“An erection is a thought and the orgasm an act of the imagination. The male has to will his sexual authority before the woman who is a shadow of his mother and of all women. Failure and humiliation constantly wait in the wings. No woman has to prove herself a woman in the grim way a man has to prove himself a man. He must perform, or the show does not go on. Social convention is irrelevant. A flop is a flop.”

— Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 20

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "An erection is a thought and the orgasm an act of the imagination. The male has to will his sexual authority before the…" by Camille Paglia?

Camille Paglia 326

American writer 1947

Related quotes

“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.”

Camille Paglia (1947) American writer

Playboy interview (May 1995)

“Man has his will,—but woman has her way!”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

The Autocrat of the Breakfast Table (1858)
Context: Though fortune scowl, though prudence interfere,
One thing is certain: Love will triumph here!
Lords of creation, whom your ladies rule,—
The world's great masters, when you 're out of school,—
Learn the brief moral of our evening's play
Man has his will,—but woman has her way!

“A man spends his whole life trying to prove his worth to others. A woman spends her life trying to prove her worth to herself.”

Tawni O'Dell book Sister Mine

Source: Sister Mine

“That man and woman have an equality of duties and rights is accepted by woman even less than by man. Behind his destiny woman must annihilate herself, must be only his complement. A woman dedicates herself to the vocation of her husband; she fills up and performs the subordinate parts in it. But if she has any destiny, any vocation of her own, she must renounce it, in nine cases out of ten.”

Florence Nightingale (1820–1910) English social reformer and statistician, and the founder of modern nursing

Cassandra (1860)

“Freud says, “Man fears that his strength will be taken from him by woman, dreads becoming infected with her femininity and then proving himself a weakling.” Masculinity must fight off effeminacy day by day. Woman and nature stand ever ready to reduce the male to boy and infant.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 27

“Even in the greatest Westerns, the woman is imposed on the action, as a star, and is generally destined to be “had” by the male lead. But she does not exist as a woman. If you cut her out of the film, in a version which you can imagine, the film becomes much better. In the desert, the essential problem was to survive. Women were an obstacle to survival! Usually, the woman not only holds up the story, but she has no real character, no reality. She is a symbol. She is there without having any reason to be there, simply because one must have a woman, and because the hero must prove, in some way or another, that he has "sex-appeal."”

Sergio Leone (1929–1989) Italian film director, screenwriter and producer

Christopher Frayling, Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone (1981), p. 129. Quoted in The Worlding Project: Doing Cultural Studies in the Era of Globalization (2007), ed. R. Wilson, ‎C. L. Connery, Ch. 6: "'But I Did Not Shoot the Deputy': Dubbing the Yankee Frontier" by Louis Chude-Sokei, pp. 158–159, as well as in The A to Z of Westerns in Cinema (2009) by Paul Varner, p. 198, and in The Quick, the Dead and the Revived: The Many Lives of the Western Film (2016) by Joseph Maddrey, p. 104.