Since it is in the nature of binary structures to be opposed to one another. "great" art enacts a struggle between
Romanticism and Decadence, paganism and Christianity, woman and man, nature and culture, mother and son, sex and violence, and so forth. This essentialism is used to
prove why culture is destined to be the preserve of the male: culture gives men what they
lack.
Art, culture, literature (Paglia is reckless in her use of the terms) represent a male
desire to appropriate, by whatever means, what he fears, lacks, and/or desires most-the
female, the mother, nature in all her awesome beauty, terror, and cruelty. The psychic
drama of the artist, usually male, is projected into his work in the form of sexual
personae. Fascinated by what he cannot be, the Western artist is in essence driven by the
androgynous-and Paglia presents us with an idiosyncratic taxonomy of androgynes in
her whistle-stop survey of the literary giants. In spite of the subtitle, the only female
writers included are Emily Bronte and Emily Dickinson, who apparently conquer their
biological sex with hermaphrodite personae.
The manipulation of violence and sexuality
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