lowie – Übersetzung – Keybot-Wörterbuch

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  'De extasen van Eros' d...  
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de mooie vrouw
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the beautiful woman
  Promiscuïteit. Hoofdstu...  
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In de beeldende kunsten daarentegen lijkt promiscuïteit wel onbekend. Dezelfde tijdloosheid die ze voorbestemde tot hét medium waarin de mooie vrouw vereeuwigd kon worden, maakt ze ongeschikt om promiscuïteit uit te beelden.
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A third series of theories founds promiscuity (or polygamy) in the exuberant sexual urge of single individuals (which legitimises uncompleted promiscuity). Forel ascribes don Juan's 'satyriasis' and Messalina's 'nymphomania' van Messalina to 'sexual hyperaesthesia'. Exuberant sexual desire is often an effect of culture, and can then be unlearned. There is no doubt that the variability in matters sexual is very high in every respect (Kinsey 1949, Eysenck 1976).
  De orgie. Hoofdstuk elf...  
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Die wordt helemaal onweerstaanbaar wanneer één melodie, gezongen door één vrouw, wordt gedragen door meerdere melodieën, die door mannen worden gezongen. De mooie vrouw, op het podium van een - ditmaal auditief - amfitheater!
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In another version, all the participants display each other's beauty to each other, so that all can equally admire each other's beauty. This is only possible when all the exhibitionistic movements are synchronised through music. Since all the partners synchronise their movements, the partners become exchangeable. Also here, the accent shifts from erotic display to synchronised movement. The perverse forms of the orgy culminate of necessity in the tactile or visual dance. With this kind of dance, the community is finally realised through the synchronising rhythm of the music. Through such synchronisation, the visual and tactile elements are desexualised, just as was the case with orgasm that was transformed in a visual display.
  Oercommunisme. Hoofdstu...  
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Ondertussen hebben we echter van deze mythische oervader de historische tegenhanger geconstrueerd: de 'rijke man', die als slavenhouder, als feodale heer of als kapitalist de mooiste vrouwen in zijn harem kan verzamelen. Dat doet hij als oude man, die de hand legt op mooie jonge vrouwen en daarmee de jongere mannen berooft van wat hen rechtmatig zou toekomen.
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Every form of sexual relation jealously protects itself against intruders or dissidents. To spare themselves this insight, many authors conceive of the community of women as of a universal community, so that there are no outsiders at all. One cannot escape the impression that Bachofen, McLennan and Morgan thought that the whole of humanity was engaged in once gigantic hetaerism. The idea of a universal brotherhood survives in the very term 'primeval communism' that happens to be as ineradicable as patriarchy or matriarchy. The universal ban of the last decades on everything that smells even faintly of communism, leads to the search for poor alternatives, like Borneman's 'libertarian life style' without jealousy.
  'Mimesis: herwaardering...  
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Maar daar zijn geldige en dwingende motieven voor. Tijdelijk gezien is de werkelijkheid - inzonderheid het mooie lichaam - vluchtig of vergankelijk, en smeekt er daarom naar om te worden vastgelegd voor altijd.
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The paradigm of mimesis is and remains the mirror - although you should rather think of a mirror wherein you obliquely look to a world, than of the mirror wherein you frontally admire yourself like Narcissus. To begin with, it reminds us of the fact that we are dealing with an instrument made by man for conjuring up images. It further clearly establishes the true relation between original and imitation: mimesis works only when the imitation is 'true to nature''. And, finally, it shows how convincing a virtual image can be, while at the same time the reaching out of a hand suffices to unmask the unreality of it.
  'Het'Orgien Mysterien T...  
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Daar is om te beginnen het thema van het bloed van de ontmaagding dat al ligt vervat in de vervanging van verf door bloed: bloed op een doek doet denken aan bloed op het witte laken van het bruidsbed. De ontmaagding: van het mooie oppervlak over de zalige opening naar de bloedende wonde.
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That is why Nitsch’ substitute slaughter cannot possibly be understood in terms of Freud’s totem meal. During such feast are temporarily lifted the two fundamental taboos of culture – according to Freud: the taboo on parricide and the taboo on incest. Whereas the real parricide was set up by the excluded sons to gain access to the primeval father’s wives, in Nitsch’ ‘Orgien Myserien Theater’, on the contrary, precisely those women at which Freud’s sons were out are skinned and emptied. If there is a parricide at all, than certainly the murder on the masters of the canvas. And even then there is no question of a parricide: rather are we dealing with impotent sons that, like in Freud’s story, are busying themselves, far from the proceedings in the temple, with boyish pranks in the bushes around the temenos – the holy ground.
  Het gezin en de oergroe...  
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Maar deze beide piramides staan niet tegenover elkaar zoals die van de rijke man en de mooie vrouw: Johannes en Salomé treffen zich slechts in de onthoofding. In het exhibitionistische amfitheater triomfeert de mooie vrouw over de seksuele man.
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Still unconscious yet of their lugubrious destiny, many a woman cherishes a far more modest ideal: to be released from the childbed and the kitchen, and to get access to wealth and spiritual prestige. Like Saint Mary, they would have followed Jesus in his ascent to heaven, were it not for the fact that, until recently, they have been anchored in the material world by their womb. As long as motherhood has been the inescapable fate of women, there was only one exit from their earthly cellar left: reproducing themselves in a divine son. Only through such desire can also female parenthood become spiritual and social. The symbol of these women is again the Holy Virgin, this time not the virgin that ascended to heaven, but her prefiguration: the mother of a divine son, who owes his life to a spiritual wind, not to all those nasty proceedings in the flesh. From her to Valerie Solanas and her Society for Cutting Off Man's Balls is only one step.
  Het gezin en de oergroe...  
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Maar deze beide piramides staan niet tegenover elkaar zoals die van de rijke man en de mooie vrouw: Johannes en Salomé treffen zich slechts in de onthoofding. In het exhibitionistische amfitheater triomfeert de mooie vrouw over de seksuele man.
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Still unconscious yet of their lugubrious destiny, many a woman cherishes a far more modest ideal: to be released from the childbed and the kitchen, and to get access to wealth and spiritual prestige. Like Saint Mary, they would have followed Jesus in his ascent to heaven, were it not for the fact that, until recently, they have been anchored in the material world by their womb. As long as motherhood has been the inescapable fate of women, there was only one exit from their earthly cellar left: reproducing themselves in a divine son. Only through such desire can also female parenthood become spiritual and social. The symbol of these women is again the Holy Virgin, this time not the virgin that ascended to heaven, but her prefiguration: the mother of a divine son, who owes his life to a spiritual wind, not to all those nasty proceedings in the flesh. From her to Valerie Solanas and her Society for Cutting Off Man's Balls is only one step.
  'Iannis Kounellis: de m...  
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En meteen weten we waar het motief van het in stukken gesneden lichaam vandaan komt: niet Apollo’s lichaam, maar dat van Osiris werd in stukken gesneden en over de vier windstreken verspreid - zijn penis bleef onvindbaar. Achter het mooie lichaam van Apollo gaat dus naast het gevilde lichaam van Martias ook het gefragmenteerde lichaam van Osiris schuil.
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That does not prevent this dimension of the whole process to escape from the artist’s consciousness. Kounellis continues to emphasise that he is a painter! His works continue to be exhibited on the floors and the walls of the museum and on steel plates that borrow their measures from an academic drawing sheet. This cannot but betray a bad conscience about his betrayal of painting. Some consciousness of the metamorphosis of the painter into a poet seems to shimmer through in Kounellis’ flirting with theatre and opera: as when he calls his ‘installations’ ‘one-acts’. But this insight is immediately eclipsed in that he understands the metamorphosis in terms of ‘integration’: it takes more to create a ‘Gesamtkunstwerk’ than add the smell of the horses to their sight! If not in terms of the replacement of conjured up space through real space – from the painting as a window on reality to the museum as a stage – or: an amphitheatre for a Greek tragedy.