Camille Anna Paglia (/ˈpɑːliə/; born April 2, 1947) is an American
academic and social critic. Paglia has been a professor at the
University of the Arts in Philadelphia, Pennsylvania, since 1984.
Paglia is critical of many aspects of modern culture, and is the
author of Sexual Personae: Art and Decadence from Nefertiti to Emily
Dickinson (1990). She is a critic of American feminism and of
post-structuralism as well as a commentator on multiple aspects of
American culture such as its visual art, music, and film history. In
2005, Paglia was ranked No. 20 on a Prospect/Foreign Policy poll
of the world's top 100 public intellectuals. Her eighth, and
second-largest book, Provocations, will be published by Pantheon in
1 Personal life
4.2 French thought
5.1 Sexual Personae
5.2 Sex, Art and American Culture
5.3 Vamps and Tramps
5.4 The Birds
5.5 Break, Blow, Burn
5.6 Glittering Images
5.7 Free Women, Free Men
8 External links
Paglia was born in Endicott, New York, the eldest child of Pasquale
and Lydia Anne (née Colapietro) Paglia. All four of her grandparents
were born in Italy. Her mother immigrated to the United States at five
years old from Ceccano, in the province of Frosinone, Lazio,
Italy. Additionally, Paglia has stated that her father's side of
the family were from the Campanian towns of Avellino, Benevento, and
Caserta. Paglia attended primary school in rural Oxford, New York,
where her family lived in a working farmhouse. Her father, a
veteran of World War II, taught at the Oxford Academy high
school, and exposed his young daughter to art through books he brought
home about French art history. In 1957, her family moved to Syracuse,
New York, so that her father could begin graduate school; he
eventually became a professor of
Romance languages at Le Moyne
College. She attended the Edward Smith Elementary School,
T. Aaron Levy Junior High and William Nottingham High School.
In 1992 Carmelia Metosh, her
Latin teacher for three years, said, "She
always has been controversial. Whatever statements were being made (in
class), she had to challenge them. She made good points then, as she
does now." Paglia thanked Metosh in the acknowledgements to Sexual
Personae, later describing her as "the dragon lady of
who breathed fire at principals and school boards".
She took a variety of names when she was at Spruce Ridge Camp,
including Anastasia (her confirmation name, inspired by the film
Anastasia starring Ingrid Bergman), Stacy, and Stanley. A
crucially significant event for her was when an outhouse exploded
after she poured too much lime into the latrine. "That symbolized
everything I would do with my life and work. Excess and extravagance
and explosiveness. I would be someone who would look into the latrine
of culture, into pornography and crime and psychopathology... and I
would drop the bomb into it".
For more than a decade, Paglia was the partner of artist Alison
Maddex. Paglia legally adopted Maddex's son (who was born in
2002). In 2007 the couple separated but remained "harmonious
co-parents," in Paglia's words, who lived two miles apart.
Paglia entered Harpur College at
Binghamton University in 1964.
The same year, Paglia's poem "Atrophy" was published in the local
newspaper. She later said that she was trained to read literature
by poet Milton Kessler, who, "believed in the responsiveness of the
body, and of the activation of the senses to literature... And oh did
I believe in that". She graduated from Harpur as class
valedictorian in 1968.
According to Paglia, while in college she punched a "marauding
drunk," and takes pride in having been put on probation for
committing 39 pranks.
Yale as a graduate student, and she claims to have
been the only open lesbian at
Yale Graduate School from 1968 to
1972. At Yale, Paglia quarreled with Rita Mae Brown, whom she
later characterized as "then darkly nihilist," and argued with the New
Haven, Connecticut Women's Liberation Rock Band when they dismissed
Rolling Stones as sexist. Paglia was mentored by Harold
Sexual Personae was then titled "The Androgynous Dream: the
image of the androgyne as it appears in literature and is embodied in
the psyche of the artist, with reference to the visual arts and the
Susan Sontag and aspired to emulate what she called her
"celebrity, her positioning in the media world at the border of the
high arts and popular culture." Paglia first saw Sontag in person on
October 15, 1969 (Vietnam Moratorium Day), when Paglia, then a Yale
graduate student, was visiting a friend at Princeton. In 1973, Paglia,
a militant feminist and open lesbian, was working at her first
academic job at Bennington College. She considered Sontag a radical
who had challenged male dominance. The same year, Paglia drove to an
appearance by Sontag at Dartmouth, hoping to arrange for her to speak
at Bennington, but found it difficult to find the money for Sontag's
speaking fee; Paglia relied on help from Richard Tristman, a friend of
Sontag's, to persuade her to come.
Bennington College agreed to pay
Sontag $700 (twice what they usually offered speakers but only half
Sontag's usual fee) to give a talk about contemporary issues. Paglia
staged a poster campaign urging students to attend Sontag's
appearance. Sontag arrived at Bennington Carriage Barn, where she was
to speak, more than an hour late, and then began reading what Paglia
recalled as a "boring and bleak" short story about "nothing" in the
style of a French New Novel.
As a result of Sontag's
Bennington College appearance, Paglia began to
become disenchanted with her, believing that she had withdrawn from
confrontation with the academic world, and that her "mandarin disdain"
for popular culture showed an elitism that betrayed her early work,
which had suggested that high and low culture both reflected a new
In the autumn of 1972, Paglia began teaching at Bennington College,
which hired her in part thanks to a recommendation from Harold
Bloom. At Bennington, she befriended the philosopher James
Fessenden, who first taught there in the same semester.
Through her study of the classics and the scholarly work of Jane Ellen
Harrison, James George Frazer, Erich Neumann and others, Paglia
developed a theory of sexual history that contradicted a number of
ideas in vogue at the time, hence her criticism of Marija Gimbutas,
Kate Millett and others. She laid out her ideas on
matriarchy, androgyny, homosexuality, sadomasochism and other topics
Yale PhD thesis Sexual Personae: The Androgyne in Literature
and Art, which she defended in December 1974. In September 1976, she
gave a public lecture drawing on that dissertation, in which she
discussed Edmund Spenser's The Faerie Queene, followed by remarks on
Diana Ross, Gracie Allen, Yul Brynner, and Stéphane Audran.
Paglia wrote that she "nearly came to blows with the founding members
of the women's studies program at the State University of New York at
Albany, when they categorically denied that hormones influence human
experience or behavior". Similar fights with feminists and
academics culminated in a 1978 incident which led her to resign from
Bennington; after a lengthy standoff with the administration, Paglia
accepted a settlement from the college and resigned in 1979.
Sexual Personae in the early 1980s, but could not get
it published. She supported herself with visiting and part-time
teaching jobs at Yale, Wesleyan, and other Connecticut colleges. Her
Apollonian Androgyne and the Faerie Queene", was published
in English Literary Renaissance, Winter 1979, and her dissertation was
cited by J. Hillis Miller in his April 1980 article "Wuthering
Heights and the Ellipses of Interpretation", in Journal of Religion in
Literature, but her academic career was otherwise stalled. In a 1995
letter to Boyd Holmes, she recalled: "I earned a little extra money by
doing some local features reporting for a
New Haven alternative
newspaper (The Advocate) in the early 1980s". She wrote articles on
New Haven's historic pizzerias and on an old house that was a stop on
the Underground Railroad.
In 1984, she joined the faculty of the
Philadelphia College of
Performing Arts, which merged in 1987 with the
Philadelphia College of
Art to become the University of the Arts.
Paglia is on the editorial board of the classics and humanities
journal Arion. She wrote a regular column for Salon.com from 1995
to 2001, and again from 2007 to 2009. Paglia resumed writing a
Salon.com column in 2016.
Paglia cooperated with Carl Rollyson and Lisa Paddock in their writing
of Susan Sontag: The Making of an Icon, sending them detailed letters
from which they quoted with her permission. Rollyson and Paddock note
that Sontag "had her lawyer put our publisher on notice" when she
realized that they were investigating her life and career.
Paglia participates in the decennial poll of film professionals
conducted by Sight & Sound which asks participants to submit a
list of what they believe to be the ten greatest films of all time.
According to her responses to the poll in 2002 and 2012, the films
Paglia holds in highest regard include Ben-Hur, Citizen Kane, La Dolce
Vita, The Godfather, The Godfather: Part II, Gone with the Wind,
Lawrence of Arabia, North by Northwest, Orphée, Persona, 2001: A
Space Odyssey, The Ten Commandments, and Vertigo.
In 2005, Paglia was named as one of the top 100 public intellectuals
by the journals Foreign Policy and Prospect. In 2012, an article
New York Times
New York Times remarked that "[a]nyone who has been following
the body count of the culture wars over the past decades knows
Paglia". Paglia has said that she is willing to have her entire
career judged on the basis of her composition of what she considers to
be "probably the most important sentence that she has ever written":
"God is man's greatest idea."
Though Paglia admires Simone de Beauvoir and
The Second Sex
The Second Sex ("the
supreme work of modern feminism... its deep learning and massive
argument are unsurpassed") as well as Germaine Greer, Time
magazine critic Martha Duffy writes that Paglia "does not hesitate to
hurl brazen insults" at several feminists. In an interview, Paglia
stated that to be effective, one has to "name names"; criticism should
be concrete. Paglia stated that many critics "escape into
abstractions", rendering their criticism "intellectualized and
Paglia accused Greer of becoming "a drone in three years" as a result
of her early success; Paglia has also criticized the work of activist
Elaine Showalter calls Paglia "unique in the hyperbole
and virulence of her hostility to virtually all the prominent feminist
activists, public figures, writers and scholars of her generation",
mentioning Carolyn Heilbrun, Judith Butler, Carol Gilligan, Marilyn
French, Zoe Baird, Kimba Wood, Susan Thomases, and
Hillary Clinton as
targets of her criticism. Paglia has accused
Kate Millett of
starting "the repressive, Stalinist style in feminist criticism."
Paglia has repeatedly criticized Patricia Ireland, former president of
the National Organization for Women, calling her a "sanctimonious",
unappealing role model for women whose "smug, arrogant" attitude
is accompanied by "painfully limited processes of thought". Paglia
contends that under Ireland's leadership, NOW "damaged and
marginalized the women's movement".
Martha Nussbaum wrote an essay called "The Professor of
Parody", in which she criticized
Judith Butler for retreating to
abstract theory disconnected from real world problems. Paglia
reacted to the essay by stating that the criticism was "long overdue",
but characterized the criticism as "one PC diva turning against
another". She criticized Nussbaum for failing to make her criticisms
earlier while accusing her of borrowing Paglia's ideas without
acknowledgement. She called Nussbaum's "preparation or instinct for
sex analysis...dubious at best", but nevertheless stated that
"Nussbaum is a genuine scholar who operates on a vastly higher
intellectual level than Butler".
Many feminists have criticized Paglia;
Christina Hoff Sommers
Christina Hoff Sommers calls
her "Perhaps the most conspicuous target of feminist opprobrium,"
noting that the Women's Review of Books described
Sexual Personae as
patriarchy's "counter-assault on feminism". Sommers relates that when
Paglia appeared at a
Brown University forum, feminists signed a
petition censuring her and demanding an investigation into procedures
for inviting speakers to the campus. Some feminist critics have
characterized Paglia as an "anti-feminist feminist", critical of
central features of much contemporary feminism but holding out "her
own special variety of feminist affirmation".
Naomi Wolf traded a series of sometimes personal attacks with Paglia
throughout the early 1990s. In The New Republic, Wolf wrote that
Paglia "poses as a sexual renegade but is in fact the most dutiful of
patriarchal daughters" and characterized Paglia as intellectually
dishonest. In a 1991 speech, Paglia criticized Wolf
for blaming anorexia on the media.
Gloria Steinem said of Paglia
that, "Her calling herself a feminist is sort of like a
they're not anti-Semitic." Paglia called Steinem "the Stalin of
Katha Pollitt calls Paglia one of a "seemingly endless
parade of social critics [who] have achieved celebrity by portraying
not sexism but feminism as the problem". Pollitt writes that Paglia
has glorified "male dominance", and has been able to get away with
things "that might make even
Rush Limbaugh blanch," because she is a
Paglia's view that rape is sexually motivated has been endorsed by
Randy Thornhill and Craig T. Palmer; they
comment that "Paglia ... urges women to be skeptical toward the
feminist 'party line' on the subject, to become better informed about
risk factors, and to use the information to lower their risk of
In an essay critiquing the Hollywood/celebrity fad of "Girl Squads",
made popular in 2015 by pop-icons like Taylor Swift, Paglia argued
that rather than empowering women the cliquish practice actually harms
the self-esteem of those who aren't rich, famous, or attractive enough
to belong to the group, while further defining women only by a very
narrow, often sexualized stereotype. She challenged that to be truly
empowering, these groups need to mentor, advise, and be more
inclusive, for more women to realize their true, individual
Paglia is critical of the influence modern French writers have had on
the humanities, claiming that universities are in the "thrall" of
French post-structuralists; that in the works of Jean Baudrillard,
Jacques Lacan and Michel Foucault, she never once
found a sentence that interested her; and that post-structuralism
has broken the link between the word and the thing, and thus endangers
the Western canon. François Cusset writes that Paglia, like other
major American public intellectuals after World War II, owes her
broader recognition mainly to the political repercussions of polemics
that first erupted on college campuses, in her case to a polemic
against foreign intellectualism. He says she achieved phenomenal
success when she called Foucault a "bastard", thereby providing
(together with Alan Sokal's
Social Text parody) the best evidence for
Paul de Man's view that theory should be defined negatively,
based on the opposition it arouses. However, Paglia's assessment
of French writers is not purely negative. She has called Simone de
The Second Sex
The Second Sex (1949) "brilliant", and identified Jean-Paul
Sartre's work as part of a high period in literature. Paglia has
praised Roland Barthes' Mythologies (1957) and Gilles Deleuze's
Masochism: Coldness and Cruelty (1967), while finding both men's later
work flawed. Of Gaston Bachelard, who influenced Paglia, she wrote
"[his] dignified yet fluid phenomenological descriptive method seemed
to me ideal for art", adding that he was "the last modern French
writer I took seriously".
Paglia characterizes herself as a libertarian. She opposes
laws against prostitution, pornography, drugs, and abortion, and is
also opposed to affirmative action laws. Some of her views
have been characterized as conservative. She is critical of
current transgender discourse and has long rejected what she
describes as "the political agenda that has slowly accrued" around the
issue of climate change. In a 2017 interview with The Weekly
Standard, Paglia stated, "It is certainly ironic how liberals who
posture as defenders of science when it comes to global warming (a
sentimental myth unsupported by evidence) flee all reference to
biology when it comes to gender."
Paglia criticized Bill Clinton for not resigning after the Monica
Lewinsky scandal, which she says "paralyzed the government for two
years, leading directly to our blindsiding by 9/11". In the 2000
U.S. presidential campaign she voted for the Green Party candidate
Ralph Nader, "[because] I detest the arrogant, corrupt superstructure
of the Democratic Party, with which I remain stubbornly
In the 2004 U.S. presidential election, Paglia supported John Kerry;
and in 2008, she supported Barack Obama. In 2012, she supported
Green Party candidate Jill Stein. Paglia was highly critical of
2016 presidential candidate Hillary Clinton, calling her a "fraud" and
a "liar". Paglia refused to support either
Hillary Clinton or
Donald Trump in the 2016 U.S. presidential election, indicating in a
March Salon.com column that if
Hillary Clinton won the Democratic
Party's nomination she would either cast a write-in vote for Bernie
Sanders or else vote for Green Party candidate Stein, as she did in
2012. Paglia later clarified in a statement that she would vote
for Stein. In 2017 she stated that is a registered Democrat, who
Bernie Sanders in the 2016 Democratic primary and for Jill
Stein in the 2016 general election.
Main article: Sexual Personae
Sexual Personae was rejected by at least seven different
publishers before it was published by
Yale University Press, whereupon
it became a best seller, reaching seventh place on the paperback
best-seller list, a rare accomplishment for a scholarly book.
'Paglia called it her "prison book", commenting, "I felt like
Cervantes, Genet. It took all the resources of being Catholic to cut
myself off and sit in my cell."
Sexual Personae has been called an
"energetic, Freud-friendly reading of Western art", one that seemed
"heretical and perverse", at the height of political correctness;
according to Daniel Nester, its characterization of "
William Blake as
Marquis de Sade
Marquis de Sade or
Walt Whitman and
Emily Dickinson as
'self-ruling hermaphrodites who cannot mate' still pricks up many an
English major's ears".
In the book, Paglia argues that human nature has an inherently
dangerous Dionysian or chthonic aspect, especially in regard to
sexuality. Culture and civilization are created by men and
represent an attempt to contain that force. Women are powerful,
too, but as natural forces, and both marriage and religion are means
to contain chaotic forces. A best seller, it was described by
Terry Teachout in a
New York Times
New York Times book review as being both
"intellectually stimulating" and "exasperating". Sexual Personae
received critical reviews from numerous feminist scholars. Anthony
Sexual Personae as "a fine disturbing book" that
"seeks to attack the reader's emotions as well as his or her
Sex, Art and American Culture
Sex, Art and American Culture: Essays (1992) is a collection of short
pieces, many published previously as editorials or reviews, and some
transcripts of interviews. The essays cover such subjects as
Madonna, Elizabeth Taylor, rock music, Robert Mapplethorpe, the
Clarence Thomas Supreme Court nomination, rape, Marlon Brando, drag,
Milton Kessler, and academia. It made the
New York Times
New York Times bestseller
list for paperbacks.
Vamps and Tramps
Vamps and Tramps: New Essays (1994) is a collection of 42 short
articles and a long essay, "No Law in the Arena: a Pagan Theory of
Sexuality". It also contains a collection of cartoons from newspapers
about Paglia. Writing for The New York Times, Wendy Steiner wrote
"Comic, camp, outspoken, Ms. Paglia throws an absurdist shoe into the
ponderous wheels of academia". Michiko Kakutani, also writing for
The New York Times, wrote: "Her writings on education ... are
highly persuasive, just as some of her essays on the perils of
regulating pornography and the puritanical excesses of the women's
movement radiate a fierce common sense... Unfortunately, Ms. Paglia
has a way of undermining her more interesting arguments with flip,
In 1998, and in commemoration of the 35th anniversary of the release
of Alfred Hitchcock's The Birds, the British Film Institute
commissioned Paglia to write a book about the film. Paglia's book
interprets the film as "in the main line of British Romanticism
descending from the raw nature-tableaux and sinister femme-fatales of
Coleridge". Paglia uses a psychoanalytic framework to interpret
the film as portraying "a release of primitive forces of sex and
appetite that have been subdued but never fully tamed".
Break, Blow, Burn
Break, Blow, Burn:
Camille Paglia Reads Forty-three of the World's
Best Poems (2005) is a collection of 43 short selections of verse with
an accompanying essay by Paglia. The collection is oriented
primarily to those unfamiliar with the works.
Clive James noted
that Paglia tends to focus on American works as it moves from
Shakespeare forward through time, with Yeats, following Coleridge, as
the last European discussed, but emphasized her range of sympathy
and her ability to juxtapose and unite distinct art forms in her
analysis. Christopher Nield remarked that Paglia has "a rare gift
to capture a poem's mood and scene in terse, spiky phrases of
descriptive insight" and exhibits brilliance, but also notes that some
of her selections from recent writers fall flat. He also praises her
pedagogical slant towards basic interpretation, suggesting that her
approach might be what is required to reinvigorate studies in the
Main article: Glittering Images
Glittering Images: A Journey Through Art from Egypt to Star Wars
(2012) is a series of essays about notable works of art from ancient
to modern times, published in October 2012. Writer John Adams of
New York Times
New York Times Book Review was skeptical of the book, accusing it
of being "so agenda driven and so riddled with polemic asides that its
potential to persuade is forever being compromised". Gary Rosen of
The Wall Street Journal, however, praised the book's "impressive
range" and accessibility to readers.
Free Women, Free Men
Paglia's Free Women, Free Men: Sex, Gender, and Feminism was published
by Pantheon in 2017. It is a series of essays from 1990 onward.
Dwight Garner in the
New York Times
New York Times said Paglia's essays address two
main targets: modern feminism, which, Paglia writes, "has become a
catchall vegetable drawer where bunches of clingy sob sisters can
store their moldy neuroses," and modern American universities, of
which she asks, "How is it possible that today’s academic left has
supported rather than protested campus speech codes as well as the
grotesque surveillance and overregulation of student life?"
Her fourth essay collection, Provocations: Collected Essays, is to be
published by Pantheon on October 9, 2018. It will cover topics
from "Picasso to punk rock, from religion to Rihanna," and according
to the publisher will present her take "on the rise of the right, the
death of Prince, developing a writing style, the state of LGBT
activism, and presidents past and present (to name just a few
Paglia, Camille (1974). Sexual Personae: The Androgyne in Literature
and Art (Thesis).
— (1990). Sexual Personae: Art and Decadence from Nefertiti to Emily
Dickinson. ISBN 0-679-73579-8.
— (1992), Sex, Art and American Culture: Essays,
— (1994). Vamps and Tramps: New Essays.
The Birds (BFI Film Classics) (1998) ISBN 0-851-70651-7
Break, Blow, Burn:
Camille Paglia Reads Forty-three of the World's
Best Poems (2005) ISBN 0-375-42084-3
Glittering Images: A Journey Through Art from Egypt to Star Wars
(2012) ISBN 978-0-375-42460-1
Free Women, Free Men: Sex, Gender, and Feminism (2017)
Provocations: Collected Essays (2018) ISBN 978-1524746896
^ a b Birnbaum, Robert (August 3, 2005). "Birnbaum v. Camille Paglia"
(interview). The Morning News.
^ Handler, Richard (May 23, 2009). "An atheist's defence of religion:
The paradox of Camille Paglia, the cultural gunslinger". CBC
^ "Prospect/FP Top 100 Public Intellectuals Results". October 15,
2005. Retrieved March 1, 2016.
^ a b Patterson, Christina (2012-08-25). "
Camille Paglia - 'I don't
get along with lesbians at all. They don't like me, and I don't like
them'". The Independent. Retrieved 2017-05-30.
^ Paglia 1994, p. 61.
^ "Arcadia", Financial Times, p. 22, March 15, 1997
^ "Pasquale J. Paglia", Syracuse Herald Tribune (obit)format=
requires url= (help), January 23, 1991
^ a b c d e f Duffy, Martha (January 13, 1992). "The Bête Noire of
Feminism: Camille Paglia". Time.
^ a b c Paglia, Camille (January 26, 2000). "My Education". The
^ McKeever, James 'Jim' (November 22, 1992). "Hurricane Camille".
Syracuse Herald American. Syracuse, New York.
^ Paglia 1994, p. 428-429.
^ Lavin, Cheryl (December 8, 1994). "Camille Paglia!". Chicago
Tribune. Retrieved January 18, 2017.
^ a b c Steiner, Wendy (November 20, 1994). "Advertisements for
Themselves". The New York Times.
^ Hamilton, William L (March 11, 1999). "In a New Museum, a Blue
Period". The New York Times.
^ Lauerman, Kerry (April 7, 2005). "Camille Paglia: Warrior for the
^ a b Wente, Margaret (October 18, 2007). "Camille Paglia: Hillary
Clinton can't win – and shouldn't". The Globe and Mail.
^ "Camille Paglia: Gay Activists 'Childish' for Demanding Rights".
Towleroad. June 25, 2009. Retrieved June 28, 2012.
^ a b c d e Showalter, Elaine (2002), Inventing Herself: Claiming a
Feminist Intellectual Heritage, London: Picador
^ "Atrophy". The Post-Standard. Syracuse, New York. April 12,
^ a b Nester, Daniel (April 2005). "An interview with Camille Paglia".
bookslut.com. Bookslut. Retrieved June 28, 2012.
^ Savage, Dan (September 28 – October 4, 1992). "Interview". The
^ "Letter to the Editor", Camille Paglia, "Chronicle of Higher
Education", June 17, 1998.
^ Paglia, Camille A (February 13, 1972), To Professor Carolyn Heilbrun
(letter)format= requires url= (help), Austin, Texas: Knopf Archive,
Humanities Research Center
^ a b c Rollyson, Carl; Paddock, Lisa (2000), Susan Sontag: The Making
of an Icon, New York: WW Norton & Co
^ a b Findlay, Heather (September 2000), "Interview", Girlfriends
^ Paglia 1994a, p. 202.
^ "Lecture by Camille Paglia", Bennington Banner, September 20,
^ Interview, November 2002
^ Paglia, Camille (June 17, 1998), "Letter to the Editor", Chronicle
of Higher Education
^ Paglia, Camille (February 1995), To Boyd Holmes (letter)
^ "About Arion". Boston University. Archived from the original on July
8, 2012. Retrieved June 28, 2012.
^ Paglia, Camille (February 12, 2016). ""
Sexism has nothing to do with
Camille Paglia on Hillary Clinton,
Gloria Steinem - and why New
Hampshire women broke for Bernie Sanders". Salon.
^ How the directors and critics voted: Camille Paglia, UK: Sight &
Sound via BFI, 2002
^ Camille Paglia, UK: Sight & Sound via BFI, 2012
^ a b Adams, John (November 30, 2012). "Paglia on Art". The New York
Times. Retrieved July 7, 2014.
^ "Camille Paglia". Big Ideas. TVO. 7 November 2009. Archived from the
original on 24 May 2012.
^ John Rodden (2001). Performing the Literary Interview: How Writers
Craft Their Public Selves. U of Nebraska Press. p. 174.
^ Crawford, Leslie (June 5, 1999). "Kate Millett, the ambivalent
^ Why I Go for Women with Big Beaks, April 29, 1997, archived from the
original on December 30, 2008
^ Men and their Discontents, October 14, 1974, archived from the
original on April 27, 2010
^ Paglia, Camille (December 6, 2000). "The Peevish Porcupine Beats the
Shrill Rooster". Salon. Archived from the original on February 6,
2009. Retrieved June 28, 2012.
^ Boynton, Robert (21 Nov 1999). "Who Needs Philosophy?". New York
Times. Retrieved 12 December 2015.
^ "Butler vs. Nussbaum", Salon, February 24, 1999
^ Sommers, Christina Hoff (1995), Who Stole Feminism? How Women Have
Betrayed Women, New York: Simon & Schuster
^ Loptson, Peter (1998). Readings on human nature. Broadview Press.
p. 490. ISBN 1-55111-156-X.
^ Wolf, Naomi (March 16, 1992), "Feminist Fatale", The New Republic,
^ Paglia, Camille (April 13, 1992), "Wolf Pack", The New Republic,
^ Wolf, Naomi; Paglia, Camille (May 18, 1992), "The Last Words", The
New Republic, pp. 4–5
^ Viner, Katharine (August 31, 2001). "Stitched up". The Guardian.
^ Paglia (September 19, 1991), Gifts of Speech (lecture), Cambridge,
^ Fields, Suzanne (May 14, 1992). "New enemies list for some of you
feminists". Reading Eagle.
^ Blinkhorn, Lois (December 6, 1992). "Ideas flying, a maverick breaks
the feminist mold". The Milwaukee Journal.
^ Pollitt, Katha (November 1997). "Feminism's Unfinished Business".
The Atlantic. Retrieved May 25, 2008.
^ Thornhill, Randy; Palmer, Craig T (2000), A Natural History of Rape:
Biological Bases of Sexual Coercion, Cambridge, Massachusetts: MIT
Press, p. 183
^ Paglia, Camille (12 October 2015). "
Camille Paglia Takes on Taylor
Swift, Hollywood's #GirlSquad Culture". The Hollywood Reporter.
^ a b Baird, Julia (April 8, 2005). "Hark, a libertarian looks to her
right". The Sydney Morning Herald.
^ Paglia, Camille (April 11, 2007). "Real inconvenient truths".
^ a b Nield, Christopher (May 17, 2005). "Book Review: Break Blow Burn
by Camille Paglia". The Epoch Times.
^ Cusset, François (2008), French Theory: How Foucault, Derrida,
Deleuze & Co. Transformed the Intellectual Life of the United
States, Minneapolis: University of Minnesota Press, pp. XVIII,
^ Paglia 1992, p. 243.
^ Paglia 1994a, p. 232.
^ "Of Versace and killer prom queens", Salon, p. 2, July 22,
1997, archived from the original on April 11, 2008
^ Pagila, Camille (April 23, 2014). "The Drinking Age Is Past Its
^ Postrel, Virginia (August–September 1995). "Interview with the
^ a b Killough, George (December 20, 1992). "Paglia attacks political
correctness". Reading Eagle. Reading, Pennsylvania: William S.
^ a b c Last, Jonathan V. "Camille Paglia: On Trump, Democrats,
Transgenderism, and Islamist Terror". The Weekly Standard. Retrieved
June 15, 2017.
^ Paglia, Camille (June 11, 2007). "Real inconvenient truths".
^ a b "Who's Getting Your Vote?". Reason. November 2004. Retrieved
October 27, 2008.
^ Paglia, Camille (April 20, 2008). "Why Women Shouldn't Vote for
Hillary Clinton". The Daily Telegraph. London. Retrieved April 28,
^ Lauerman, Kerry (October 10, 2012). "In "Glittering" return, Paglia
lets loose". Salon.
^ Gillespie, Nick; Krainin, Todd (March 19, 2015). "Everything's
Camille Paglia Is Unhappy!". Reason. Retrieved May 20,
^ Paglia, Camille (March 25, 2016). "Camille Paglia: This is why
Trump's winning, and why I won't vote for Hillary". Salon. Retrieved
May 15, 2016.
^ THR Staff (November 8, 2016). "Which Hollywood Stars are Voting for
Third-Party Candidates?". The Hollywood Reporter. Retrieved November
^ a b Romano, Karen (December 9, 1990). "Camille Paglia's 'Sexual
Personae' provokes amusement, outrage". The News. Knight-Ridder.
^ Teachout, Terry (July 22, 1990). "Siding With the Men". The New York
^ See the following:
Gilbert, Sandra M. (Winter 1992). "Review: Freaked Out: Camille
Paglia's Sexual Personae". The Kenyon Review. Kenyon College. 14 (1):
158–164. JSTOR 4336635.
Lofreda, Beth (1992). "Of Stallions and Sycophants: Camille Paglia's
Sexual Personae". Social Text. Duke University Press. 30: 121–124.
doi:10.2307/466472. JSTOR 466472.
Kasraie, Mary Rose (November 1993). "Book Reviews: Sexual Personae:
Art and Decadence from Nefertiti to
Emily Dickinson by Camille
Paglia". South Atlantic Review. South Atlantic Modern Language
Association. 58 (4): 132–135. doi:10.2307/3201015.
Booth, Alison (Winter 1999). "The Mother of All Cultures: Camille
Paglia and Feminist Mythologies". The Kenyon Review. Kenyon College.
21 (1): 27–45. JSTOR 4337811.
Sheets, Robin Ann (October 1991). "Book Reviews: Sexual Personae: Art
and Decadence from Nefertiti to
Emily Dickinson by Camille Paglia".
Journal of the History of Sexuality, special issue, Part 1: The State,
Society, and the Regulation of Sexuality in Modern Europe. University
of Texas Press. 2 (2): 205–298. JSTOR 3704039.
Ebert, Teresa L. (October 1991). "Review: The Politics of the
Outrageous". The Women's Review of Books. Wellesley Centers for Women.
9 (1): 12–13. doi:10.2307/4021115. JSTOR 4021115.
Noble, Marianne (2000). "Notes to Chapter 5 (note 1)". In Noble,
Marianne. The masochistic pleasures of sentimental literature.
Princeton, New Jersey:
Princeton University Press. pp. 225–226.
Simons, Judy (August 1994). "Book Reviews: Sexual Personae: Art and
Decadence from Nefertiti to
Emily Dickinson by Camille Paglia". The
Review of English Studies. Oxford University Press. 45 (179):
451–452. doi:10.1093/res/XLV.179.451. JSTOR 518881.
^ Burgess, Anthony (April 27, 1990). "Creatures of decadent light and
violent darkness: Sexual Personae: Art and Decadence from Nefertiti to
Emily Dickinson". The Independent. London. p. 19.
^ "Paperback Best Sellers". The New York Times. January 10,
^ Steiner, Wendy (November 20, 1994), "Advertisements for Themselves",
The New York Times
^ Kakutani, Michiko (November 15, 1994), "The Rise of a
Self-Proclaimed Phenomenon", The New York Times
^ John P. McCombe, "The Birds and Hitchcock's Hyper-Romantic Vision"
in Marshall Deutelbaum and Leland A. Poague, A Hitchcock Reader, p.266
John Wiley & Sons, March 10, 2009
^ McCombe p.267
^ a b c d James, Clive (March 27, 2005). "Well Versed". The New York
^ Book description on Random House website.
^ Rosen, Gary. "The Pagan Aesthetic". The Wall Street Journal.
Retrieved February 7, 2014.
^ "Free Women, Free Men". Retrieved March 15, 2017.
^ Garner, Dwight (2017-03-23). "From Camille Paglia, 'Free Women, Free
Men' and No Sacred Cows". The New York Times. ISSN 0362-4331.
^ Provocations by
Camille Paglia PenguinRandomHouse.com.
Paglia, Camille (1992), Sex, Art and American Culture: Essays,
— (1994a), Vamps and Tramps: New Essays,
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