Fem·i·nine In.act.ment


Nietzsche substitutes knowledge with creation, and self-knowledge with self-creation. As opposed to Plato, he does not find art degrading, but redeeming. Some critics have called this an “ethics of self-fashioning”. In Alexander Nehamas’ interpretation of Nietzsche, the opportunity to create ourselves is all we have left after we abandon the search for truth. In this sense, the search for our true self must be replaced with the artistic creation of the character we want to be. We become who we want to be by creating new laws for ourselves. “Become who you are” means your identity is constructed, fashioned, rather than given. Unique, self-created individuals are ultimately beyond good and evil, in the same sense that a literary character is beyond good and evil

Is the what has previously been considered  “feminine”  a style?


XGNDRs are the new cultural explorers. Searching for the course of the New Feminine. Like mountain climbers, they rappel, camp out on the cliffs and peaks of our moral, intellectual social Kilimanjaros.


Emily Ratajkowski’s  views…. especially about the body (show it off), attention (why should women not want it?), assertion, and self-acceptance occurred to me as mostly very good news. Her peers, the children of a pornographic culture, are doing just what they should do, given the wash of objectified, naked bodies everywhere. {Women} are engaged in establishing a new narrative to reclaim the body: From SlutWalk to Free the Nipple to promoting Body Positive agendas, it is obvious that they are not the sober puritans of feminism of yore. Do these actions raise real issues? Absolutely. I respect Ratajkowski’s frank perspective, but I still wish she could have a huge career and keep her shirt on—if she wishes. Is her brand of fierce feminism the future? Probably. Am I glad that she and her peers, on-screen and off-, are speaking out, even if what she says sometimes makes me uneasy? Definitely.



All the World is a Stage:

Some argue that in rhetorical terms, performing or enacting femininity has meant adopting a personal or self-disclosing tone (signifying nurturance, intimacy, and domesticity) and assuming a feminine persona, e.g., mother, while speaking. It has meant preferring anecdotal evidence (reflecting women’s experiential learning in contrast to men’s expertise), developing ideas inductively (so the audience thinks that it, not this presumptuous woman, drew the conclusions), and appropriating strategies associated with women — such as domestic metaphors, emotional appeals to motherhood, and the like — and avoiding such ‘macho’ strategies as tough language, confrontation or direct refutation, and any appearance of debating one’s opponents. Note, however, that feminine style does not preclude substantive deptand argumentative cogency.


XGNDR’s persona’s come from a stage. Not the Stage of Shakespeare but the Stage of Bare Assets and the new Strip Club Scene. The interaction of in the caldrum of of this new Stage, what has hitherto been considered women’s social death, ie Stripping , is where the experiments of the New Feminine are ongoing.

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