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Camille Pagliaová citáty
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Camille Anna Pagliaová je americká sociální kritička a esejistka. Je profesorkou na University of the Arts ve Filadelfii. Je známa svou kritikou amerického feminismu a francouzského poststrukturalismu. Věnuje se analýzám populární kultury, literatury a umění. Je považována za představitelku libertarianismu . Její kniha Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, v níž analyzovala západní kulturu, se stala bestsellerem a učinila z ní intelektuální hvězdu USA - byla několikrát časopisy Foreign Policy a Prospekt zařazena mezi 100 nejvlivnějších intelektuálů světa. Wikipedia  

✵ 2. duben 1947
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Camille Pagliaová: 328   citátů 0   lajků

Camille Pagliaová citáty a výroky

„Rockoví hudebníci jsou nejdevastovanější přírodní zdroje Ameriky.“

Camille Pagliaová

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

“We have allowed the sexual debate to be defined by women, and that's not right. Men must speak, and speak in their own voices, not voices coerced by feminist moralists.”

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Camille Paglia

Playboy interview (May 1995)

“The Gothic tradition was begun by Ann Radcliffe, a rare example of a woman creating an artistic style.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 265

“Far from poisoning the mind, pornography shows the deepest truth about sexuality, stripped of romantic veneer.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 66

“Much violence against women originates in emotional territory that they already command. By midlife and early old age, as the hormones of both genders change, women are in total, despotic control of their marriages.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 46

“In America, the best model yet for the first woman president can be found among the Texas feminists, notably Governor Ann Richards. East Coast feminists, like Gloria Steinem, who created the smug, superior feminist smirk (done to an unctuous turn by NOW president Patricia Ireland), have failed to produce a credible persona for national leadership, partly because of their juvenile, jeering attitude towards men. The irony is that the legal and media world inhabited by Steinem and her cronies is filled with bookish white-collar men who are the only ones in the world who actually listen to feminists rhetoric and can be guilt-tripped into trying to obey it. … In Texas, unlike the urban Northeast, men are men. Women politicians in that state have the toughness and grit to handle men at their most macho. Southern women, particularly those of the plantation-belt, “iron magnolia” school, are able to get what they want and still retain their graceful femininity.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 55

“Ambitious young women today are taught to ignore or suppress every natural instinct, if it conflicts with the feminist agenda posed on them. All literary and artistic works, no matter how great, that document the ambivalence of female sexuality they are trained to dismiss as “misogynous.” In other words, their minds are being programmed to secede from their bodies … there is a huge gap between feminist rhetoric and women’s actual sex lives, where feminism is of little help except with a certain stratum of deferential, malleable, white middle-class men.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 31

“Marxism is a flight from the magic of the person and the mystique of hierarchy. It distorts the character of western culture, which is based on the charismatic power of person. Marxism can work only in pre-industrial societies of homogeneous populations. Raise the standard of living, and the rainbow riot of individualism will break out. Personality and art, which Marxism fears and censors, rebound from every effort to oppress them.”

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Camille Paglia

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

“The [sexual harassment] situation has gotten so out of hand that, in 1993, in one of the first British cases, a plumber was fired for continuing to use the traditional term "ballcock" for the toilet flotation unit, instead of the new politically correct term, sanitized of sexual suggestiveness. This is insane. We are back to the Victorian era, when table legs had to be draped lest they put the thought of ladies' legs into someone's dirty mind.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 50

“Men knew that if they devirginized a woman, they could end up dead within twenty-four hours. These controls have been removed.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), The Rape Debate, Continued, p. 71

“Mind is a captive of the body.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 17

“Nature is a Darwinian spectacle of the eaters and the eaten. All phases of procreation are ruled by appetite: sexual intercourse, from kissing to penetration, consists of movements of barely controlled cruelty and consumption. The long pregnancy of the human female and the protracted childhood of her infant, who is not self-sustaining for seven years or more, have produced the agon of psychological dependency that burdens the male for a lifetime. Man justifiably fears being devoured by woman, who is nature’s proxy.</b”

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Camille Paglia

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

“We must examine the degree to which we coddle middle-class girls. There is something sick about it. The girls I see on campuses are often innocuous, with completely homogenized personalities, miserable, anorexic and bulimic. The feminist movement teaches them that it's men's fault, but it isn't. These girls go out into the world as heiresses of all the affluence in the universe. They are the most pampered and most affluent girls on the globe. So stop complaining about men. You're getting all the rewards that come with the nice-girl persona you've chosen. When you get into trouble and you're batting your eyes and someone is offending you and you are too nice to deal with it, that's a choice. Assess your persona. Realize the degree to which your niceness may invoke people to say lewd and pornographic things to you — sometimes to violate your niceness. The more you blush, the more people want to do it. Understand your part of it and learn to parry. Sex talk is a game. The girls in the Sixties loved it. If you don't want some professor to call you honey, tell him.”

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Camille Paglia

Playboy interview (May 1995)

“Judaism’s campaign to make divinity invisible has never fully succeeded. Images are always eluding moral control, creating the brilliant western art tradition. Idolatry is fascism of the eye. The western eye will be served, with or without the consent of conscience.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 139

“How is it possible that today's academic Left has supported rather than protested campus speech codes as well as the grotesque surveillance and over-regulation of student life? American colleges have abandoned their educational mission and become government colonies, ruled by officious bureaucrats enforcing federal dictates. This despotic imperialism has no place in a modern democracy.”

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Camille Paglia kniha Free Women, Free Men

From the Introduction http://archive.is/4luev to Free Women, Free Men https://en.wikiquote.org/wiki/Special:BookSources/1101871814, Paglia, Knopf Doubleday Publishing Group (2017)
Free Women, Free Men (2017)

“The unhappy truth is that male homosexuality will never be fully accepted by the heterosexual majority, who are obeying the dictates not of bigoted society or religion but of procreative nature.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 85

“[Feminism] is alienating women from their own bodies … because they don’t understand that they have something that men want, okay? So they’re encouraged to interpret all male lust as oppressive and victimizing and negative, instead of seeing that it is up to them to husband this flame. They have a flame, and it’s enormously powerful…”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 259

“I like Sarah Palin, and I’ve heartily enjoyed her arrival on the national stage. As a career classroom teacher, I can see how smart she is — and quite frankly, I think the people who don’t see it are the stupid ones, wrapped in the fuzzy mummy-gauze of their own worn-out partisan dogma. So she doesn’t speak the King’s English — big whoop! There is a powerful clarity of consciousness in her eyes. She uses language with the jumps, breaks and rippling momentum of a be-bop saxophonist. I stand on what I said (as a staunch pro-choice advocate) in my last two columns — that Palin as a pro-life wife, mother and ambitious professional represents the next big shift in feminism. Pro-life women will save feminism by expanding it, particularly into the more traditional Third World.”

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Camille Paglia

Obama Surfs Through (2008)

“Any woman who stays with her abuser beyond the first incident is complicitous with him.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 43

“The followers of Derrida are pathetic, snuffling in French pockets for bits of pieces of a deconstructive method already massively and coherently presented — and with a mature sense of the sacred — in Buddhism and Hinduism.”

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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

“Society is not the criminal but the force which keeps crime in check. When social controls weaken, man’s innate cruelty bursts forth. The rapist is created not by bad social conditioning influences but by a failure of social conditioning. Feminists, seeking to drive power relations out of sex, have set themselves against nature. In western culture, there are no nonexploitative relationships. Everyone has killed in order to live. Nature’s universal law of creation from destruction operates in mind as in matter. As Freud, Nietzsche’s heir, asserts, identity is conflict. Each generation drives its plow over the bones of the dead.</b”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 2

“The instant myth of Amy Fisher turned feminist dogma on on is head: as in the hit films Fatal Attraction, Basic Instinct, and The Hand That Rocks the Cradle, woman rules and destroys. The femme fatale is for real.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 134

“As a teacher, I have seen time and again a certain kind of American middle-class girl who projects winsome malleability, a soft, unfocused help-me-please persona that, in adult life, is a recipe for disaster. These are the ones who end up with a string of abusive boyfriends or in sticky situations with overfamiliar male authority figures who call them “honey.””

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 36

“Every male copulating with a woman returns to his origins in the womb. Goethe postponed intercourse until he was forty. This must be related to his self-imposed distance from his forceful mother. To refuse phallic penetration is to refuse surrender to the female matrix.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 257

“Visionary idealism is a male art form. The lesbian aesthete does not exist. But if there were one, she would have learned from the perverse male mind.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 117

“Men who shrink from penetration of the female body are paralyzed by justifiable apprehension, since they are returning to our uncanny site of origin.”

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Camille Paglia

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

“Feminism, in all fields, has yet to produce a single scholar of the intellectual rank of scores of these learned men [e. g., Bruno Snell, Albin Lesky, Denys Page] in the German and British academic tradition.”

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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. 204

“The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare’s characters. His language does not “make sense,” especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare’s main influence. Shakespeare’s words have “aura.””

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Camille Paglia

This he got from Spenser, not Marlowe.
Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 195

“I believe that the shocking toll of AIDS on gay men in the West was partly due to their Seventies delusionism that a world without women was possible. All-male energies, unbalanced and ravenous, literally tore the body apart.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 69

“Gay activism has been naive in its belligerent confidence that “homophobia” will eventually disappear with proper “education” of the benighted. Reeducation of fractious young boys on the scale required would mean fascist obliteration of all individual freedoms. Furthermore, no truly masculine father would ever welcome an feminine or artistic son at the start, since the son’s lack of virility not only threatens but liquidates that father’s identity, dissolving husband into wife. Later there may be public rituals of acceptance, but the damage will already have been done. Gay men are aliens, cursed and gifted, the shamans of our time.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 86

“Most professors know that American higher education in the humanities is in a deplorable state. Yet many remain silent, perhaps through prudent self-preservation, which is starting to look a lot like moral cowardice. They have put loyalty to their colleagues before loyalty to their students, ostensibly the raison d'être for educational institutions. How many more minds must be distorted or destroyed before the faculty decides to defend the Western intellectual values of free inquiry and orderly acquisition of knowledge?”

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Camille Paglia

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