of the Old World, such as frivolousness and snobbishness.”

Irishman George A. Birmingham wrote in 1914:

“There are people in the world who believe that we are born again and again, rising or sinking in the scale of living things at each successive incarnation according as we behave ourselves well or badly in our present state. If this creed were true, I should try very hard to be good, because I should want, next time I am born, to be an American woman. She seems to me to have a better kind of life than the women of any other nation, or, indeed, than anybody else, man or woman… American social life seems to me — the word is one to apologize for — gynocentric. It is arranged with a view to the convenience and delight of women. Men come in where and how they can…. The American woman is certainly more her own mistress than the Englishwoman, just because America does its best for women and only its second-best for men. The tendency among American humourists is to dwell a little on the greed of the Englishman, who is represented as incapable of earning money for himself. The English jester lays more stress on the American woman’s desire to be called “my lady,” and pokes sly fun at the true Democrat’s fondness for titles. The American man is reverent toward women. It is not the homage of the strong toward the weak, but the obeisance of the inferior in the presence of a superior. This difference of spirit underlies the whole relationship of men to women in England and America. The English feminist is up against chivalry and wants equality. The American woman, though she may claim rights, has no inducement to destroy reverence.

Albert Einstein observed in 1921:

Above all things are the women who as a literal fact, dominate the entire life in America. The men take an interest in absolutely nothing at all. They work and work, the like of which I have never seen anywhere yet. For the rest they are the toy dogs of the women, who spend the money in the most unmeasurable, illimitable way and wrap themselves in a fog of extravagance. They do everything which is in the vogue, and now quite by chance they have thrown themselves on the Einstein fashion.

Summary and conclusion

Following the above collection of artifacts, we can begin to wrap these details into a more coherent conclusion, and for this I’m going to turn to Georg Wilhelm Friedrich Hegel (1770–1831) for a template. Hegel naturally didn’t write about vaginoplasties or the transgender movement, but he did write about process philosophy and the proposition that social processes are an ever-recurring cycle which he characterized by three phases (1) an initial set of cultural beliefs called a thesis, (2) next arises dissatisfaction and a negation of that thesis called the antithesis, and lastly (3) there occurs a synthesis of culture beliefs whereby the two conflicting ideas are reconciled to form a new proposition.

 Thesis – Antithesis – Synthesis.

This provides a suitable template for organizing the peculiar shifts in gender ideology we’ve been witnessing over recent centuries which, following Hegel, we can now characterize as follows:

• Thesis: Centuries of gynocentrism
• Antithesis: Men’s rights backlash
• Synthesis: Discovery of malleability of the sexual body (hormones/surgery), accompanied by belief in gender fluidity, resulting in a dissolution of clear sexual and gender boundaries, along with all traditional culture privileges that have accumulated around biological sex. [This completes the synthesis of the two conflicting ideas]

As mentioned elsewhere, the transgender movement is not a cause célèbre driven by men’s rights advocates, as is sometimes claimed. Rather, the current support for transgender rights is derived from the power of government administrations and global regimes playing “freedom one-upmanship” – ie., the feigning of moral purity to position themselves at top of the global hierarchy.

The elites however are not the ones ultimately driving this process forward, even if they are doing the job of hastening, supporting and exploiting it. Instead, it appears to be Hegel’s mysterious process philosophy that is driving the changes, and the elites and sundry grifters are riding this gender-bender horse in a rodeo of competing cultural powers.

Where does all this leave us?

We can draw the conclusion that over the last century our framing of gendered customs has become increasingly captured by a gynocentric turf war between traditional women, and progressive feminist forces, with trans activism being an emerging force that is actively working to disrupt it. Time will tell if the transgender movement continues its disintegrative influence over traditional sex roles, however the surgical and chemical technology that has allowed this to flourish does not look like disappearing anytime soon – in fact researchers are just getting started.

The chemical invention of the birth control pill, introduced for women in the 1950s, served to crown the gynocentric culture project and to cement the dominance of its centuries-long evolution. The chemical and surgical “support” for trans-people holds equally gargantuan potential; which includes the tangential possibility of leading us past the polarizing gynocentric setup and back to a saner place where everyday men and women can be themselves without coercion and judgement… notably minus those inflated gender privileges and ideologies that have driven us into this position to begin with.

See also:

• Transphobia vs. Manphobia
• Unintended Consequences of Transgender Activism on Men’s Issues

The following overview of Lester Ward’s concept of gynæcocentric theory (1888, 1903) is from the book The Making of the Human Sciences in China, by Micah Muscolino (2019). It provides a more succinct statement of Ward’s ideology than is found in the originating chapter on the subject.

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Where Ward’s chapter becomes remarkable is his claim that evidence supports a theory that human species began as female. Claiming support for this scientific fact Ward drew on Darwin, geologist Sir Charles Lyell (whose work influenced Darwin), American zoologist John A. Ryder, paleontologist Pierre-Joseph van Beneden, and other zoologists for support.

Thus, in Ward’s theory, the Arachnida or spider family is not a perversion, but an ancient form of reproductive exchange in which the female extracts sperm and consumes the sperm donor. A then popular view was that the male human, male mammals generally, and male birds in particular, are superior to the female and that the female is a form of “arrested development” in the human species where males have evolved more quickly than females. Ward’s repudiation here is ingenious. The female, he argues, “simply represents the normal condition, while the condition of the male is abnormal due to his great powers of variability.” He argues that “females cannot … vary [because] they represent the center of gravity of the biological system.”

Ward made sexual selection the more complex process. It was, he argued, nature’s mechanism to maintain female centeredness in reproduction and preserve the female as the “hereditary trunk” of what we would call DNA. While the female is the ancestral trunk, in humans, unlike other mammals, the sexes choose each other on the basis of different, functional, evolutionary mandates. The female chooses males on the basis of their superiority within the species. The males oblige females, on the basis of the mandate, to naturally select partners who show the capacity to adapt. Instinct gives the female the ability to discriminate among individuals in a species. The human male evolved from the indiscriminate release of sperm to the faculty of taste.

In other words, men have evolved to discriminate among women on the basis of innate aesthetic appeal. We can see this in lower level organisms where evolution, say of spiders, is changing the relative size of males because female spiders are consistently choosing larger sperm donors. When sexual attraction appears in species—most do not have the capacity for libido (a subjective desire for a specific mate)—the aesthetic capacity of individual males plays a functional role in natural and even perhaps in social evolution.

Females are the original humans. Males are an effusion or an extrusion that makes human evolution what it is. The female has an aesthetic that helps her to decide her sexual partner’s relative worth, and where she remains superior in human evolution is in her capacity to discriminate. In Ward’s imagination the evidence presents a situation where female humans have sex-selected for rationality in men rather than for strength or good looks. Because the criteria include rationality, women bred men who were more rational, and a gender power imbalance was the result. Ward is careful to say that both sexes in humans have rationality. But he is more interested in how evolutionary rationality in men enabled men to seize control of the children. This led to the overthrow of the mother right and the establishment of patriarchy. The evolutionary redress to this injustice is already in process. Men abuse women not because they are hateful or strong or stupid. They have simply not yet evolved the capacity that all women have, of empathy. As women begin to socially select for this quality, the obvious abuses of the patriarchal present should resolve.

SOURCE: The Making of the Human Sciences in China, by Micah Muscolino – Brill, (2019)