Frasi di Camille Paglia
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Camille Anna Paglia è una saggista, antropologa e sociologa statunitense, di orientamento femminista e ateo.

Figlia di emigrati italiani, dal 1984 è docente presso l'Università delle arti di Philadelphia, in Pennsylvania. Il suo libro più noto, divenuto un vero e proprio bestseller, si intitola *Sexual Personae: arte e decadenza da Nefertiti a Emily Dickinson, ed è stato pubblicato da Einaudi nel 1990.

✵ 2. Aprile 1947
Camille Paglia photo
Camille Paglia: 339 citazioni2 Mi piace

Camille Paglia frasi celebri

Camille Paglia Frasi e Citazioni

“[…] ho un rispetto enorme per la religione, che considero una fonte di valore psicologico, etico e culturale infinitamente più ricca dello sciocco e mortifero post-strutturalismo, che è diventato una religione secolarizzata.”

Camille Paglia

Origine: Dall'intervista di Mattia Ferraresi, Camille Paglia, atea, lesbica e libertina: «La religione produce molta più cultura degli sciocchi e mortiferi dogmi liberal» http://www.tempi.it/camille-paglia-intervista-esclusiva-la-religione-produce-molta-piu-cultura-degli-sciocchi-e-mortiferi-dogmi-liberal#.VqslDE8kQ8F, Tempi.it, 27 maggio 2013.

Camille Paglia: Frasi in inglese

“The Gothic tradition was begun by Ann Radcliffe, a rare example of a woman creating an artistic style.”

Camille Paglia

Origine: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 265

“Far from poisoning the mind, pornography shows the deepest truth about sexuality, stripped of romantic veneer.”

Camille Paglia

Origine: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 66

“Men knew that if they devirginized a woman, they could end up dead within twenty-four hours. These controls have been removed.”

Camille Paglia

Origine: Sex, Art and American Culture : New Essays (1992), The Rape Debate, Continued, p. 71

“Mind is a captive of the body.”

Camille Paglia

Origine: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 17

“Any woman who stays with her abuser beyond the first incident is complicitous with him.”

Camille Paglia

Origine: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 43

“Feminism, in all fields, has yet to produce a single scholar of the intellectual rank of scores of these learned men [e. g., Bruno Snell, Albin Lesky, Denys Page] in the German and British academic tradition.”

Camille Paglia

Origine: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 204

“The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super-tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo-Saxon root words against Norman and Greco-Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare’s characters. His language does not “make sense,” especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare’s main influence. Shakespeare’s words have “aura.””

Camille Paglia

This he got from Spenser, not Marlowe.
Origine: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 195

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