Tomboy is a term referring to girls or young women with masculine traits. It may include wearing androgynous or unfeminine clothing and engaging in physical sports or other activities and behaviors usually associated with boys or men.
Femininity is a set of attributes, behaviors, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviors considered feminine are influenced by both cultural factors and biological factors. To what extent femininity is biologically or socially influenced is subject to debate. It is conceptually distinct from both the female biological sex and from womanhood, as all humans can exhibit feminine and masculine traits, regardless of sex and gender.
A femme fatale, sometimes called a maneater, Mata Hari, or vamp, is a stock character of a mysterious, beautiful, and seductive woman whose charms ensnare her lovers, often leading them into compromising, deadly traps. She is an archetype of literature and art. Her ability to enchant, entice and hypnotize her victim with a spell was in the earliest stories seen as verging on supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, seductress, witch, having power over men. Femmes fatales are typically villainous, or at least morally ambiguous, and always associated with a sense of mystification, and unease.
A gynoid, or fembot, is a feminine humanoid robot. Gynoids appear widely in science fiction films and arts. As more realistic humanoid robot design becomes technologically possible, they are also emerging in real-life robot design. Just like any other robot, the main parts of a gynoid include sensors, actuators and a control system. Sensors are responsible for detecting the changes in the environment while the actuators, also called effectors, are motors and other components responsible for the movement and control of the robot. The control system instructs the robot on what to do so as to achieve the desired results.
Écriture féminine, or "women's writing", is a term coined by French feminist and literary theorist Hélène Cixous in her 1975 essay "The Laugh of the Medusa". Cixous aimed to establish a genre of literary writing that deviates from traditional masculine styles of writing, one which examines the relationship between the cultural and psychological inscription of the female body and female difference in language and text. This strand of feminist literary theory originated in France in the early 1970s through the works of Cixous and other theorists including Luce Irigaray, Chantal Chawaf, Catherine Clément and Julia Kristeva, and has subsequently been expanded upon by writers such as psychoanalytic theorist Bracha Ettinger. who emerged in this field in the early 1990s,
Marisol Escobar, otherwise known simply as Marisol, was a Venezuelan-American sculptor born in Paris, who lived and worked in New York City. She became world-famous in the mid-1960s, but lapsed into relative obscurity within a decade. She continued to create her artworks and returned to the limelight in the early 21st century, capped by a 2014 major retrospective show organized by the Memphis Brooks Museum of Art. The largest retrospective of Marisol's artwork, Marisol: A Retrospective has been organized by the Buffalo AKG Art Museum and curated by Cathleen Chaffee for these museums: the Montreal Museum of Fine Arts, the Toledo Museum of Art, the Buffalo AKG Art Museum, and the Dallas Museum of Art . Although it is supplemented by loans from international museums and private collections, the exhibition draws largely on artwork and archival material Marisol left to the Buffalo AKG Art Museum as a bequest upon her death.
Lord Ruthven is a fictional character. First appearing in print in 1819, in John William Polidori's "The Vampyre", he was one of the first vampires in English literature. The name Ruthven was taken from Lady Caroline Lamb's Glenarvon (1816), where it was used as an unflattering parody of Lord Byron, while the character was based on Augustus Darvell from Byron's "Fragment of a Novel" (1819). "The Vampyre" was written privately, and published without Polidori's consent, with revisions to the story made by Polidori for an unpublished second edition showing that he planned to change the name from Ruthven to Strongmore. The initial popularity of "The Vampyre" led to the character appearing in many translations and adaptations, including plays and operas, and Ruthven has continued to appear in modern works. The Lord Ruthven Award (1989–present) by the Lord Ruthven Assembly is named after the character.
In psychology, womb envy denotes the envy that men may feel of the biological functions of the female. The neo-Freudian psychiatrist Karen Horney (1885–1952) proposed this as an innate male psychological trait. These emotions could fuel the social subordination of women, and drive men to succeed in other areas of life, such as business, medicine, law, and politics. Each term is analogous to the concept of female penis envy presented in Freudian psychology. In this they address the gender role social dynamics underlying the "envy and fascination with the female breasts and lactation, with pregnancy and childbearing, and vagina envy [that] are clues and signs of transsexualism and to a femininity complex of men, which is defended against by psychological and sociocultural means".
Moira Buffini is an English dramatist, director, and actor.
Lipstick feminism is a variety of feminism that seeks to embrace traditional concepts of femininity, including the sexual power of women, alongside traditional feminist ideas. The concept emerged within the third-wave as a response to ideals created by previous movements, where women felt that they could not both be feminine and a feminist.
Barbara Creed 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. Creed is a graduate of Monash and La Trobe universities where she completed doctoral research using the framework of psychoanalysis and feminist theory to examine horror films. She is known for her cultural criticism.
Yamato nadeshiko is a Japanese term meaning the "personification of an idealized Japanese woman." The term is the archetype of conservative and traditional femininity.
The representation of gender in horror films, particularly depictions of women, has been the subject of critical commentary.
Sensible and Sensuality is a collection of essay by Indian feminist writer Sarojini Sahoo. Published in 2010, the book contains the author's view on feminism. Sahoo is a key figure and trend-setter of feminism in contemporary Indian literature. She has been listed among 25 exceptional women of India by Kindle English magazine of Kolkata. For Sahoo, feminism is not a "gender problem" or confrontational attack on male hegemony and, as such, differs from the feminist views of Virginia Woolf or Judith Butler.
Neofeminism describes an emerging view of women as becoming empowered through the celebration of attributes perceived to be conventionally feminine, that is, it glorifies a womanly essence over claims to equality with men. It is a term that has come into use in the early 21st century to refer to a popular culture trend, what critics see as a type of "lipstick feminism" that confines women to stereotypical roles, while it erodes cultural freedoms women gained through the second-wave feminism of the 1960s and 1970s in particular.
Norma Bailey is a Canadian film writer, producer, and director whose work is rooted in feminist and intersectional film theory. Bailey has directed several films, both in English and French and in various different genres, including fiction and non-fiction films. Her prolific career within the film industry has awarded her various awards and professional accolades including being named to the Order of Manitoba in 2010.
In feminist theory, the male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. The concept was first articulated by British feminist film theorist Laura Mulvey in her 1975 essay, Visual Pleasure and Narrative Cinema. Mulvey's theory draws on historical precedents, such as the depiction of women in European oil paintings from the Renaissance period, where the female form was often idealized and presented from a voyeuristic male perspective. Art historian John Berger, in his work Ways of Seeing (1972), highlighted how traditional Western art positioned women as subjects of male viewers’ gazes, reinforcing a patriarchal visual narrative.
Archaic mother is the mother of earliest infancy, whose continuing influence is traced in psychoanalysis, and whose (repressed) presence is considered to underlie the horror film.
In storytelling, the heroine's journey is a female-centric version of the traditional hero's journey template. One origin of the idea is Maureen Murdock's 1990- book The Heroine's Journey: Woman's Quest for Wholeness; Murdock is a Jungian psychotherapist and a student of Joseph Campbell. She developed the guide while working with her female patients. Murdock stated that the heroine's journey is the healing of the wounding of the feminine that exists deep within her and the culture. 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."
"The Laugh of the Medusa" is an essay by French feminist critic Hélène Cixous. Originally written in French as "Le Rire de la Méduse" in 1975, a revised version was translated into English by Paula Cohen and Keith Cohen in 1976. In the essay, Cixous issues an ultimatum: that women can either read and choose to stay trapped in their own bodies by a language that does not allow them to express themselves, or they can use the body as a way to communicate. She describes a writing style, écriture féminine, that she says attempts to move outside of the conventional rules found in patriarchal systems. She argues that écriture feminine allows women to address their needs by building strong self-narratives and identity. This text is situated in a history of feminist conversations that separated women because of their gender especially in terms of authorship. The "Laugh of the Medusa" addresses this rhetoric, writing on individuality and commanding women to use writing and the body as sources of power and inspiration.
