Showing posts with label the mouth. Show all posts
Showing posts with label the mouth. Show all posts

20 Jul 2019

Kiss This: Additional Thoughts on Lips and Lipstick



It's arguable that lips are one of the key defining features of the human being. For whilst most other mammals possess them, only we have lips that are permanently on display thanks to an outward curling of the interior mucous membranes.

Thus Deleuze and Guattari are right to suggest that just as the human mouth is a deterritorialization of the animal snout, the lips are a subsequent deterritorialization of the mouth, designed - amongst other things - to reterritorialize (and to suckle) on the maternal breast.

Later, of course, the lips will play an important part in the act of eating solid foods - and in speech; again, one of the defining characteristics of man is the fact that he stuffs his mouth with words as well as sausage rolls. 

Finally, due to an overabundance of nerve endings, the lips are extremely sensitive and therefore play a significant role in sexual acts, such as kissing; described by D. H. Lawrence as the primary sensual connection.  

Lips, then, are crucial to our survival and to our pleasure.

I have to admit, however, that the pale, thin lips of modern women that offer the delicate spiritual kisses of those who act exclusively from the upper plane of consciousness, don't really excite my interest unless they have been cosmetically enhanced with that fabulous mix of oils, waxes, pigments and emollients known as lipstick ...

Lipstick gives back to even the meanest and most refined of mouths a certain savage beauty. 


Notes

Gilles Deleuze and Félix Guattari, A Thousand Plateaus, trans. Brian Massumi (University of Minnesota Press, 1987): see '10,000 BC: The Geology of Morals (Who Does the Earth Think It Is?)'. 

D. H. Lawrence, Fantasia of the Unconscious, ed. Bruce Steele, (Cambridge University Press, 2004): see 'The Five Senses'. 

Click here for a related post to this one in which I expand upon my love of lipstick (with reference to the work of Baudelaire and to the case of Cleopatra). 


2 Dec 2017

Lipstick Traces (with Reference to the Case of Cleopatra)

Zabrena: Historically Accurate: Ancient Egypt / Cleopatra Makeup Tutorial
YouTube (8 Oct 2014): click here


One of the questions I find endlessly fascinating is that of nature and artifice and the nature of artifice in relation to femininity.

It's a question that invariably takes us back to Baudelaire who suggests that without makeup Woman - as a figment of the pornographic imagination and not merely as a lump of flesh with distinct reproductive organs from the male - not only fails to excite or interest, but is less than human. It is only as a cultural-cosmetic effect that she elevates herself above her animal biology and captures the hearts and minds of men who would otherwise happily make do with other pleasures.      

For as Baudelaire admits, woman is not an animal whose component parts - even when pleasingly assembled and proportioned - provide a perfect example of harmony; "she is not even that type of pure beauty which the sculptor can mentally evoke in the course of his sternest meditations". In order to cast her complex spell of enchantment, she needs to adorn and thus enhance her physical attributes. 

Take the mouth, for example: who in their right mind would ever have dreamt of kissing the lips of a mucous-lined orifice with two rows of sharp teeth - and, indeed, exploring such with their own tongue or virile member - were those lips not first painted in an irresistible shade?

For whilst a smile, betraying as it does a certain vulnerability, may attract the attention of a man, I doubt that alone would be enough to persuade to perversion. And, let's be clear about this, oral sex - which includes French kissing - is an obvious abberation, involving as it does a form of what Freud terms anatomical transgression.

Cleopatra, Queen of the Nile, Isis Reborn, and a skilled fellatrix, knew exactly what she was doing when she applied crushed beetle juice in a beeswax base to her lips in order to stain them deep carmine red.

As Adam Ant once put it: She was a wide-mouthed girl ...    


See: 

Charles Baudelaire, 'The Painter of Modern Life' in The Painter of Modern Life and Other Essays, trans. and ed. by Jonathan Mayne, (Phaidon Press, 1995): click here to read online. 

Sigmund Freud, 'The Sexual Aberrations', in Three Contributions to the Sexual Theory, trans. A. A. Brill (NY, 1910): click here to read online.

Play:

Adam and the Ants, 'Cleopatra', Dirk Wears White Sox, (Do It Records, 1979): click here to listen on YouTube.