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'De extasen van Eros' d...

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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.

'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.

'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.

'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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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.

Het gezin en de oergroe...

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In het charismatische firmament en in het exhibitionistische amfitheater culmineren de twee evolutielijnen die de mens van andere dieren onderscheidt: de man die bij de dierlijke moeder de ouderzorg leerde en zo tot vader werd, en de vrouw die bij de dierlijke man de verleiding door schoonheid leerde, en zo tot mooie vrouw werd.

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This deeper factor is joined to the other two, that we already studied: that women is doomed to low productive work in the household, so that she becomes subordinated to the rich man, and that being referred to the household means resigning from the exhibitionistic amphitheatre. Only now is our image of the mater frigida completed. Only now do we understand the ultimate rejection of their nasty body by women. And since, as we have seen, sexual love is prolonged in parental love, we also understand why the aversion for the womb is extended to the aversion for its entrance: maternal frigidity only strengthens the sexual frigidity that continues to plague men. We cannot expect women to pose as an example for their daughters in their desire to reduplicate themselves. The kernel of femininity is rejected by the mothers, and their daughters will soon come to regard it equally as an ideal that is to be avoided. That is why women are often only able to define themselves negatively. Here lies the origin of the spiritual penis envy of the spiritual fathers, which is in fact an aversion for the womb and its entrance. It is in this void that settle the men who want to ignite the orgasmic fire in their women. Their endeavours are countered through dark proceedings that go largely unnoticed. On the bottoms of the world, grandmothers who have become infertile have settled. They are out at luring their daughters in their dark caves to spare them the besmirching through the outrage to which they owe their life. Thus, they finally swallow up what they so unwillingly gave birth to. Thus, many a grandmother, who was supposed to pass down her experience in matters of femininity, turns into the destroyer of the life she was supposed to continuate. It is here that we find the hidden female Kronos, the counterpart of the over fertile spiritual fathers on the firmament, who give eternal spiritual life to endless hosts.

De oermoedere. Hoofdstu...

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Maar dit kan alweer niet verhelen hoezeer de trots van de man slechts gegrond is in het bewandelen van de weg. Voor het einddoel is hij blind. Wanneer de man zelf zijn doel kan bepalen, bijvoorbeeld bij de overwinning van een wedstrijd, hem een mooie vrouw wordt aangeboden. Dat is al zo sedert de Ilias.

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It is not difficult to find the motive behind the formerly widespread girlicide. A pregnant women is no longer mobile and needs a man to protect her and to help her feed her children. To make matters worse, human mothers become pregnant before their children are grown up. That is why women need men, not so much as begetters, but as fathers in the economic sense of the word: as workers that have to help her with bringing up the children. And that is also why evolution has produced that very special specimen, only hinted at with primates: the fatherly man. We will come back to that topic in chapter X 'The primeval group'. To a human female, it matters to be able to set as many men as possible to work. Under conditions of scarcity, her survival and that of her children can only be warranted when she bears as little children as possible, and when she can summon as many fathers as possible. Under more prosperous conditions (especially after the agricultural revolution) the motive continues to exert its influence: in that case, the prosperity of the mother and that of the children increases. McLennan, however, points to other motives: not so much conditions of scarcity, but foremost the hostility of neighbouring groups. It mattered to raise as much male warriors as possible. Also Darwin thinks that this is the motive for girlicide with many illiterate people. Lubbock mentions, next to the demand for warriors, another motive; the more men, the better their scarce women can be defended. Lowie also reminds of the fact that fathers do not like to sire daughters when they have to provide them with a dowry (and that is still the case in modern India).

Het verliefde paar. Hoo...

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Ook hij geeft daarbij het (eenzijdige) voorbeeld van een vrouw die in eerste huwelijk kenner werd van literatuur en tweede van politiek, telkens zoals haar man . In het hoofdstuk over de 'Mooie vrouw' bespraken we hoe vele auteurs ervan uitgingen dat de man de vrouw seksueel moet opvoeden.

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A second series of theories focuses not so much on the quest for complementarity, but rather for identity ('homogamy'). Westermarck proclaims the 'law of identity, as when Japanese marry exclusively Japanese. Wundt refines Westermarck's theory. With him, one chooses a partner which is identical enough, but no too identical in view of stimulus of novelty. Havelock Ellis thinks that there must be sufficient similarity in religion, artistic predilection, nationality and class. Small differences are welcome, but big differences lead to alienation. Dawkins holds that too much and too little differences are genetically deleterious. Ortega y Gasset holds that lovers choose a partner that corresponds to their deepest being. A variant of this theory poses that there is a predilection for similarity, but this time not between the partners, but between the partners and/or their parents. Thus, Freud holds that love is directed to the parents in a first phase, and then to a strange sexual partner.

Het verliefde paar. Hoo...

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Wie vertrouwd is wordt immers selectiever, veeleisender. Hij ontvlamt niet meer bij elke nieuwe vonk: dat is een nieuwe sleutel tot het begrip van 'impotentie', waarvan een eerste geheim ons reeds werd ontsluierd in het hoofdstuk over de mooie vrouw.

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After this overview over the theories that try to explain the transience of romantic love, we have two remarks left. Falling in love means that one is prepared to submerge in an supra-individual organism that ascribes different tasks to each constituent part. What one partner does, releases the other from that task. Or to phrase it with Marx: the specialisation of the one is the de-specialisation of the other. Such unity has been described by many authors. Ortega y Gasset writes that lovers feel united with the object of their love. In a metaphysical sense the lover becomes permeable and he finds his satisfaction only in an 'individuality with two'. Many are those who experience such unity as 'slavish dependency', as a 'loss of autonomy'. Thus, Sally Cline praises the sensational freedom of the celibate to do what she wants and when she wants. Exemplary is the case of Freud, who interprets falling in love as a form of narcissism: as a projection of the 'Ideal Ich' with the concomitant self-humiliation as a form of narcissism. Only when we realise that this process takes place with both partners, do we understand that the relegation of tasks to the partner is compensated with the acceptance of tasks relegated by the partner. Not only my estimation of the partner increases, but also the partner's estimation of me, and above all the estimation of both partners of the couple, the supra-individual organism in which they submerge. There is no talk of 'a transfer of libido', but rather of a concentration of it in complementary halves in view of their submersion in a more encompassing whole.

Het verliefde paar. Hoo...

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Eenmaal de keuze gemaakt zorgt de reële en steeds veelzijdiger bevrediging niet alleen voor de versterking van die aantrekkingskracht, maar ook voor toenemende onomkeerbaarheid ervan: hoe meer de liefde zich ontplooit, hoe minder aantrekkelijk andere partners worden, om de doodeenvoudige reden dat bij hen de verwachte bevrediging slechts een vage belofte is. Vreemden kunnen wellicht op zich verleidelijk zijn, maar hun verschijning geeft meteen ook te kennen dat ze niet bereid zijn: niet elke mooie mond wil om het even wie kussen.

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A third series of authors discerns love from romantic love, whereby love is described also the afterglow of the once blazing fire of romantic love. In its full version, this theory ascribes the shift to the transition from sexual to reproductive interest. Thus, for Westermarck, sexuality cannot constitute an enduring bond because sexual attraction is not permanent. The enduring 'matrimonial instinct' is rather based on the parental instinct. Also Havelock Ellis describes how the sexual element whithers away and how love between the parents makes place for love between parent and child. Ortega y Gasset believes that every love begins with romantic love, but that love is a deeper and less stormy feeling. Tennov says that, in the best case, romantic love is transformed in an increasingly stronger love. Liebowitz and H. Fisher describe the transformation of romantic love in kindness. For Alberoni, love is romantic love institutionalised. A variant of this third theory sees the metamorphosis of romantic love in love especially in women. Whereas, as we have seen, Schopenhauer holds that the love of the male disappears after coition, female love is only ignited by fertilisation. Nature is out at reproduction, and the male can beget more than hundred children in a year, while the woman has to restrict herself to one single child. Darwin formulated similar ideas. In 1972, Trivers reformulated this theory in terms of 'differential parental investment'*. Ever since, countless authors regard differential parental investment as the explanation for male polygamy or promiscuity. They overlook that there is a difference between fathers, who want to produce a proliferous offspring, and man who want to seduce females. The males they are talking about, are not out at a proliferous offspring, but rather to get rid of mothers who are not particularly fond of having intercourse with them. Neither does the theory hold in the supposition that men are out at reproduction rather than sexual pleasure. As we shall demonstrate in the next chapter, men that want to become fathers have more to do than merely planting seeds. A father has only sons when he also educates them. A variant of this theory holds that woman is only interested in motherhood, while man's interests are more varied. Thus, Krafft Ebing writes that, after coition, love is referred to the background by other vital and social interests'. Weininger had similar ideas as we have seen. What Michelet writes about women is t

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