Na bela Piazza della Signoria, Perseu decapita Medusa: http://upload.wikimedia.org/wikipedia/commons/5/52/PerseusSignoriaStatue.jpg 'Robert Graves (Greek Myths, 1958) believes that the myth of Perseus preserves the memory of the conflicts which occurred between men and women in the transition from a matriarchal to a patriarchal society. (...)The episode of Perseus' victory over Medusa represents the end of female ascendancy and the taking over of the temples by men, who had become the masters of the divine which Medusa's head had concealed from them. The feminine continued to remain a source of fear for men, and the association of women with Medusa, evoked an aspect of the sex which was both fascinating and dangerous.(...) This terrible woman, the paragon of all women, whom every man simultaneously fears and seeks and for whom Medusa is the mask, is in fact the mother, i.e. the great Goddess Mother whose rites were concealed by the Gorgon's face.'
Much later, Klossowski would offer an account of the ‘mythic and cultic origins of the behaviour of Roman ladies’: a summary of Bachofen and the sexual differentiation (in effigy and legend) of once androgynous gods.41 Continuing in the literary orbit of Georges Bataille, Klossowski reintroduced the sacred into the realm of the nude in his study, Le Bain de Diane, 1956.42 Both his emphasis on the eternal sacred of woman, virginal and procreative, and the parallels that we might draw with the primitive violence of his times
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Na bela Piazza della Signoria, Perseu decapita Medusa: http://upload.wikimedia.org/wikipedia/commons/5/52/PerseusSignoriaStatue.jpg
'Robert Graves (Greek Myths, 1958) believes that the myth of Perseus preserves the memory of the conflicts which occurred between men and women in the transition from a matriarchal to a patriarchal society. (...)The episode of Perseus' victory over Medusa represents the end of female ascendancy and the taking over of the temples by men, who had become the masters of the divine which Medusa's head had concealed from them.
The feminine continued to remain a source of fear for men, and the association of women with Medusa, evoked an aspect of the sex which was both fascinating and dangerous.(...)
This terrible woman, the paragon of all women, whom every man simultaneously fears and seeks and for whom Medusa is the mask, is in fact the mother, i.e. the great Goddess Mother whose rites were concealed by the Gorgon's face.'
http://www.courtauld.ac.uk/people/wilson-sarah/klossowski.pdf
Much later, Klossowski would
offer an account of the ‘mythic and cultic origins of the behaviour of Roman ladies’: a
summary of Bachofen and the sexual differentiation (in effigy and legend) of once
androgynous gods.41 Continuing in the literary orbit of Georges Bataille, Klossowski reintroduced
the sacred into the realm of the nude in his study, Le Bain de Diane, 1956.42 Both
his emphasis on the eternal sacred of woman, virginal and procreative, and the parallels that
we might draw with the primitive violence of his times
Olá rapaz :)
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