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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.
[Chinese yīn shade, feminine; the moon.] a. In Chinese philosophy, the feminine or negative principle (characterized by dark, wetness, cold, passivity, disintegration, etc.) of the two opposing cosmic forces into which creative energy divides and whose fusion in physical matter brings the phenomenal world into being.
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.
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 .
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 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)
The urn in Witches seems to contain pieces of the human body, which the witches are seen consuming as a source of energy. Meanwhile, their nudity while feasting is recognized as an allusion to their sexual appetite, and some scholars read the witch riding on the back of a goat-demon as representative of their "flight-inducing [powers]".
Barbara Creed FAHA (born 30 September 1943) is a professor of cinema studies in the School of Culture and Communication at the University of Melbourne.She is the author of six books on gender, feminist film theory, and the horror genre. [1]