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Bodies and Tools A Thesis

Presented in Partial Fulfillment of the Requirements for The Degree

Master of Fine Arts

In the

Graduate School of the Ohio State University

by

Jo-Ann Mulroy B.F.A. *****

The Ohio State University 1994

Masters Examination Committee: Approved by Charles Massey Jr. Philip von Raabe ~~-~~~~- Pheoris West Advisor Department of Art To My Parents

11 Acknowledgments

I would like to thank the following for all their help, advice, support and friendship

Kevin Bruce Mary Jo Bole Elizabeth Cheatham Todd Devriese Romi Epstien Susan Halpern Kerry McGinnis Philip von Raabe Amy Schusser Pheoris West

Thank-You.

I would also like to thank Scott Patterson for his never ending patience, help and understanding.

A very special thank-you to Charles Massey Jr., for his unrelenting encouragement and guidance. I am deeply grateful.

111 Vita

27 July 1964. Born Newcastle-Upon-Tyne, United Kingdom

1987. B.F.A. Fine Art Texas Christian University Fort Worth, Texas.

Field of Study

Major field: Art

Studies: Printmaking

IV Table of Contents

Dedication . II

Acknowledgments III

Vita IV

Table of Contents V

List of Plates VI

Bodies and Tools . 1

List of References 32

v List of Plates

Plate I Flesh, Bone and Knife 23

Plate II Man Holding Spear 24

Plate III Spinning Top 25

Plate IV Fish 26

Plate V Woman Being Measured 27

Plate VI Wishing WelL 28

Plate VII Bone House 29

Plate VIII Food for Thought 30

Plate IX Before the Audience 31

vi Bodies and Tools

"Things are not all so comprehensible and expressive as one would mostly have us believe; most events are inexpressible, taking place in a realm which no word has ever entered, and more inexpressible than all else are works of art, mysterious existence's, the life of which, while ours passes away, endures." Letters To A Young Poet Rainer Maria Rilke [1].

The desire to learn more about myself and the world in which I exist is the force that drives me to make art. I feel that my current work is an extension of myself and a culmination of all I have learned and experienced. I constantly find myself asking why I am so motivated to continue making art and where I am going with it. I acknowledge that the process of "making" remains important to me. I have a vocabulary of tools necessary to learn and create; therefore, I am sure that my work will change and continue to grow over the course of time. Making art for me is about discovering who I am in this world and translating those discoveries into art.

When I first began making art, I was more interested in producing objects that I thought looked like "art". I had come from a background that equated art with objects which were well­ crafted. To me, art meant images or objects that were easily 1 2 recognized as being what they were supposed to be; an interpretation of these images required little mental effort. I felt confident in my technical ability to approach anything; however, I grew to realize that I was weak in the conceptual component of the work. I began to realize my work, although graphically pleasing, was not answering my needs regarding personal expression.

I eventually discovered I could use historical images from the 1800's, and, through careful graphic juxtaposition and physical handling of certain materials, convey personal experiences and emotions which I desired to express. My drawings result from thoughtful examinations in response to events that have occurred in my life. This process allows me to take these personal experiences and express them in the form of images that I hope will have a wider emotional impact.

Ideally, when I make my work, I think of each as a visual poem. My motivation for making art is a desire to express thoughts for which I find no verbal equivalent. I am striving towards developing and then communicating a unified personal philosophy concerning my evaluation of the human condition, my connection to it and the way it might best be communicated.

As a woman, there have been incidents in my life where I have not been in control, either mentally or physically, of my feelings or my person. The issues with which I have found myself 3 dealing are: men as a' controlling force; threat and enticement; the vulnerability of the flesh; and our human mortality. I created this work as a means of working out these issues and communicating them to other people in the hopes that these personal experiences translate, through the process of art making, into images to which other people can respond in some manner and with some depth. While making these works, I sublimated specific experiences to allow me to surpass those events and then proceeded to use them to address broader issues and concerns.

In retrospect, I feel that the first few pieces that I made using this source material were more morbid, aggressive, and perhaps particularly negative towards men when compared to the work that I am currently making. This is especially true with the works: "Flesh, Bone and Knife", (plate #1); "Man holding Spear", (plate #2); "Spinning Top", (plate #3) and "Fish", (plate #4). It is obvious to me now that they are a reflection of the negative frame of mind that I was in during that time. Making those works helped me escape that frame of mind and broaden my perspective. The piece, "Woman Being Measured", (plate #5), was the transitional piece which guided me away from this more limited attitude.

My work is executed in a manner which questions preconceived notions of pain and beauty. Aspects of vulnerability are revealed in images of: medical procedures; objects that are 4 being aggressively handled; and animals that are being confined or manipulated. The representational images, appropriated from Victorian source material, are associated with such things as antiquity, nostalgia and beauty. They are a pre-made visual references to the Victorian concepts of sexuality and control which still affect our culture today. They refer to the process and history of printmaking as illustrations and can be used as a tool or means of communicating. A dialogue is created between the various layers of the constructed panels and the color, scale and juxtaposition of the particular images with their multiple meamngs. They are all connected, visual elements which add up to a complete piece when these forces come together.

Making my work involves both physical and emotional activities. I begin by collecting a various selection of Victorian illustrations. I select images with which I identify and to which I instantly respond. This response is very intuitive. After spending time contemplating the images that I have chosen, an idea emerges.

I use Victorian illustrations for many reasons. Initially, I was attracted. to this style of drawing because it was intricately rendered. These images speak of a kind of Protestant "art" work ethic; in other words: the more effort and time, the better the work. People accept Victorian illustrations or my rendering of them as an art statement because there is proof of artistic skill. It 5 IS obvious that a tremendous amount of care and time has gone into each drawing. I had been trying to escape this type of thinking for some time when I realized I could make use of it. I could create my statement by including these preconceptions about art. These preconceptions defined the symbols as important, and that is what I wanted them to be.

.I use plywood as my surface for the work because I have always liked the tactile sensation that wood provides. It is a material with which I am both very familiar and confident as I have worked with it extensively in the past. It has a neutral, organic and sensual surface that I enjoy. The surface of plywood can be illusional, flat, acidic, sterile and sexy. The wood grain can be used to create an atmosphere or emotional environment. These characteristics refer to and enhance the images that I use. The illusion of depth is enhanced by the image printed or drawn on the surface of the wood. I deliberately use the surface, color, and grain of the wood as a lure into the content of the work.

I enjoy the physical process of making an object, something that I can cut, sand, and drill. Also, the original manufacturing of plywood goes through many controlled stages: milling, cutting, pressure treating, heating and gluing. In effect, the plywood looks natural, but, in fact, it is a man-made material. I hand-work the wood and add primer in a way that achieves an aged, weathered effect which helps me to enhance the beauty of the wood and the 6 atmosphere for the image to be placed on it. After the wood is manipulated, it carries the illusion of space and refers to history or the passage of time.

I use plywood instead of fine woods because plywood is a contemporary material. Plywood was not an available material in the 19th Century, and it is therefore obvious that this work could only have been made in the 20th Century. Plywood, as a material, is a reflection of our present culture. Essentially, I am creating a 20th Century artifact through using contemporary materials and combining them with appropriated images from the past. This, in turn, makes a statement about our present culture. By showing the "present" (plywood) with images of the past juxtaposed on its surface, I am reminding the viewer, once again, that our contemporary feelings about these issues (sexuality and control) have their roots in Victorian culture, a time which we associate with unusual, puritanical attitudes, neither progressive nor productive today.

When I first began making this body of work, all of the images were done in graphite pencil. The graphite pencil became too reflective; so, I experimented with charcoal pencil. I liked the way the charcoal looked, compared to the graphite; it had a matte finish that was higher in contrast, making the images more visible than when they were drawn in pencil. This contrast to' the wood surface also helped give these drawings the quality of a woodcut 7 print or an engraving. That quality adds to the perceived historical nature of the images and lets it become a part of the work. This led me to start screen printing some of the images instead of drawing them. Eventually, I used colored gouache to contemporize and accentuate the Victorian imagery. Then, I began to combine all of these materials and methods together in order to further the developmental process of the work.

As I mentioned previously, I feel that my early pieces, such as "Flesh, Bone and Knife", "Man Holding Spear", "Spinning Top" and "Fish", are very similar in content. All of these pieces play with the idea of vulnerability and the specific, frozen moment before pain. "Flesh, Bone and Knife" and "Man Holding Spear" are extremely aggressive and, perhaps, negative toward men. All contain the similar characteristic of images of anonymous hands (male hands) performing some type of task or function that is not easily read without close inspection.

"Flesh, Bone, and Knife" is an interpretation of how men operate as a controlling force. One sees a relaxed pose of a truncated male figure depicted on the left panel. The image of the male is presented in an idealized way. The figure is cropped with his arms spread apart, putting the viewer at ease. He is shown in a very sensitive, vulnerable position. The leg on the right panel is exposed and unprotected. Five anonymous male hands are grabbing at this leg, manipulating it, one of the hands penetrating 8 the flesh with a knife, apparently beginning to amputate the leg. The knife acts as the separating force. Clearly, the leg belongs to a person still living due to the fact that it takes five male hands to hold it in position. In reality this would be a difficult amputation, causing a tremendous amount of pain. Suddenly, this becomes a terrifying image because one can see the person represented is not in control of the situation and has no choice. The viewer, on the other hand, has two choices: to either identify with the aggressor or to sympathize with the victim. The count-down is irreversible. The viewer must make the choice. I have deliberately made something painful look attractive (from a distance) as I wanted this work to take on some sort of disguise. The panel is so saturated with an acidic yellow color that the light closes in to make the graphite compete with the overall reading of the image. One responds first to the color of the work before seeing the classical male nude, only to discover the gruesome image of the amputee. I want the viewer to understand that the relative nature of pain can only be understood if directly experienced. It is something that we can look at and sympathize with, but we never fully conceive of pain until it happens to us.

"Man Holding Spear" is confrontational and aggressive m its nature. This piece is about forces that come together to control a function. Something is about to happen, something that is not completely understood. This anonymous, male hand holding a tool, held as a weapon, is very threatening. It implies that something 9 painful is about to occur, but one is powerless to stop it from happening. One is unsure as to who is inflicting the pain or why. It is an imminent moment, a moment of action which flirts with the idea of inescapable danger and the vulnerability of the flesh.

The prece titled "Spinning Top" presents the image of the hand as larger than life, demonstrating an activity which makes one curious but also apprehensive. The male hand is manipulating an object. I am not sure that a negative attitude is apparent is this piece; however, I wanted to convey that attitude as this piece was directed toward male manipulation. The hand represents the controlling force which directs the object to spin, perhaps to indicate some kind of useless activity.

In the piece titled "Fish", one can identify with the person holding the tool that is squeezing the fish, or they can identify with the fish and acknowledge that it is suffering some sort of pain. The fish has been taken out of its element; there is a definite lack of mobility. When I first made this piece, I wanted the initial reaction to be concern for the fish. In retrospect I believe that the sole motivation for this piece was to blame the aggressor who I acknowledged as male.

Eventually, I realized that these four pieces were too focused

In one direction and began to search for a broader balance for what I was saying in my work. I wanted to retain the strong 10 impact but not seem to have a narrow, one-dimensional issue or focus.

I feel as if "Woman Being Measured" was a transitional piece, a stepping stone to making work with greater breadth rather than feeding on specific negatives as a means to create art. For this piece, the images that I used were screen printed onto panels instead of drawn with charcoal. I did this to create a more sterile feeling, to generate a removed tangibility and also because both of the images I used contained details which would be lost in a small charcoal drawing. I have used a combination of two panels of different shapes and sizes to emphasize separate individuals. Both panels are intimate, tactile objects. The image on the left, which is printed on a solid white, rectangular panel, shows a man's hand holding a butterfly. The scale of this image is significantly decreased to illustrate a small intimate object. The image on the right is printed on a curved panel, exhibiting a medical illustration of a woman's hips being measured during pregnancy. The shape of this panel and the grain of the wood emphasize the woman's body and gives a three-dimensional illusion.

The drawing of the woman's body illustrates how delicate and beautiful a woman's form can be, while at the same time, her body is in a state of physical transition. A woman is often measured by the things she cannot control. She is measured by the way her body curves or does not curve, by where she is flat or 1 1 straight or round. She is measured by inches, ages and numbers, by all the outside things that do not ever add up. I chose this particular Victorian medical, illustration, with emphasis on this section of the female anatomy because of its strength as an instructional image and its associational power. I wanted to demonstrate that all women are physically different, individually unique, but yet all are precious. In his Symbols of Transformations. Jung maintains that the ancients saw woman as either Eve, Helen, Sophia or Mary (corresponding to the impulsive, the emotional, the intellectual, and the moral).

The left panel of this piece shows a mans hand holding a butterfly. He has captured a splendid, fragile creature. The man can either free the butterfly and realize its beauty or he can crush the life out of it at any second. The butterfly is an emblem of the soul, among the ancients. The Greeks believed that human souls became butterflies while searching for reincarnation. The Celts also believed in "Fly-souls" and "butterfly souls" which flew about seeking a new mother. It was thought that women became pregnant by swallowing such creatures. I used this symbol as a metaphor to make the analogy of the relationship between male power and the female spirit. Thus, the dialogue is broader than in previous works.

There is a clinical aspect to this piece, while at the same time it conveys feelings of beauty, pain and fragility. It was my 12 intention for these two objects, when combined, to convey a sacred presence and to speak about the preciousness and vulnerability of a woman's flesh, sometimes treated that way, sometimes not.

Many artists work with the same issues I have been addressing. One artist with whom I feel an affinity IS Barbara

Kruger. Her work is often aggressive in nature and IS typically aimed at men or their attitudes. Kruger wants her audience to seriously consider the gap between genders, sexual roles, male power and masculinity. She uses cynicism and humor as disarming 'devices to attract the viewer, and then she hits them with her content. Kruger's approach to art making is intended to cause the viewer to abandon their expectations. Her use of advertising images establishes one set of criteria which are then negated by the text. This causes the viewer to be perplexed, which leads to the exploration of the images and the content. I hope to elicit a similar reaction by using materials and images which allow involvement with new understanding of ideas.

Barbara Kruger uses contemporary imagery. These images which are taken from mass media are combined with text. I use archaic, illustrational images which, when combined, add a new view to old statements and form a contemporary viewpoint on current issues. 13 "Wishing Well" (plate # 6), is by far the most autobiographical of all my images. It sets a much different mood when compared to the rest of my work. Technically it was made in various stages over a period of several months. This was also my first attempt at a piece of this scale. Up until this point in time, all of my work had been much smaller, two-panel, pieces, presented in a horizontal or vertical format, around 20"x22". I felt that by doing larger pieces, I could strengthen my work significantly and lend importance to the message.

I always want the surface to be part of the drawing. When it stops being just wood grain and becomes associational, I know it is time to respond with the appropriate image.

This particular panel has an ethereal quality to it. The various layers of stain create a soft haze, which gives it a dream­ like quality. The space created by all of this is extremely illusional. When I came across a drawing of a little girl touching a tree, I was immediately reminded of that space. I felt the surface of the wood spoke to the character of the drawing, and I recognized that the two belonged together. The moment I saw the drawing, I sensed it had a tactile feeling to it, such as one would get from touching the surface of wood.

This drawing reminded me of one of my fondest memories with my father. I remember waiting every morning on the stairs 14 for my father to return from the night shift; I was so excited to see him. Every day he would bring me a gift, a small yellow custard pie. I would sit on the stairs to eat it, and I remember feeling so content. These were perfect moments. This drawing of the little girl brought forth many emotions for me and had instant sentimental value. It took me back to that moment in time. They are moments we spend our whole lives looking for and often fail to recognize when they happen to us, something precious.

Upon completion of this drawing, I was extremely dissatisfied with the results. I had anticipated immediate success, but instead, the work felt awkward. Originally, I had envisioned printing a row of pies on top of the drawing, but I was discouraged with this idea as I knew that it would not convey what I wanted to say and would only confuse the reading of this work and make it look clever or silly. There had to be a better way to resolve this work. I was frustrated and tempted on many occasions to sand the image away and start agam, Fortunately, I was advised to leave it alone for a while and move on to something else.

Periodically, I would find myself looking at this work. Each time it was like coming up against a brick wall as I could see no ending. I was at a total loss as how to resolve this piece. I would project all sorts of images on top of the wood, hoping to find the solution. It was through this process that I eventually began to realize that I was trying to cut corners. I was obviously trying to 15 design something on top of this drawing, anything in the hope of finishing it. In the rush, I had forgotten my original intentions. I wanted a finished piece of work, and, having failed in this, I had chosen to ignore what I really wanted to say.. As soon as I acknowledged this, the work came together. It was at this point In time that I added a symbol which represents a wishing well

I remembered one of the reasons that I had been attracted to this drawing was because there was something very sexual about a little girl touching this giant tree. The tree can be seen as a phallic symbol, which the girl is gently stroking. This conveys a peculiar, uncomfortable, feeling. For me this image represented the transition from childhood to womanhood, the loss of innocence, and the journey of growing up and into the world.

During the period of this work's evolution, I was reading The Woman's Dictionary of Symbols and Sacred Objects. This is where I found the wishing well symbol and the following quotes: "Springs and wells of all kinds used to be guarded, served, and honored by groups of sacred women. Making a wish, followed by an offering to the well, was a form of prayer to the resident Water-goddess.... The moon-shaped dippers recall the medieval opinion that even after Christianity became their official religion, women were supposed not to pray to God for what they wanted, but to pray to their own deity, Mother Moon." page 62, [2]. 16 This work is about desire and my expectations from men. It

IS no longer about wanting those moments with my father, but rather, it is about wanting greater experiences. It is about my expectations and my adult attitude towards men. Making this piece made me realize that I have a need to make art in order to clarify who I am in this world. It also taught me to go beyond my expectations and not limit myself. But, it is also about the same issues in a much broader sense; it is not just limited to me.

I began working on "Bone House", (plate # 7) shortly after beginning the "Wishing Well" image. It was the first large 56"x80", two-panel piece that I completed. I decided to increase the scale of this work because these particular images would be much more dynamic and powerful if taken beyond their normal scale. Also, this was the first piece into which I introduced color, using gouache to make flat areas to bring depth to the work and then drawing with charcoal on top of the color. The background in this work is important as it functions as illusional but definite space that emphasizes the particular imagery and suggests a three­ dimensional quality for it. The wood grain functions as an illusion of a interior space.

"Bone House" was directly made in reaction to a poem about the preciousness of life and the mystery of death that was given to me by a friend. In this work, the bird is used as an analogy for the human spirit. The bird cage symbolizes how our spirit is confined 17 within our own body until death. The bird is restricted and deprived of its freedom; nothing is freer than flight; who could sing in such constraint? In order to emphasize the mystery and the finality of the body after death, the rib cage is presented larger than life. The ribs support and creates the house that is the body. It is the framework that is essential to carry one along. This paradox is ironic, since to be free of our physical restrictions, we have to encounter death.

Most Christians believe our physical being needs the spirit to survive. But, can our spirit survive without our body? Is death final and is our spirit strong enough to guide us to another place? This work made me question if our physical and spiritual beings are truly compatible. It is about the present, about life and about the uncertainty of death and what it brings.

The image "Food for Thought", (plate #8) also went through a series of changes. The final piece differs radically from my original intentions. I found the drawing of the bound feet in an old religious book which illustrated what parents should do to their male children when they had been bad. I thought this was funny, but I also realized that this drawing, along with the text, carried a bizarre message. The author of this book was conveying a negative message that encouraged parents to punish their children for normal behavior. Initially, I intended to do a piece about repeated behavior, bad habits and consequences. During this time, 1 8 I was also reading a book titled Sex and Sex Worship which talked about marriage, love potions and rituals. This gave me the idea of printing a giant wedding cake on the panel next to the drawing of the bound feet. I wanted to connect the two and make a statement about how love can become a thoughtless habit. I realized that my idea carried many negative connotations about the institution of marriage and love. The interpretation would have been restricted. I decided to re-evaluated my original idea and came to the conclusion that the image of the bound feet was more powerful by itself. [3].

The feet, presented larger than life, represent everything from the Christ figure to someone being tortured. Many people would also associate bound feet with the oriental custom of binding female children's feet. This image suggests many ideas, such as the lack of mobility, vulnerability and mortality. There is also the implication of hostile acts or sexual bondage. It is both threatening and enticing.

"Before the Audience", (plate #9) resulted from a tremendous surge of creative energy which snow-balled from making "Wishing Well", "Bone House", and "Food For Thought", simultaneously. The making and creation of these works affected me emotionally and encouraged me to work towards some type of discovery within myself. 19 The large panel shows three, disembodied, female heads hanging by their hair from a tense, horizontal rope. Below, hang three individual panels, all the same format, which run the full length of the panel above. Each of these panels show the face of a man with his fingers in his mouth, demonstrating a whistling gesture, which suggests that these men are involved in playing some type of game.

The image of the women originated from a turn-of-the­ century children's book which contained various stories, poems and plays for children to act out. This particular image was used to illustrate a story about a man with three wives. The story tells of a man who professes to love his wives dearly but who is frequently away from home as he has another love....the bottle. Each wife begs him to give up his love affair with alcohol as they know it will be the death of him. He makes promise after promise to no avail. Out of frustration, as they know the situation is futile, they hang themselves. Drastic measures, but after all its only make believe! Or is it? When their husband finally arrives home, he is stricken with remorse as he knows that he has driven them to this. So he sings a song about how he loves each wife and how he is sorry for he will miss each one. The song gradually transforms, ending with his sad confession of how his love for them is great but how he loves the bottle more. 20 In this prece, men are also learning to whistle, and all seem to have the same vacant stare on their faces, aware of nothing but what their own experience and desire is teaching them.

Both the story and illustration are incredibly morbid and creepy for a children's book. However, the morbidness is somewhat alleviated or made even more morbid by the presentation of the drawing since the women's heads resemble cardboard cutouts. The rendering of the men is very cartoon like, suggesting a playfulness.

The idea for this piece was to speak about the senousness of consequences. I had wanted to translate, in some way, that the women's only recourse was not death due to their husbands drinking. However, it is evident that this concept is nowhere to be seen. The interpretation of this idea would be difficult without knowing the story behind the image of the women's heads. It was through the process of making this work that I realized that the work I was making had nothing to do with my original idea. Once again the power of association and the overall combination of these images had transpired into something much more interesting for me than what the original work was intended to be about.

I think this work can now be interpreted In several different ways. It has the potential to become extremely morbid. It plays with the idea that some type of drama is involved where the act of 21 death is for the purpose of attention. It also incorporates elements of theatrics, game playing and peculiar lessons. One can interpret it in a very negative fashion as it seems to poke fun at death. As a result, this piece is extremely sarcastic about the issue of death. It can also be interpreted as showing women sacrificed to the actions of men with those actions not really having any importance.

Looking back, I believe that this body of work has some type of personal therapeutic value. However, I do not think that these pieces are exclusively limited to defeating personal demons, even though prehaps some of my early work began with this one dimensional approach. It was through the process of making pieces such as "Flesh, Bone and Knife" and "Man Holding Spear" that I discovered how to direct my energy into making art that is more challenging in addressing some of the same issues. I think that my work is truely successful when it can be interpreted in several different ways rather than it being limited to just one reading. That fact is true in these works.

Although I make art solely for myself, I feel somewhat of a responsibility to make work that translates my thoughts to the viewer in a way that can be interpreted with some depth. I sometimes wonder if my work is too ambiguous. Does it reveal itself to anyone other than myself. Rainer Maria Rilke said, in Letters To A Young Poet. "A work of art is good if it has sprung from necessity". Art has allowed me to evaluate the world in 22 which I live and to make a senes of connections and choices which translate into some form of understanding or meaning for myself. My observations about life are embodied in my work. As an artist I want to confront, question and celebrate the human expenence. Most of all, I realize that I have a need to make art in order to continue to clarify who I am [4]. 23 PLATE I

"Flesh, Bone and Knife"

Graphite on Wood 24" x 44" 24 PLATE II

"Man Holding Spear"

Charcoal on Wood 47"x21" 25 PLATE III

"Spinning Top"

Charcoal on Wood 23" x 21" 26 PLATE IV

"Fish"

Graphite on Wood 21" x 23" 27 PLATE V

"Woman Being Measured"

Ink on Wood 14" x 20" 28 PLATE VI

"Wishing Well"

Charcoal on Wood 48" x 64" 29 PLATE VII

"Bone House"

Charcoal and Gouache on Wood 56" x 80" 30 PLATE VIII

"Food for Thought"

Charcoal and Gouache on Wood 56" x 80" 31 PLAT · IX

"Be fo re the Audience"

Charcoal and Gouache on Wood 76" x 32" List Of References

1. Rilke, RM. Letters To A Young Poet. W. W. Norton and Company, Inc, 1954. pg,17.

2. Walker, B. The Woman's Dictionary of Symbols and Sacred Objects. Harper and Row, Publishers, Inc., 1988. pg, 62.

3. Wall,.OA. M.D., Sex and Sex Worship. (Phallic Worship). St. Louis C.V. Mosby Company 1922.

4. Rilke , RM. Leters To A Young Poet. W. W. Norton and Company, Inc , 1954. pg,20.

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