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».

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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)

„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.“

—  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)

„The pain of sexual frustration, of repressed tenderness, of denied curiosity, of isolation in the ego, of greed, suppressed rebellion, of hatred poisoning all love and generosity, permeates our sexuality.“

—  Germaine Greer
Context: The pain of sexual frustration, of repressed tenderness, of denied curiosity, of isolation in the ego, of greed, suppressed rebellion, of hatred poisoning all love and generosity, permeates our sexuality. What we love we destroy. "The Wet Dream Film Festival" (1971), p. 57

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„Women have somehow been separated from their libido, from their faculty of desire, from their sexuality. They've become suspicious about it.“

—  Germaine Greer
Context: Women have somehow been separated from their libido, from their faculty of desire, from their sexuality. They've become suspicious about it. Like beasts, for example, who are castrated in farming in order to serve their master's ulterior motives — to be fattened or made docile — women have been cut off from their capacity for action. It's a process that sacrifices vigour for delicacy and succulence, and one that's got to be changed. As quoted in "Germaine Greer — Opinions That May Shock the Faithful" by Judith Weinraub in The New York Times (22 March 1971) http://www.nytimes.com/books/99/05/09/specials/greer-shock.html

„We could only fear chaos if we imagined that it was unknown to us, but in fact we know it very well.“

—  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

„When the burning and shivering stopped and I could see again only what was there, I stayed enthralled by clarity.“

—  Germaine Greer
Context: While young fools of my generation produced terrifying symptoms by ingesting poisons of various synthetic kinds, I was taken to extraordinary realms by a bacillus carried from human excrement by a fly's foot. I swelled to the size of a mountain and shrank to the size of a pin, flew and sang and fell through exotic configurations, in the intervals between agonizing convulsions on the heavy earthenware vaso, whose lethal contents I had to dispose of in the fields when the fever subsided. When the burning and shivering stopped and I could see again only what was there, I stayed enthralled by clarity. There was nothing to me in biochemical mindbending or bullshit psychedelia that did not have the slimy scent of death about it. I hated being out of touch, isolated by the solipsism of delirium, unable to communicate or comprehend. "Introduction," p. xxii

„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.“

—  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)

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