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Camille Paglia citáty
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Camille Paglia - chýba nám detailnejší popis autora.

✵ 2. apríl 1947
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Camille Paglia: 327 citátov0 Páči sa

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“When feminist discourse is unable to discriminate the drunken fraternity brother from the homicidal maniac, women are in trouble.”

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Camille Paglia

on date rape, p. 33
Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality"

“I want a revamped feminism. Putting the vamp back means the lady must be a tramp. My generation of Sixties rebels wanted to smash the bourgeois codes that had become the authoritarian totems of the Fifties. The 'nice' girl with her soft, sanitized speech and decorous manners had to go. Thirty years later, we're still stuck with her — in the official spokesmen and the anointed heiresses of the feminist establishment… Equal opportunity feminism, which I espouse, demands the removal of all barriers to woman's advance in the political and professional world — but not at the price of special protections for women which are infantilizing and anti-democratic.”

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Camille Paglia

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

“Serial or sex murder, like fetishism, is a perversion of male intelligence. It is a criminal abstraction, masculine in its deranged egoism and orderliness. It is the asocial equivalent of philosophy, mathematics and music. There is no female Mozart because there is no female Jack the Ripper.</b”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 247

“Not until all babies are born from glass jars will the combat cease between mother and son.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 19

“We do not need French post-structuralism, whose pedantic jargon, clumsy convolutions, and prissy abstractions have spread throughout academe and the arts and are now blighting the most promising minds of the next generation. This is a major crisis if there ever was one, and every sensible person must help bring it to an end.”

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

“The spiritual history of the Sixties has yet to be written.”

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Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 211

“It is not male hatred of women but male fear of women that is the great universal.”

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Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 79

“Capitalism, gaudy and greedy, has been inherent in western aesthetics from ancient Egypt on. It is the mysticism and glamour of things, which take on a personality of their own. As an economic system, it is in the Darwinian line of Sade, not Rousseau.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 37

“What feminism calls patriarchy is simply civilization, an abstract system designed by men but augmented and now co-owned by women.”

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Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 26

“The capitalist distribution network, a complex chain of factory, transport, warehouse and retail outlet, is one of the greatest male accomplishments in the history of culture.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 37

“Feminism’s claim that it discovered rape is simply false.”

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Zdroj: Sex, Art and American Culture : New Essays (1992), The Rape Debate, Continued, p. 72

“The old “double standard” gave men a sexual liberty denied to women. Marxist feminists reduced the historical cult of woman’s virginity to her property value, her worth on the male marriage market. I would argue instead that there was and is a biological basis to the double standard. The first medical reports on the disease killing male homosexuals [i. e., AIDS] indicated men most at risk were those with a thousand partners over their lifetime. Incredulity. Who could such people be? Why, it turns out, everyone one knew. Serious, kind, literate men, not bums or thugs.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 27

“Meryl Streep, in her Protestant way, is stuck on words; she flashes clever accents as a mask for her deeper failures. (And she cannot deliver a Jewish line; she destroyed Nora Ephron’s snappy dialogue in Hearburn.) Streep’s work doesn’t travel. Try dubbing her for movie houses in India: there’d be nothing left, just that bony, earnest horse face moving its lips. Imagine, on the other hand, lesser technicians like Hedy Lammarr, Rita Hayworth, Lana Turner: these women have an international and universal appeal, crossing the centuries. They would have been beautiful in Egypt, Greece, Rome, medieval Burgundy, or eighteenth-century Paris. Susan Hayward played Bathsheba. Try to picture Streep in a Bible epic! Streep is incapable of playing the great legendary or mythological roles. She has no elemental power, no smouldering sensuality.”

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Zdroj: Sex, Art and American Culture : New Essays (1992), p. 16

“An erection is a thought and the orgasm an act of the imagination. The male has to will his sexual authority before the woman who is a shadow of his mother and of all women. Failure and humiliation constantly wait in the wings. No woman has to prove herself a woman in the grim way a man has to prove himself a man. He must perform, or the show does not go on. Social convention is irrelevant. A flop is a flop.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 20

“Hollywood movies of the Fifties, like The Ten Commandments and Ben-Hur, with their epic clash of pagan and Judeo-Christian cultures, tell more about art and society than the French-infatuated ideologues who have made a travesty of the “best” American higher criticism.”

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Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 208

“Feminists had an astoundingly naive view of the mutual exclusiveness of sex and aggression, which, Freud demonstrates, are fused in the amoral unconscious, as revealed to us through dreams. That rape is simply what used to be called “unbridled lust,” like gluttony a sin of insufficient self-restraint, seems to be beyond the feminist ken.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 41

“I think intellectuals should be fascinated by my rise, what it reveals about the time. My critics are irrelevant, though. It tells how much I'm getting to them by how vitriolic they are. They refuse to deal with the ideas. But reviews don't reflect anything; the books are selling. A friend told me, "The attacks make you."”

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Camille Paglia

Playboy interview (May 1995)

“If civilization had been left in female hands, we would still be living in grass huts.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 38

“Sexual Personae seeks to demonstrate the unity and continuity of western culture — something that has inspired little belief since the period before World War I.”

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

“Great women scholars like Jane Harrison and Gisela Richter were produced by the intellectual discipline of the masculine classical tradition, not the wishy-washy sentimentalism of clingy, all-forgiving sisterhood, from which no first-rate book has yet emerged. Every year, feminists provide more and more evidence for the old charge that women can neither think nor write.”

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Zdroj: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 244

“Capitalism is an art form.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 38

“Liberal Democrats are going to wake up from their sadomasochistic, anti-Palin orgy with a very big hangover. The evil genie released during this sorry episode will not so easily go back into its bottle. A shocking level of irrational emotionalism and at times infantile rage was exposed at the heart of current Democratic ideology — contradicting Democratic core principles of compassion, tolerance and independent thought. One would have to look back to the Eisenhower 1950s for parallels to this grotesque lock-step parade of bourgeois provincialism, shallow groupthink and blind prejudice.”

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Obama Surfs Through (2008)

“There is no gay leader anywhere near the stature of Martin Luther King, because black activism drew on the profound spiritual tradition of the church, to which gay political rhetoric is childishly hostile.”

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Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 70

“The female body is a chthonian machine, indifferent to the spirit who inhabits it.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 10

“Love for all means coldness to something or someone. Even Jesus, let us recall, was unnecessarily rude to his mother at Cana.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 18

“Incompetent amateurs have given prostitution a bad name.”

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Zdroj: Sex, Art and American Culture : New Essays (1992), p. 11

“Our feminist culture at the present moment is completely dependent on capitalism. My grandmother was still scrubbing clothes on the back porch on a washboard!”

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Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 260

“Homeric mind is ingenuity, practical intelligence. There is no Rodin-like deep thinking, no mathematical or philosophical speculation. Odysseus thinks with his hands.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 85

“The Bible has come under fire for making woman the fall guy in man's cosmic drama. But in casting a male conspirator, the serpent, as God's enemy, Genesis hedges and does not take its misogyny far enough. The Bible defensively swerves from God's true opponent, chthonian nature. The serpent is not outside Eve but in her. She is the garden and the serpent.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 11

“I have found few lesbians with whom I can discourse for more than five minutes without hitting some tiresome barrier of resentment or ideology. … Again and again over the decades, as I did my time, in frustrated boredom, in lesbian bars, trying with spectacular lack of success to make friends or just converse, I would end up gabbing for hours with some stray gay man. He might have dropped out of school at fourteen, but he had opinions, tastes, energy, wit. Is there something innately different about the gay male brain?”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 74