Germaine Greerová citáty

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Germaine Greerová

Datum narození: 29. leden 1939

Germaine Greerová je australská spisovatelka a novinářka, jedna z nejvýznamnějších osobností feministického hnutí ve dvacátém století. Je autorkou mnoha známých knih. Nejznámější je Eunuška , publikovaná roku 1970, která se stala mezinárodním bestsellerem. Její knihy jsou společensky provokativní, nicméně většina z nich je také velmi uznávaná.

Citáty Germaine Greerová

„Jakékoli rozhodnutí žena udělá, je vždy správné.“

—  Germaine Greerová

Zdroj: [Kuras, Benjamin, Jak se stát feministou, prvnizpravy.cz, 2010-11-30, http://www.prvnizpravy.cz/sloupky/jak-se-stat-feministou/]

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

—  Germaine Greer, kniha The Female Eunuch

Introduction
The Female Eunuch (1970)
Kontext: 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.

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

Zdroj: The Obstacle Race (1979), Chapter V: Dimension (p. 105)
Kontext: 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.

„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, kniha The Female Eunuch

Womanpower (p. 129)
The Female Eunuch (1970)
Kontext: 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.

„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)
Kontext: 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.

„Such art reinforces human dignity.“

—  Germaine Greer, The Obstacle Race: The Fortunes of Women Painters and Their Work

Zdroj: The Obstacle Race (1979), Chapter V: Dimension (p. 105)
Kontext: 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.

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

—  Germaine Greer, kniha The Female Eunuch

Introduction
The Female Eunuch (1970)
Kontext: 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.

„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

Zdroj: The Obstacle Race (1979), Chapter VII: The Disappearing Oeuvre (p. 136)
Kontext: 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.

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

Zdroj: The Obstacle Race (1979), Chapter VII: The Disappearing Oeuvre (p. 134)
Kontext: 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.

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„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)
Kontext: 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.

„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

Zdroj: The Obstacle Race (1979), Chapter VII: The Disappearing Oeuvre (p. 136)
Kontext: 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.

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

—  Germaine Greer, kniha The Female Eunuch

Introduction
The Female Eunuch (1970)
Kontext: 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.

„The term eunuchs was used by Eldridge Cleaver to describe blacks. It occurred to me that women were in a somewhat similar position.“

—  Germaine Greer

On how she chose the title for The Female Eunuch, in an interview by Nat Lehrman in Playboy (January 1972)
Kontext: The term eunuchs was used by Eldridge Cleaver to describe blacks. It occurred to me that women were in a somewhat similar position. Blacks had been emancipated from slavery but never given any kind of meaningful freedom, while women were given the vote but denied sexual freedom. In the final analysis, women aren't really free until their libidos are recognized as separate entities. Some of the suffragettes understood this. They could see the connection among the vote, political power, independence and being able to express their sexuality according to their own experience, instead of in reference to a demand by somebody else. But they were regarded as crazy and were virtually crucified. Thinking about them, I suddenly realized, Christ, we've been castrated and that's what it's all about. You see, it's all very well to let a bullock out into the field when you've already cut his balls off, because you know he's not going to do anything. That's exactly what happened to women.

„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)
Kontext: 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.

„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, kniha The Female Eunuch

The Stereotype
The Female Eunuch (1970)
Kontext: 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.

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

—  Germaine Greer, kniha The Female Eunuch

Introduction
The Female Eunuch (1970)
Kontext: 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.

„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)
Kontext: 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.

„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
Kontext: 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.

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

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