The Bobbit case, which brought to life the ancient mythic archetype of woman as castrator, demonstrated that women are as aggressive as men and that sex is a dark, dangerous force of nature. But of course the feminist establishment, stuck in its battered-woman blinders, learned nothing as usual from this lurid refutation of its normal views. Classic art works like Bizet's Carmen tell us more about the irrationality of love, jealousy and revenge than do all the pat formulas of the counseling industry.
Camille PagliaRelated topics
aggressive ancient archetype art case classic counseling course dark establishment force women industry irrationality jealousy men life love nature normal nothing pat refutation revenge sex stuck tell usual woman works feminist castratorRelated quotes
If someone offends you, don't tell anyone about it except your elder, and you will be peaceful. Bow to everyone, paying no attention whether they respond to your bow or not. You must humble yourself before everyone and consider yourself the worst of all. If we have not committed the sins that others have, perhaps this is because we did not have the opportunity - the situation and circumstances were different. In each person there is something good and something bad; we usually see only the vices in people and we see nothing that is good.
Ambrose
Unbelievers, those who believe with difficulty, or believe in part, are those who do not show their faith through works. Apart from works the demons also believe (cf. Jms. 2:19) and confess Christ to be God and Master. 'We know Who You are' (Mk. 1:24), they say, 'You are the Son of God' (Mt. 8:29), and elsewhere, 'These men are the servants of the Most High God' (Acts 16:17). Yet such faith will not benefit the demons, nor even humans. This faith is of no use, for it is dead.
Symeon the New Theologian
Women had to work like slaves in the art world, but a lot of men got to the top through their charm. And it hurt them. To be young and pretty didn't help a woman in the art world, because the social scene, and the buying scene, was in the hands of women – women who had money. They wanted male artists who would come alone and be their charming guests. Rothko could be very charming. It was a court. And the artist buffoons came to the court to entertain, to charm. Now it has changed, now the younger men are in – older women and younger men.
Louise Bourgeois
I couldn't portray a women in all her natural loveliness.. ..I haven't the skill. No one has. I must, therefore, create a new sort of beauty, the beauty that appears to me in terms of volume of line, of mass, of weight, and through that beauty interpret my subjective impression. Nature is mere a pretext for decorative composition, plus sentiment. It suggests emotion, and I translate that emotion into art. I want to express the absolute, not merely the factitious woman.
Georges Braque
Many myths and fairy tales tell of a prince, who has been turned into an animal or a monster by sorcery, being saved by a woman. This is a symbolic representation of the development of the animus toward consciousness. Often the heroine may ask no questions of her mysterious lover, or she is only allowed to meet him in darkness. She is to save him through her blind faith and love, but this never works. She always breaks her promise and is only able to find her beloved again after a long quest.
Marie-Louise von Franz
