ften imposed upon the feminine. Countries are traditionally identified as female thereby reinforcing the cultural link between women and the domestic. Significantly, when the cultural status of women is predominantly linked to the domestic, it is routinely polarized from the erotic. This tension between women being constrained by their cultural inscription within domestic rather than erotic space is at least partially constructed by nationalist concerns. To understand how nationalized images of women influence a country's inhabitants, specific attention will here be given to the Philippines. In "The Filipino Woman: Cory and Leonor, Gabriela and Imelda", Carmen Guerrero-Nakpil explores how four famous Filipino women serve as national icons. More interestingly, Guerrero-Nakpil indicates that these four types are actually "mirror images of one another" (Guerrero-Nakpil in Anderson 117). Guerrero-Nakpil asserts that each of the four serves as a "true and complete reflection of the Filipino woman" with Corazon Aquino seen as "housewife and revolutionary president", Leonor "who counted the world lost for love", Gabriela "who commanded an army of men" and Imelda Marcos who served as "politician and patroness of the arts" (Guerrero-Nakpil in Anderson 117). Analyzed collectively, these women reveal the same nationalist principle: "Corey's strength and Gabriela's indomitability are merely the reverse of the flexible Imelda and the submissive Leonor" (Guerrero-Nakpil in Anderson 117). Although this Filipino scholar's observation are largely traditional they do underscore that what Filipino culture prizes in its women is "resolution" whether it is manifested as "extravagance or abnegation, faith, fortitude, intelligence or ingenuity" (Guerrero-Nakpil in Anderson 117). What this scholar does not underscore is that her term "resolution" can be reinscripted to read as a type of a nationalist harnessing of a woman's energy. From this pe...