Virgin Whore Dichotomy

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In psychoanalytic literature, a Madonna-whore complex is the inability to maintain sexual arousal within a committed, loving relationship.[1] First identified by Sigmund Freud, under the rubric of psychic impotence,[2] this psychological complex is said to develop in men who see women as either saintly Madonnas or debased prostitutes. Men with this complex desire a sexual partner who has been degraded (the whore) while they cannot desire the respected partner (the Madonna).[3] Freud wrote: "Where such men love they have no desire and where they desire they cannot love."[4] Clinical psychologist Uwe Hartmann, writing in 2009, stated that the complex "is still highly prevalent in today's patients".[3]
The term is also used popularly, if sometimes with subtly different meanings.
Freud argued that the Madonna–whore complex was caused by a split between the affectionate and the sexual currents in male desire.[5] Oedipal and castration anxiety fears prohibit the affection felt for past incestuous objects from being attached to women who are sensually desired: "The whole sphere of love in such persons remains divided in the two directions personified in art as sacred and profane (or animal) love".[5] In order to minimize anxiety, the man categorizes women into two groups: women he can admire and women he finds sexually attractive. Whereas the man loves women in the former category, he despises and devalues the latter group.[6] Psychoanalyst Richard Tuch suggests that Freud offered at least one alternative explanation for the Madonna–whore complex:
This earlier theory is based not on oedipal-based castration anxiety but on man's primary hatred of women, stimulated by the child's sense that he had been made to experience intolerable frustration and/or narcissistic injury at the hands of his mother. According to this theory, in adulthood the boy-turned-man seeks to avenge these mistreatments through sadistic attacks on women who are stand-ins for mother.[6]
It is possible that such a split may be exacerbated when the sufferer is raised by a cold but overprotective mother[7] – a lack of emotional nurturing paradoxically strengthening an incestuous tie.[8] Such a man will often court someone with maternal qualities, hoping to fulfill a need for maternal intimacy unmet in childhood, only for a return of the repressed feelings surrounding the earlier relationship to prevent sexual satisfaction in the new.[5]
Another theory claims that the Madonna–whore complex derives from the alleged representations of women as either madonnas or whores in mythology and Judeo-Christian theology rather than developmental disabilities of individual men.[9]
Naomi Wolf considered that the sexual revolution had paradoxically intensified the importance of the virgin–whore split, leaving women to contend with the worst aspects of both images.[10] Others consider that both men and women find integrating sensuality and an ideal femininity difficult to do within the same relationship.[11]
Tiziano's Sacred and Profane Love (1514, the sacred-profane title is from 1693) has several interpretations. The clothed woman has said to be dressed as a bride[12][13] and as a courtesan.[12][14] The nude woman seems at first sight to be an allegory of profane love, but 20th-century assessments notice the incense on her hand and the church beyond her.
James Joyce widely utilized the Madonna-whore polarity in his novel A Portrait of the Artist as a Young Man.[15] His protagonist, Stephen Daedalus, sees girls who he admires as ivory towers, and the repression of his sexual feelings for them eventually leads him to solicit a prostitute. This mortal sin drives Stephen's inner conflict and eventual transformation towards the end of the novel.
Alfred Hitchcock used the Madonna–whore dichotomy as an important mode of representing women.[16] In Vertigo (1958), for example, Kim Novak portrays two women that the hero cannot reconcile: a virtuous, blonde, sophisticated, sexually repressed "madonna" and a dark-haired, single, sensual "fallen woman".[17]
The Martin Scorsese films, Taxi Driver and Raging Bull, feature sexually obsessed protagonists, both played by Robert De Niro, who exhibit the Madonna–whore complex with the women they interact with.[citation needed][18]
The singer Madonna played with both identities, especially in her earlier career. Madonna herself declared: "I have always loved to play cat and mouse with the conventional stereotypes. My Like a Virgin album cover is a classic example. People were thinking who was I pretending to be—the Virgin Mary or the whore? These were the two extreme images of women I had known vividly, and remembered from childhood, and I wanted to play with them. I wanted to see if I can merge them together, Virgin Mary and the whore as one and all. The photo was a statement of independence, if you wanna be a virgin, you are welcome. But if you wanna be a whore, it's your fucking right to be so."[19]
^ Kaplan, Helen Singer (1988). "Intimacy disorders and sexual panic states". Journal of Sex & Marital Therapy. 14 (1): 3–12. doi:10.1080/00926238808403902. PMID 3398061.
^ W. M. Bernstein, A Basic Theory of Neuropsychoanalysis (2011) p. 106
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a b Hartmann, Uwe (2009). "Sigmund Freud and His Impact on Our Understanding of Male Sexual Dysfunction". The Journal of Sexual Medicine. 6 (8): 2332–2339. doi:10.1111/j.1743-6109.2009.01332.x. PMID 19493285.
^ Freud, Sigmund (1912). "Über die allgemeinste Erniedrigung des Liebeslebens" [The most prevalent form of degradation in erotic life]. Jahrbuch für Psychoanalytische und Psychopathologische Forschungen. 4: 40–50.
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a b c Sigmund Freud, On Sexuality (PFL 7) p. 251
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a b Tuch, Richard (2010). "Murder on the Mind: Tyrannical Power and Other Points along the Perverse Spectrum". The International Journal of Psychoanalysis 91 (1): 141-162. doi:10.1111/j.1745-8315.2009.00220.x.
^ P. A Sacco, Madonna Complex (2011) p. 48
^ Neville Symington, Narcissism (1993) p. 99
^ Feinman, Clarice. Women in the criminal justice system. Westport, CT: Praeger, 1994, pp. 3–4, ISBN 978-0-275-94486-5.
^ Naomi Wolf, Promiscuities (1997) p. 5 and p. 131
^ Robert Bly/Marion Woodman, The Maiden King (1999) p. 203
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a b Jaffé, David, ed. (2003). Titian. London: The National Gallery Company/Yale. p. 94. ISBN 1-857099036. The painting was listed as #10 in this exhibition, but did not in fact appear)
^ Brown, Beverley Louise (2008). "Picturing the Perfect Marriage: the Equilibrium of Sense and Sensibility in Titian's Sacred and Profane Love". In Bayer, Andrea (ed.). Art and Love in Renaissance Italy. Metropolitan Museum of Art. pp. 239–242. ISBN 978-1588393005.
^ Brown, 240
^ Wegner, Taylor (2018). Gender Performance and Identity Formation in A Portrait of the Artist as a Young Man. University of Illinois at Urbana-Champaign. p. 118.
^ Gay, Volney P. (2001). Joy and the Objects of Psychoanalysis: Literature, Belief, and Neurosis. SUNY series in psychoanalysis and culture. Albany: State University of New York Press. p. 109. ISBN 978-0-7914-5099-4.
^ Gordon, Paul. Dial "M" for Mother: A Freudian Hitchcock. Madison, NJ: Fairleigh Dickinson University Press, 2008, pp. 89–91, ISBN 978-0-8386-4133-0.
^ Ebert, R. (1976, 7 March). Interview with Martin Scorsese | Interviews | Roger Ebert.
^ Voller, Debbi (1999), Madonna: The Style Book, Omnibus Press, p. 18, ISBN 0-7119-7511-6

Posted ThuThursday 17 JunJune 2010 at 8:00am, updated ThuThursday 6 FebFebruary 2020 at 1:02am
Miranda Devine's column in last Saturday's Sydney Morning Herald, in which she bemoans the prevalence of "crotch flashing sluttiness" in raunch culture and champions a return to the exaltation of virginity as its antidote, is a typical but problematic approach to the issue of the exploitation of women's sexuality.
The problem is, by juxtaposing images of Miranda Kerr in naughty schoolgirl attire and Miley Cyrus's vow of chastity, Devine is still framing women's sexuality in one of two ways: the classic virgin/whore dichotomy, whereby a women is either a slut or a picture of innocence.
Such simplistic renderings do not take into account the rich complexity of women's sex lives. By framing abstinence as the only solution to 'trashy' behaviour proponents of 'morality', such as Devine and Wendy Shalit, author of The Good Girl Revolution, refuse to acknowledge that there is more to a woman than whether or not she has sex.
The truth is, chastity, virtue, innocence, whatever cute noun you choose to call it, is not really the opposite of 'raunch', it is merely the flip side of the coin, the 'virgin' to the whore' in that classic dichotomy.
As Jessica Valenti, author of The Purity Myth, states, 'By talking about how you're not having sex, you're still positioning yourself as a sex object.'Likewise, by assuming a higher ground of morality, public advocates of 'chastity' are still foregrounding the notion of sex in the public conscious.
Like Anne Summers who postulated that Australia's frontier women of yester-year were either 'Damned Whores or God's Police', Devine and co indicate that today's young women can either be virginal or crotch flashing slappers. There is, it appears, no in between.
This dichotomy is played out again and again in pop culture. For every Taylor Swift, there is a Lady Gaga, for every Hannah Montana circa 2007 there is a Miley Cyrus version 2010. Young women, it seems, are either lauded for their innocence or derided for their overt sexuality.
But what Swift, Gaga, Montana and Cyrus all have in common is that they all define women in relation to whether or not they have sex. Much as she may like to believe it, Gaga is not the Swift antidote, she is merely the flip side, the 'whore' to the 'virgin', the warning that once you shed the cloak of girlish innocence a life of debauch sluttery awaits you.
In neither case is the idea of sex simply something that a woman does, like eating a meal or wash her hair, rather it becomes the thing that defines her.
Despite calling herself a feminist, Gaga merely uses her G-string to reinforce the tired notion of women's two dimensionality.
Where Swift sings of chaste love and saving yourself for marriage, Gaga lauds violent sex ('if it's not rough, it isn't fun'). In either case, the end result is to quote Valenti, 'putting the focus on…sexual life, whether it's the lack of or having a lot of sex'.
Of course, this juxtaposition is bound to transcend pop and mainstream culture as the feminist blog Gender Across Borders wrote in December 2009.
The author, Elizabeth Switaj, highlights how this classic dichotomy was used in the case of convicted murder Amanda Knox who was found guilty of killing her (sexually innocent) roommate. Knox's defenders framed her as a child-like innocent, an 'Amelie of Seattle' whereas her detractors claimed she was as a sexually insatiable "she-devil" with each camp denying the obvious, that she was most likely neither, but rather a human being, capable of both and good. As we all are.
As Switaj writes 'Murderers are, as much as we might wish to deny it, human; on the other hand, women need not be totally childlike and virginal to be innocent of brutal crimes. The idea that women must be one or the other hurts all of us by denying our basic humanity'.
By postulating purity as the answer to the 'problem' of raunch culture, Devine simply - and simplistically - serves to highlight how society has not yet reached the point where we can judge a woman on more that whether or not she has sex.
It is time to retire the virgin-whore dichotomy, because as almost any woman could tell you, most women are somewhere in between.
Ruby Hamad is a filmmaker and freelance writer currently doing a Masters in Media Practice at the University of Sydney.
Posted 17 JunJune 2010, updated 6 FebFebruary 2020
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