Camille Paglia: Trending quotes (page 3)

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 174
Context: 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.

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 33
Context: The dishonesty and speciousness of the feminist rape analysis are demonstrated by its failure to explore, or even mention, man-on-man sex crimes. If rape were really just a process of intimidation of women by men, why do men rape and kill other men? The deceptively demure persona of the soft-spoken, homosexual serial-murderer Jeffrey Dahmer, like that of the handsome, charming Ted Bundy, should warn everyone that we still live in a sexual jungle.

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 28
Context: White middle-class girls at the elite colleges and universities seem to want the world handed to them on a platter. They have been sheltered, coddled and flattered. Having taught at a wide variety of institutions over my ill-starred career, I have observed that working-class or lower-middle-class girls, who are from financially struggling families and must take a patchwork of menial jobs to stay in school, are usually the least hospitable to feminist rhetoric. They see life as it is and have fewer illusions about sex. It is affluent, upper-middle class students who most spout the party line — as if the grisly hyperemotionalism of feminist jargon satisfies their hunger for meaningful experiences outside their eventless upbringing. In the absence of war, invent one.

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 100
Context: Women played no part in Athenian high culture. They could not vote, attend the theatre, or walk in the stoa talking philosophy. But the male orientation of Greek culture was inseparable of its genius. Athens became great not despite but because of its misogyny.

Source: Sex, Art and American Culture : New Essays (1992), The Rape Debate, Continued, p. 66
Context: What women have to realize is their own dominance as a sex. That women’s sexual powers are enormous. All cultures have seen it. Men know it. Women know it. The only people who don’t know it are feminists. Desensualized, desexualized, neurotic women. I wouldn’t have said this twenty years ago because I was a militant feminist myself. But as the years have gone on, I began to see more and more that the perverse, neurotic psychodramas projected by these women is coming from their own problems with sex.

The Magic of Images: Word and Picture in a Media Age (2004)
Context: As a classroom teacher for over thirty years, I have become increasingly concerned about evidence of, if not cultural decline, then cultural dissipation since the 1960s, a decade that seemed to hold such heady promise of artistic and intellectual innovation. Young people today are flooded with disconnected images but lack a sympathetic instrument to analyze them as well as a historical frame of reference in which to situate them. I am reminded of an unnerving scene in Stanley Kubrick's epic film, 2001: A Space Odyssey, where an astronaut, his air hose cut by the master computer gone amok, spins helplessly off into space. The new generation, raised on TV and the personal computer but deprived of a solid primary education, has become unmoored from the mother ship of culture. Technology, like Kubrick's rogue computer, Hal, is the companionable servant turned ruthless master. The ironically self-referential or overtly politicized and jargon-ridden paradigms of higher education, far from helping the young to cope or develop, have worsened their vertigo and free fall. Today's students require not subversion of rationalist assumptions -- the childhood legacy of intellectuals born in Europe between the two World Wars -- but the most basic introduction to structure and chronology. With out that, they are riding the tail of a comet in a media starscape of explosive but evanescent images.

Source: Sex, Art and American Culture : New Essays (1992), Rape and Modern Sex War, p. 68
Context: I am saying that many of the problems between the sexes are coming from something prior to socialization, a turbulence that has to do with every boy’s origin in a woman’s body, and the way he is overwhelmed by this huge, matriarchal shadow of a goddess figure from his childhood. And I feel, after so many decades of studying this, that men are suffering from a sense of dependence on women, their sense that at any moment they could be returned to that slavery and servitude they experienced under a woman’s thumb, when they were a boy in the shadow of the mother. I got this from studying all world culture, and comparing and noticing how often there were these similar patterns in many different cultures. Many things that erupt in rape or violence, or battery and so on, are happening when a woman is pushing that button of fear and dependency.

As quoted in Sexuality and Gender (2002) by Christine R. Williams and Arlene Stein, p. 213
Context: Men are run ragged by female sexuality all their lives. From the beginning of his life to the end, no man ever fully commands any woman. It's an illusion. Men are pussy-whipped. And they know it. That's what the strip clubs are about; not woman as victim, not woman as slave, but woman as goddess.

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 624
Context: Even the best critical writing on Emily Dickinson underestimates her. She is frightening. To come to her directly from Dante, Spenser, Blake, and Baudelaire is to find her sadomasochism obvious and flagrant. Birds, bees, and amputated hands are the dizzy stuff of this poetry. Dickinson is like the homosexual cultist draping himself in black leather and chains to bring the idea of masculinity into aggressive visibility.

Source: Sex, Art and American Culture : New Essays (1992), p. 89
Context: Feminism was always wrong to pretend that women could “have it all.” It is not male society but mother nature who lays the heaviest burden on woman. No husband or day care can adequately substitute for a mother’s attention. My feminist heroes are the boldly independent and childless Amelia Earhart and Katherine Hepburn, who has been outspoken in her opposition to the delusion of “having it all.”

Playboy interview (May 1995)
Context: I believe in moderate sexual harassment guidelines. But you can't the Stalinist situation we have in America right now, where any neurotic woman can make any stupid charge and destroy a man's reputation. If there is evidence of false accusation, the accuser should be expelled. Similarly, a woman who falsely accuses a man of rape should be sent to jail. My definition of sexual harassment is specific. It is only sexual harassment — by a man or a woman — if it is quid pro quo. That is, if someone says, "You must do this or I'm going to do that" — for instance, fire you. And whereas touching is sexual harassment, speech is not. I am militant on this. Words must remain free. The solution to speech is that women must signal the level of their tolerance — women are all different. Some are very bawdy. … You must develop the verbal tools to counter offensive language. That s life. Feminism has created a privileged, white middle class of girls who claim they're victims because they want to preserve their bourgeois decorum and passivity.

As quoted in "Babylon Nights : A David Spandau Novel" (2010) by Daniel Depp
Context: Popular culture is the new Babylon, into which so much art and intellect now flow. It is our imperial sex theater, supreme temple of the western eye. We live in the age of idols. The pagan past, never dead, flames again in our mystic hierarchies of stardom.

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

As quoted in Sex from Plato to Paglia : A Philosophical Encyclopedia (2006) by Alan Soble, Volume 2, p. 378, ISBN 9780313334252

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