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The eternal feminine, a concept first introduced by Johann Wolfgang von Goethe at the end of his play Faust (1832), is a transcendental ideality of the feminine or womanly abstracted from the attributes, traits and behaviors of a large number of women and female figures.
The Eternal Feminine is an 1877 oil-on-canvas painting by the French Post-Impressionist artist Paul Cézanne. [1] The ambiguous work shows men gathered around a single female figure. A range of professions are represented: writers, lawyers, and a painter (possibly Eugène Delacroix or Cézanne himself).
The Eternal Feminine (Spanish: Los adioses) is a 2017 Mexican biographical film based on Mexican poet and author Rosario Castellanos. [1] [2] Cast.
The final words are spoken by a "Chorus Mysticus", i.e. a chorus related to the mysteries, which alludes to an "indescribable" process in which "the eternal feminine leads us on". This resembles ancient mystery religions, and particularly the mysteries of Isis , more than it does orthodox Christian mysticism.
Nietzsche on Women and the Eternal-Feminine: A Critique of Truth and Values. Bloomsbury Academic. Caroline Joan S. Picart (1999). Resentment and the "Feminine" in Nietzsche's Politico-Aesthetics. Penn State University Press. Paul Patton (1993). Nietzsche, Feminism and Political Theory. Routledge.
The eternal feminine Draws us aloft. The tenor soloist then rises above the murmur of the chorus and starts to sing the last two lines of the text, emphasizing the power of salvation through the eternal feminine .
In Goethe's rendition, Faust is saved by God via his constant striving – in combination with Gretchen's pleadings with God in the form of the eternal feminine. However, in the early versions of the tale, Faust is irrevocably corrupted and believes his sins cannot be forgiven; when the term ends, the Devil carries him off to Hell.
The Eternal Feminine may refer to: The Eternal Feminine, British film; The Eternal Feminine, Mexican film This page was last edited on 22 April 2020, at 16:01 ...