The Stereotype
The Female Eunuch (1970)
Context: The stereotype is the Eternal Feminine. She is the Sexual Object sought by all men, and by all woman. She is of neither sex, for she has herself no sex at all. Her value is solely attested by the demand she excites in others. All she must contribute is her existence. She need achieve nothing, for she has herself no sex at all. her value is solely attested by the demand she excites in others. All she must contribute is her existence. She need achieve nothing, for she is the reward of achievement. She need never give positive evidence of her moral character because virtue is assumed from her loveliness, and her passivity.
“Classical sex is romantic, profound, serious, emotional, moral, mysterious, spontaneous, abandoned, focused on a particular person, and stereotypically feminine. Baroque sex is pop, playful, funny, experimental, conscious, deliberate, amoral, anonymous, focused on sensation for sensation's sake, and stereotypically masculine.”
"Classical and Baroque Sex in Everyday Life" (1979), Beginning To See the Light: Pieces of a Decade (1981)
Context: There are two kinds of sex, classical and baroque. Classical sex is romantic, profound, serious, emotional, moral, mysterious, spontaneous, abandoned, focused on a particular person, and stereotypically feminine. Baroque sex is pop, playful, funny, experimental, conscious, deliberate, amoral, anonymous, focused on sensation for sensation's sake, and stereotypically masculine. The classical mentality taken to an extreme is sentimental and finally puritanical; the baroque mentality taken to an extreme is pornographic and finally obscene. Ideally, a sexual relation ought to create a satisfying tension between the two modes (a baroque idea, particularly if the tension is ironic) or else blend them so well that the distinction disappears (a classical aspiration).
Help us to complete the source, original and additional information
Ellen Willis 43
writer, activist 1941–2006Related quotes
Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. xiii
Source: 1930s, Sex and Temperament in Three Primitive Societies (1935), p. 280, cited in Perspectives in Cultural Anthropology (1987) by Herbert A. Applebaum, p. 141
Comment made to the press in 1976, quoted in The R. Crumb Handbook by Robert Crumb and Peter Poplaski (2005), p. 260
L’important, c’est que le sexe n’ait pas été seulement affaire de sensation et de plaisir, de loi ou d’interdiction, mais aussi de vrai et de faux.
Vol. I, p. 76
History of Sexuality (1976–1984)
Un Art de Vivre (The Art of Living) (1939), The Art of Marriage
Imaginative Sex, Masquerade, 1997 New York, ISBN 1-56333-561-1, p. 13
Journals VA 14
1840s, The Journals of Søren Kierkegaard, 1840s
Twentieth Century Faith : Hope and Survival (1972), p. 61
1970s