Camille Paglia citáty (327 citátov, page 10) | Citáty slávnych osobností

“Shocked disbelief greets suggestions that many women may take pleasure in rape fantasies, established long ago by Nancy Friday in her pioneering 1973 study, My Secret Garden, and dramatized today by the staggering mass-market popularity of Harlequin Romances, where heroines are overwhelmed by passionate, impetuous men.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 37

“Romanticism, like the Rousseauist Swinging Sixties, misunderstands the Dionysian as the pleasure principle, when it is in fact the gross continuum of pleasure-pain. Worshiping nature and seeking political and sexual freedom, Romanticism ends in imaginative entrammelment of every kind. Perfect freedom is intolerable and therefore impossible.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 231

“Rape is an outrage that cannot be tolerated in a civilized society. Yet feminism, which has waged a crusade for rape to be taken more seriously, has put young women in danger by hiding the truth about sex from them.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Rape and Modern Sex War, p. 49

“In high school in the early Sixties, I dreamed of intellectual work by women that would match the highest male standards and set men on their ear. A lot of women have done a lot of academic work since then, but most of them fall short of that standard.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 206

“Following the sexual revolution of the Sixties, dating has become a form of Russian roulette. Some girls have traditional religious values and mean to remain virgins until marriage. Others are leery of AIDS, unsure of what they want, but can be convinced. For others, anything goes: they’ll jump into bed on the first date. What’s a guy to do?”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 35

“The venerable emeritus professors still at Yale when I entered graduate school [in the 1960s] may have been reserved, puritanical WASPs, but they were men of honor who had given their lives to scholarship. Today in the elite schools, honor and ethics are gone.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), p. xx

“Male mastery in marriage is a social illusion, nurtured by women exhorting their creations to play and walk. At the emotional heart of every marriage is a pietà of mother and son.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 53

“Not a shred of evidence supports the existence of matriarchy anywhere in the world at any time. […] The matriarchy hypothesis, revived by American feminism, continues to flourish outside the university”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 42

“When I meet gay men anywhere in the world, there is a spontaneity and a spirit of fun and mischief that lesbians seem incapable of.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 78

“The Democratic Party has to return to its populist base, to rediscover the party of FDR, the one that appealed to my grandfather and the factory workers and others. To do this, there must be a period of self-criticism. We must face this head-on or continue to be governed by the Republicans. We must examine how we set up the rise of Republicans on campuses, where the dissent should be coming from. It is explained by the lack of energy; and ideas from the other side. As a result, campuses are the most depressing places, devoid of passion.”

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Camille Paglia

Playboy interview (May 1995)

“In insisting, for political purposes, on a sharp division between gay and straight, gay activism, like much of feminism, has become as rigid and repressive as the old order it sought to replace.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 35.

“The idea that emotion can be separated from sex is a Christian illusion, one of the most ingenious but finally unworkable strategies in Christianity’s ancient campaign against pagan nature.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 35

“Women have ironically enjoyed a greater symbolic, if not practical freedom. Thus it is that male and not female homosexuality has been harshly punished by law. A debater in Lucian declares, “Far better that a women, in the madness of her lust, should usurp the nature of man, than that man’s noble nature should be so degraded as to play the woman.” Similarly today, lesbian interludes are a staple of heterosexual pornography. Ever since man emerged from the dominance of nature, masculinity has been the most fragile and problematic of psychic states.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 125

“Repression is an evolutionary adaptation permitting us to function under the burden of our expanded consciousness. For what we are conscious of could drive us mad.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 16

“Sexuality and eroticism are the intricate intersection of nature and culture. Feminists grossly oversimplify the problem of sex when they reduce it a matter of social convention: readjust society, eliminate sexual inequality, purify sex roles, and happiness and harmony will reign. Here feminism, like all liberal movements of the past two hundred years, is heir to Rousseau.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 1

“The most serious flaw of Foucault's system is in the area of sex. I view his hurried, compulsive writing as a massive rationalist defense-formation to avoid thinking about (a) woman, (b) nature, (c) emotion, and (d) the sexual body. His attempt to make the body passive property of male society is an evasion of the universal fact so intolerable to him: that we are all born of human mothers. By turning women into ciphers, he miniaturizes and contains them.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 230

“Idiotic statements like “porn degrades women” or “pornography is the subordination of women” are only credible if you never look at pornography. Preachers, senators and feminist zealots carry on about material they have no direct contact with. They usually rely on a few selectively culled inflammatory examples that bear little resemblance to the porn market as a whole. Most pornography shows women in as many dominant as subordinate positions, with the latter usually steamily consensual.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 65

“She is a brittle, relentless manipulator with few stable core values who shuffles through useful personalities like a card shark ("Cue the tears!"). Forget all her little gold crosses: Hillary's real god is political expediency. Do Americans truly want this hard-bitten Machiavellian back in the White House? Day one will just be more of the same.”

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Camille Paglia

On Hillary Rodham Clinton, in "Camille Paglia on Hillary Clinton, Barack Obama, Iran and More" at Salon.com (8 January 2008) http://www.salon.com/opinion/paglia/2008/01/10/hillary/

“There is a constant rush to judgment in Foucault. He is filled with specious generalizations, false categories, distortions, fudging, pretenses to knowledge in areas where he was ignorant. He had no ability whatsoever to distinguish among historical sources, where he makes terrible blunders.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 224

“It was in reading Tristam Shandy that I noticed how it is primarily men who gravitate towards the game-playing self-reflexive style. There is an alienation from emotion in it, a Nervous Nelly fear of letting go and being “exposed.” As an attitude towards life, it betrays a perpetual adolescence. Those who hurled themselves after Derrida were not the most sophisticated but the most pretentious, and least creative members of my generation of academics.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 231

“Interest in and patience with long, complex books and poems have alarmingly diminished not only among college students but college faculty in the US. It is difficult to imagine American students today, even at elite universities, gathering impromptu at midnight for a passionate discussion of big, challenging literary works like Dostoyevsky's The Brothers Karamazov -- a scene I witnessed in a recreation room strewn with rock albums at my college dormitory in upstate New York in 1965.”

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Camille Paglia

The Magic of Images: Word and Picture in a Media Age (2004)

“The smouldering eroticism of great European actresses like Jeanne Moreau demonstrated to my generations women's archetypal mystery and glamour, completely missing from the totalitarian world-view of the misogynist Foucault. For me, the big French D is not Derrida, but Deneuve.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 218

“Not since the Black Panthers sailed into their Upper East Side tea party has there been so daffy an exercise in radical chic.”

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Camille Paglia

On Mark Halperin’s inclusion of a lengthy quote by convicted murderer Jack Henry Abbott in his One Hundred Years of Homosexuality.
Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf