https://libcom.org/files/jeune-fille.pdf

"The Young-Girl has neither opinions nor positions of her own. She takes shelter as soon as she can in the shadow of the winners."

"The Young-Girl wears a mask, and, when she confesses to doing so, it is invariably to suggest that she also has a “true face” that she will not, or cannot, show. But this “true face” is another mask, a terrifying mask: the true face of domination. Indeed, as soon as the Young-Girl “lets the mask fall,” Empire speaks to you directly."

"Like everything that has achieved symbolic hegemony, the Young-Girl condemns as barbaric all physical violence directed toward her ambition for the total pacification of society. She and the dominant power are obsessed with security."

"Often, before decomposing too visibly, the Young-Girl gets married."

"The Young-Girl is good for nothing but consuming; leisure or work, it makes no difference."

"The Young-Girl never creates anything; she re-creates herself."

"By investing youth and women with an absurd symbolic surplus value, by making them the exclusive bearers of the new esoteric knowledge proper to the new social organization—that of consumption and seduction—the Spectacle has thus freed the slaves of the past, but has freed them AS SLAVES."

"The scrawny character of the Young-Girl’s language, though it implies an incontestable retraction of the field of experience, does not in any way constitute a practical handicap, since it’s not made for talking but for pleasing and repeating."

"Blather, curiosity, ambiguity, hearsay; the Young-Girl incarnates the fullness of a misfit existence..."

"The Young-Girl is a lie, the apogee of which is her face."

"The Young-Girl suddenly feels dizzy when the world stops revolving around her."

"The Young-Girl understands herself as the holder of a sacred power: the power of the commodity."

"The mother and the whore, in Weininger’s sense, are both equally present in the Young-Girl. But the one hardly makes her any more praiseworthy than the other makes her blameworthy. Over time, a curious reversibility between the two can even be observed."

"The Young-Girl is she who, being no more than a Young Girl after all, scrupulously obeys the authoritarian distribution of roles."

"The Young-Girl’s love is merely a kind of autism for two."

"The Young-Girl enjoys covering up, with a falsely provocative secondary plane, the primary, economic plane of her motivations."

"The Young-Girl doesn’t just demand that you protect her, she wants to be able to educate you too."

"The Young-Girl brings all greatness down to the level of her ass."

"The Young-Girl enjoys speaking of her childhood with great emotion, to suggest that she hasn’t got beyond it, and that fundamentally she’s remained naive. Like all whores, she dreams of innocence. But, distinct from them, she demands to be believed, and believed sincerely. Her childishness, which is, in the end, but a fundamentalism of infancy, makes her the most cunning vector of the general infantilization."

"When the Young-Girl has come to the end of the age of childishness, where it becomes impossible to not ask herself about ends without suddenly finding herself short of means (which can happen pretty late in this society), she reproduces. Paternity and maternity comprise just another way among others, and no less free of substance, to remain UNDER THE EMPIRE OF NEED."

"In love more than anywhere else, the Young-Girl behaves like an accountant, always assuming that she loves more than she is loved, and that she gives more than she receives."

"The Young-Girl may prove solicitous if you’re really, really unhappy; that’s an aspect of her resentment."

"The supposed liberation of women has not consisted in their emancipation from the domestic sphere, but rather in the extension of that sphere over the whole of society."

"The Young-Girl never stops repeating it: she wants to be loved for who she is—meaning she wants to be loved for the non-being that she is."

"Whatever extent her narcissism reaches to, the Young-Girl doesn’t love herself, what she loves is “her” image, that is, something that’s not just foreign and external, but which, in the full sense of the term, possesses her. And the Young-Girl lives beneath the tyranny of this ungrateful master."