Жермен Грир цитаты

Жермен Грир фото
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Жермен Грир

Дата рождения: 29. Январь 1939

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». Wikipedia

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

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

—  Germaine Greer

"Introduction," p. xxii
The Madwoman's Underclothes (1986)
Контексте: 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.

„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, The Obstacle Race: The Fortunes of Women Painters and Their Work

Источник: The Obstacle Race (1979), Chapter VII: The Disappearing Oeuvre (p. 136)
Контексте: 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.

„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

"Women and power in Cuba" (1985), p. 271
The Madwoman's Underclothes (1986)
Контексте: 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.

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

—  Germaine Greer, книга The Female Eunuch

Introduction
The Female Eunuch (1970)
Контексте: 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.

„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, The Obstacle Race: The Fortunes of Women Painters and Their Work

Источник: The Obstacle Race (1979), Chapter VII: The Disappearing Oeuvre (p. 136)
Контексте: 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.

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

—  Germaine Greer

"Introduction," p. xxii
The Madwoman's Underclothes (1986)
Контексте: 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.

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

—  Germaine Greer

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
Контексте: 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.

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

—  Germaine Greer

Introduction
The Change: Women, Aging and the Menopause (1991)
Контексте: 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.

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

—  Germaine Greer, книга The Female Eunuch

Introduction
The Female Eunuch (1970)
Контексте: 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.

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