Post by onamirrorsedge on Apr 19, 2012 17:19:18 GMT -5
My own sex, I hope, will excuse me, if I treat them like rational creatures, instead of flattering their fascinating graces, and viewing them as if they were in a state of perpetual childhood, unable to stand alone. I earnestly wish to point out in what true dignity and human happiness consists—I wish to persuade women to endeavour to acquire strength, both of mind and body, and to convince them that the soft phrases, susceptibility of heart, delicacy of sentiment, and refinement of taste, are almost synonimous with epithets of weakness, and that those beings who are only the objects of pity and that kind of love, which has been termed its sister, will soon become objects of contempt.
Dismissing then those pretty feminine phrases, which the men condescendingly use to soften our slavish dependence, and despising that weak elegancy of mind, exquisite sensibility, and sweet docility of manners, supposed to be the sexual characteristics of the weaker vessel, I wish to show that elegance is inferior to virtue, that the first object of laudable ambition is to obtain a character as a human being, regardless of the distinction of sex; and that secondary views should be brought to this simple touchstone.
Yet, do any female characters truly standout from film and television, or is the tendency to marginalise and overly sexualise another tool which seeks to ensure that female characters only transcend the limitations of femininity by, not distorting the demarcation between male/female, but by moving to the opposite end of the gender polarisation.
A few characters, however, I feel break this rule may include:
Groovy:
Any more for any more?
Dismissing then those pretty feminine phrases, which the men condescendingly use to soften our slavish dependence, and despising that weak elegancy of mind, exquisite sensibility, and sweet docility of manners, supposed to be the sexual characteristics of the weaker vessel, I wish to show that elegance is inferior to virtue, that the first object of laudable ambition is to obtain a character as a human being, regardless of the distinction of sex; and that secondary views should be brought to this simple touchstone.
Yet, do any female characters truly standout from film and television, or is the tendency to marginalise and overly sexualise another tool which seeks to ensure that female characters only transcend the limitations of femininity by, not distorting the demarcation between male/female, but by moving to the opposite end of the gender polarisation.
A few characters, however, I feel break this rule may include:
Groovy:
Any more for any more?
