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Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

Book by Camille Paglia · 42 quotes · Art, Sex, Males

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

“Elegance is reduction, simplification, condensation. It is spare, stark, sleek. Elegance is cultivated abstraction. The source of Greek and Roman classicism - clarity, order, proportion, balance - is in Egypt.”

“Capitalism, gaudy and greedy, has been inherent in western aesthetics from ancient Egypt on. It is the mysticism and glamour of things , which take on a personality of their own. As an economic system, it is in the Darwinian line of Sade, not Rousseau.”

“French rhetorical models are too narrow for the English tradition. Most pernicious of French imports is the notion that there is no person behind a text. Is there anything more affected, aggressive, and relentlessly concrete than a Parisan intellectual behind his/her turgid text? The Parisian is a provincial when he pretends to speak for the universe.”

“Capitalism is an art form, an Apollonian fabrication to rival nature. It is hypocritical for feminists and intellectuals to enjoy the pleasures and conveniences of capitalism while sneering at it. Everyone born into capitalism has incurred a debt to it. Give Caesar his due.”

“Cinema is the culmination of the obsessive, mechanistic male drive in western culture. The movie projector is an Apollonian straight-shooter, demonstrating the link between aggression and art. Every pictorial framing is a ritual limitation, a barred precinct.”

“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.”

“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.”

“Not untill all babies are born from glass jars will the combat cease between mother and son. But in a totalitarian future that has removed procreation from woman's hands, there will also be no affect and no art. Men will be machines, without pain but also without pleasure. Imagination has a price, which we are paying every day. There is no escape from the biologic chains that bind us.”

“Everything is melting in nature. We think we see objects, but our eyes are slow and partial. Nature is blooming and withering in long puffy respirations, rising and falling in oceanic wave-motion. A mind that opened itself fully to nature without sentimental preconception would be glutted by nature’s coarse materialism, its relentless superfluity. An apple tree laden with fruit: how peaceful, how picturesque. But remove the rosy filter of humanism from our gaze and look again. See nature spuming and frothing, its mad spermatic bubbles endlessly spilling out and smashing in that inhuman round of waste, rot, and carnage. From the jammed glassy cells of sea roe to the feathery spores poured into the air from bursting green pods, nature is a festering hornet’s nest of aggression and overkill. This is the chthonian black magic with which we are infected as sexual beings; this is the daemonic identity that Christianity so inadequately defines as original sin and thinks it can cleanse us of. Procreative woman is the most troublesome obstacle to Christianity’s claim to catholicity, testified by its wishful doctrines of Immaculate Conception and Virgin Birth. The procreativeness of chthonian nature is an obstacle to all of western metaphysics and to each man in his quest for identity against his mother. Nature is the seething excess of being.”

“At some level, all love is combat, a wrestling with ghosts. We are only for something by being against something else. People who believe they are having pleasant, casual, uncomplex sexual encounters, whether with friend, spouse, or stranger are blocking from consciousness the tangle of psychodynamics at work, just as they block the hostile clashings of their dream life.”

“The formidable combined forces of Judeo-Christianity and modern science have never succeeded in wiping out pagan astrology, nor will they ever. Astrology supplies what is missing in the west's official moral and intellectual codes. Astrology is the oldest organised art form of sexual personae. Waging war on astrology, the medieval and Renaissance Church promulgated the distortion that astrology is fatalism, a flouting of God's Providence and the necessity for moral struggle. But the predictive part of astrology is less important than its psychology, which three thousand years of continuous practise have given a phenomenal subtlety. Astrology does insist on self-discipline and self-transformation. Judging astrology by those vague sun-sign columns in the daily paper is like judging Christianity by a smudged shop window of black-velvet day-glo paintings of the Good Shepherd.”

“The cat's sophisticated personae are masks of an advanced theatricality. Priests and god its own cult, the cat follows a code of ritual purity, cleaning itself religiously. Priest and god of its own cult, the car sacrifices to itself and may share its ceremonies with the elect. [...] The cat is the least Christian inhabitant of the entire home.”