_cover.jpg) Cover of the first edition | |
| Author | Camille Paglia |
|---|---|
| Cover artist | Louise Fili |
| Language | English |
| Subject | TheDecadent movement Paganism in art Apollonian/Dionysian opposition Sexualarchetypes |
| Publisher | Yale University Press |
Publication date | 1990 |
| Publication place | United States |
| Media type | Print (Hardcover andPaperback) |
| Pages | 712 |
| ISBN | 9780300043969 |
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson is a 1990 work about sexualdecadence inWestern literature and thevisual arts by scholarCamille Paglia, in which she addresses major artists and writers such asDonatello,Sandro Botticelli,Leonardo da Vinci,Edmund Spenser,William Shakespeare,Johann Wolfgang von Goethe,Samuel Taylor Coleridge,Lord Byron,Emily Brontë, andOscar Wilde. FollowingFriedrich Nietzsche, Paglia argues that the primary conflict in Western culture is between the binary forces of theApollonian and Dionysian,Apollo being associated with order, symmetry, culture, rationality, and sky, andDionysus with disorder, chaos, nature, emotion, and earth.[1] The book became a bestseller,[2] and was praised by numerous literary critics, although it also received critical reviews from numerous feminist scholars.
It was intended to please no one and to offend everyone.
Paglia's discovery ofSimone de Beauvoir'sThe Second Sex in 1963 inspired her to write a book larger in scope.Sexual Personae began to take shape in essays Paglia wrote in college between 1964 and 1968. The title was inspired byIngmar Bergman's filmPersona, which Paglia saw on its American release in 1968. The book was finished in 1981, but was rejected by seven major New York publishers before being released byYale University Press in 1990. Paglia credits editor Ellen Graham with securing Yale's decision to publish the book.Sexual Personae's original preface was removed at the Yale editors' suggestion because of the book's extreme length, but was later published in Paglia's essay collectionSex, Art, and American Culture (1992).[4]
Paglia describesSexual Personae's method as psychoanalytic and acknowledges a debt toSigmund Freud andCarl Jung. Her other major influences wereSir James George Frazer'sThe Golden Bough (1890),Jane Harrison'sProlegomena to the Study of Greek Religion (1903),Oswald Spengler'sThe Decline of the West (1918),D. H. Lawrence'sWomen in Love (1920),Sándor Ferenczi'sThalassa (1924), the works of literary criticsG. Wilson Knight andHarold Bloom,Erich Neumann'sThe Great Mother (1955) andThe Origins and History of Consciousness (1949),Kenneth Clark'sThe Nude (1956),Gaston Bachelard'sThe Poetics of Space (1958),Norman O. Brown'sLife Against Death (1959) andLove's Body (1966), andLeslie Fiedler'sLove and Death in the American Novel (1960). Paglia also acknowledgesastrology as an influence.[4]
Paglia said of the book, "It was intended to please no one and to offend everyone. The entire process of the book was to discover the repressed elements of contemporary culture, whatever they are, and palpate them. One of the main premises was to demonstrate thatpornography is everywhere in major art. Art history as written is completely sex free, repressive and puritanical. I want precision and historical knowledge, but at the same time, I try to zap it with pornographic intensity."[5]
Paglia seeks to demonstrate "the unity and continuity of western culture". Accepting the canonical Western tradition, she "rejects the modernist idea that culture has collapsed into meaningless fragments." Paglia argues thatChristianity did not destroypaganism, which flourishes in art, eroticism,astrology, and popular culture. She examinesantiquity, theRenaissance, andRomanticism from the late eighteenth century to 1900, contending that "Romanticism turns almost immediately intoDecadence." She believes that the "amorality, aggression, sadism, voyeurism, and pornography in great art have been ignored or glossed over by most academic critics" and that sex and nature are "brutal pagan forces." She also stresses the truth in sexual stereotypes and the biological basis of sexual difference, noting that her stance is "sure to cause controversy." Paglia sees the mother as an overwhelming force who condemns men to lifelong sexual anxiety, from which they fleetingly escape throughrationalism and physical achievement.[7]
Portraying Western culture as a struggle betweenphallicsky-religion ("Sky Cult") on the one hand andchthonicearth-religion ("Earth Cult") on the other, Paglia draws on the Greco-Roman polarity between the Apollonian and Dionysian. She associates Apollo with order, structure, and symmetry, and Dionysus with chaos, disorder, and nature. She analyzes literature and art on the premise that the primary conflict in Western culture has always been between these forces. In her view, the major patterns of continuity in Western culture originate in paganism. Other sources of continuity includeandrogyny, sadism, and the aggressive "western eye," which seeks to refine and dominate nature's ceaseless hostility and has created our art and cinema. Paglia criticizes feminists for sentimentality or wishful thinking about the causes ofrape, violence, and poor relations between the sexes.[8]
She prominently argues for the vital role that patriarchy has played in civilizational development, even noting that "Athens became great not despite but because of its misogyny."[9] In one of her most controversial passages, she grounds this claim in what effectively amounts to thevariability hypothesis inevolutionary psychology:
Serial or sex murder, like fetishism, is a perversion of male intelligence. It is a criminal abstraction, masculine in its deranged egoism and orderliness. It is the asocial equivalent of philosophy, mathematics and music.There is no female Mozart because there is no female Jack the Ripper.[10]
But already more conflicted in tone, another one of her main explanations for this asymmetry instead runs:
Male conspiracy cannot explain all female failures. I am convinced that, even without restrictions, there still would have been no female Pascal, Milton, or Kant. Genius is not checked by social obstacles: it will overcome.Men's egotism, so disgusting in the talentless, is the source of their greatness as a sex. [emphasis added] [...] Even now, with all vocations open, I marvel at the rarity of the woman driven by artistic or intellectual obsession, that self-mutilating derangement of social relationship which, in its alternate forms of crime and ideation, is the disgrace and glory of the human species.[11]
The "sexual personae" of Paglia's title include the female vampire (Medusa,Lauren Bacall); the pythoness (theDelphic Oracle,Gracie Allen); the beautiful boy (Hadrian'sAntinous,Dorian Gray); the epicene man of beauty (Byron,Elvis Presley); and the male heroine (the passive male sufferer; for example, the old men inWilliam Wordsworth's poetry).[12] Writers Paglia discusses include Spenser, Shakespeare,Jean-Jacques Rousseau, theMarquis de Sade, Goethe,William Blake, Wordsworth, Coleridge, Byron,Percy Bysshe Shelley,John Keats,Honoré de Balzac,Théophile Gautier,Charles Baudelaire,Joris-Karl Huysmans, Brontë,Algernon Charles Swinburne,Walter Pater,Oscar Wilde,Edgar Allan Poe,Nathaniel Hawthorne,Herman Melville,Ralph Waldo Emerson,Walt Whitman,Henry James, andEmily Dickinson. The works of literature Paglia analyzes include Spenser'sThe Faerie Queene, Shakespeare'sAs You Like It andAntony and Cleopatra, Goethe'sWilhelm Meister's Apprenticeship, Coleridge'sRime of the Ancient Mariner, Byron'sDon Juan, Brontë'sWuthering Heights, and Wilde'sThe Importance of Being Earnest andThe Picture of Dorian Gray.[13]
Works of art to which Paglia applies her analysis of the Western canon include theVenus of Willendorf, theNefertiti Bust,Ancient Greek sculpture, Donatello'sDavid, Botticelli'sBirth of Venus andPrimavera, da Vinci'sMona Lisa andThe Virgin and Child with St. Anne.[12] Paglia questions the sociologistMax Weber's definition ofcharisma, according to which it must be manifested in heroic deeds or miracles, writing that she sees charisma as "the numinous aura around a narcissistic personality" and "the radiance produced by the interaction of male and female elements in a gifted personality", rather than something dependent upon "acts or external effects."[14]
Sexual Personae received critical reviews from numerous feminist scholars. Robin Ann Sheets wrote that Paglia "takes a profoundly anti-feminist stance."[15]Molly Ivins wrote a critical review ofSexual Personae, accusing Paglia of historical inaccuracy, egocentrism, and writing in sweepinggeneralizations.[16] Teresa Ebert denounced the book as "deeply misogynist and rancorous" in theWomen's Review of Books, writing that Paglia uses a biological basis to "justify male domination, violence, and superiority in Western culture."[17] English professorSandra Gilbert describedSexual Personae as "markedly monomaniacal ... bloated, repetitious" and "awkwardly written," adding that it is "so 'essentialist' as to outbiologize even Freud." Gilbert accused Paglia of "vulgarhomophobia" and said she deserved "moral contempt" and "loathes liberalism, egalitarianism, feminism, and Mother Nature."[18] Martha Duffy wrote that the book had a "neoconservative cultural message" that was well-received, but rejected by many feminists.[19] Beth Loffreda censured Paglia, writing, "She garners most of her publicity by loudly and nastily proclaiming everyone wrong on the sensitive issues of gender, sexuality and rape." She concluded, "Hers is a seductiveness of simple answers, of clear narratives, of motivations and actions traced solely to a biological origin—a place stripped of the complex ambiguities, the complex interactions of self, skin, group, and institutions that make up daily life."[20] The critic Mary Rose Kasraie wrote, "Paglia gives no indication she has read any studies related to women, or recent studies about imagination, nature and culture" and had "terrible gaps in her coverage." Kasraie called the work "distractingly antischolarly" and "an unacademic wallow in Sadean sadomasochistic chthonian nature."[21]
Judy Simons criticized Paglia's "potentially sinister political agenda" and decried her "intellectual sleight of hand."[22]Germaine Greer wrote that Paglia's insights intoSappho are "vivid and extremely perceptive", but also "unfortunately inconsistent and largely incompatible with each other".[23] Professor Alison Booth calledSexual Personae an "anti-feminist cosmogony."[24] Literary scholar Marianne Noble wrote that Paglia misreadsadomasochism in Dickinson's poetry, that "Paglia's absolute belief inbiological determinism leads her to pronouncements about female nature that are not only detestable but dangerous, because they routinely receive serious widespread attention in the contemporary culture at large", and that Paglia "derives appalling social conclusions."[25]
Maya Oppenheim ofThe Independent calledSexual Personae a "seminal feminist work."[26] Paglia wrote inFree Women, Free Men (2017) that "academic and establishment feminists" made "vicious attacks" on the book, in most cases without reading it, and that these attacks will stand as "an indictment of the sorry process by which important political movements can undermine themselves through the blind insularity of their ruling coteries."[27]
The criticHelen Vendler gaveSexual Personae a negative review inThe New York Review of Books, writing that while Paglia could be "enlightening and entertaining" when dealing with a subject congenial to her, she failed in her discussions of subjects that demanded more than appreciation of images and stories.[28] In response to a letter of protest from Paglia, Vendler denied thatSexual Personae contained poetry criticism.[29] The criticTerry Teachout, inThe New York Times, calledSexual Personae flawed but "every bit as intellectually stimulating as it is exasperating".[30] The novelistAnthony Burgess calledSexual Personae a "fine, disturbing book. It seeks to attack the reader's emotions as well as his/her prejudices. It is very learned. Each sentence jabs like a needle."[31] Harold Bloom wrote, "Sexual Personae will be an enormous sensation of a book, in all of the better senses of ’sensation.’ There is no book comparable in scope, stance, design, or insight. It compels us to rethink the question of the literary representation of human sexuality."[31] InThe American Religion (1992), Bloom called it a "masterwork" and credited Paglia with a "shrewd and alarming sexual definition of charisma", though he also wrote that its "powerful sexual reductiveness ... necessarily produces distortions when applied to the personality of any prophet whosoever."[32]
Valerie Steele wrote, "Paglia has been attacked as an academic conservative, in league with Allan Bloom and other defenders of the 'Western canon,' but no conservative would be so explicitly approving of pornography, homosexuality, and rock-and-roll."[34] The literature professorRobert Alter wrote inArion, "[O]n purely stylistic grounds, this is one of the few thoroughly enjoyable works of criticism written in the American language in the last couple of decades." He called the book "immensely ambitious, vastly erudite, feisty, often outrageous, and sometimes dazzlingly brilliant."[35] Pat Righelato concluded, "Camille Paglia's syncretic theoretical enterprise invoking Frazer, Freud, Nietzsche, and Bloom, from anthropology to influence theory and psychobiography, is an immense tour de force."[36]
Gerald Gillespie calledSexual Personae "vigorous and capacious," and wrote of Paglia, "Her passion for her subject matter [...] radiates as a beacon of hope for the survival of the Western heritage beyond the current Babylonian captivity of the American academy."[37]Christina Hoff Sommers wrote inWho Stole Feminism? (1994) thatSexual Personae should have led to Paglia being "acknowledged as an outstanding woman scholar even by those who take strong exception to her unfashionable views", and criticized theWomen's Review of Books for calling the book "crackpot extremism" and feminist professors atConnecticut College for comparing it toAdolf Hitler'sMein Kampf.[38] The classical scholarBruce Thornton called it "wild and brilliant", adding, "Even when she's wrong, Paglia is more interesting than any dozen poststructuralist clerks."[39]
The novelistJohn Updike wrote thatSexual Personae "feels less a survey than a curiously ornate harangue. Her percussive style—one short declarative sentence after another—eventually wearies the reader; her diction functions not so much to elicit the secrets of books as to hammer them into submission... The weary reader longs for the mercy of a qualification, a doubt, a hesitation; there is little sense, in her uncompanionable prose, of exploration occurring before our eyes, of tentative motions of thought reflected in a complex syntax."[40] The juristRichard Posner calledSexual Personae "an insightful book, written in a lively manner, though opinionated, uneven, and often difficult to follow", and compared it toAllan Bloom'sThe Closing of the American Mind (1987), writing that they are both examples of "difficult academic works that mysteriously strike a chord with a broad public."[41] The anthropologistMelvin Konner wrote thatSexual Personae is "a powerful account of gender as depicted in Western art and literature."[42] In 2013, the singerDavid Bowie listedSexual Personae among his 100 favorite books.[43]
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