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It has been suggested by Cixous herself that more free and flowing styles of writing such as stream of consciousness, have a more "feminine" structure and tone than that of more traditional modes of writing. This theory draws on ground theory work in psychoanalysis about the way that humans come to understand their social roles.
You might've seen the term "feminine energy" on social media, but what does it mean? Ahead, experts explain the complex and nuanced gender concept:
Binah (understanding and perception) is the great mother, the feminine receiver of energy and giver of form. Binah receives the intuitive insight from Chokmah and dwells on it in the same way that a mother receives the seed from the father, and keeps it within her until it's time to give birth.
Murdock stated that the heroine's journey is the healing of the wounding of the feminine that exists deep within her and the culture. [1] Murdock explains, "The feminine journey is about going down deep into soul, healing and reclaiming, while the masculine journey is up and out, to spirit." [2]
The academic discipline of women's writing is a discrete area of literary studies which is based on the notion that the experience of women, historically, has been shaped by their sex, and so women writers by definition are a group worthy of separate study: "Their texts emerge from and intervene in conditions usually very different from those which produced most writing by men."
The eternal feminine is a communal affair, a sisterhood. However, not all the female figures who appear in the play contribute to the eternal feminine. As van der Laan notes, "Lieschen, who gossips about the misfortunes of Barbara, pregnant out of wedlock, does not possess the qualities later to be associated with the Eternal-Feminine.
[6] Feminist science fiction is sometimes taught at the university level to explore the role of social constructs in understanding gender. [7] Notable texts of this kind are Ursula K. Le Guin's The Left Hand of Darkness (1969), Joanna Russ' The Female Man (1970), Octavia Butler's Kindred (1979), and Margaret Atwood's Handmaid's Tale (1985).
Mulvey discussed aspects of voyeurism and fetishism in the male gaze in her article, "Visual Pleasure and Narrative Cinema".She drew from Alfred Hitchcock's 1954 film, Rear Window, applying terms from Sigmund Freud's theories of psychoanalysis to discuss camera angle, narrative choice, and props in the movie while focusing on the concept of the male gaze.