Жермен Грир цитаты

Жермен Грир фото
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Жермен Грир

Дата рождения: 29. Январь 1939

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Жермен Грир — английская писательница, учёная и телеведущая, которая многими считается одной из наиболее значительных феминисток XX века. Родилась в Австралии, обучалась в школе при монастыре, выиграла стипендию в 1956 году и затем обучалась в Мельбурнском университете.

Грир стала почётным профессором английской литературы и сравнительных исследований в Уорикском университете после выхода на пенсию, является автором нескольких известных книг. Наиболее знаменитой из них является «Женщина-евнух», которая после публикации стала международным бестселлером, сделав Грир знаменитостью.

Идеи Грир спорны. Белинда Люскомб на страницах журнала «Тайм» называла её «абсолютным Троянским конём, прекрасным и умным, построенным, чтобы проникнуть в кажущуюся непробиваемой цитадель патриархии и впустить нас, пехоту».

Подобные авторы

Джейн Остин фото
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Иван Сергеевич Тургенев фото
Иван Сергеевич Тургенев54
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Збигнев Казимеж Бжезинский фото
Збигнев Казимеж Бжезинский21
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Томас Дьюар90
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Лев Самуилович Клейн фото
Лев Самуилович Клейн6
советский и российский учёный, археолог, культур-антропол...
Anna Frank фото
Anna Frank24
еврейская девочка, автор «Дневника Анны Франк»

Цитаты Жермен Грир

Citát „Я люблю мужчин — так, как любят хорошую еду или вино.“
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„If Judith Leyster had not been in the habit of signing her work with the monogram JL attached to a star, a pun on the name her father had taken from his brewery, Leyster or Lodestar, her works might never have been reattributed to her“

—  Germaine Greer
Context: By 1627 Judith Leyster was famous enough to be mentioned in Ampzing's description of the city of Haarlem; by 1661 she had been so far forgotten that De Bie does not mention her in his Golden Cabinet. Her eclipse by Frans Hals may have begun in her own lifetime, as a consequence of her marriage to Molenaer perhaps, for Sir Luke Schaub acquired the painting now known as The Jolly Companions as a Hals in Haarlem in the seventeenth century. If Judith Leyster had not been in the habit of signing her work with the monogram JL attached to a star, a pun on the name her father had taken from his brewery, Leyster or Lodestar, her works might never have been reattributed to her: few paintings can boast of a provenance as clear as that of The Jolly Companions. As a result of the discovery that The Jolly Companions bore Leyster's monogram, the English firm which had sold the painting to Baron Schlichting in Paris as a Hals attempted to rescind their own purchase and get their money back from the dealer, Wertheimer, who had sold it to them for £4500 not only as a Hals but "one of the finest he ever painted." Sir John Millars agreed with Wertheimer about the authenticity and value of the painting. The special jury and the Lord Chief Justice never did get to hear the case, which was settled in court on 31st May 1893, with the plaintiffs agreeing to keep the painting for £3500 plus £500 costs. The gentlemen of the press made merry at the experts' expense, for all they had succeeded in doing was in destroying the value of the painting. Better, they opined, to have asked no questions. At no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered. Chapter VII: The Disappearing Oeuvre (p. 136)

„In sex, as in consumption, the nuclear family emphasizes possession and exclusivity at the expense of the kinds of emotional relationships that work for co-operation and solidarity.“

—  Germaine Greer
Context: In the nuclear family the child is confronted by only two adults contrasted by sex. The tendency towards polarization is unavoidable. The duplication of effort in the nuclear family is directly connected to the family's role as the principal unit of consumption in consumer society. Each household is destined to acquire a complete set of all the consumer durables considered necessary for the good life and per caput consumption is therefore maintained at its highest level. In sex, as in consumption, the nuclear family emphasizes possession and exclusivity at the expense of the kinds of emotional relationships that work for co-operation and solidarity. "Women and power in Cuba" (1985), p. 271

„The struggle which is not joyous is the wrong struggle.“

—  Germaine Greer
Context: With them she can discover cooperation, sympathy and love. The end cannot justify the means: if she finds that her revolutionary way leads only to further discipline and continuing incomprehension, with their corollaries of bitterness and diminution, no matter how glittering the objective which would justify it, she must understand that it is a wrong way and an illusory end. The struggle which is not joyous is the wrong struggle. The joy of the struggle is not hedonism and hilarity, but the sense of purpose, achievement and dignity which is the reflowering of etiolated energy. Only these can sustain her and keep the flow of energy coming. The problems are only equalled by the possibilities: every mistake made is redeemed when it is understood. The only ways in which she can feel such joy are radical ones: the more derided and maligned the action that she undertakes, the more radical. Introduction

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„A grown woman should not have to masquerade as a girl in order to remain in the land of the living.“

—  Germaine Greer
Context: Women over fifty already form one of the largest groups in the population structure of the western world. As long as they like themselves, they will not be an oppressed minority. In order to like themselves they must reject trivialization by others of who and what they are. A grown woman should not have to masquerade as a girl in order to remain in the land of the living. Introduction

„However diverse they may be, they need not be utterly irreconcilable, because they will not be conquistatorial.“

—  Germaine Greer
Context: The fear of freedom is strong in us. We call it chaos or anarchy, and the words are threatening. We live in a true chaos of contradicting authorities, an age of conformism without community, of proximity without communication. We could only fear chaos if we imagined that it was unknown to us, but in fact we know it very well. It is unlikely that the techniques of liberation spontaneously adopted by women will be in such fierce conflict as exists between warring self-interests and conflicting dogmas, for they will not seek to eliminate all systems but their own. However diverse they may be, they need not be utterly irreconcilable, because they will not be conquistatorial. Introduction

„Such art reinforces human dignity.“

—  Germaine Greer
Context: Great art, for those who insist upon this rather philistine concept (as if un-great art were unworthy of even their most casual and ill-informed attention), makes us stand back and admire. It rushes upon us pell-mell like the work of Rubens or Tintoretto or Delacroix, or towers above us. There is of course another aesthetic: the art of a Vermeer or a Braque seeks not to amaze and appal but to invite the observer to come closer, to close with the painting, peer into it, become intimate with it. Such art reinforces human dignity. Chapter V: Dimension (p. 105)

„The stereotype is the Eternal Feminine. She is the Sexual Object sought by all men, and by all woman. She is of neither sex, for she has herself no sex at all. Her value is solely attested by the demand she excites in others. All she must contribute is her existence.“

—  Germaine Greer
Context: The stereotype is the Eternal Feminine. She is the Sexual Object sought by all men, and by all woman. She is of neither sex, for she has herself no sex at all. Her value is solely attested by the demand she excites in others. All she must contribute is her existence. She need achieve nothing, for she has herself no sex at all. her value is solely attested by the demand she excites in others. All she must contribute is her existence. She need achieve nothing, for she is the reward of achievement. She need never give positive evidence of her moral character because virtue is assumed from her loveliness, and her passivity. The Stereotype

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