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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
Camille Pagliaová foto
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

“Tranvestism is far more common among men, I noted, because it originates in the primary relation of mother and son.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 508

“Just released in 1994 is Christina Hoff Sommers’s landmark study, Who Stole Feminism?, which uses ingenious detective work to unmask the shocking fraud and propaganda of establishment feminism and the servility of American media and academe to Machiavellian feminist manipulation. This bracingly precise, fact-based book should be required reading for every journalist. Sommers is a courageous academic philosopher who was one of the very first to systematically critique current feminist ideology and who took tremendous abuse for it. … Sommers has done a great service for women and for feminism, whose fundamental precepts she has clarified and strengthened.”

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Camille Paglia

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

“The junk-bond era has also spawned something that calls itself New Historicism. This seems to be a refuge for English majors without critical talent or broad learning in history or political science. […] To practice it, you must apparently lack all historical sense.”

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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. 223

“The more you know, the less you are impressed by Foucault.”

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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. 174

“The Apollonian and Dionysian, two great western principles, govern sexual personae in life and art. My theory is this: Dionysus is identification, Apollo objectification. Dionysus is the empathic, the sympathetic, emotion transporting us into other people, other palaces, other times. Apollo is the hard, cold separation of western personality and categorical thought. Dionysus is energy, ecstasy, hysteria, promiscuity, emotionalism -- heedless indiscriminateness of idea or practice. Apollo is obsessiveness, voyeurism, idolatry, fascism -- frigidity and aggression of the eye, petrification of objects. … The quarrel between Apollo and Dionysus is the quarrel between the higher cortex and the older limbic and reptilian brains.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 96

“Women have been discouraged from genres such as sculpture that require studio training or expensive materials. But in philosophy, mathematics, and poetry, the only materials are pen and paper. Male conspiracy cannot explain all female failures. I am convinced that, even without restrictions, there still would have been no female Pascal, Milton, or Kant. Genius is not checked by social obstacles: it will overcome. Men's egotism, so disgusting in the talentless, is the source of their greatness as a sex. […] Even now, with all vocations open, I marvel at the rarity of the woman driven by artistic or intellectual obsession, that self-mutilating derangement of social relationship which, in its alternate forms of crime and ideation, is the disgrace and glory of the human species.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 653

“The gargantuan promiscuity of the Seventies gay male world was a pagan phenomenon, unequaled in scale since the Roman empire.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 68

“She is so deluded that she genuinely believes she speaks for all women. She's a victim of her own success. I liked the early Steinem. There was once a survey conducted for Time about who would make a good candidate for the first female president, and I wrote in Gloria Steinem. But now? Gloria Steinem is dissing men and dissing fashion and she's out having her hair streaked at Kenneth's. She became a socialite with a coterie. A lot of middle-aged white ladies still love her, but the media have been negligent regarding her.”

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Camille Paglia

On Gloria Steinem
Playboy interview (May 1995)

“In the beginning was nature. The background from which and against our ideas of God were formed, nature remains the supreme moral problem. We cannot hope to understand sex and gender until we clarify our attitude toward nature. Sex is a subset to nature. Sex is the natural in man.”

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Camille Paglia

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

“I’m saying that men go from control by their mothers to control by their wives, and this is the horror of men’s lives. And feminism refuses to see this.”

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Camille Paglia

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

“Greek pederasty honored the erotic magnetism of male adolescence in a way that today brings police to the door. Children are more conscious and perverse than parents like to think.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 115

“[T]here’s a lot to be said for celibacy, for the concentration of your mental and physical energy.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 291

“Richard Chase declares, "No great poet has written so much bad verse as Emily Dickinson." He blames the Victorian cult of little women for the fact that "two thirds of her work" is seriously flawed: "Her coy and oddly childish poems of nature and female friendship are products of a time when one of the careers open to women was perpetual childhood." Dickinson's sentimental feminine poems remain neglected by embarrassed scholars. I would maintain, however, that her poetry is a closed system of sexual reference and that the mawkish poems are designed to dovetail with those of violence and suffering.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 637

“The piddling ignoramuses who deny that there is a distinct, discernible, objective western tradition are just woozy literati.”

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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. 238

“American feminism’s nose dive began when Kate Millet, that imploding beanbag of poisonous self-pity, declared Freud a sexist. Trying to build a sex theory without studying Freud, women have made nothing but mud pies.”

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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. 243

“What is Mona Lisa thinking? Nothing, of course. Her blankness is her menace and our fear. […] Walter Pater is to call her a 'vampire,' coasting through history on her secret tasks.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 154

“Feminism, for all its boasts, has not found a single major female painter or sculptor to add to the canon. It did revive the reputations of many minor women, like Frida Kahlo or Romaine Brooks. Mary Cassatt, Georgia O'Keeffe, and Helen Frankenthaler were already known and did not need rediscovery. Artemisia Gentileschi was simply a polished, competent painter in a Baroque style created by men.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "The New Sexism: Liberating Art and Beauty", p. 115

“The only problem I have with computers and television is that when all cultures on earth reach the stage we are at it will lead to a kind of homogenization.”

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Camille Paglia

Playboy interview (May 1995)

“Academic Marxists, with their elitist sense of superiority to popular taste, are the biggest snobs in America.”

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Camille Paglia

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

“Lacan, Derrida and Foucault are the perfect prophets for the weak, anxious academic personality, trapped in verbal formulas and perennially defeated by circumstances. They offer a self-exculpating cosmic explanation for the normal professorial state of resentment, alienation, dithering passivity and inaction.”

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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. 211

“Sedgwick has managed to convert pedestrian critical skills and little discernible knowledge in history, philosophy, psychology, art or even pre-modern literature into a lucrative academic career.”

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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. 222

“For a decade, feminists have drilled their disciples to say, “Rape is a crime of violence but not of sex.” This sugar-coated Shirley Temple nonsense has exposed young women to disaster. Misled by feminism, they do not expect rape from the nice boys from good homes who sit next to them in class.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), Rape and Modern Sex War, p. 51

“One of the most startling discoveries of my career was when I realized that the strongest women in the world are not lesbians but heterosexual women, who know how to handle men.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 80

“Economic analysis is the first principle of Marxism. Professors who were genuine leftists would have challenged the entire economics-driven machinery of American academe — the wasteful multidepartmental structure, the divisive pedantry of overspecialization, the cronyism and sycophancy in recruitment and promotion, the boondoggling ostentation of pointless conferences, the exploitation of graduate students and part-time teachers, the subservience of faculty to overpaid administrators, the mediocrity and folly of the ruling cliques of the Modern Language Association.”

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Camille Paglia

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

“The moral ambivalence of the great mother goddesses has been conveniently forgotten by those American feminists who have resurrected them. We cannot grasp nature's bare blade without shedding our own blood.”

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Camille Paglia

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

“Man has traditionally ruled the social sphere; feminism tells him to move over and share his power. But woman rules the sexual and emotional sphere, and there she has no rival. Victim ideology, a caricature of social history, blocks women from recognition of their dominance in the deepest, most important realm.”

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Camille Paglia

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

“Emily Dickinson is the female Sade, and her poems are the prison dreams of a self-incarcerated, sadomasochistic imaginist. When she is rescued from American Studies departments and juxtaposed with Dante and Baudelaire, her barbarities and diabolical acts of will become glaringly apparent. Dickinson inherits through Blake the rape cycle of The Faerie Queene. Blake and Spenser are her allies in helping pagan Coleridge defeat Protestant Wordsworth.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 624

“Millions of kids are being maimed right now on Ritalin. I would have been given Ritalin. And there would have been no Sexual Personae, no nothing. We are castrating a whole generation of kids.”

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Camille Paglia

Playboy interview (May 1995)

“I had crushes on women — actually I loved charismatic, extreme people, women or men. By high school I was saying I must be a lesbian, because if you are attracted to women, you're a lesbian. I was also attracted to men, but I didn't get along with men.”

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Camille Paglia

Playboy interview (May 1995)

“Middle-class men, neutered by office life and daunted by feminist rhetoric, are shrinking. Lesbianism is increasing, since anxious, unmasculine men have little to offer. Women are simply more interesting to them. Male homosexuality is increasing, because masculinity is in crisis and because maternal consciousness, severed from the support network of the extended family, has become a psychotic system, forcing the young to struggle for life against clinging personal fantasy.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 90