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From ancient Egypt through the nineteenth century, Sexual Personae explores the provocative connections between art and pagan ritual; between Emily Dickinson and the Marquis de Sade; between Lord Byron and Elvis Presley. It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.
- Sales Rank: #54262 in Books
- Published on: 1991-08-20
- Released on: 1991-08-20
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.40" w x 5.20" l, 1.51 pounds
- Binding: Paperback
- 718 pages
Review
"A remarkable book, at once outrageous and compelling, fanatical and brilliant....One must be awed by [Paglia's] vast energy, erudition and wit"--Washington Post Book World
From the Publisher
"A remarkable book, at once outrageous and compelling, fanatical and brilliant....One must be awed by [Paglia's] vast energy, erudition and wit"--Washington Post Book World
From the Inside Flap
From ancient Egypt through the nineteenth century, Sexual Personae explores the provocative connections between art and pagan ritual; between Emily Dickinson and the Marquis de Sade; between Lord Byron and Elvis Presley. It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.
Most helpful customer reviews
81 of 91 people found the following review helpful.
CHANGED MY LIFE
By A Customer
A book this outstanding is rare, as I can see from the customer reviews many have perceived. Paglia's book, which I read when I was 17, crystallized my thoughts on art, sexuality, and human nature: like her I was a freakish female fan of Oscar Wilde, the gay male sensibility, and decadence. I had truly been searching for this book since I was 13 years old and got my first adult public library card, and thereby discovered the endlessly fascinating world of literature and art--the existence of which I'd never suspected. I'll never forget sitting down with this book during Grade 12 Spring Break; my mother and little sisters were away visiting relatives, so I had the house to myself during the day and I sat in the dining room from the time my step-father left for work at about 7 am to the time he returned about 5 pm, reading. It was by far the longest and most difficult book I had ever read, and I took time over it because as other customer reviewers have pointed out, Paglia addresses such profound, disturbing ideas in such original, provocative ways that I did no less than go over my whole life in my head from my earliest memories to test Paglia's ideas. Needless to say, Paglia won more often than not: the myth of original sin is a better explanation of art and human nature than the myth of social constructionism.
If you are truly open to ideas and you love art, don't read this book unless you want your life completely changed for better or worse. Almost ten years later I find myself completely intellectually alienated from both peers and most professors in my university English program because I continue to fight UNCOMPROMISINGLY for art and independent thought (not to mention intellectual rigour and standards and good prose!), thanks to Paglia's inspiration. But it makes it worthwhile when I come on amazon.com and see that others have felt the same way I do. For you others, if you're looking for other *special* works of criticism (neither the run-of-the-mill merely accurate kind nor postmodern drivel), I recommend George Toles's A House Made of Light: Essays in the Art of Film and Stanley Cavell's Pursuits of Happiness: The Hollywood Comedy of Remarriage. If you read them after Paglia you'll have some balance, too, since Toles and Cavell emphasize the link between art and morality, while treating the subject with the complexity it deserves.
0 of 0 people found the following review helpful.
Sexual persona
By Orlando
Very detail analysis of a vast and diverse art forms. Excellent reading. Different perspective. Amazing the way the Camille see all forms of art and the connection to sexual behaviour.
24 of 28 people found the following review helpful.
Caveat Lector!
By Daniel Myers
First Off: There's no way I'm going to cram into a thousand words everything I feel I need to say about this book. Thus, I'll stick to what I regard as the bare bones of its import. The first thing you have to realize is just how much Paglia owes to her mentor, Harold Bloom. I would strongly advise any potential readers of this book to read both The Visionary Company and The Western Canon before embarking into this scintillating morass, however unrealistic an expectation that may be.
This book, despite all the lip service given to the "Appolonian," is deluged with the Chthonian, and the reader will come away from this tome besplattered with the mud and slime of the swampy Chtonian Nature of the world than anything else. Mind you, there's nothing contradictory in this result. It is indeed just what the much-praised Appolinian artist does, according to Paglia: Reveal the Chthonian with a voyeuristic, Spencerian eye. This Paglia does with an elan and flair unmatched in critical writing.
But beware! Paglia, like Bloom, is reductionist. Bloom's ultimate take on more or less the same subject matter with which Paglia treats is Gnosticism, thus ultimately spiritual. Bloom sees a sort of warfare going on between the earthly and chthonian and the spiritual. He resolves this in Gnosticism, an heretical sect that flourished in the early centuries A.D. and maintained that this world is evil, created by a "demiurge" and that the visions of poets like Shelley are nothing less than emanations from another realm. For Paglia, all this is sexual, and Bloom would not deny a sexual element in all of it, but he goes a bit further in explaining it. Prime example: Paglia's "womb/tomb" of the Chthonian is simply a given. In Bloom, it is the prison of our Fall fom the Gnostic other realm. It fits into a cosmology.
There's a very weird realization that comes over the reader (at least this reader) when we come to the Coleridge section on his poem "Christabel" and the vampire Geraldine and continues creeping over him or her until the final chapter on Emily Dickinson. I know no other way of saying this than that Paglia BECOMES Geraldine to the reader. - I agree with her that Emily Dickinson is an extremely powerful and misunderstood poet and, indeed, have spent several ultimately worthwhile hours poring over her short poems to discover the sexual/spiritual depths. But, sorry Camille, Dickinson is just not another Sade altogether. But in the way Paglia presents her, with Sadean snippets of her poetry, the reader who is unfamiliar with the rest of Dickinson's work cannot fail to come away with this conviction. - For the record: I think part of Dickinson's persona is sadomachistic, but it is only a piece of a complex puzzle.
What we are witnessing and in danger of becoming engulfed in (It happened to me.) is Paglia' own mythopoecism. At some point between Christabel and Dickinson, Paglia becomes the subject of her work. We fall in love with her (I did.); but in the way that Christabel does with Geraldine. She lures us into her own imaginative fixation on the Chthonian womb/tomb of the female, and we identify HER with IT.
In conclusion, READ THIS BOOK, if only for the transformative effect it will have on you. In the last page of the book, Paglia says of Emily Dickinson that "She is frightening!" Yes, Camille,.....YOU ARE!
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