tomboyishness

Throughout history, there has been a perceived correlation between tomboyishness and lesbianism.

Her domestic talents are explained as a deliberate effort to overcome her tomboyishness.

In an often overlooked alteration, however, the tomboyishness of the text's title character was also tamed."

She is displayed as "cuddly" in earlier seasons, often dressing in pink fuzzy sweaters resulting in an innocent tomboyishness.

Gwen Verdon, the charming redhead whose allure had less to do with standard feminine charms than with feline tomboyishness, was such a character.

The given name "Makoto" is usually a male name, but is sometimes given to girls; its use here highlights Makoto's tomboyishness.

Her look was softer, now, more feminine; she had shed the chip-on-the-shoulder tomboyishness in favor of a more seductive approach, and she credited that to Tandy.

Miss Makarova offered a charming portrait of the heroine in the first two acts, alternating with total believability between tomboyishness and grave shyness, and dancing as well as acting both.

Her character has changed from season one to the rest of the show, as in the first season she's portrayed as a tomboyish ditz, and in season two, she becomes much smarter, but keeps her tomboyishness.

Judith Halberstam, in her book Female Masculinity, uses the character of Frankie to illustrate the pressures on girls to "outgrow" their tomboyishness, arguing that masculinity is tolerated in girls only as long as they ultimately conform to gender expectations in adulthood.

As Temple matured into a pre-adolescent, the formula was altered slightly to encourage her naturalness, naïveté, and tomboyishness to come forth and shine while her infant innocence, which had served her well at six but was inappropriate for her tweens (or later childhood years), was toned down.

In a hundred years of close acquaintance with humans, close friendships with several, Larreka had learned to tell them apart as well as they could themselves, person by person or year by year- He had left her a lanky, late-maturing adolescent who had scarcely outgrown a tomboyishness which, no doubt, he had helped foster.

For the hidden Farell has a trace of wantonness, a trace of tomboyishness, an abiding warmth. . . ... and in the confusion, the dark side of his own self ebbs, and he wonders why he is standing and shouting, and why Marta Farell is merely waiting.