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" "Marriage is in the same state as the Church: both are becoming functionally defunct, as their preachers go about heralding a revival, eagerly chalking up converts in the day of dread. And just as God has been pronounced dead quite often but has this sneaky way of resurrecting himself, so everyone debunks marriage, yet ends up married.
Shulamith Bath Shmuel Ben Ari Firestone (born Feuerstein; January 7, 1945 – August 28, 2012) was a Canadian-American radical feminist writer and activist. Firestone was involved in the early development of second-wave feminism and a founding member of three radical-feminist groups: , , and . In September 1970, Firestone's The Dialectic of Sex: The Case for Feminist Revolution was published and became an influential feminist text.
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Radical Feminism. The two positions we have described usually generate a third, the radical feminist position: The women in its ranks range from disillusioned moderate feminists from NOW to disillusioned leftists from the women's liberation movement. , and include others who had been waiting for just such an alternative, women for whom neither conservative bureaucratic feminism nor warmed-over leftist dogma had much appeal.
Sex class is so deep as to be invisible. Or it may appear as a superficial inequality, one that can be solved by merely a few reforms, or perhaps by the full integration of women into the labour force. But the reaction of the common man, woman, and child - 'That? Why you can't change that! You must be out of your mind!' - is the closest to the truth. ]
The first attempts to confront the modern world have been for the most part misguided. The , a famous example, failed at its objective of replacing an irrelevant easel art (only a few optical illusions and designy chairs mark the grave), ending up with a hybrid, neither art nor science, and certainly not the sum of the two. They failed because they didn’t understand science on its own terms: to them, seeing in the old aesthetic way, it was simply a rich new subject matter to be digested whole into the traditional aesthetic system. It is as if one were to see a computer as only a beautifully ordered set of lights and sounds, missing completely the function itself. The scientific experiment is not only beautiful, an elegant structure, another piece of an abstract puzzle, something to be used in the next collage – but scientists, too, in their own way, see science as this abstraction divorced from life – it has a real intrinsic meaning of its own, similar to, but not the same as, the ‘presence’, the ‘en-soi’, of modern painting. Many artists have made the mistake of thus trying to annex science, to incorporate it into their own artistic framework, rather than using it to expand that framework.