Your paintings portray new perspectives on female-oriented objects or items associated with girlishness.
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Collectively, these strands lend the work a tone that suggests girlishness (Norris is 67).
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She is vulnerable, naïve, ridiculous in her girlishness, and yet knowing, brave, and somehow familiar.
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Lenny's lack of femininity is only amplified in the tense moment by Syd, who's the picture of retro girlishness.
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That's one too many, a preposterous amount of girlishness under the same roof and surely torture for our "poor" father.
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Similarly, Shields' (Hunger Games) rising star power is palpable, and she balances Serena's competing girlishness and evolving maturity quite well.
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Father Charles watched in fascination the girlishness of the gesture, the way she tilted her head to one side and pursed her lips.
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But they were middle-aged now, self-consciously aware, as they performed their jokey girlishness, of the heavy shelves of bosom under their nightdresses.
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" There was Silvia Fendi, backstage before her Fendi show, talking about balancing the tropes of girlishness and executive power and revealing that "as a kid, I never had anything pink.
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On one hand, I resent the implication that women are being silly when they wear pink, and on the other, I resent the notion that girlishness is itself synonymous with frivolity.
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As someone who has occasionally chafed against the ways women are expected to perform femininity, I found myself marveling at Drucker's girlishness, including her perfectly painted fingernails (against my own hang-nailed nubs).
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Pill, whose pale, nervous girlishness made her a bit of a pain on The Newsroom, is used perfectly here: She's like a glass of milk, trembling with vibrations felt through the legs of the table.
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She instantly reverts to the girlishness of a smitten high schooler, breaking not only from the gravity of Becky's situation, but with any sense of awareness that she and her daughter are making the same mistakes.
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But to the companies making and marketing these apps, please, don't elide this aspect of womanhood by painting it with a trendy, approachable color that turns femininity into ironic girlishness, a period of bodily and emotional rawness into tempered calm.
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Surrounding these images is the brightest pink, signaling the production of a kind of feminized memory that is still authoritative despite its symbolic girlishness (which is always read as an unseriousness) — it's a decided rejection of the tradition of masculinist Black remembering.
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Her time in the army left her feeling stripped of all vestiges of femininity and any sense of herself as an individual, and in the photos collected here, she shows female Israeli soldiers whose girlishness and teenage boredom act as a subtle but undeniable form of protest.
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Coppola's visual indulgence makes it clear that Marie is a poor little rich girl, out of touch and a tragedy in her own life, but the drama of the intentionally anachronistic work comes from Dunst's ability to project womanly wisdom and girlishness, often at the same time — a recurring theme in her roles.
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With girlishness a national obsession – Japan did not ban possession of child pornography until 2014 – and its most popular female icon lacking a mouth, if cuteness does become a separate academic field, then much credit has to be given to the feminist pushback against what Hiroto Murasawa of Osaka Shoin Women's University calls "a mentality that breeds non-assertion".
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I'm so used to seeing — reading, hearing, knowing — that girlishness through hypnotized male eyes that I didn't even blink at the early flashbacks of "The Tale," as we see adult Jennifer (Laura Dern) remember being a 15-year-old Jenny (Jessica Sarah Flaum), taking horseback-riding lessons and basking in the attention of the seemingly fascinating teacher Mrs.
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This was repeated in her first cameo appearance in Popeye the Sailor (1933). There was, however, a certain girlish quality to the character. She was drawn with a head more similar to a baby's than an adult's in proportion to her body. This suggested the combination of girlishness and maturity that many people saw in the flapper type, which Betty represented.
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Later she also performed in Thomas Mann's The Magic Mountain; Joyce's Exiles; and The Master and Margarita by Mikhail Bulgakov. Dymna has played about 250 theatrical and film roles. She has been esteemed for her talent and looks which "emanated with freshness, naturalness, girlishness and charm". Her photographs decorated covers of magazines, but her beauty became, in a way, an obstacle for portrayals of more mature characters.
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Venus with a Mirror ( 1555) by Titian, showing the goddess Venus as the personification of femininity. Femininity (also called womanliness or girlishness) is a set of attributes, behaviors, and roles generally associated with women and girls. Although femininity is socially constructed, research indicates that some behaviors considered feminine are biologically influenced. To what extent femininity is biologically or socially influenced is subject to debate.
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Socialist ideas, especially in the Fourierist vein, exerted a decisive influence on Kardec and other Spiritists. The most popular trance lecturer prior to the American Civil War was Cora L. V. Scott (1840–1923). Young and beautiful, her appearance on stage fascinated men. Her audiences were struck by the contrast between her physical girlishness and the eloquence with which she spoke of spiritual matters, and found in that contrast support for the notion that spirits were speaking through her.
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She was "an absolute pleasure to listen to, though a bit cool and distant for [his] taste - too much the proper, dutiful wife to make her agonizing dilemma fully believable". As Charlotte's sister, Isobel Buchanan was "a charming Sophie who [did] not overdo her girlishness". José Carreras's Werther had both strengths and weaknesses. On the positive side, "the dark timbre of [Carreras's] attractive voice [helped] in creating a manly figure out of Goethe's at times annoyingly self-pitying hero".
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Writing for the Los Angeles Times, critic Gary Goldstein called Broken Dreams "vital and intriguing" but said that the production is "a bit cursory and cobbled together". Frank Scheck of The Hollywood Reporter wrote that the documentary is "deeply moving" and that it is one of the most powerful films providing a first-hand account of the Holocaust. He also praised Aleksandra Bernatek, who reads from Spiegel's diary, saying that she "delivers emotive readings that fully convey Renia's girlishness, passion and inner strength".
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She also grew up listening to David Bowie, whose show was the first rock concert she ever attended. During her childhood, Madonna was inspired by actors, later saying, "I loved Carole Lombard and Judy Holliday and Marilyn Monroe. They were all incredibly funny ... and I saw myself in them ... my girlishness, my knowingness and my innocence." Her "Material Girl" music video recreated Monroe's look in the song "Diamonds Are a Girl's Best Friend", from the film Gentlemen Prefer Blondes (1953).
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" Woods herself has collected widespread acclaim for her performance. Variety wrote, "Ilene Woods, as Cinderella’s voice, uses a sweet soprano." Craig Butler of AllMovie opined, "Ilene Woods makes a marvelous Cinderella, her voice a combination of girlishness and sophistication; she also possesses a serenity and assurance which makes one feel she is more in control of her life than might be guessed by her surroundings." At the time of Woods' death, animation critic and historian Charles Solomon told the Los Angeles Times, "one of the things about her performance is the warmth she gave the character.
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Brass accessories Steampunk fashion is a mixture of fashion trends from different historical periods. Steampunk clothing adds the looks of characters from the 19th century, explorers, soldiers, lords, countesses and harlots, to the punk, contemporary street fashion, burlesque, goth, fetishism, vampire and frills among others. Related to steampunk fashion is the Lolita fashion, which strand stands for a youthful expression of girlishness. Though they both take inspiration from the Victorian era, Lolita is more modest and focused on purchasing clothing from commercial vendors, as opposed to steampunk clothing, which is traditionally created from things bought in thrift stores.
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Udell, for example, that she wants to play Charlotte in the school play, Mrs. Udell does not take her seriously and even “scowls” at the idea, a response that demonstrates her strong discomfort with such a forward challenge of gender roles. Kelly and Scott, Melissa’s best friend and brother, respectively, also have difficulty coming to terms with Melissa’s identity as a female, while other kids at school bully her for her girlishness. She challenges the cisnormative expectations of these characters, resulting in either pain and violence, as in the case of her bullies, or eventual acceptance and growth in the case of her family members and close friends.
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For Mulgrew, acting without cameras, makeup or costumes and with only a script and a sound engineer to assist her was a liberating experience. She liked the range she was allowed to have with Flemeth, "from her very darkest tones to moments of almost girlishness", or "going from fury to confidence, and confidence to reflection". She described the vocal dexterity required to capture the darkness of the character to be "challenging and very freeing...almost joyful to go that deep". Having possessed context and insight into the character's motivations and true nature, Mulgrew felt she could "grasp her fury and her power in a different way", and noted that "there's a sense of great adult play".
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On September 27, SM Entertainment posted a series of teasers for the album on their official SNS accounts, which Forbes stated exuded "confident sensuality" that would have been unthinkable years ago when the group's "brand of peppy girlishness was at its peak". Yuri wanted her album to reflect her personal image in her group, so she made sure it showed "sexiness, femininity and beauty". A timeline for the remaining teasers and the release of the album was also included, along with some details about the extended play which will contain six tracks, including the lead single "Into You (빠져가)". Yonhap News also reported that Yuri planned on doing active promotions for the album.
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Pixie Lott received mixed reviews from contemporary music critics. Stephen Thomas Erlewine of AllMusic wrote that although the album "does attempt to tone down her girlishness", Lott "can't run away from her ebullient instincts, and that sprightliness is why Pixie Lott is an enjoyable piece of high gloss pop." John Walshe of Hot Press commented that Lott "succeeds in unleashing her inner diva throughout these highly polished R&B-tinged; pop standards, complete with backing vocals that could have been lifted from the golden era of soul music itself." David Smyth of the London Evening Standard noted that the album trades "the electronic pop touches of its predecessor" for "a more organic sound that comes across like a lightweight Amy Winehouse", while complimenting the songs "Break Up Song", "Bang" and "Kill a Man".
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Indiewire has described her character as one of the most underrated in television: "Libby Masters is a character who could easily have come across as insipid instead of likable and poignant ... FitzGerald fully conveys Libby's willowy fragility, her fairly sheltered outlook and girlishness – she sometimes calls her husband 'Daddy'—while making it clear she isn't a simple stand-in for conservative values or cluelessness ... FitzGerald makes Libby's perceptiveness and her transparency clear." In 2015, she appeared in the indie comedy Adult Beginners (previously called Brother's Keeper) from director Ross Katz as Kat, the girlfriend of Jake (Nick Kroll) who dumps him after his tech startup fails and he moves back to his family home. Rose Byrne and Bobby Cannavale co-star. In June 2017, FitzGerald joined the cast of Robert Krzykowski's film The Man Who Killed Hitler and Then the Bigfoot, co-starring with Sam Elliott and Aidan Turner.
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The musical received mixed reviews but was praised for being a fun and upbeat production. Ben Brantley, reviewing the musical in The New York Times, wrote that the show was a "high-energy, empty-calories, and expensive- looking hymn to the glories of girlishness"; he praised Laura Bell Bundy saying, "she sings and dances flawlessly, and she delivers silly lines as if she meant them." Clive Barnes, in his New York Post review, praised Heather Hach's book but criticized the "amorphous, synthetic, and maniacally empty- headed music", summarizing the show as "a pleasant if noisy night out". Elysa Gardner in the USA Today wrote that the musical was an "ingratiating trifle", and the "game cast ensure that the proceedings, however patronizing, aren't irritating." Jeremy McCarter in New York Magazine lamented that the musical "doesn’t summon memories of Tracy Flick, the steely student-council campaigner that Reese Witherspoon played in Election before starring in Legally Blonde", writing that the "Flickish manic drive" in Witherspoon's Legally Blonde performance had been his favorite part of the film.
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