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All objects, all phases of culture are alive. They have voices. They speak of their history and interrelatedness. And they are all talking at once!
Camille Paglia
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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.
Camille Paglia
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Women have conceptualized less in history not because men have kept them from doing so but because women do not need to conceptualize in order to exist. […] Fetishism, for instance, a practice which like most of the sex perversions is confined to men, is clearly a conceptualizing or symbol-making activity. Man's vastly greater commercial patronage of pornography is analogous.
Camille Paglia
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The idea that feminism is the first group that has ever denounced rape is a gross libel to men. Throughout history, rape has been condemned by honorable men. Honorable men do not murder; honorable men do not steal; honorable men do not rape. It goes all the way back through history. Tarquin's rape of Lucretia caused the fall of the tyrants and the beginning of the Roman Republic. The idea that somehow suddenly feminism miraculously found out that women were being exploited and raped throughout history is ridiculous.
Camille Paglia
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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.
Camille Paglia
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The number one problem in academia today is not ignorant students but ignorant professors, who have substituted narrow expertise and theoretical sophistication (a preposterous term) for breadth and depth of learning in the world history of art and thought. … Art is a vast, ancient interconnected web-work, a fabricated tradition. Overconcentration on any one point is a distortion. This is one of the primary reasons for the dullness and ineptitude of so much twentieth-criticism, as compared to nineteenth-century belles-lettres.
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It was intended to please no one and to offend everyone. The entire process of the book was to discover the repressed elements of contemporary culture, whatever they are, and palpate them. One of the main premises was to demonstrate that pornography is everywhere in major art. Art history as written is completely sex free, repressive and puritanical. I want precision and historical knowledge, but at the same time, I try to zap it with pornographic intensity.
Camille Paglia
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The spiritual history of the Sixties has yet to be written.
Camille Paglia
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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.
Camille Paglia
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The truth is that Foucault knew very little about anything before the seventeenth century and, in the modern world, outside France. His familiarity with the literature and art of any period was negligible. His hostility to psychology made him incompetent to deal with sexuality, his own or anybody else's. The elevation of Foucault to guru status by American and British academics is a tale that belongs to the history of cults.
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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.
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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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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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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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I believe that history has shape, order, and meaning; that exceptional men, as much as economic forces, produce change; and that passe abstractions like beauty, nobility, and greatness have a shifting but continuing validity.
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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.
Camille Paglia
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Sappho and Emily Dickinson are the only woman geniuses in poetic history.
Camille Paglia
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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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Madonna won my undying loyalty by reviving and re-creating the hard glamour of the studio-era Hollywood movie queens, figures of mythological grandeur. Contemporary feminism cut itself off from history and bankrupted itself when it spun its paranoid fantasy of male oppressors and female sex-object victims. Woman is the dominant sex. Woman's sexual glamour has bewitched and destroyed men since Delilah and Helen of Troy.
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Many, perhaps most, very learned people prefer the company of their books to sitting in a crowd listening to history and art being mangled; furthermore, it is unlikely that the venerable scholars will stand up afterward to declare, This lecture was a load of crap. The more profound a professor's distaste with the proceedings, the more likely he is to melt away at the end of the talk.
Camille Paglia
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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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As a philosopher sympathetic to Foucault recently remarked to me, Foucault failed in each of his major inquiries and, in desperation, went further afield from his areas of expertise. The History of Sexuality is a disaster. Page after page is sheer fantasy, unsupported by the ancient or modern historical record.
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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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It is capitalist America that produced the modern independent woman. Never in history have women had more freedom of choice in regard to dress, behavior, career, and sexual orientation.
Camille Paglia
Quote of the day
Good authors, too, who once knew better words Now only use four-letter words Writing prose — Anything goes.
Cole Porter
Camille Paglia
Born:
April 2, 1947
(age 77)
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