Camille Paglia
Camille Anna Paglia (/ˈpɑːliə/; born April 2, 1947) is an American author, teacher, and social critic. Paglia, a self-described dissident feminist, has been a professor at The University of the Arts in Philadelphia, Pennsylvania since 1984. She wrote Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), a best-selling work of literary criticism, among other books and essays. She also wrote an analysis of Alfred Hitchcock's The Birds, and Break, Blow, Burn on poetry. She writes articles on art, popular culture, feminism, and politics. Paglia has celebrated Madonna and taken radical libertarian positions on controversial social issues such as abortion, homosexuality and drug use. She is known as a critic of American feminism, and is also strongly critical of the influence of French writers such as Jacques Lacan, Jacques Derrida, and Michel Foucault.
Read more about Camille Paglia: Overview, Personal Life, Education, Career, Works
Famous quotes by camille paglia:
“Despite crime’s omnipresence, things work in society, because biology compels it. Order eventually restores itself, by psychic equilibrium.”
—Camille Paglia (b. 1947)
“In the west, Apollo and Dionysus strive for victory. Apollo makes the boundary lines that are civilization but that lead to convention, constraint, oppression. Dionysus is energy unbound, mad, callous, destructive, wasteful. Apollo is law, history, tradition, the dignity and safety of custom and form. Dionysus is the new, exhilarating but rude, sweeping all away to begin again. Apollo is a tyrant, Dionysus is a vandal.”
—Camille Paglia (b. 1947)
“Whiffle [whine and wheeze and snuff and sniffle]: The annoying scratchy sound made by weepy feminists as they lament the sufferings of women and, houndlike, sniff out evidence of male oppression.”
—Camille Paglia (b. 1947)
“Modern bodybuilding is ritual, religion, sport, art, and science, awash in Western chemistry and mathematics. Defying nature, it surpasses it.”
—Camille Paglia (b. 1947)
“Cinema is the culmination of the obsessive, mechanistic male drive in western culture. The movie projector is an Apollonian straightshooter, demonstrating the link between aggression and art. Every pictorial framing is a ritual limitation, a barred precinct.”
—Camille Paglia (b. 1947)