Feminism is "the advocacy of women's rights based on equality of the sexes" - Oxford Dictionary.
But to Camille Paglia, maverick critic, academic, and feminist, the modern understanding of feminism is misconstrued and contradictory. According to Paglia, the irony of feminism lies in the fact that there is no such thing as equality in the sexes- men and women are biologically different. To understand Paglia's view on sex, however, we must first examine her belief in the greatness of nature. In Paglia's conviction, civilized life requires a state of illusion that believes in the divine power of nature and god. And it is this exact belief that acts as a survival mechanism that prevents the collapse of society. In other words, civilization is an organized system created by humanity to shield us from the unpredictability of natural forces.
Consequently, sex is a powerful force that embodies both nature and culture, which is why feminism cannot be reduced to a social cause. Although a feminist herself, Paglia is a harsh critic of modern ideals in power relations of sex. Paglia argues that feminism, initially aimed at achieving political equality for women, has, in some instances, extended beyond its original trajectory by challenging the very essence it seeks to liberate. Although dogmatic at times, Paglia's critique underscores social constructs as a by-product of nature to highlight the women's movement's challenges. Thus, Paglia challenges the pervasive feminist mindset by re-painting culture through an artistic yet biblical lens that emphasizes biological realities.
Born in 1947 in Endicott, New York, Paglia grew up when girls were expected to play the traditional roles of homemakers. Paglia experienced an upbringing saturated with Italian culture during her early childhood, living with her maternal grandparents. The rural village of Endicott provided Paglia with insights into gender dynamics by viewing her grandmother's dominance over the household and assuming their matriarchal roles. At the same time, Paglia's upbringing also cultivated her respect for working-class men. Her positive stance towards men stems from her witness to the sacrifices made by her father's generation. During her adolescence, Paglia wrote poetry and admired novels for their literary qualities. During this time, she first encountered feminism through the discovery of notable women such as Clare Boothe Luce and Dorothy Thompson. Paglia admired these women as remarkable pioneers, noting their lack of male-bashing rhetoric.
The daughter of a Romance languages professor, Paglia graduated top of her class in 1968 from the State University of New York. In the 70s, Paglia attended Yale University and became an administrative follower of literary critic and educator Harold Bloom. Known for denouncing multiculturalism, Bloom often referred to non-traditionalists as the "school of resentment" in his book The Western Cannon. Likewise, Paglia shared much of Bloom's polemicism and was a disciple of his ideas. During a time marked by significant social upheaval, Yale remained steep in traditionalism. And despite the broader atmosphere of revolutionary change, traditional values prevailed. Paglia viewed this 20th-century literary movement as self-contained entities, and while she appreciated the approach, she aimed to contextualize literature within history and psychology with the element of sex. It was in the 90s when Paglia made headlines with her dissertations. After seven rejections, Paglia successfully published her first and most renowned book, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson.
A work of cultural criticism, Sexual Personae explores the intersections of history, art, culture and sexuality. Paglia's provocative and controversial perspective significantly impacted academia, arguing that civilization's greatness stems from the dynamic interplay between male and female, which she symbolizes through Greek Mythology. Paglia introduces the concept of "sexual personae," which refers to enduring cultural archetypes that represent different aspects of human sexuality. In her chapter, Apollo and Dionysus, Paglia compares Apollonian principles to the male-organized society and Dionysus principles to the female nature of chaos. Although an outfashioned comparison, Paglia asserts that these tumultuous gender dynamics can be seen as a driving force behind cultural development and artistic expression.
"There is no female Mozart because there is no female Jack the Ripper” (Paglia 247).
Perhaps one of the most well-known quotes from Sexual Personae comes from Paglia's view of art - motivated by aggression and desire. In her view, Apollo's disciplined qualities are reflected in art forms; thus, men "are anatomically destined to be projectors" (Paglia 18). In other words, male domination in politics, math, and science is an attempt to overcome nature or emotional and expressive femininity. Whereas a man's power in society is driven by his desire "to see, to know, to name, to control," a woman's spirit is limited by her body (Sheets 296). This perspective aligns with Paglia's broader critique of societal structures that, according to her, often restrict and confine women within predefined roles. As such, the cohesion of Western culture lies not in religious tradition but in paganism, which Paglia links to the devotion of visual representations and acceptance of cruelty in nature. Under Paglia's terms, this battle between culture and nature is central to the women's movement's paradox.
Likewise, Sexual Personae states that "sex is power" and thus a lawless force (Paglia 2). Although Paglia is pro-abortion, pro-prostitution and pro-pornography, her beliefs in "date rape" attributes her to controversy. Often described as an anti-feminist, Paglia has publically denounced society, portraying women as passive victims and, instead, emphasizing the importance of personal responsibility. A disciple of the works of Sigmund Freud, Sir James Frazer and Charles Darwin, Paglia asserts that perversion to sex is also a cause of nature. As such, sexual behaviour cannot be institutionalized. This perspective has led to criticism from many traditional feminists who argue that it places blame on the victims rather than addressing broader issues of consent. Furthermore, her stance can be interpreted as suggesting sexual violence is natural or acceptable. Although Paglia makes a compelling argument, her iconoclastic views were widely rejected by the masses, which allowed her critiques to dominate feminist discourse, beginning in the 90s.
Consequently, as historian Richard Hofstadter calls anti-intellectualism, there is a widespread misconception that America is inherently hostile towards theory and knowledge. Although Paglia views sex through contextualizations of literature and academia, the public claims of Paglia being an "anti-feminist" cannot be reduced to a case of anti-intellectualism. Instead, traditional feminism can be seen as a preference for "active aspects of life over the passive and purely reflective operations of the mind (Mack). Likewise, sex is an individualized experience that perhaps cannot always be viewed through theory. Paglia's assertions of sex often "lend credence to her turncoat assertions"; however, the function of a public intellectual lies not within their ability to imbue but rather to criticize (O'Sullivan 111). In this context, the success of Sexual Persanoe can be attributed to Paglia's challenge to the prevailing narratives and ideas of traditional feminism. By challenging these established norms, Paglia exemplifies the quintessential function of a public intellectual- to question and provoke critical discourse.
After her notable breakthrough in the 1990s, Paglia sustained her prolific literary output with a series of publications and became a humanities professor at the University of the Arts in Philadelphia in 1984. One noteworthy addition to her body of work came in 2006 with the release of Break, Blow, Burn, a thought-provoking exploration that provided a fresh and insightful perspective on classic and contemporary poems. Her subsequent contributions to the literary landscape include essay collections like Glittering Images: A Journey Through Art from Egypt to Star Wars (2012) and Free Women, Free Men: Sex, Gender, Feminism (2017). Her most recent offering, published in 2018, is Provocations: Collected Essays on Art, Feminism, Politics, Sex, and Education. This ongoing trajectory highlights Paglia's commitment to engaging with diverse topics, from arts to gender issues, and solidifies her position as a prominent intellectual voice in contemporary discourse.
Today, at 76 years old, Camille Paglia is embroiled in ongoing cultural conflicts. Criticizing the #MeToo movement, she expressed her view that real rape victims would promptly come forward with their claims immediately after the assault. Paglia asserted that universities were foolish for entertaining sexual assault complaints from women who suffered sexual violence from past incidences. Univeristy of the Arts students, unhappy with her remarks, protested to prevent Paglia from delivering her scheduled lecture titled Ambiguous Images: Sexual Duality and Sexual Multiplicity in Western Art. Despite their efforts, however, the lecture proceeded. The university's president, David Yager, took a commendable step by issuing a statement championing the importance of freedom of expression. In an email to the school, Yager emphasized the historical struggles of artists who faced censorship and persecution for expressing their beliefs through their work, asserting, "Not now, not at UArts." Yager's support brought joy to Paglia, who ardently defends free speech and is deeply troubled by the increasing instances of academic censorship. The concern is that if censorship prevails, it could limit the diversity of ideas and perspectives, hinder academic freedom, and perhaps promote anti-intellectualism.
Thirty years later, Sexual Personae continues to spark debate on art, history, gender, freedom of speech and adherence to political correctness. The controversy surrounding the book was espeically roused at Connecticut College, where students suggested adding the book to the institution's summer reading list. From full denunciation to popular demand, the book invited conversations on educational institutions' inclusion of free speech, disputable or not. As a result, Paglia's contributions to academia continue to "prod, poke, and pester" popular culture of the women’s movmenet (Mack). Embracing her mantle as a public intellectual, Camille Paglia undertakes a crucial role, contributing significantly to the intellectual landscape and serving as an indispensable force with profound societal implications. Her endeavours as a thought leader extends beyond discourse, shaping the contours of public dialogue, challenging established norms, and fostering a vibrant intellectual environment. Paglia emerges as a beacon of intellectual dynamism in fulfilling this role, illuminating the intricate interplay between ideas and social evolution.
Work Cited
Mack, Stephen. “The ‘Decline’ of Public Intellectuals.” The New Democratic Review: The Public Intellectual Archives, 14 Aug. 2007, www.stephenmack.com/blog/archives/the_public_intellectual/index.html.
O’Sullivan, Sue. “Camille Paglia’s ‘Sex, Art, and American Culture.’” Feminist Review, no. 49, 1995, pp. 108–14. JSTOR, https://doi.org/10.2307/1395331. Accessed 3 Feb. 2024.
PAGLIA, CAMILLE. “Sex and Violence, or Nature and Art.” Sexual Personae, Yale University Press, 1990, pp. 1–39. JSTOR, http://www.jstor.org/stable/j.ctt1bh4bwb.6. Accessed 3 Feb. 2024.
Sheets, Robin Ann. Journal of the History of Sexuality, vol. 2, no. 2, 1991, pp. 295–98. JSTOR, http://www.jstor.org/stable/3704039. Accessed 3 Feb. 2024.
Work Consulted
“Camille Paglia’s Sexual ‘Realism’: Margaret Harper McCarthy.” Humanum Review, humanumreview.com/articles/camille-paglias-sexual-realism. Accessed 3 Feb. 2024.
Friedersdorf, Conor. “Camille Paglia Can’t Say That.” The Atlantic, Atlantic Media Company, 1 May 2019, www.theatlantic.com/ideas/archive/2019/05/camille-paglia-uarts-left-deplatform/587125.
Simonetti, Silvio. “Camille Paglia: The Fearless Feminist.” Religion & Liberty Online, Religion & Liberty Online, 13 Feb. 2019, rlo.acton.org/archives/106361-camille-paglia-the-fearless-feminist.html.
“The Provocations of Camille Paglia.” City Journal, 23 Mar. 2023, www.city-journal.org/article/the-provocations-of-camille-paglia.
Wright, Chris. “Rambling Reflections on Camille Paglia.” Wright’s Writing, Wright’s Writing, 11 Dec. 2023, www.wrightswriting.com/post/2020/06/05/on-camille-paglia.
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