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
Джейн Остин20
английская романистка
Иван Сергеевич Тургенев фото
Иван Сергеевич Тургенев54
российский писатель, поэт, переводчик
Збигнев Казимеж Бжезинский фото
Збигнев Казимеж Бжезинский21
американский политолог, социолог и государственный деятель
Мишель Фуко фото
Мишель Фуко26
французский философ
Зигмунд Фрейд фото
Зигмунд Фрейд124
австрийский психолог, психиатр и невролог
Томас Дьюар фото
Томас Дьюар90
английский предприниматель, производитель виски, афорист

Цитаты Жермен Грир

Citát „Я люблю мужчин — так, как любят хорошую еду или вино.“
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„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

„Great artists are products of their own time: they do not spring forth fully equipped from the head of Jove, but are formed by the circumstances acting upon them since birth.“

—  Germaine Greer
Context: Great artists are products of their own time: they do not spring forth fully equipped from the head of Jove, but are formed by the circumstances acting upon them since birth. These circumstances include the ambiance created by the other, lesser artists of their own time, who have all done their part in creating the pressure that forces up an exceptional talent. Unjustly, but unavoidably, the very closeness of a great artist to his colleagues and contemporaries leads to their eclipse. Chapter VII: The Disappearing Oeuvre (p. 134)

„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 fear of freedom is strong in us. We call it chaos or anarchy, and the words are threatening.“

—  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

„I hated being out of touch, isolated by the solipsism of delirium, unable to communicate or comprehend.“

—  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

„Women have been charged with deviousness and duplicity since the dawn of civilization so they have never been able to pretend that their masks were anything but masks.“

—  Germaine Greer
Context: Women have been charged with deviousness and duplicity since the dawn of civilization so they have never been able to pretend that their masks were anything but masks. It is a slender case but perhaps it does mean that women have always been in closer contact with reality than men: it would seem to be the just recompense for being deprived of idealism. Womanpower (p. 129)

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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Подобные авторы
Джейн Остин фото
Джейн Остин20
английская романистка
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Иван Сергеевич Тургенев54
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Збигнев Казимеж Бжезинский фото
Збигнев Казимеж Бжезинский21
американский политолог, социолог и государственный деятель