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4 " Inferiority is not banal or incidental even when it happens to women. It is not a petty affliction like bad skin or
circles under the eyes. It is not a superficial flaw in an otherwise
perfect picture. It is not a minor irritation, nor is it a trivial
inconvenience, an occasional aggravation, or a regrettable but
(frankly) harmless lapse in manners. It is not a “point of view”
that some people with soft skins find “ offensive. ” It is the deep
and destructive devaluing of a person in life, a shredding of dignity and self-respect, an imposed exile from human worth
and human recognition, the forced alienation of a person from
even the possibility of wholeness or internal integrity. Inferiority
puts rightful self-love beyond reach, a dream fragmented by
insult into a perpetually recurring nightmare; inferiority creates
a person broken and humiliated inside. The fragments—
scattered pieces and sharp slivers of someone who can never
be made whole—are then taken to be the standard of what is
normal in her kind: women are like that. The insult that hurt
her—inferiority as an assault, ongoing since birth—is seen as a
consequence, not a cause, of her so-called nature, an inferior nature. In English, a graceful language, she is even called a
piece. It is likely to be her personal experience that she is insufficiently
loved. Her subjectivity itself is second-class, her experiences
and perceptions inferior in the world as she is inferior
in the world. Her experience is recast into a psychologically
pejorative judgment: she is never loved enough because she is
needy, neurotic, the insufficiency of love she feels being in and
of itself evidence of a deep-seated and natural dependency. Her
personal experiences or perceptions are never credited as having
a hard core of reality to them. She is, however, never loved
enough. In truth; in point of fact; objectively: she is never loved
enough. As Konrad Lorenz wrote: “ I doubt if it is possible to
feel real affection for anybody who is in every respect one’s inferior.
” 1 There are so many dirty names for her that one rarely
learns them all, even in one’s native language. "

Andrea Dworkin , Intercourse

10 " If I walk along a shore towards a ship which has run aground, and the funnel or masts merge into the forest bordering on the sand dune, there will be a moment when these details suddenly become part of the ship, and indissolubly fused with it. As I approached, I did not perceive resemblances or proximities which finally came together to form a continuous picture of the upper part of the ship. I merely felt that the look of the object was on the point of altering, that something was imminent in this tension, as a storm is imminent in storm clouds.

Suddenly the sight before me was recast in a manner satisfying to my vague expectation. Only afterwards did I recognize, as justifications for the change, the resemblance and contiguity of what I call ‘stimuli’— namely the most determinate phenomena, seen at close quarters and with which I compose the ‘true’ world. ‘How could I have failed to see that these pieces of wood were an integral part of the ship? For they were of the same colour as the ship, and fitted well enough into its superstructure.’ But these reasons for correct perception were not given as reasons beforehand. The unity of the object is based on the foreshadowing of an imminent order which is about to spring upon us a reply to questions merely latent in the landscape. It solves a problem set only in the form of a vague feeling of uneasiness, it organizes elements which up to that moment did not belong to the same universe and which, for that reason, as Kant said with profound insight, could not be associated. By placing them on the same footing, that of the unique object, synopsis makes continuity and resemblance between them possible. An impression can never by itself be associated with another impression. "

Maurice Merleau-Ponty , Phenomenology of Perception