Female Embodiment Quotes

There seems to be a fear that if men are raised to be people of integrity, people who can love, they will be unable to be forceful and act violently if needed.... We see that females that are raised with the traits any person of integrity embodies can act with tenderness, with assertiveness, and with aggression if and when aggression is needed.

[On Female Attraction to Men in Uniform] That male military persona feeds a subconscious, passive-aggressive female desire to dominate the warrior as he is perceived an iconic example of masculinity (particularly amongst traditionally warlike cultures). The damsel in distress theme always struck me as embodying this: the hapless, innocently beautiful woman unwittingly enraptures the heroic male so completely that he would risk all to submit to her at his own peril, and quite in spite of it.

Finally, I’d say to anyone who wants to tell these tales, don’t be afraid to be superstitious. If you have a lucky pen, use it. If you speak with more force and wit when wearing one red sock and one blue one, dress like that. When I’m at work I’m highly superstitious. My own superstition has to do with the voice in which the story comes out. I believe that every story is attended by its own sprite, whose voice we embody when we tell the tale, and that we tell it more successfully if we approach the sprite with a certain degree of respect and courtesy. These sprites are both old and young, male and female, sentimental and cynical, sceptical and credulous, and so on, and what’s more, they’re completely amoral: like the air-spirits who helped Strong Hans escape from the cave, the story-sprites are willing to serve whoever has the ring, whoever is telling the tale. To the accusation that this is nonsense, that all you need to tell a story is a human imagination, I reply, ‘Of course, and this is the way my imagination works.

Yes, she is in love with him, and yes, in spite of his qualms and inner hesitations, he loves her back, however improbable that might seem to him. Note here for the record that he is not someone with a special fixation on young girls. Until now, all the women in his life have been more or less his own age. Pilar therefore does not represent an embodiment of some ideal female type for him--she is merely herself, a small piece of luck he stumbled across one afternoon in a public park, an exception to every rule.

Defining women as the people whose bodies developed along the female reproductive pathway is limiting only if you regard female embodiment as limiting.

dont beg a boy to be a man dont beg him to change dont beg for flowers dont beg for reassurance dont beg for him to post you dont beg for a call back dont beg for the bare minimum

For a nymphomaniac like myself, I suppose there could be no job more suitable than prostitution; it is my God-given destiny. No matter how violent a man might be, or how ugly, at the moment we're in the act I cannot help but love him. And what's more I'll grant his every wish, no matter how shameful. In fact, the more twisted my partner is, the more attracted I will be to him, because my ability to meet my lover's demands is the one way I can feel alive. That is my virtue. It is also my biggest flaw. I can't deny a man. I'm like a vagina incarnate—female essence embodied. If I ever were to deny a man, I would stop being me.

Females in general are embodiment of alluring mysteries that is beyond mortal capacity to decipher or understand.

There was a muchacha who lived near my house. La gente del pueblo talked about her being una de las otras, “of the Others.” They said that for six months she was a woman who had a vagina that bled once a month, and that for the other six months she was a man, had a penis and she peed standing up. they called her half and half, mita’ y mita‘, neither one nor the other but a strange doubling, a deviation of nature that horrified, a work of nature inverted. But there is a magic aspect in abnormality and so-called deformity. Maimed, mad, and sexually different people were believed to posess supernatural powers by primal cultures’ magico-religious thinking. For them, abnormality was the price a person had to pay for her or his inborn extraordinary gift. There is something compelling about being both male and female, about having an entry into both worlds. Contrary to some psychiatric tenets, half and halfs are not suffering from a confusion of sexual identity, or even from a confusion of gender. What we are suffering from is an absolute despot duality that says we are able to be only one or the other. It claims that human nature is limited and cannot evolve into something better. But I, like other queer people, am two in one body, both male and female. I am the embodiment of the heiros gamos: the coming together of opposite qualities within.

Aranu’tiq” is a word that comes from an indigenous population in Alaska. It describes a person who embodies both a male and a female spirit, and Aranu’tiq people are considered very special because it means they can see beyond a lot of the normal boundaries of the world and view things in all sorts of different ways. “Two-Spirit” is a similar Native American term. Mom

Historically, ignorance has been a form of grace for the good woman; education was denied women to keep them morally good. The elevation of a woman requires that she have this innocence, this purity, this chastity: she must not know the world, which men embody. The worship of a woman or a female religious symbol is often the unmediated worship of chastity. The virgin is the great religious symbol of female good, the female who is by nature (in her body) good, who embodies the good. The awe and honor accorded the chaste female by men are frequently pointed to to show that men do not hate or degrade women, that men worship, adore, and admire women. The morally superior nature of women is honored mostly in the abstract, and women are worshiped mostly in the abstract. The worship is worship of a symbol— a symbol manipulated to justify the uses to which fallen women are put. The morally good woman is put on a pedestal—a small, precarious, raised stage, often mined, on which she stands for as long as she can—until she falls off or jumps or it goes boom.

I felt drained and frustrated (not to mention flat-out dirty) operating within a framework that positioned the criminal legal system as the primary remedy for sexual violence. The prison-industrial complex, to which the mainstream rape crisis movement is intimately and often unquestioningly linked, is an embodiment of nonconsent used to reinforce race and class inequality. Prisons take away the rights of people, primarily poor people of color, to control their own lives and bodies. This is glaringly apparent when one sits in a courtroom and observes the ways in which race, class, and power intersect in this space. How, then, do we as a movement whose fundamental principle is consent see this as an appropriate solution? A successful anti-rape movement will focus not only on how rape upholds male supremacy, but also on how it serves as a tool to maintain white supremacy and myriad other oppressive systems. When this is done, the importance of creating alternative ways to address violence becomes more apparent, and the state-sponsored systems that reproduce inequality seem less viable options for true transformative change.

Man" it was said, had two natures, a rational nature and an animal or bodily nature. These two natures, it was thought, were continually at war with each other. Whereas reason should have been able to rule the body, all too often, it seemed, the body asserted its own needs and desires. The practice of asceticism, in the East as well as the West, arose out of the attempt to control the unruly body through denial and sometimes punishment. While women also practiced asceticism, the literature of asceticism, written primarily by men, is filled with images equating the temptations of the body with women and the female body. Instead of accepting the changing body as part of the self, asceticism attempted to deny it. Great cruelty to the self and the body have al too often been the fruits of this view.

Here’s the problem: Explaining female behavior—particularly behavior that is seen as overly aggressive, unbalanced, or somehow out of character for that girl or woman—by attributing it to sex hormones is a gross and damaging oversimplification. In essence, it says that females have little to no control over their actions because they are governed by their biology. But that dumbed-down interpretation overshadows something valuable, important, and life changing for both women and men. In fact, women’s hormone cycles embody half a billion years of evolutionary wisdom.

And as for Aurora being a female, her status as a team member embodies her as an asexual presence.” “Gee, thanks.” “It wasn’t a compliment.” “No kidding.”  A & E Kirk (2014-05-26). Drop Dead Demons: The Divinicus Nex Chronicles: Book 2 (Divinicus Nex Chronicles series) (p. 169). A&E Kirk. Kindle Edition.

Mrs de Winter’s obsession with her insures that Rebecca will triumph over anonymity and effacement. Even a bullet through the heart, and burial at sea cannot quench her vampiric power. Again, one is reminded of Plath’s embodiment of amoral, anarchic female force – I rise with my red hair/And I eat men like air.

Maimed, mad and sexually different people were believed to possess supernatural powers by primal cultures' magico-religious thinking. For them, abnormality was the price a person had to pay for her or his inborn extraordinary gift. There is something compelling about being both male and female, about having an entry into both worlds. Contrary to some psychiatric tenets, half and halfs are not suffering from a confusion of sexual identity, or even from a confusion of gender. What we are suffering from is an absolute despot duality that says we are able to be only one or the other. It claims that human nature is limited and cannot evolve into something better. But I, like pother queer people, am two in one body, both male and female. I am the embodiment of the hieros gamos: the comig together of opposit qualities within.

It had been a long time since a woman had aroused his interest as Amelia Hathaway had. The moment he had seen her standing in the alley, wholesome and pink-cheeked, her voluptuous figure contained in a modest gown, he had wanted her. He had no idea why, when she was the embodiment of everything that annoyed him about Englishwomen. It was obvious Miss Hathaway had a relentless certainty in her own ability to organize and manage everything around her. Cam’s usual reaction to that sort of female was to flee in the opposite direction. But as he had stared into her pretty blue eyes, and seen the tiny determined frown hitched between them, he had felt an unholy urge to snatch her up and carry her away somewhere and do something uncivilized. Barbaric, even. Of course, uncivilized urges had always lurked a bit too close to his surface.

Although scholars such as Butler have debated such approaches as reinforcing problematic identity models and creating an either/or distinction, Lather is referring to the power of using the discouraged discourse as an act of transgression. Thus, embodiment and reflexivity are tools used to disrupt current language and assumptions about the value of female bodies through a voluptuous validity. The term "voluptuous" is not used as an objectification of a sexualised body, as seen through the male gaze, but rather as an ownership of the body through a somantic fullness. Characteristics associated with female, body, fluids, excess, undisciplined, and out of order aspects are purposively used as an act of rebellion against patriarchal taboos.

Title IX opened a door fifty years ago that can never be closed again, but equality doesn’t end at the equal right to play. True equality in sports, like any other industry, requires rebuilding the systems so there’s an equal chance to thrive. I’m just one person telling a story to bring an embodied experience of the female athlete to life. I can’t create policy or NCAA best practices, or medical guidelines, but I have some ideas of where to start. We need policies like those created around concussions that specifically protect the health of the female body in sport. We need to create a formal certification to work with female athletes that mandates education on female physiology, puberty, breast development, menstrual health, and the female performance wave.

Though the actresses who played female boys were of all ages and performed in a vari- ety of acting styles, they were generally small, thin, white, and photogenic, and their performances combined boldness and vulnerability. Their femaleness al- lowed them to convey fragility and androgynous beauty. These performances demonstrate that cross-gender casting, which may seem like an inherently transgressive practice to twenty-first-century scholars, can also uphold conser- vative gender, class, and racial regimes. At the same time, the performances cannot be dismissed as reactionary or antifeminist, because they embodied middle-class women’s sentimental politics and created a space in which wom- en’s bodies had an important role in producing an idealized masculinity.

The first movements of the fetus produce this sense of the splitting subject; the fetus's movements are wholly mine, completely within me, condition my experience and space. Only I have access to these movements from their origin, as it were. For months only I can witness this life within me, and it is only under my direction of where to put their hands that others can feel these movements. I have a privileged relation to this other life, not unlike that which I have to my dreams and thoughts, which I can tell someone but which cannot be an object for both of us in the same way... Pregnancy challenges the integration of my body experience by rendering fluid the boundary between what is within, myself, and what is outside, separate. I experience my insides as the space of another, yet my own body.

The seeking of a lover to embody these words; the pining for a love that will be unconditional; the search for a union that is absolute; the sense that our partners should give us what we were given--or what we believe we should have been given--by our parents; the craving for reassurance--tell me I’m special, tell me I’m beautiful, tell me I’m smart, tell me I’m successful, tell me you love me, tell me it’s forever, no matter what, till death do us part--these were scarcely more than a child’s cries. Yet most us could not bear to give up on these longings. Most of us could not stand to relinquish the yearning for someone to be our fulfillment, our affirmation, because to turn away from such hope would be to acknowledge that we are, inescapably, navigating our lives alone, supported by love if we are lucky but, finally, on our own. pp. 144-45.

The stagnancy of energy, lack of interest in life and creativity, unproductiveness and mediocrity which beset so many people is not the consequence of their genetic and biological programming but of parental and social conditioning. The great Otto Rank acknowledged this and correctly rectified Freud's Thanatos concept. He, like several humanist and existential philosophers and psychologists who came later, realized that our Death Instinct or drive manifests itself in the very repression addressed throughout this book. Repression is a form of violence against the Self. Rank and his followers also realized that man's blind conformity to social norms and lack of differentiation from crowd-consciousness also serves to deaden creativity and productivity. They understood that the robotic organization man, behind his cubicle or on his cell-phone, slaving for some faceless corporation, fully embodies the Death Instinct.

Questions and Topics for Discussion This book is written in an oral history format. Why do you think the author chose to structure the book this way? How does this approach affect your reading experience? At one point Daisy says, “I was just supposed to be the inspiration for some man’s great idea….I had absolutely no interest in being somebody else’s muse.” How does her experience of being used by others contribute to the decisions she makes when she joins The Six? Why do you think Billy has such a strong need to control the group, both early on when they are simply the Dunne Brothers and later when they become Daisy Jones & The Six? There are two sets of brothers in The Six: Eddie and Pete Loving, and Billy and Graham Dunne. How do these sibling relationships affect the band? Daisy, Camila, Simone, and Karen are each very different embodiments of female strength and creativity. Who are you most drawn to and why? Billy and Daisy become polarizing figures for the band. Who in the book gravitates more toward Billy’s leadership, and who is more inclined to follow Daisy’s way of doing things? How do these alliances change over time, and how does this dynamic upset the group’s balance? Why do you think Billy and Daisy clash so strongly? What misunderstandings between them are revealed through the “author’s” investigation? What do you think of Camila’s decision to stand by Billy, despite the ways that he has hurt her through his trouble with addiction and wavering faithfulness?

When humans are born, we assign them to be either male or female based on their external genitalia. Based on that assignment, we raise them to be either men or women, which are essentially the polar opposite options of personality, occupations, dress, behavior, and demeanor. “As they grow up, we constantly curb their behavior if they don’t fit within the extremely limited options they are given based on their gender assignment and place an incredible amount of social pressure on them to embody every aspect of that identity. If they question their identity, we silence them. If they act in ways that conflict with their assigned identity, we ridicule them. If they don’t align with one of the two options available, we stigmatize them. And if they decide we assigned them the wrong identity, we question their mental health.

The integrity of my body is undermined in pregnancy not only by this externality of the inside, but also by the fact that the boundaries of my body are themselves in flux. In pregnancy I literally do not have a firm sense of where my body ends and the world begins. My automatic body habits become dislodged; the continuity between my customary body and my body at this moment is broken. In pregnancy, my prepregnant body image does not entirely leave my movements and expectations, yet it is with the pregnant body that I must move. This is another instance of the doubling of the pregnant subject. I move as if I could squeeze around chairs and through crowds as I could seven months before, only to find my way blocked by my own body sticking out in front of me - but yet not me, since I did not expect it to block my passage. As I lean over in my chair to tie my shore, I am surprised by the graze of this hard belly on my thigh. I do not anticipate my body touching itself, for my habits retain the old sense of my boundaries. In the ambiguity of bodily touch, I feel myself being touched and touching simultaneously, both on my knee and my belly. The belly is other, since I did not expect it there, but since I feel the touch upon it, it is me.

In classical art this 'aura' surrounding motherhood depicts repose. The dominant culture projects pregnancy as a time of quiet waiting. We refer to the woman as 'expecting,' as though this new life were flying in from another planet and she sat in her rocking chair by the window, occasionally moving the curtain aside to see whether the ship is coming. The image of uneventful waiting associated with pregnancy reveals clearly how much the discourse of pregnancy leaves out the subjectivity of the woman. From the point of view of others pregnancy is primarily a time of waiting and watching, when nothing happens. For the pregnant subject, on the other hand, pregnancy has a temporality of movement, growth, and change. The pregnant subject is not simply a splitting which the two halves lie open and still, but a dialectic. The pregnant woman experiences herself as a source and participant in a creative process. Though she does not plan and direct it, neither does it merely wash over; rather, she is this process, this change. Time stretches out, moments and days take on a depth because she experiences more changes in herself, her body. Each day, each week, she looks at herself for signs of transformation... For others the birth of an infant may only be a beginning, but for the birthing woman it is a conclusion as well. It signals the close of a process she has been undergoing for nine months, the leaving of this unique body she has moved through, always surprising her a bit in its boundary changes and inner kicks. Especially if this is her first child she experiences the birth as a transition to a new self that she may both desire and fear. She fears a loss of identity, as though on the other side of the birth she herself became a transformed person, such that she would 'never be the same again.

The temptation was almost overpowering as she desired to once more embody her own persona. The youthful, vibrant female she had been not this decaying, aging carcass she'd become. She had to make a choice should she succumb and enjoy the artificial manifestation of the reality she had been and escape this tortureous body she now lived or continue to face and exist in the reality she'd become. Vanity urged her to escape if only for a moment though the price of doing so she knew only too well would cause the aging process to accelerate. Escape to the reality beyond this painful reality she now inhabited. The reality of what once was which still should be versus the reality of what now was. She yearned to exist as she should before she'd embarked on this jaunt with this technology craze and no longer resist the urge. Now though the reality of who she was only existed inside Prohuman and to exist in and enjoy the reality she was entitled to she had to access the system.

Cixin would write a version that embodied the hardest of hard science fiction. This edition would be aimed at the male demographic. Haitian, on the other hand, would get to work on a version that was the softest of soft fantasy literature. It would be aimed at the female reader.

In a short essay called ‘Liberating Life: Women’s Revolution’, Öcalan (2013) outlines the core tenets of his sociological/historico-philosophical writings. Öcalan’s fundamental claim is that ‘mainstream civilisation’, commences with the enslavement of ‘Woman’, through what he calls ‘Housewifisation’ (2013). As such, it is only through a ‘struggle against the foundations of this ruling system’ (2013), that not only women, but also men can achieve freedom, and slavery can be destroyed. Any liberation of life, for Öcalan, can only be achieved through a Woman’s revolution. In his own words: ‘If I am to be a freedom fighter, I cannot just ignore this: woman’s revolution is a revolution within a revolution’ (2013). For Öcalan, the Neolithic era is crucial, as the heyday of the matricentric social order. The figure of the Woman is quite interesting, and is not just female gender, but rather a condensation of all that is ‘equal’ and ‘natural’ and ‘social’, and its true significance is seen as a mode of social governance, which is non-hierarchical, non-statist, and not premised upon accumulation (2013). This can only be fully seen, through the critique of ‘civilisation’ which is equally gendered and equated with the rise of what he calls the ‘dominant male’ and hegemonic sexuality. These forms of power as coercive are embodied in the institution of masculine civilisation. And power in the matriarchal structures are understood more as authority, they are natural/organic. What further characterised the Neolithic era is the ways through which society was based upon solidarity and sharing – no surplus in production, and a respect for nature. In such a social order, Öcalan finds through his archaeology of ‘sociality’ the traces of an ecological ontology, in which nature is ‘alive and animated’, and thus no different from the people themselves. The ways in which Öcalan figures ‘Woman’, serves as metaphor for the Kurdish nation-as-people (not nation-state). In short, if one manages to liberate woman, from the hegemonic ‘civilisation’ of ‘the dominant male’, one manages to liberate, not only the Kurds, but the world. It is only on this basis that the conditions of possibility for a genuine global democratic confederalism, and a solution to the conflicts of the Middle East can be thinkable. Once it is thinkable, then we can imagine a freedom to organise, to be free from any conception of ownership (of property, persons, or the self), a freedom to show solidarity, to restore balance to life, nature, and other humans through ‘love’, not power. In Rojava, The Autonomous Administration of North and East Syria, Öcalan’s political thoughts are being implemented, negotiated and practised. Such a radical experiment, which connects theory with practice has not been seen on this scale, ever before, and although the Rojava administration, the Democratic Union Party, is different from the PKK, they share the same political leader, Öcalan. Central to this experiment are commitments to feminism, ecology and justice.

People who don’t read it, and even some of those who write it, like to assume or pretend that the ideas used in science fiction all rise from intimate familiarity with celestial mechanics and quantum theory, and are comprehensible only to readers who work for NASA and know how to program their VCR. This fantasy, while making the writers feel superior, gives the non-readers an excuse. I just don’t understand it, they whimper, taking refuge in the deep, comfortable, anaerobic caves of technophobia. It is of no use to tell them that very few science fiction writers understand “it” either. We, too, generally find we have twenty minutes of I Love Lucy and half a wrestling match on our videocassettes when we meant to record Masterpiece Theater. Most of the scientific ideas in science fiction are totally accessible and indeed familiar to anybody who got through sixth grade, and in any case you aren’t going to be tested on them at the end of the book. The stuff isn’t disguised engineering lectures, after all. It isn’t that invention of a mathematical Satan, “story problems.” It’s stories. It’s fiction that plays with certain subjects for their inherent interest, beauty, relevance to the human condition. Even in its ungainly and inaccurate name, the “science” modifies, is in the service of, the “fiction.” For example, the main “idea” in my book The Left Hand of Darkness isn’t scientific and has nothing to do with technology. It’s a bit of physiological imagination—a body change. For the people of the invented world Gethen, individual gender doesn’t exist. They’re sexually neuter most of the time, coming into heat once a month, sometimes as a male, sometimes as a female. A Getheian can both sire and bear children. Now, whether this invention strikes one as peculiar, or perverse, or fascinating, it certainly doesn’t require a great scientific intellect to grasp it, or to follow its implications as they’re played out in the novel. Another element in the same book is the climate of the planet, which is deep in an ice age. A simple idea: It’s cold; it’s very cold; it’s always cold. Ramifications, complexities, and resonance come with the detail of imagining. The Left Hand of Darkness differs from a realistic novel only in asking the reader to accept, pro tem, certain limited and specific changes in narrative reality. Instead of being on Earth during an interglacial period among two-sexed people, (as in, say, Pride and Prejudice, or any realistic novel you like), we’re on Gethen during a period of glaciation among androgynes. It’s useful to remember that both worlds are imaginary. Science-fictional changes of parameter, though they may be both playful and decorative, are essential to the book’s nature and structure; whether they are pursued and explored chiefly for their own interest, or serve predominantly as metaphor or symbol, they’re worked out and embodied novelistically in terms of the society and the characters’ psychology, in description, action, emotion, implication, and imagery. The description in science fiction is likely to be somewhat “thicker,” to use Clifford Geertz’s term, than in realistic fiction, which calls on an assumed common experience. The description in science fiction is likely to be somewhat “thicker,” to use Clifford Geertz’s term, than in realistic fiction, which calls on an assumed common experience. All fiction offers us a world we can’t otherwise reach, whether because it’s in the past, or in far or imaginary places, or describes experiences we haven’t had, or leads us into minds different from our own. To some people this change of worlds, this unfamiliarity, is an insurmountable barrier; to others, an adventure and a pleasure.

Our sense of beauty was shaped by evolution to embody awareness of what is difficult as opposed to easy, rare as opposed to common, costly as opposed to cheap, skillful as opposed to talentless, and fit as opposed to unfit.

Our sense of beauty was shaped by evolution to embody an awareness of what is difficult as opposed to easy, rare as opposed to common, costly as opposed to cheap, skillful as opposed to talentless, and fit as opposed to unfit.

The Christian conviction is that in sex we express a desire to join with another person in a deep and complex interweaving as “embodied souls and ensouled bodies,” to borrow Karl Barth’s expression. The complementary nature of male and female sexuality, as a composite image of God, provides both the drive and direction to express our full humanity, meaning that we are drawn beyond ourselves to each other because of our God-ordained differences.6

Ageism is the intimate colonisation of embodied time by the vampiric forces of patriarchal capitalism that instils an ideological timebomb in the female mind that ticks with the incessant and cruel warning that the passing of time is something for which women must be punished. Women, far more than men, are judged by how old they are and how old they look. The threatening ticking of male domination reduces women’s social and economic worth to how “fresh” we appear.

This symbol embodies all that I am and the woman I have become. It is not where you have been, it is where you are going. To inspire and empower yourself, and above all to love who you are, as you are in control of your own destiny. She is a warrior, she is a goddess, she is love…Fall in love with your life.

Swicord is not a New Age nut; she's a writer. And even after mega-wrangles with Mattel's management—the musical was sketched out but never produced—she is still a fan of the doll. "Barbie," she said, "is bigger than all those executives. She has lasted through many regimes. She's lasted through neglect. She's survived the feminist backlash. In countries where they don't even sell makeup or have anything like our dating rituals, they play with Barbie. Barbie embodies not a cultural view of femininity but the essence of woman." Over the course of two interviews with Swicord, her young daughters played with their Barbies. I watched one wrap her tiny fist around the doll's legs and move it forward by hopping. It looked as if she were plunging the doll into the earth—or, in any event, into the bedroom floor. And while I handle words like "empowering" with tongs, it's a good description of her daughters' Barbie play. The girls do not live in a matriarchal household. Their father, Swicord's husband, Nicholas Kazan, who wrote the screenplay for Reversal of Fortune, is very much a presence in their lives. Still, the girls play in a female-run universe, where women are queens and men are drones. The ratio of Barbies to Kens is about eight to one. Barbie works, drives, owns the house, and occasionally exploits Ken for sex. But even that is infrequent: In one scenario, Ken was so inconsequential that the girls made him a valet parking attendant. His entire role was to bring the cars around for the Barbies.

Investigation of the extent to which she is an embodiment of patriarchal values or a subversion of them obscures the more significant political realities that are at stake in this narrative.

Some women chose to embody this new form of physical empowerment & transformed their words into actions. Exhibition boxer Minnie Rosenblatt Besser had spent years training in the manly art of boxing. She promised to meet any willing opponent, male or female, in the ring. Besser specifically called out several famous male boxers but insisted that she was most anxious to meet Brooklyn boxer Eddie Avery, who had been arrested for wife-beating. Besser explained, 'Any man who will strike a helpless woman I believe to be a coward. Should Avery pluck up enough courage to meet me I think I will prove the truth of this proposition to the world at large.

I have not danced the waltz in several years, and what memories I have of it are few and dim. Perhaps you’d take pity on a lame soldier and see whether he can recall it?” He expected her to laugh. On his bad days he was lame, and most days he was at least unsound, as an old horse might be unsound. He had not danced the waltz since being injured, had never hoped to again because it required grace, balance, and a little derring-do. Also a willing partner. Louisa put her bare hand in his and rose. “The pleasure would be mine.” Her lips quirked as she stood, but she didn’t drop his hand. “You must not allow me to lead.” He’d watched a hundred couples dancing a hundred waltzes, and had enjoyed the dance himself when it was first becoming popular on the Continent. The steps were simple. What was not simple at all was the feel of Louisa Windham, matter-of-factly stepping quite close, clasping his palm to her own. “I like to just listen for a moment,” she said, “to feel the music inside, feel the way it wants to move you, to lift your steps and infuse you with lightness.” She slipped in closer, so close her hair tickled Joseph’s jaw. Her hand settled on his shoulder, and he felt her swaying minutely as the orchestra launched into the opening bars. She moved with the rhythm of the music, let it shift her even as she stood virtually in his embrace. What he felt inside was a marvelous sense of privilege, to be holding Louisa Windham close to his body, to have the warm, female shape of her there beneath his hands. Her scent, clean and a little spicy, was sweeter when she was this close. She wasn’t as tall in his embrace as she was in his imagination. Against his body, she fit… perfectly. And with the sense of privilege and wonder, there lurked a current of arousal. Louisa Windham was lovely, dear, smart, and brave, but she was also a grown woman whom Joseph had found desirable from the moment he’d laid eyes on her. He waited until the phrasing felt right, closed his fingers gently around hers, then moved off with his partner. She shifted with him, the embodiment of grace, as weightless as sunshine, as fluid as laughter. “You lead well,” she whispered, her eyes half closed. “You’re a natural.” He was a man plagued by a bad knee and a questionable hip, but with Louisa Windham for a partner and the music of an eighteen-piece orchestra to buoy him, Joseph Carrington danced. The longer they moved together, the better they danced. Louisa let him lead, let him guide her this way and that, let him decide how much sweep to give the turns and how closely to enfold her. She gave herself up to the music, and thus a little to him, as well, and yet, she anchored him too. Dancing with a woman who enjoyed the waltz this much gave a man some bodily confidence. He brought her closer, wonderfully closer, and realized what gave him such joy was not simply the physical pleasure of holding her but the warmth in his heart generated by her trust. She was dancing with a lame soldier, with a pig farmer, and enjoying it. All too soon, the music wound to a sweet final cadence, but Louisa did not sink into the closing curtsy. She instead stood in the circle of Joseph’s arms and dropped her forehead to his shoulder. “Sir Joseph, thank you.” What

the sociopolitical progress made under Obama turned out to be not as widely celebrated as those of us living in progressive bubbles liked to believe - bubbles that were popped in 2016, when we were all so sure we were about to witness the election of the first-ever female president... Trump was the embodiment of every guy who had ever assaulted me or bullied me or harassed me, and he was being taken seriously.

Carol P. Christ sees Classical Greek images of Perseus holding the severed head of Medusa as a ‘celebration of the conquest of the civilization of the Goddess’—the shift to a patriarchal culture of war. This patriarchal system is described by Christ as arising at ‘the intersection of the control of women, private property, and war—which sanctions and celebrates violence, conquest, rape, looting, exploitation of resources, and the taking of slaves.’ It is ‘a system of domination enforced through violence and the threat of violence’ ... ‘in which men dominate women through the control of female sexuality with the intent of passing property to male heirs.’ As Christ points out, rape has been recorded as a tool of war since the time of Homer’s Iliad as well as in the Hebrew Bible. War itself, in the words of Anne Baring, is a rape of the soul, ‘a terrible wound... that can never heal because of the legacy of the trauma and memories it leaves behind, not only with the living but with the dead.’ The Medusa myth embodies this tragedy: Medusa is both enraged and outraged. Rape is an outrage. Her eternal open-mouthed silent scream reveals the anguish not only of one individual survivor of rape, but of all those subjected to the horror of rape as a war crime and a technique to enforce norms of patriarchy—a method still in use today.

Female miners frequently defended their work and evaded the law because they needed their wages to feed their families. They very much embodied the conflict between Victorian notions of ideal womanhood (the dainty angel in the house) and the reality of women depending on manual labor for survival.

In the Neolithic period, throughout Europe and the Near East, there appear figurines which represent bird/women, snake/women, and bird/snake/woman hybrids. Since Goddesses with bird and snake iconography appear in early historic religions, such as those of Egypt and Mesopotamia, it has been theorized that the figurines represent powerful divine female figures in the Neolithic cultures of Europe and the Near East. The “stiff white nude” figures of the Cyclades, Anatolia, and the Balkans may be death figures, but a pregnant Cycladic figure demonstrates that the Goddess serves regeneration as well as death. Early historic textual evidence of this may be found in the Sumerian Descent of Inanna, where the Underworld Goddess and Goddess of death, Ereshkigal, is in the process of giving birth. Just as the more ancient figures, Medusa too is winged, and she has snaky hair: that is, she embodies both the serpentine and the avian aspects of the Neolithic bird/snake Goddess, even though she does not have these characteristics in her earliest depictions. The bird/snake Goddess represents the continuum of birth, life, death, rebirth. The realms of the bird and snake cover all of the worlds; the realm of the bird is the heavens, while waterbirds also occupy the waters. That of the snake is the earth and Underworld, and likewise water snakes occupy the waters. Both bird and snake embody graphic depictions of birth, since both are oviparous. Both creatures are graphic depictions of regeneration as well, since birds molt and snakes shed their skin. In Neolithic Europe, death and rebirth were tied together in the tomb which served as a ritual place for rebirth: the tomb was also the womb. In her death aspect, a Goddess such as Medusa turns people to stone—a form of death, since all human activity ceases for those thus ossified.  Read against the iconographies of the bird/snake goddesses, one can identify ways in which the Underworld Goddess, the death Goddess, gives birth to life. Like Ereshkigal, with her leeky hair, Medusa with her snaky hair is also a birth-giver. But in Medusa’s case, she gives birth as she is dying, whereas in the earlier, Sumerian myth the process of death led to regeneration; the Goddess of the Underworld did not have to die in the process of giving birth; she who presided over death presided over rebirth. The winged snake Goddess, before her head is severed by Perseus, is whole; in prehistory she would have been a Goddess of all of the worldly realms. When Medusa’s head is severed, she becomes disembodied. Disembodied wisdom is very dangerous. Hence, she becomes monstrous. It is her chthonic self which the Classical world acknowledges: Medusa becomes the snaky-haired severed head, a warning to all women to hide their powers, their totalities. This fearsome aspect goes two ways: she can destroy, but she also brings protection.

With every breath you take, a tiny particle of water is present in the heart, the female and male characters in the body are within 50 to 85 percent of the water! There is a lot of water with all the elements in this whole vast universe! Men and women who are afraid of disease and death will be involved in regular recitation of mantras as a result of this. There is an opportunity to associate with wise Guru. As a result, religion means work, salvation, health, life, and many paths of life. Wise Guru should keep on doing virtuous, religious deeds. The life of fire is also Shreeom, and the seed of water breath is also Shreeom. The living creatures life is also Shreeom, religious, spiritual, ascetic saint, Pandit, Guru, female and male personality's soul is also Shreeom and Karma Yogis's soul is also Shreeom. Shreeom's dearest love or natures are Mahalakshmi, Pratipriti Vaishnavi Kamala and Bhavani. Those who think that the soul is the killer of the soul and those who think that the soul dies with the body not understand life properly because the soul is immortal and the soul does not kill anyone and the soul is immortal in every Era because the soul is the embodiment of the Lord, teacher of God and his power and the Sun, the Guru, the Divine God. The sweet fragrance of the earth is Shreeom, the happiness, peace, prosperity, joy, success is Shreeom. Shreeom love the most to the social workers, donation givers, knowledgeable Sadhus, Sant, Pandits, helpful ladies and gentlemen, simultaneously positive approach humanitarian and protector of Dharma.:- Shreeom

In India they say the Great Goddess Durga is a Warrior Goddess present always in the eternal but who manifests in the physical when the demons get out of hand. Today’s resurgence of interest in shamanism and a return of the Goddess is our version of Durga making her presence felt. Goddess as shaman is manifesting to rid the planet of the evil forces, and the obvious way she can take form is through women- her embodied priestesses- and all people behaving in a feminine way. Women as a group are re-membering. It seems that because we have nothing to lose and everything to regain, we are able to open these memories and access this available information as it arises from the center of our psyches. As we do this, if we are willing to stand our ground and refuse to have it co-opted or compromised by established values and paradigms, sooner or later men will also hunger for these changes, joining us in the creation of a world from this memory

Mammy was always a fiction—a response to abolitionists’ depictions of brutality and the ill-treatment of enslaved women. Female house slaves were not happy to be in bondage. The very idea is absurd. But the stereotype was useful in abetting slave culture. Positioning Mammy’s girth and features as unattractive, particularly to White men, erased the routine rape of enslaved women.26 The image of a content servant helped legitimize the economic exploitation of house slaves (and later the long relegation of Black women to service and domestic work).27 Mammy also stood as the embodiment of the optimal Black female relationship to power—comfortably subservient.28 She reinforced the idea that Black women are natural workhorses, capable of carrying multiple burdens alone—not because they have to, but out of natural ability and desire.29

Jezebel, the embodiment of deviant Black female sexuality. During slavery, Black women were positioned as seductive and wanton to vindicate the naked probing of the auction block and routine sexual victimization and also to justify the use of Black women to breed new human property.32 The stereotype positioned Black women as incapable of chastity in a society that demanded the innocence of women. And it further masculinized them, ascribing an unlady like sexual hunger more typical of men.

The lord of creation is both inside and outside creation. He is like the sap in the flower, the space in an empty room. He is always present but unseen. His joy shines like the sun in the sky, his will swims like a fish beneath the ocean. He cannot be known by the mind or even the heart. Only the inner silence recognizes him. He is both male and female and he is neither. To speak of him as one or the other is only a manner of speaking. In order to protect the righteous and destroy the wicked, he takes birth again and again throughout the ages. His most recent birth was as Sri Krishna in the land of the Pandu brothers. Then and there he slew demons and granted realization to the worthy. His life lasted 135 years, from 3675 to 3810. He will be remembered as the divine personality. His next birth will be as Adi Shankara in the land of the Vedas. Then and there he will make available the knowledge of the Brahman, the highest reality. His life will last 32 years, from 6111 to 6143. He will be well remembered as the divine teacher. His subsequent birth will be as Jesus of Nazareth in the land of Abraham. Then and there he will embody and teach perfect love and compassion. His life will last 108 years, from 7608 to 7716. He will be well remembered as the divine savior.

The troubling implication is that mental illness in women is only acceptable (desirable, even) if it's beautiful - and a very specific type of beautiful at that - embodying a frail chicness that slots perfectly into the social narrative that white women must be protected at all costs, that their sadness can never be ugly, that Crazy women are only crazy if they're not hot.

[...] she was able to combine women's extreme ego suppression and ancient female shamanism, showing both in opposition to men. In our own day, shamanism seems to have withered and died. Yet does it not, on second thought, offer a partial explanation of the power women still have over men? Perhaps it is true, as Buddhism teaches us, that this power constitutes woman's greatest burden and delusion -- and ultimately her greatest sin. But the sin is inseparable from a woman's being. It is a stream of blood flowing on and on, unbroken, from generation to generation. Just as there is an archetype of woman as the object of man's eternal love, so there must be an archetype of her as the object of his eternal fear, representing, perhaps, the shadow of his own evil actions. The Rokujō lady is an embodiment of this archetype.

Both Biruté and Jane are firmly rooted in the world of human endeavor. Jane has not become a chimp; Biruté has not become an orangutan. Yet the lives of all three women have been transformed by their visions; they are inexorably linked to the other nations through which they have traveled. In a sense they are, in the words of Henry Beston, living by voices we shall never hear; they are gifted with extensions of the senses we have lost or never attained. You need only listen to Jane’s excitement at seeing “a tree laden with luscious fruit”—fruit that to human senses is so tart it prompts a grimace. You need only remember how Dian would sing to the gorillas a gorilla song—praising the taste of rotting wood. You need only imagine what goes through Biruté’s mind when she does the “fruit stare” of the orangutan. Western scientists do not like to talk about these things, for to do so is to voice what for so long has been considered unspeakable. The bonds between human and animal and the psychic tools of empathy and intuition have been “coded dark” by Western science—labeled as hidden, implicit, unspoken. The truths through which we once explained our world, the truths spoken by the ancient myths, have been hushed by the louder voice of passionless scientific objectivity. But perhaps we are rediscovering the ancient truths. In his book Life of the Japanese Monkeys, the renowned Japanese primate researcher Kawai Masao outlines a new concept, upon which his research is built: he calls it kyokan, which translates as “feel-one.” He struck upon the concept after observing a female researcher on his team interacting with female Japanese macaques. “We [males] had always found it more difficult to distinguish among female [macaques],” he wrote. “However, a female researcher who joined our study could recognize individual females easily and understood their behavior, personality and emotional life better. . . . I had never before thought that female monkeys and women could immediately understand each other,” he wrote. “This revelation made me feel I had touched upon the essence of the feel-one method.” Masao’s book, unavailable to Western readers until translated into English by Pamela Asquith in 1981, explains that kyokan means “becoming fused with the monkeys’ lives where, through an intuitive channel, feelings are mutually exchanged.” Embodied in the kyokan approach is the idea that it is not only desirable to establish a feeling of shared life and mutual attachment with the study animals—to “feel one” with them—but that this feeling is necessary for proper science, for discovering truth. “It is our view that by positively entering the group, by making contact at some level, objectivity can be established,” Masao wrote. Masao is making a call for the scientist to return to the role of the ancient shaman: to “feel one” with the animals, to travel within their nations, to allow oneself to become transformed, to see what ordinary people cannot normally see. And this, far more than the tables of data, far more than the publications and awards, is the pioneering achievement of Jane Goodall, Biruté Galdikas, and Dian Fossey: they have dared to reapproach the Other and to sanctify the unity we share with those other nations that are, in Beston’s words, “caught with ourselves in the net of life and time, fellow prisoners of the splendor and travail of the earth.

Shakti is the embodiment of female energy of creativity, life-giving and life-destroying. Essentially, it is the direct agent of all change that takes place throughout the universe.

Summing Up • An analysis of the form of moral logic underlying most traditionalist positions shows that what traditionalists find most fundamentally wrong with same-sex intimate relationships is that they violate divinely intended gender complementarity. • But “gender complementarity” is really more like a category under which a variety of forms of moral logic may appear. Some of these more specific forms, such as hierarchy, are not universally embraced among traditionalists as the deep meaning of gender complementarity. • The most widely embraced form of gender complementarity among traditionalists focuses on the anatomical or biological complementarity of male and female. The physical union of male and female in this view represents the overcoming of the incompleteness of the male on his own or the female on her own. • But this hypothesis raises a deeper question: Is anatomical or biological gender complementarity what Scripture assumes and teaches? The central issue here is the interpretation of the creation of woman in Genesis 2. • In response to a variety of traditionalist readings of Genesis 2, this chapter has argued the following countertheses: ° The original ʿadam of Genesis 1: 26–2: 18 is not a binary or sexually undifferentiated being that is divided into male and female in Genesis 2: 21. ° The focus in Genesis 2 is not on the complementarity of male and female but on the similarity of male and female. ° The fact that male and female are both created in the divine image (Gen. 1: 27) is intended to convey the value, dominion, and relationality that is shared by both men and women, but not the idea that the complementarity of the genders is somehow necessary to fully express or embody the divine image. ° The one-flesh union spoken of in Genesis 2: 24 connotes not physical complementarity but a kinship bond. • These countertheses demonstrate that Genesis 2 does not teach a normative form of gender complementarity, based on the biological differences between male and female. Therefore, this form of moral logic cannot be assumed as the basis for the negative treatment of same-sex relationships in biblical texts. Hence we need to look further to discern why Scripture says what it does about same-sex intimate relationships.

You have taken birth from the energies of your father and mother. Then, how can you be only male or only female? Whether we accept it or not, we are an embodiment of both male and female energies. We are whole, not divided.

Whatever interpretive hurdles exist, they all—on some level and to varying degrees—affirm that male and female sex distinctions are a creational good that should be honored.

Humans differ in how they are male and female, but this doesn’t mean sex categories exist in addition to male and female.

Genesis 1 is talking about biological sex—male and female—not what we have labeled gender identity or gender role. And it’s perfectly fine for males and females to resist cultural stereotypes as males and females.

What embodiment secures is not the distinction between male and female or between humans who can think and machines which cannot. Rather, embodiment makes clear that thought is a much broader cognitive function depending for its specificities on the embodied form enacting it.

Masculinity and femininity—gender roles—are kind of like height. Males are taller than females. The average height of American males is five feet nine inches tall, while the average height of females is five feet four inches tall. But this doesn’t mean every male is taller than every female. Some women are six feet tall, and yet no one would say they are not female because they fall outside the general pattern. There’s a clear difference in average, and yet much variation within each sex. The same is true of masculinity and femininity. Most males are more physically aggressive than most females. This forms the stereotype that aggression is a masculine trait. On the other hand, some females are more aggressive than some males. This doesn’t mean aggressive females aren’t females. These behaviors are generalities. We don’t determine whether a person is male or female based on whether they match the stereotype of their sex.

Queen Elizabeth I is known to have said, “I know I have the body of a weak and feeble woman, but I have the heart and stomach of a king.” Even a woman as great as this, of such astounding achievement and wisdom, felt driven to compare herself, to measure herself with male metaphor. Deep in the psyche even of great women, there has not been a female metaphor for greatness, for strength, for the wisdom which they themselves embodied. The female Deities had been so slandered, so stripped of essential integrity. Yahweh is after all God, Medusa is after all merely a goddess. We can forgive Yahweh his crimes … this is not myopia. The millennia of patriarchal narrative has left our minds locked up, unable to grasp the Female Metaphor … that she may stand sovereign, not as greater than, but in and of herself: so that, when a woman or a man desires to express greatness, nobility, strength they are able to easily reach for a female image.

The exclusive use of the term “God” is but the primary example of the colonization of female Being. There can be no real dialogue across gender lines until the female is accepted as a possible “norm”. Gender can not really be evacuated or transcended until the full realm has been assented to, articulated, and understood. The naming of the sacred as Goddess with all the affirmation of female embodiment, of material existence that that entails is crucial to any possibility of real female-male partnership, even for those who think it isn’t, simply because they speak.

The Black Madonna is the female embodiment of God because God is a woman, and She is black. She embraces everyone with Her unconditional love as the Universal Mother. She, the Black Madonna, will listen and come to you as She has done for thousands of years to guide us out of the dark tunnel into the light. I firmly believe that the healing power of the Black Madonna is not something of the past; She is as alive today as She was thousands of years ago.

Medusa was revered and exalted by the Libyan Amazons as the Queen Serpent Goddess of female wisdom. I think all the ramifications of the meaning of this title remain mysterious because female wisdom is denied in patriarchy and women must search beneath the hardened layers of conditioning to find our true heritage. The most common story of Medusa, whose name from ancient Greek medo means “to protect, to rule over” and “the ruling one,” tells the aggrandized patriarchal tale of jealousy, betrayal, rape and murder. In this myth the goddess is split into her “good” and “bad” aspects forcing her to appear to fight against herself—Athena, the daughter born from the forehead of her father, created in alignment with patriarchy as the male myth makers wished, and Medusa, the mortal Gorgon who was punished by Athena. The goddess punishes herself—a very strange, confused and twisted story indeed. The Classical Greek myths are all variations on these same themes. Demonizing the creative female powers of the cosmos became a high priority for the male-dominated violent hierarchy that sought to replace the more peaceful woman-centered cultures of the Neolithic. In the above-mentioned variation she is blamed for Poseidon raping her, the burden of which still plays out very commonly today, not only in the shame women feel when men rape them but also in the persistent blame that it is a woman’s fault if a man rapes her. Classical Greek mythology is the embodiment of both rape culture and a deep-seated misogyny that are the bedrock of Western civilization. I believe that the challenge in dealing with these violent woman-hating mythologies is to learn what lies at the core of these anti-woman and anti-life myths, for the Medusa Archimage is also cross-cultural.

I know you’re armed and dangerous, but I’m asking you to stay at Harp House while I’m gone. This is a polite request, not an order.” He’d tried to take care of her. “You’re such a girl,” she said. He answered that by leaning back on his heels and glaring at her, every inch of him the embodiment of pissed-off masculinity. “That was a compliment,” she said. “Sort of. The whole nurturing thing you have going…? As much as I appreciate your watchdog attitude, I’m not one of those needy females you tend to collect.” He gave her his baddest badass sneer. “That whip idea you had … I’m liking it more and more.” She wanted to rip off his clothes and devour him right there. Instead, she sniffed, “I’ll stay at Harp House, girlfriend, just to keep you from worrying.

If I never learned about pure, undistilled grace, I would have transitioned to a female and left the church,” Alan said.