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In these stories, "Rose" is a beautiful, strong, and enterprising dark-haired girl, while "Candy" is a naïve and more feminine light-haired girl. [19] This dynamic is roughly analogous to the butch and femme dichotomy in broader lesbian culture, and its Japanese equivalent tachi and neko .
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.
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]
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.
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: Everything You Know About 'Feminine Energy' Isn ...
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."
In an interview, Bama has said that she writes because she considers it her duty and responsibility to share the experiences of her people. In addition, she also finds the act of writing cathartic and liberating. For her, "writing itself is a political act", and a "weapon" that she uses to continuously fight against the dehumanizing caste practice.
The Writing or the Sex?, Or, Why You Don't Have to Read Women's Writing to Know It's No Good, Dale Spender (1989) Toward a Feminist Theory of the State, Catharine MacKinnon (1989) "What Battery Really Is", Andrea Dworkin (1989) [513] Weaving the Visions: New Patterns in Feminist Spirituality, edited by Carol P. Christ and Judith Plaskow (1989)