Camille Pagliaová citáty (328 citátů, strana 3)

Camille Pagliaová: 328 citátů0 lajků

Camille Pagliaová citáty a výroky

„Rockoví hudebníci jsou nejdevastovanější přírodní zdroje Ameriky.“

Zdroj: [Kohut, Joe, Kohut, John J., Rockecy aneb Kniha rockových citátů, Ladislav Šenkyřík, Volvox Globator, Praha, 1996, 1, 153, 35, 80-7207-016-9]

„Kritika je v nejlepším případě znovuvytvářející, nikoliv ducha zabíjející.“

Camille Pagliaová

Camille Pagliaová: Citáty anglicky

“Men have sacrificed and crippled themselves physically and emotionally to feed, house, and protect women and children. None of their pain or achievement is registered in feminist rhetoric, which portrays men as oppressive and callous exploiters.”

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Camille Paglia

Reviewing Warren Farrell's The Myth of Male Power, p. 392
Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality"

“Sexual freedom, sexual liberation. A modern delusion. We are hierarchical animals. Sweep one hierarchy away, and another will take its place, perhaps less palatable than the first.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 3

“If you live in rock and roll, as I do, you see the reality of sex, of male lust and women being aroused by male lust. It attracts women. It doesn't repel them.”

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Camille Paglia

“Feminism, coveting social power, is blind to women’s cosmic sexual power.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Rape and Modern Sex War, p. 52

“Judaism, Christianity’s parent sect, is the most powerful of protests against nature. The Old Testament asserts that a father god made nature and that the differentiation into objects and gender was after the fact of his maleness. Judeo-Christianity, like Greek worship of the Olympian gods, is a sky-cult. It is an advanced stage in the history of religion, which everywhere began as earth-cult, veneration of fruitful nature.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 8

“The English language was created by poets, a five-hundred year enterprise of emotion and metaphor, the richest dialogue in world literature. French rhetorical models are too narrow for the English tradition. Most pernicious of French imports is the notion that there is no person behind a text. Is there anything more affected, aggressive, and relentlessly concrete than a Parisian intellectual behind his/her turgid text? The Parisian is a provincial when he pretends to speak for the universe.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 34

“We have an evolutionary revulsion from slime, the site of our biologic origins. Every month, it is woman's fate to face the abyss of time and being, the abyss which is herself.”

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Camille Paglia

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

“I cannot be convinced that great artists are moralists. Art is first appearances, then meaning.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 166

“What troubles me about the “hostile workplace” category of sexual harassment policy is that women are being returned to their old status of delicate flowers who must be protected from assault by male lechers. It is anti-feminist to ask for special treatment for women.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 47

“Human life began in flight and fear. Religion rose from rituals of propitiation, spells to lull the punishing elements.”

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Camille Paglia

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

“In the past fifteen years, Marxist approaches towards literature have enjoyed increasing vogue. To be conscious of the social context of art seems to automatically entail a leftist orientation. But a theory is possible that is both avant-garde and capitalist. Marxism was one of Rousseau’s nineteenth-century progeny, energized by faith in the perfectabilty of man. Its believed that economic forces are the primary dynamic force in history is Romantic naturism in disguise. … Marxism is the bleakest of anxiety-formations against the power of cthonian mothers.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 36

“Everyone of my generation who preached free love is responsible for AIDS.”

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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. 216

“The reason Wilde did his best work after turning homosexual is that women simply reinforced his own feminine sentimentality. … Heterosexuality inhibited his imagination because woman is physically and psychologically internal.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 571

“Simply follow nature, Rousseau declares. Sade, laughing grimly, agrees.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 235

“The mystique of the femme fatale cannot be perfectly translated into male terms.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 15

“Despite hundreds of studies, cause-and-effect relationship between pornography and violence has never been satisfactorily proved.”

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Camille Paglia

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

“We must philosophically strengthen feminist theory so that it can admit that abortion is an aggressive act, that it is a form of extermination. Modern woman has become an agent of Darwinian triage. It is or should be ethically troubling: abortion pits the stronger against the weaker, and only one survives. The feminist coat-hanger symbol, prophesying the return of back-alley butchery if abortion is regulated or banned, is dishonest. A small number of women may die in botched procedures, but in successful abortions, the fetus death rate is 100 percent.</b”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 40

“Everything great in western civilization has come from struggling against our origins.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 40
Kontext: The book of Genesis is a male declaration of independence from the ancient mother-cults. Its challenge to nature, so sexist to modern ears, marks one of the crucial moments in western history. Mind can never be free of matter. Only by mind imagining itself free can culture advance. The mother-cults, by reconciling man to nature, entrapped him in matter. Everything great in western civilization has come from struggling against our origins. Genesis is rigid and unjust, but it gave man hope as a man. It remade the world by male dynasty, canceling the power of mothers.

“We could make an epic catalog of male achievements, from paved roads, indoor plumbing, and washing machine to eyeglasses, antibiotics and disposable diapers. We enjoy safe, fresh milk and meat, and vegetables and tropical fruits heaped in snowbound cities. When I cross the George Washington Bridge or any of America’s great bridges, I think: men have done this. Construction is a sublime male poetry. When I see a giant crane passing on a flatbed truck, I pause in awe and reverence as would for a church processions.”

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Camille Paglia

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

“A male student makes vulgar remarks about your breasts? Don't slink off to whimper with the campus shrinking violets. Deal with it. On the spot. Say, "Shut up, you jerk! And crawl back to the barnyard where you belong!" In general, women who project this take-charge attitude towards life get harassed less often. I see too many dopey, immature, self-pitying young women walking around like melting sticks of butter.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Rape and Modern Sex War, p. 53

“[W]omen will never be taken seriously until they accept full responsibility for their sexuality.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 269

“The artist makes art not to save mankind but to save himself. Every benevolent comment by an artist is a fog to cover his tracks, the bloody trail of his assault against reality and others.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 29

“Lacan is a tyrant who must be driven from our shores. Narrowly trained English professors who know nothing of art history or popular culture think they can just wade in with Lacan and trash everything in sight.”

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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. 213

“One of feminism’s irritating reflexes is its fashionable disdain for “patriarchal society,” to which nothing good is ever attributed. But it is patriarchal society that has freed me as a woman. It is capitalism that has given me the leisure to sit at this desk writing this book. Let us stop being small-minded about men and freely acknowledge what treasures their obsessiveness has poured into culture.”

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Camille Paglia

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

“Woman's sexuality is disruptive of the dully mechanical workaday world, in which efficiency means uniformity. The problems of woman's entrance into the career system spring from more than male chauvinism. She brings nature into the social realm, which may be too small to contain it.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 52

“Clinton is in trouble and she (Joycelyn Elders) opens her mouth about masturbation. Can't she control herself? She was in the wrong job. In some ways she's like me — she says what she thinks. But then you shouldn't be part of politics. I would like Joycelyn Elders to be in a position to speak her mind and not worry about political consequences. You cannot have a nondiplomatic figure in a political appointment.”

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Camille Paglia

On Joycelyn Elders and Clinton's firing of her
Playboy interview (May 1995)

“Women are not in control of their bodies; nature is. Ancient mythology, with its sinister archetypes of vampire and Gorgon, is more accurate than feminism about the power and terror of female sexuality.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 30

“Robert Caserio recently said to me, “The whole profession has become a vast mimicry. The idea that there is open debate is an absolute fiction. There is only the Foucault monologue, the Lacan monologue, the Derrida monologue. There is no room for creative disagreement. No deviation from what is approved is tolerated.” These monologues are really one, the monotonous drone of the School of Saussure, which has cast its delusional inky cloud over modern academic thought. Never have so many been wrong about so much. It is positively idiotic to imagine that there is no experience outside of language. … It has been a truism of basic science courses for decades in America that the brain has multiple areas of function and that language belongs only to specific areas, injured by trauma and restored by surgery or speech therapy.”

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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. 214

“Patriarchy, routinely blamed for everything, produced the birth control pill, which did more to free contemporary women than feminism itself.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 38

“Every man harbors an inner female territory ruled by his mother, from whom he can never entirely break free.”

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Camille Paglia

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

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Camille Pagliaová: Citáty anglicky

Camille Pagliaová citáty
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