“Should We Try to Self Remember While Playing Snakes and Ladders?”
Emerging from the Paris surrealist group, the English-born writer and painter Leonora Carrington (England, 1917—Mexico, 2011) was perpetually suspicious of orthodoxy. She often pokes fun at, parodies, and ultimately upsets traditional hierarchies of power. In her work animals impart wisdom, Goddesse...
| Published in: | Religion and the arts |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2017
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| In: |
Religion and the arts
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| Standardized Subjects / Keyword chains: | B
Carrington, Leonora 1917-2011
/ Surrealism
/ Fourth Way
/ Mysticism
/ Criticism
/ Carrington, Leonora 1917-2011, The hearing trumpet
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| RelBib Classification: | AZ New religious movements |
| Further subjects: | B
Feminism
mysticism
surrealism
Leonora Carrington
Gurdjieff
The Fourth Way
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| Online Access: |
Presumably Free Access Volltext (Verlag) |
| Summary: | Emerging from the Paris surrealist group, the English-born writer and painter Leonora Carrington (England, 1917—Mexico, 2011) was perpetually suspicious of orthodoxy. She often pokes fun at, parodies, and ultimately upsets traditional hierarchies of power. In her work animals impart wisdom, Goddesses loom large, and domestic spaces become sites of occult power. In this article, I investigate Carrington’s suspicion of gurus with claims to esoteric truth. Carrington participated in Fourth Way groups run by students of G. I. Gurdjieff (Christopher Fremantle) and P. D. Ouspensky (Rodney Collin). However, while she had a deep interest in the teachings, Carrington remained suspicious of the group practices of the Fourth Way, as can be seen in Elena Poniatowska’s fictionalized biography Leonora (2015). This article explores Carrington’s contact with the ‘Work’ in order to shed light on the character of Dr. Gambit in her 1950 novel, The Hearing Trumpet, commonly thought to be a parody of Gurdjieff. In doing so, it will investigate Carrington’s feminist objections to the role of the guru, while also contributing to a discussion of the unease some felt toward the praxis of the Fourth Way, despite their attraction to the philosophy. |
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| ISSN: | 1568-5292 |
| Contains: | In: Religion and the arts
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| Persistent identifiers: | DOI: 10.1163/15685292-02101008 |