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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 ...
Women in Ancient Greece wore himations; and in Ancient Rome women wore the palla, a rectangular mantle, and the maphorion. [54] The typical feminine outfit of aristocratic women of the Renaissance was an undershirt with a gown and a high-waisted overgown, and a plucked forehead and beehive or turban-style hairdo. [54]
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]
However, the feminine traits people are attracted to vary. “Some gynosexual individuals may be drawn to the physical aspects of femininity, such as feminine features or expressions of femininity ...
Previously, an androgynous score was thought to be the result of equal masculine and feminine traits, while a sex-typed masculine or feminine score is the result of more traits belonging in one or the other category. The fourth type of score, undifferentiated, was seen as the result of extremely low masculine and feminine traits.
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.
Cultural feminists diverged from radical feminists when they rejected the previous feminist and patriarchal notion that feminine traits are undesirable and returned to an essentialist view of gender differences in which they regard "female nature" as superior. [1] [4] [5]
Indoor Dress by Janet Duer, Vincent Collins from Art & Life, Vol. 11, No. 5 (Nov., 1919), pp. 282–287 (Page 283) "In such gowns every mark of femininism is emphasized that a woman may lay aside all indications of being one of a well-ordered number of women dressed for a certain occasion in a conventional manner, and become really herself."