Jonas Gardel or "The Phobia of Swedish Society"
Jonas Gardel is a very famous and popular figure in Sweden. First of all, he is the beloved writer, philosopher and comedian of Swedes. He is a homosexual who openly reveals his sexual orientation to the public.
It is very difficult to be an open homosexual in Russia. Especially when it comes to that conditional homosexual half, which looks feminine and cutesy. These are the ones that the "real Russian man" likes to call with a sonorous word in "p …"
However, if we look at some Western countries, it becomes clear that the situation there is completely different. Take Sweden, for example. Sweden is known for its tolerance towards homosexual minorities. In this country, a homosexual couple can get married and even have the right to adopt children. In Stockholm, a massive gay parade takes place every year, during which every homosexual openly declares himself. He has his right to sexual happiness, and most importantly, he can feel safe.
Non-traditional sexual orientation is considered perfectly acceptable in Swedish society. In Sweden, some prominent politicians and ministry heads are openly homosexuals and appear in public with their couple in front of paparazzi cameras.
Yunas Gardel is a special person
Jonas Gardel is a very famous and popular figure in Sweden. First of all, he is the beloved writer, philosopher and comedian of Swedes. He is a homosexual who openly reveals his sexual orientation to the public.
In many works, Gardel writes about the search for God, about attempts to understand what the meaning of life is. It is obvious that he is an anal-skin-visual sound specialist. In many of his works, he again and again touches on the topic of male homosexuality and fears that originate in childhood.
In the conditions of the modern skin-visual West, carriers of the visual vector survive in any condition. That is why vegetarianism, protection of animals and the environment is so popular there. The West creates a fashion for showing itself and reserves for everyone the right to millions of all kinds of fears.
The skin world promotes the value of one's own opinion on everything, maximum self-care, individualism. In Western society, there is a clear tendency to skin indifference: no one cares about others. Relationships are built on the principle: “Don't touch me - and do what you want! And I will not touch you - and I myself will do what I like. " Therefore, if someone declares that he is a homosexual, then a reaction follows: "To health, if he likes it so much, let him be who he wants." Nobody cares about this in the skin world.
In the skin mentality, everyone has the right to live. Everyone has the right to be inside the modern "pack", even a useless and underdeveloped member of it - a skin-visual character. The skin legal system patronizes everyone. Here everyone has the right to be who he is, hiding nothing. Everything is legalized. Therefore, in the West, homosexuality is treated quite normally.
Gardel is now over forty. In his youth, being a shocking, noticeable and scandalous person, he made a lot of noise with his statements, homosexual orientation and very atypical literary work.
This is especially true of his early work "The Childhood of a Comedian", which was already included in the compulsory school course on Swedish literature. In many of his interviews, Gardel has stated that he described his childhood experiences in this book. Problems of communication with other people and fears play a special role in the work. In a word, these are typical themes that excite the bearer of the visual vector, who has never managed to develop into a state of "love".
Gardel is also perhaps one of the most famous comedians in the entire country. Moreover, he performs in a completely different manner than Zhvanetsky, Petrosyan, Zadornov and other popular comedians perform on the Russian stage. Gardel rushes around the stage in a frenzy, grimacing, splashing out tons of emotions, laughing at everyone - himself, his lover, Sweden and the rest of the world.
This is, in fact, burning emotions for pleasure, and the audience is just watching the process. Moreover, the Swedish public perfectly perceives his antics, considering this way of self-expression to be the best and most talented. This is the demonstrative and hysterical behavior of a person with a visual vector, which would never have gained such widespread popularity in Russia as in Sweden.
Let's delve a little deeper into the essence of The Childhood of the Comedian, which every Swedish teenager has been reading since the mid-90s.
The novel "Childhood of a Comedian"
The main character of the novel is a schoolboy Juha, who has to survive in a modern Swedish school. The novel is autobiographical, and the degree of exposure of "unsightly and weak manifestations of the soul" in the text is so great that it excites readers, forcing them to return to not the most pleasant moments of their own childhood.
The text is extremely concentrated, emotionally unhealthy visual states are conveyed very accurately and as frankly as possible. In all the details, the difficulties of establishing contacts with others are described, complete alienation on the part of the sound mother, quarrels with the hated Yukhe's father. In addition, the teenager suffers from the ridicule of classmates, from the inability to be friends with those with whom he wants, and from the contempt of those with whom he has to communicate.
Here is a response from one Russian-speaking reader: “This is a novel about outcast children. I still have not been able to finish reading it to the end - reading hurts me almost physically. I would not dare to tell the whole world about my childhood so honestly."
And this is absolutely true. The book is filled with overt, extremely unacceptable and even shameful for the Russian mentality details of a masculine character. Perhaps that is why it never took root in Russia, coming out only in small editions.
At the same time, the novel is deeply psychological and is a clear illustration of how a teenager grows up with a huge amount of fear in the visual vector.
Fear is given to the visual child by nature, in this state he experiences the strongest emotional stress. The inner feelings of fear are so strong that it is simply impossible to live with them constantly. Therefore, normally the child tries to get out of this state - and it can eventually grow into a feeling of compassion and empathy for others. It begins with pity and love for all living things - plants, pets, and at a higher level of development it turns into a feeling of love and compassion for a person.
In the description of past fears, adult spectators recognize themselves. The fact is that the majority develops into love and thereby comes out of their fears, while some remain in them forever. Lack of development in love implies a large remnant of fear that constantly reminds of itself.
A visual child, especially a boy, is often very vulnerable, emotionally vulnerable, weak. Being attacked, threatened, beaten at school, he can remain in a state of constant fear for his life. Juha is afraid of his classmates, afraid of being ridiculed, rejected and tries to survive in the only possible way known to him - to make everyone laugh, to be a jester of the class. Hence the title of the novel. Instead of deep feelings and real relationships with people, he tries to ridicule any situation, always say something witty and funny. In this he feels his value within the team. In addition, with such humor, he tries to smooth out his difficult mental states.
The prototype of Yuha is Gardel himself, so the sound-visual boy in the novel leads a lot of sound reasoning, going as if in intervals between events in the life of the protagonist. Yuha has no friends, big problems with establishing emotional contact with people, because in all he sees a potential danger to himself. He communicates closely only with the sound girl Annika and with Thomas, an even weaker outcast of the class.
Juha feels like a human next to Thomas. Juha is calm, confident and even ready to protect him in order to at least feel his strength in something. Juha rejoices inwardly when he sees that Thomas is crying. When Thomas in the class is humiliated by all and sundry, Juha is happy to join them, just not to be extreme.
With Annika, Juha has a sound connection, but only when they are at home alone. He tries not to show it in public. In addition, Annika is in love with him, but Yukh is not with her. This is due to his state of fear, because when a person is in fear, he does not feel the feeling of love. Despite their sonic closeness, he never shows himself to her classmates. After all, Annika is not a skin-visual girl that the whole class usually runs after, but just a blue stocking that no one pays much attention to. Through his skin vector, he feels that this girl by her presence next to him will not raise his status in the class.
Archetypal manifestations of Yukha's stressful skin vector are expressed in the willingness to sell and substitute anyone, to be friends with a strong comrade and to curry favor, just to survive and claim a higher position in the class. True, he never succeeds. The description of a painful childhood in many readers finds an inner response.
Induction of Swedish society
Gardel's own fortunes are also the product of an unhappy childhood. His skin and visual vectors remained in the archetype, underdeveloped. He writes about children, about childhood suffering, over and over again tries to live them. His childhood was not a sufficient basis for a full adult life. He was not able to go through those life situations that make people mentally ready for adulthood, he was unable to adapt a hostile environment. He was too "scared" in sight. As a result, he remained in the archetype.
Many adults behave and communicate exactly the way teenagers do, trying to rank in a team, that is, children's games for them continue. However, Gardel is also the owner of anal and sound vectors, thanks to which he managed to realize himself in society. He wrote many books, achieved recognition in society, society was ready to accept his work. And in this Gardel was lucky.
Masochistic tendencies in the skin vector and fear in the visual lead a person into homosexual relationships. If we consider such a scenario for a pure skin-visual type, without other vectors, then these are the boys who are sexually used. They have an aspiration to be sexually subservient to real males, since their masochistic desires are satisfied by connections of this kind. When a male has sexual intercourse with a female, he protects his female from everyone. Likewise, effeminate skin-visual boys relieve their fear by being protected by anal buffaloes.
Yunas Gardel is a multi-vector polymorph with an anal vector, but in this case, it was the skin and visual vectors that brought him into homosexual relationships.
“A middle-aged woman lives in me, imprisoned in the body of a vulnerable young man,” he says in his interview.
Gardel exposes all of himself, including the fact that he was raped at the age of ten. How this influenced his sexual orientation can be discussed for a long time …
A considerable number of people lived through Juha's youthful sufferings, reading "The Childhood of a Comedian." Extremely unhealthy sensations in the skin and vision are described as if the whole world now owes Juhe for that unhappy childhood.
Within the framework of the Western skin mentality of Sweden, such a novel (and the eccentric and shocking image of Gardel itself) made a significant contribution to homosexual tolerance. We can safely say that Yunas induced the whole society with his fear, serving it on the saucer of tolerance, with the right to individual experiences and the permissibility of any, even the most unhealthy conditions.
You can understand in more detail the nuances of the processes taking place in Western society, as well as the reasons why in other countries something that will never take root in our country is acceptable at Yuri Burlan's training "System-vector psychology". Registration for free online lectures by link.
