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Second-wave feminists, influenced by de Beauvoir, believed that although biological differences between females and males were innate, the concepts of femininity and masculinity had been culturally constructed, with traits such as passivity and tenderness assigned to women and aggression and intelligence assigned to men.
A great deal of writing has been done on the subject. The subject of the Ideal Woman has been treated humorously, [9] [10] theologically, [11] and musically. [12] Examples of "ideal women" are portrayed in literature, for example: Sophie, a character in Jean-Jacques Rousseau's Emile: or, On Education (book V) who is raised to be the perfect ...
In marianismo, Stevens argues, it is the bad woman who enjoys premarital sex, whereas the good woman only experiences it as a marriage requirement. Many women confess of sex with their husbands to their priests by referring to the act as "le hice el servicio" (or "I did him the service"). The belief system also believes that women should grieve ...
Jesus held women personally responsible for their own behavior as seen in his dealings with the woman at the well (John 4:16–18), the woman taken in adultery (John 8:10–11), and the sinful woman who anointed his feet (Luke 7:44–50 and the other three gospels). Jesus dealt with each as having the personal freedom and enough self ...
The feminine beauty ideal is a specific set of beauty standards regarding traits that are ingrained in women throughout their lives and from a young age to increase their perceived physical attractiveness. It is experienced by many women in the world, though the traits change over time and vary in country and culture. [1]
Women focus primarily on the ratio waist to chest or more specifically waist to shoulder. This is analogous to the waist to hip ratio (WHR) that men prefer. Some studies have shown that attractive bodily traits in the eyes of a heterosexual woman would include a tall, athletic physique, with wide shoulders, and a slim waist area. [156]
The eternal feminine, a concept first introduced by Johann Wolfgang von Goethe at the end of his play Faust (1832), is a transcendental ideality of the feminine or womanly abstracted from the attributes, traits and behaviors of a large number of women and female figures.
Of all the women in Moses's life, Pharaoh's wife is the subject of the greatest amount of interpretive literature. There is a large amount of emphasis on her as an example for the believers. [16] Many think of her as a righteous woman because of her role in keeping Moses alive, as shown in Q 28:9.