Post-Freudian Impressions: Redefining the relation between church, power and the 'mommy-daddy-me' triangle in Cyprus after 1974

The repetition of the phenomenon of setting the blame on the other, as an attitude fundamentally characterizing the postcolonial, finds itself here in a paradoxically mediated one-to-one correspondence with the as of yet undifferentiated manifold of state-church power that had been consolidated in the figure of Makarios. The dangers for the alliance between the familial and the political (with the proper name 'Makarios' signifying the approximation of a nom du pere) brought forth by the introduction [in the guise of import] of the technological advances produced by an enlightenment that has been absent in an almost exaggerated fashion, are to be gazed at through the medusa-like laser eyes of the other as non-lover, as the one who in the guise of an arranged marriage conceals/veils an immemorial threat. In this fusing of the politics of blame with the realm of the aesthetic, in its revolutionary simulation of the space of celebrations of national commemorations in educational institutions and simultaneously of the stage of the kindergarden birthday party or the wedding, 'En i mana mou pou fteei' with the self-referential twist of quasi-english-accented cypriot dialect [ambiguously camouflaging its alliances within the post-colonial context it has set itself] reflects a certain failure to cope, a certain resignation: it brings with it no recipe for the dismantling of the aforesaid triangle, nor any effort towards the demarcation of church from state. Rather, it revolutionizes the fact of its own inability to put forth anything ostensively referential that could go beyond the realm of influence of the church and its coextensive family relations. It thus transforms the act of singing into a repetition of the voice's own impotence.