Vanity She Male
Vanity She Male https://cinurl.com/2tDcp0
Eve (Hebrews Chavvah', חִוָּה, life or living, so called as the progenitor of all the human family; Sept. accordingly translates Ζωή in Ge 3:20, elsewhere Εὔα, N. Test. Ε῏υα, Josephus Εὐέα, Ant. 1:1, 2, 4), the name given by Adam to the first woman, his wife (Ge 3:20; Ge 4:1). B.C. 4172. The account of her creation is found at Ge 2:21-22. It is supposed that she was created on the sixth day, after Adam had' reviewed the animals. Upon the failure of a companion suitable for Adam among the creatures which were brought to him to be named, the Lord God caused a deep sleep to fall upon him, and took one of his ribs (according to the Targum of Jonathan, the thirteenth from the right side!), which he fashioned into a woman, and brought her to the man (comp. Plato, Sympos. pages 189, 191). The Almighty, by declaring that "it was not good for man to be alone," and by providing for him a suitable companion, gave the divine sanction to marriage and to monogamy. "This companion was taken from his side," remarks an old commentator, " to signify that he was to be dear unto him as his own flesh. Not from his head, lest she should rule over him; nor from his feet, lest he should tyrannize over her; but from his side, to denote that species of equality which is to subsist in the marriage state" (Matthew Henry, Comment. in loc.). Perhaps that which is chiefly adumbrated by it is the foundation upon which the union between man and wife is built, viz. identity of nature and oneness of origin. Through the subtlety of the serpent (q.v.), Eve was beguiled into a violation of the one commandment which had been imposed upon her and Adam. She took of the fruit of the forbidden tree and gave it her husband (comp. 2Co 11:3; 1Ti 2:13). SEE ADAM. The apostle seems to intimate (1Ti 2:14-15) that she was less aware than her husband of the character of her sin; and that the pangs of maternity were to be in some sort an expiation of her offense. The different aspects under which Eve regarded her mission as a mother are seen in the names of her sons. At the birth of the first she said "I have gotten a man from the Lord," or, as some have rashly rendered it, "I have gotten a man; even the Lord," mistaking him for the Redeemer. When the second was born, finding her hopes frustrated, she named him Abel, or vanity. When his brother had slain him, and she again bare a son, she called his name Seth, and the joy of a mother seemed to outweigh the sense of the vanity of life: "For God," said she, "hath appointed ME another seed instead of Abel, for Cain slew him." SEE ABEL.
The Eastern people have paid honors to Adam and Eve as to saints, and have some curious traditions concerning them (see D'Herbelot, Bibliothieque Orientale, s.v. Havah; Fabricius, Pseudepigr. V. Test. 1:103 sq.). There is a remarkable tradition preserved among the Rabbis that Eve was not the first wife of Adam, but that previous to her creation one had been created in the same way, which, they sagaciously observe, accounts for the number of a man's ribs being equal on each side. Lilith, or Lilis, for this was the name of Adam's first consort, fell from her state of innocence without tempting, or, at all events, without successfully tempting her husband. She was immediately ranked among the fallen angels, and has ever since, according to the same tradition, exercised an inveterate hatred against all women and children. Up to a very late period she was held in great dread lest she should destroy male children previous to circumcision, after which her power over them ceased. When that rite was solemnized, those who were present were in the habit of pronouncing, with a loud voice, the names of Adam and Eve, and a command to Lilith to depart (see Eisenmenger, Entdecktes Judenthum, 2:421). She has been compared with the Pandora of classic fable (Bauer, Mythol. 1:96 sq.; Buttmann, Mythologus, 1:48 sq.; Hasse, Entdeckung. 1:232).
Crucially, clothing plays a key role in this endeavor, as the manly ideal is linked with the avoidance of superficiality and a proclaimed indifference to or even rejection of fashion, as opposed to the clothes-obsessed, decadent aristocratic dandy. Preoccupation with appearances is posed against inner moral virtue, mirroring fundamental class differences between the two male types; the point significantly impacts how Victorians perceived themselves in relation to the preceding era of Regency decadence. (2) It also has ramifications extending beyond Victorian normative masculinity into the area of male fashion, reflected in the idea of the "Great Male Renunciation" of a concern with style. Fashion historians argue that mainstream male fashion continues to reflect that exchange of display and fashionable consumption with the dark suit, "the universal male uniform" signifying restraint and discipline (Flugel 111).
Vanity Fair was serialized in twenty monthly parts between January 1847 and July 1848, a period when Thackeray joined forces with William Maginn and Thomas Carlyle against the "clothes-wearing" dandy in Fraser's. He satirizes Jos Sedley's sartorial vanity and preaches the need for true manliness as represented in the morally virtuous but distinctly unfashionable Major Dobbin. Set in the Peninsular Wars era but intended for a Victorian audience, the novel aligns Regency excess with contemporary men's fashion consumption; the cautionary rhetoric of prescriptive writings and normative discourses suggests that sartorial discipline was not practiced by early Victorian men. Dandyism is to be rejected because clothing is the sum total of a dandy's identity, but gentlemanly manhood that prides itself on moral integrity and indifference to clothes is also revealed to be a construction in which outer appearance actually plays a crucial role. Dobbin may represent a "natural" gentleman, instinctually geared toward moral values rather than social display, but his evolution toward ideal manhood unveils the existence of a certain strict, though understated, sartorial code that requires arduous training, with deviation or failure stigmatized and glaringly conspicuous. The Great Male Renunciation is thus less about males' rejection of fashion than about institutionalizing the bourgeois dress-code. In other words, clothing makes the dandy, but it also articulates normative bourgeois manhood as a key technology of self-fashioning.
Stewart's point is well taken and important to keep in mind. And yet it was, after all, Caitlyn Jenner's choice to appear on the cover of Vanity Fair in full conformity with the conventions of female depictions in magazines and advertisements.
In 1961, Erving Goffman published his little-known book Gender Advertisements. It is an album-sized book, consisting mainly of reproduced photos of 1950s product ads. Through these visuals, Goffman, the champion and granddaddy of the presentation of self as a performative act, proves his point: men, in ads, are DOING things. Women are POSING for the male gaze.
It should go without saying that it is Jenner's choice to conform, or not, to these standards. Also, Jenner is operating within a context that measures transfolk by their ability to conform to cisnormative standards, and I can't fault her for choosing the traditional female gender depiction (in addition to the traditional female form and dress) as a measure of success in meeting these standards. Moreover, there are no guarantees that leering and jeering commentators wouldn't be commenting on her looks even if she *were* depicted as doing, rather than gazing. But I do want to point out that the perspective Stewart mocks in his segment is so insidious and pervasive that it is embraced by the women themselves, and that Jenner is as much a subject in the picture as an object of the gaze.
On Wheaties, Lindsey Vonn is shown skiing. Misty May-Treanor is shown hitting a volley ball. Nastia Liukin is shown doing a gymnastics jump. Sarah Hughes is shown figure skating. Almost everyone on a Wheaties box, male or female, is depicted DOING things rather than POSING. Jim Thorpe's 2001 box is a rare exception.
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"Moreover," he asserts, "man is so affected by these charms of woman and offers so easy a mark for her machinations as to invite exploitation. Having been evolved largely through the stimulus of the female presence, he continues to be more profoundly affected by her presence and behavior than by any other stimulus whatever, unless it be the various forms of combat. From Samson and Odysseus down, history and story recognize the ease and frequency with which a woman makes a fool of a man."
As for the morality of woman, the professor considers it mere expediency rather than an innate virtue. In fact, he asserts, her morality is not her own, but was made for her by man. This moral code which man has invented for her, he says, "has brought to the front elemental traits which under our moral code are not reckoned the best." Her morality "is a morality of the person and of bodily habits, as contrasted with the commercial and public morality of man. Purity, constancy, reserve, and devotion are the qualities in woman which please and flatter the male." 781b155fdc