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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

“The reform of a college English department cuts no ice down at the corner garage.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 22

“All men — even, I have written, Jesus Christ — began as flecks of tissue inside a woman's womb. Every boy must stagger out of the shadow of a mother goddess, whom he never fully escapes.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 32

“The Orestia shows that society is a defense against nature. Everything intelligible -- institutions, objects, persons, ideas -- is the result of Apollonian clarification, adjudication, and action. Western politics, science, psychology and art are creations of arrogant Apollo. Through every century, winning or losing, western mind has struggled to keep nature at bay. The Orestia’s sexist transition from matriarchy to patriarchy records the rebellion every imagination must make against nature. Without that rebellion, we as a species are condemned to regression or stasis. Even rebelling, we cannot get far. But vying with fate is godlike.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 101

“In Romanticism, unlike the Renaissance, Amazons retain their power. Rousseau wants it both ways. Idolizing women is natural and right, a cosmic law. On the other hand, male recessiveness is blamed on female coercion. Either way, sadomasochistic dominance and submission are inherent in Rousseausism from the start.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 232

“My own proposals for reform [in academia] include the abolition of all literary conferences and the replacement of women's studies with sex studies, based on the rigorous study of world history, anthropology, psychology, and science. Today, in politically correct America, questions of quality, learning, and intellectual distinction are out of style.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 102

“Because of the nature of the penis, men have performance anxiety, whereas no woman ever has to prove herself in this way. So men's egos are totally involved in performance, in doing, achieving. An erection is a kind of achievement. So is peeing. As I've said, a boy has to learn to aim in order to no longer be infantile. So it's an accomplishment. The male orgasm is short-lived and transient — and that's the irony of men's sexuality. It's ironic that feminism looks at the penis as power and violence when in fact it is very weak.”

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Camille Paglia

Playboy interview (May 1995)

“When feminism and gay activism set themselves against organized religion, they have the obligation to put something better in its place.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 36

“I admire hard-bitten, wisecracking realism of Ida Lupino and the film noir heroines. I’m sick of simpering white girls with their princess fantasies.”

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Camille Paglia

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

“The Fairie Queene makes cinema out of the west's primary principle: to see is to know; to know is to control. The Spenserian eye cuts, wounds, rapes.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 173

“My prescription for women entering the war zone of the professions: study football.... Women who want to remake the future should look for guidance not to substitute parent figures but to the brash assertions of pagan sport.”

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Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 56

“I realize now how lucky I was, in the total absence of role models, to have only men to rebel against. Today's women students are meeting their oppressors in dangerously seductive new form, as successful congenial female professors who view themselves as victims of a rigid foreign ideology.”

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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. 213

“Modernization means Westernization.”

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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. 239

“A woman simply is, but a man must become. Masculinity is risky and elusive. It is achieved by a revolt from woman, and is confirmed only by other men. Feminist fantasies about the ideal “sensitive” male have failed. Manhood coerced into sensitivity is no manhood at all.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 82

“No one is “born gay.” The idea is ridiculous, but it is symptomatic of our overpoliticized climate that such assertions are given instant credence by gay activists and their media partisans. I think what gay men are remembering is that they were born different.”

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Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 71

“Personality maintains its discreetness by an act of will. Otherwise one person will flow helplessly into another.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 293

“I have lesbian impulses, so I understand how a man looks at a woman. … When I was growing up, it wasn't possible for me to do anything about my attraction to women. Lesbianism didn't exist in that time, as far as I knew.”

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Camille Paglia

Playboy interview (May 1995)

“Academic Marxism is a fantasy world, and unctuous compassion-sweepstakes, into which real workers or peasants never penetrate.”

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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. 246

“I do not believe in God, but I believe God is man’s greatest idea. Those incapable of religious feeling or those (like hard-core gay activists) who profane sacred ground do not have the imagination to educate the young. … Until the left comes to its senses about the cultural power of religion, the right will continue to broaden its appeal.”

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Camille Paglia

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

“I like Liz Phair, but there were these stupid women reviewers who said she's surpassing the Stones. Dream on.”

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Camille Paglia

Playboy interview (May 1995)

“In the Seventies, women runners, developing amenorrhea and calcium-related shin splints, were the first to realize that nature is hovering over us, ready to shut down our systems if our fetus-feeding fat reserve drops below a certain percentage of body weight. In other words, in nature's eyes we are nothing but milk sacs and fat deposits.”

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

“Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseausism in all its forms. Today, Rousseausism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse.”

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Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 429

“Feminist anti-porn discourse virtually always ignores the gigantic gay male porn industry, since any mention of the latter would bring crashing to the ground the absurd argument that pornography is by definition the subordination of women.”

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

“Feminism has exceeded its proper mission of seeking political equality for women and has ended by rejecting contingency, that is, human limitation by nature or fate.”

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Camille Paglia

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

“Even the most morbid of the rape ranters have a childlike faith in the perfectibility of the universe, which they see as blighted solely by nasty men. They simplistically project outward onto a mythical "patriarchy" their own inner conflicts and moral ambiguities.”

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Camille Paglia

Zdroj: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 25

“Women's studies is institutionalized sexism.”

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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. 242

“Art advances by self-mutilation of the artist.”

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Camille Paglia

Zdroj: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 54

“Contemporary feminists, who are generally poor or narrowly trained scholars, insist on viewing history as a weepy scenario of male oppression and female victimization. But it is more accurate to see men, driven by sexual anxiety away from their mothers, forming group alliances by male bonding to create complex structures of society, art, science and technology.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 23

“Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary cliche. But the femme fatale expresses woman's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all of men's relationships with women.”

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Camille Paglia

Zdroj: Sex, Art and American Culture : New Essays (1992), p. 15

“Lesbian feminists, for all their ideals of sisterhood and solidarity, can treat each other with a fickleness, a parasitic exploitativeness, and vicious spite that have to be seen to be believed.”

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

“Western culture from the start has swerved from femaleness. The last western society to worship female powers was Minoan Crete. And significantly, that fell and did not rise again.”

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Camille Paglia

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