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1
Du Plessis, J. W., and D. H. Steenberg. "Uit die oogpunt van ’n vrou? Perspektief op feministiese literêre kritiek in die kader van die Airikaanse prosa." Literator 12, no. 3 (May 6, 1991): 71–88. http://dx.doi.org/10.4102/lit.v12i3.781.
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Feminists feel that in literary criticism not enough consideration is given to feminism as an ideology in the production of texts. According to them, existing literary criticism is strongly man-centred. This is especially true of the practice of South African literary criticism. Although feminism does not have at its disposal a formulated feminist literary criticism, a great deal of research has been done in this direction abroad. This is especially the case in Europe and America. Feminist literary critics apply themselves to the representation of the woman in works by male authors and an analysis of feminine experience in the production of texts by women. This article is an exploration of the Anglo-American and French approaches in feminist literary criticism. An attempt is made to formulate the aims of a possible South African feminist literary criticism in order that not only the general norms, but also the feminist codes in the production of a text, speak towards the final interpretation of a work.
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Duff, Koshka. "Feminism Against Crime Control: On Sexual Subordination and State Apologism." Historical Materialism 26, no. 2 (July 30, 2018): 123–48. http://dx.doi.org/10.1163/1569206x-00001649.
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AbstractIts critics call it ‘feminism-as-crime-control’, or ‘Governance Feminism’, diagnosing it as a pernicious form of identity politics. Its advocates call it taking sexual violence seriously – by which they mean wielding the power of the state to ‘punish perpetrators’ and ‘protect vulnerable women’. Both sides agree that this approach follows from the radical feminist analysis of sexual violence most strikingly formulated by Catharine MacKinnon. The aim of this paper is to rethink the Governance Feminism debate by questioning this common presupposition. I ask whether taking MacKinnon’s analysis of sexual violence seriously might, in fact, itself give us reason to be critical of political strategies that embrace the punitive state. By raising this question, I hope to persuade radical feminists to listen to critics of carceral politics rather than dismissing them as rape apologists, and critics of carceral politics to listen to radical feminists rather than dismissing them as state apologists.
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Lauret, Maria, Maggie Humm, Jan Montefiore, and Nina Auerbach. "Feminist Criticism: Women as Contemporary Critics." Feminist Review, no. 27 (1987): 113. http://dx.doi.org/10.2307/1394817.
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Sapio, Maria Del, Maggie Humm, and Moira Monteith. "Feminist Criticism: Women as Contemporary Critics." Modern Language Review 84, no. 4 (October 1989): 959. http://dx.doi.org/10.2307/3731202.
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Greeley, Lynne. "Whatever Happened to the Cultural Feminists? Martha Boesing and At the Foot of the Mountain." Theatre Survey 46, no. 1 (May 2005): 49–65. http://dx.doi.org/10.1017/s0040557405000049.
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In 1991, Martha Boesing, cofounder of At the Foot of the Mountain in Minneapolis, declared, “I'm not [just] a cultural feminist. I was a Marxist before these girls were even born!” The “girls” to whom she was referring were the critics whose negative response to the performance of the multicultural collaborative piece The Story of a Mother II at the Women and Theatre Program in Chicago in 1987 marked a decisive clash between competing notions of feminism in American theatre. Boesing later owned her own cultural feminism, as well as her Marxist evocation to action, but the conflict between cultural feminists (who sought performance as a means of building communities) and materialist feminists (who resisted being constructed as part of universalized womanhood) resulted in a divide that ultimately affected the reception and hence the historical impact of At the Foot of the Mountain. From their founding in 1974 to this performance in 1991, Boesing and At the Foot of the Mountain had been featured both in critical literature and at theatre conferences, hailed for their application of consciously articulated feminist politics in the creative process of their plays. After Chicago, they lost momentum as subjects of study in critical scholarship.
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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.
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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.
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Soltani, Hasti. "Study of George Eliot’s Selected Works in the Light of Germaine Greer’s Ideas." Journal of Language Teaching and Research 9, no. 5 (September 1, 2018): 1017. http://dx.doi.org/10.17507/jltr.0905.16.
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Feminism is a movement that aims to establish equal rights and opportunities for women. George Eliot, the British female writer, is among the practitioners who try to depict these elements in her novels. Her two major novels, The Mill on the Floss and Middlemarch: A Study of Provincial Life are great supports for her Feminist ideologies. Bearing a good resemblance to Eliot’s own life, the women protagonists of these novels, Maggie and Dorothea, are considered as proper models of critical study by great feminist critics such as Germaine Greer, a modern feminist critic whose valuable contribution to the world of literature as well as to the real world is illustrated in her book The Female Eunuch. Greer focuses on liberation, nuclear family, and revolution as the major elements which are the basis of these protagonist's lives and characters from childhood to womanhood.
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Murphy, Sinéad. "The Dangers of "Pure Feeling": A Warning to Feminist Interpretations of Hans-Georg Gadamer." Labyrinth 16, no. 1 (August 31, 2014): 92. http://dx.doi.org/10.25180/lj.v16i1.32.
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By analyzing the feminist debates on Hans-Georg Gadamer, the author shows that feminist critics point to the need either to supplement or to replace Gadamer's philosophy with a greater sensitivity to the historical implications of women's experience. Thus, they are of the view either that Gadamer's philosophy has yet to come to terms with specific historical situations or that Gadamer's philosophy cannot come to terms with historical situatedness per se. The author contends that Gadamer's femi-nist critics do not locate the source of his residual transcendentalism where it should be located: in the account of aesthetic judgment as a "pure feeling" that underpins his entire philosophy. This has the effect, of appearing to preserve aesthetic judgment as "pure feeling" as an apparently innocent remedy, to which some of his feminist critics actually appeal in opposition to his transcendentalism. The author argues, to the contrary, that aesthetic judgment, as a "pure feeling," is at once too com-plicit in the tradition that feminists seek to engage with, traditionally too insubstantial to make a rich resource for a feminist critique of that tradition, and ultimately too traditionally male-centered to be easily coopted by a feminist philosopher.
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Marder, Elissa. "Disarticulated Voices: Feminism and Philomela." Hypatia 7, no. 2 (1992): 148–66. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00890.x.
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By juxtaposing readings of selected feminist critics with a reading of Ovid's account of Philomela's rape and silencing, this essay interrogates the rhetorical, political, and epistemological implications of the feminist “we.” As a political intervention that comes into being as a response to women's oppression, feminism must posit a collective “we.” But this feminist “we” is best understood as an impersonal, performative pronoun whose political force is not derived from a knowable referent.
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Dalgleish, Adam, Patrick Girard, and Maree Davies. "Critical Thinking, Bias and Feminist Philosophy: Building a Better Framework through Collaboration." Informal Logic 37, no. 4 (December 6, 2017): 351–69. http://dx.doi.org/10.22329/il.v37i4.4794.
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In the late 20th century theorists within the radical feminist tradition such as Haraway (1988) highlighted the impossibility of separating knowledge from knowers, grounding firmly the idea that embodied bias can and does make its way into argument. Along a similar vein, Moulton (1983) exposed a gendered theme within critical thinking that casts the feminine as toxic ‘unreason’ and the ideal knower as distinctly masculine; framing critical thinking as a method of masculine knowers fighting off feminine ‘unreason’. Theorists such as Burrow (2010) have picked up upon this tradition, exploring the ways in which this theme of overly masculine, or ‘adversarial’, argumentation is both unnecessary and serves as an ineffective base for obtaining truth. Rooney (2010) further highlighted how this unnecessarily gendered context results in argumentative double binds for women, undermining their authority and stifling much-needed diversity within philosophy as a discipline.These are damning charges that warrant a response within critical thinking frameworks. We suggest that the broader critical thinking literature, primarily that found within contexts of critical pedagogy and dispositional schools, can and should be harnessed within the critical thinking literature to bridge the gap between classical and feminist thinkers. We highlight several methods by which philosophy can retain the functionality of critical thinking while mitigating the obstacles presented by feminist critics and highlight how the adoption of such methods not only improves critical thinking, but is also beneficial to philosophy, philosophers and feminists alike.
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Mishra, Indira Acharya. "Feminist Voice in Abhi Subedi's Agniko Katha." Researcher: A Research Journal of Culture and Society 4, no. 2 (December 31, 2020): 12–22. http://dx.doi.org/10.3126/researcher.v4i2.34619.
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This article analyzes Abhi Subedi's play, Agniko Katha, from a feminist perspective. Feminist critics blame that the classics of literature are partly responsible for creating and perpetuating the myth about 'eternal feminine.' They claim that there are only two images available for women in patriarchal literature. One is the image of a virtuous passive woman and the other is the promiscuous selfish woman. The author of such literary texts rewards the virtuous woman whereas they punish the promiscuous one. Feminists argue that the underlying message of this method is: if a woman wants to survive in patriarchy she must act feminine. This effects women in their real life situation for they tend to perform feminine gender roles though they are disadvantageous to them. Thus, they protest the stereotype depiction of female characters in literary and other cultural texts. The article argues that Subedi defies the traditional notion of femininity and creates new roles for his female characters. The protagonist of the play denies to play her assigned feminine role and searches for a new role for her. She questions and protests the patriarchal gender roles which are bias against women. Thus, it is relevant to explore the feminist voice in the text. The finding of the article suggests that women, too, have the potentiality to create new roles for themselves and bring change into society.
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McHugh, Kathleen. "Prolegomenon." Film Quarterly 75, no. 1 (2021): 10–22. http://dx.doi.org/10.1525/fq.2021.75.1.10.
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Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The Uses of Anger.” Drawing from Lorde’s and Sara Ahmed’s ideas about the creative value of feminist anger, together with recent affect theory on “reparative reading” and “better stories,” the essay explores four contemporary directors’ films and media works for how anger shapes their texts and critical reception and cultivates a mode of affective witness in their audiences.
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Walsh, Mary B. "Locke and Feminism on Private and Public Realms of Activities." Review of Politics 57, no. 2 (1995): 251–78. http://dx.doi.org/10.1017/s0034670500026899.
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Feminist critics of Locke perceive a conflict between his promise of political liberty and equality and women's individual and social circumstances. Many feminists point to an incongruence in Locke's thought between formal political rights and the substantive inequalities women experience in a variety of social relationships. Emphasizing Locke's liberal distinction between private and public, these feminists explore how women's actual personal, marital, familial and economic (i.e., private) positions mitigate against the possibility of political emancipation for women. Opposing this interpretation, this article will argue that Locke's feminist critics misread Locke and misinterpret his distinction between private and public. What some feminists represent as a dichotomy between public and private is actually for Locke a multitude of interacting spheres in which individuals live. An examination of these spheres will reveal a latent potential in Locke's philosophy for addressing women's particular circumstances.
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Prieto Arratibel, Amaia. "La crítica al sujeto del feminismo: reflexiones epistemológicas para una antropología feminista." Revista Andaluza de Antropología, no. 14 (2018): 71–88. http://dx.doi.org/10.12795/raa.2018.14.05.
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Ling, Qi, and Sara Liao. "Intellectuals Debate #MeToo in China: Legitimizing Feminist Activism, Challenging Gendered Myths, and Reclaiming Feminism." Journal of Communication 70, no. 6 (October 17, 2020): 895–916. http://dx.doi.org/10.1093/joc/jqaa033.
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Abstract This study focuses on the intellectual debate over #MeToo in China provoked by an article written by a well-known Chinese scholar and public intellectual Liu Yu. Raising such countervailing issues as women’s supposed complicity in sexual harassment and the drawbacks of digital activism in comparison with legal action, Liu’s article marked a crucial moment in the public awareness and discussion of #MeToo and digital activism in China in 2018. By analyzing the critical responses to Liu’s argumentations, we examined the discursive impact of these critical efforts to destabilize Liu’s hegemonic reading of the sexual harassment culture in China. We show how Liu’s critics offered a compelling defense of #MeToo, deconstructed enduring gendered myths, and had a significant impact in terms of reclaiming feminism in China. We argue further that the critics’ intellectual and deliberative efforts exemplify China’s local struggles in the global #MeToo movement and feminist activism.
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MICHAILIDOU, ARTEMIS. "Edna St. Vincent Millay and Anne Sexton: The Disruption of Domestic Bliss." Journal of American Studies 38, no. 1 (April 2004): 67–88. http://dx.doi.org/10.1017/s0021875804007911.
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Popular perceptions of Edna St. Vincent Millay do not generally see her as a poet interested in so-called “domestic poetry.” On the contrary, Millay is most commonly described as the female embodiment of the rebellious spirit that marked the 1920s, the “New Woman” of early twentieth-century feminism. Until the late 1970s, the subject of domesticity seemed incompatible with the celebrated images of Millay's “progressiveness,” “rebelliousness,” or “originality.” But then again, by the 1970s Millay was no longer seen as particularly rebellious or original, and the fact that she had also contributed to the tradition of domestic poetry was not to her advantage. Domesticity may have been an important issue for second-wave feminists, but it was discussed rather selectively and, outside feminist circles, Millay was hardly ever mentioned by literary critics. The taint of “traditionalism” did not help Millay's cause, and the poet's lifelong exploration of sexuality, femininity and gender stereotypes was somehow not enough to generate sophisticated critical analyses. Since Millay seemed to be a largely traditional poet and a “politically incorrect” feminist model, second-wave feminists preferred to focus on other figures, classified as more modern and more overtly subversive. Scholarly recognition of Millay's significance within the canon of modern American poetry did not really begin until the 1990s.
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Terwiel, Anna. "What Is Carceral Feminism?" Political Theory 48, no. 4 (November 26, 2019): 421–42. http://dx.doi.org/10.1177/0090591719889946.
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In recent years, critiques of “carceral feminism” have proliferated, objecting to feminist support for punitive policies against sexual and gendered violence that have contributed to mass incarceration. While the convergence of feminist and antiprison efforts is important, this essay argues that critiques of carceral feminism are limited insofar as they present a binary choice between the criminal legal system and informal community justice practices. First, this binary allows critics to overlook rather than engage feminist disagreements about the state and sexual harm. Second, the narrow focus on alternative solutions to harm obscures the plural and contested nature of prison abolition, which may include efforts to seize the state and to problematize carceral logics. Drawing on Michel Foucault, alongside Angela Davis and other contemporary prison abolitionists, I suggest that feminist prison abolition is better served by envisioning a spectrum of decarceration.
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Bernick, Susan E. "The Logic of the Development of Feminism; or, Is MacKinnon to Feminism as Parmenides Is to Greek Philosophy?" Hypatia 7, no. 1 (1992): 1–15. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00694.x.
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Catharine MacKinnon's investigation of the role of sexuality in the subordination of women is a logical culmination of radical feminist thought. If this is correct, the position of her work relative to radical feminism is analogous to the place Parmenides's work occupied in ancient Greek philosophy. Critics of MacKinnon's work have missed their target completely and must engage her work in a different way if feminist theory is to progress past its current stalemated malaise.
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Donchin, Anne. "Reworking Autonomy: Toward a Feminist Perspective." Cambridge Quarterly of Healthcare Ethics 4, no. 1 (1995): 44–55. http://dx.doi.org/10.1017/s0963180100005636.
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The principled approach to theory building that has been a conspicuous mark of bioethical theory for the past generation has in recent years fallen under considerable critical scrutiny. Although some critics have confined themselves to reordering the dominant principles, others have rejected a principled approach entirely and turned to alternative paradigms. Prominent among critics are antiprin-ciplists, who want to jettison the principle-based approach altogether and adopt a casuistic (case-specific) model, and communitarians, who favor an eclectic model combining features of both the casuistic model and a modified principled approach. Particularly conspicuous in virtually all such critiques is their challenge to the preeminence of the principle of autonomy. Critical barbs have been aimed not only at theories favoring a hierarchical ordering of moral principles that give first place to autonomy, but also at those that include autonomy among a set of ostensibly coequal principles. Though these critics have performed a valued function by displacing bioethical principles from their Olympian perch beyond actual decision-making contexts, some version of the principle of autonomy may, nonetheless, be well worth defending but for very different reasons than those put forward by its supporters.
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COSTA, Michelly Aragão Guimarães. "O feminismo é revolução no mundo: outras performances para transitar corpos não hegemônicos “El feminismo es para todo el mundo” de bell hooks Por Michelly Aragão Guimarães Costa." INTERRITÓRIOS 4, no. 6 (June 4, 2018): 187. http://dx.doi.org/10.33052/inter.v4i6.236748.
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El feminismo es para todo el mundo, é uma das obras mais importantes da escritora, teórica ativista, acadêmica e crítica cultural afronorteamericana bell hooks. Inspirada em sua própria história de superação e influenciada pela teoria crítica como prática libertadora de Paulo Freire, a autora nos provoca a refletir sobre o sujeito social do feminismo e propõe um feminismo visionário e radical, que deve ser analisado a partir das experiências pessoais e situada desde nossos lugares de sexo, raça e classe para compreender as diferentes formas de violência dentro do patriarcado capitalista supremacista branco. Como feminista negra interseccional, a escritora reivindica constantemente a teoria dentro do ativismo, por uma prática feminista antirracista, antissexista, anticlassista e anti-homofóbica, que lute contra todas as formas de violência e dominação, convidando a todas as pessoas a intervir na realidade social. Para a autora, o feminismo é para mulheres e homens, apontando a urgência de transitar alternativas outras, de novos modelos de masculinidades não hegemônicas, de família e de criança feminista, de beleza e sexualidades feministas, de educação feminista para a transformação da vida e das nossas relações sociais, políticas, afetivas e espirituais. Feminismo. Revolução. bell hooks. Feminismo is for everybody bell hooksFeminism is revolution in the world: other performances to transit non-hegemonic bodiesAbstractEl feminismo es para todo el mundo, is one of the writer's most important works, activist theorist, academic and cultural critic African American, bell hooks. Inspired by her own overcoming history and influenced by critical theory as a liberating practice of Paulo Freire, the author provokes us to reflect on the social subject of feminism and proposes a visionary and radical feminism that must be analyzed from personal experiences and situated from our places of sex, race, and class to understand the different forms of violence within the white supremacist capitalist patriarchy. As an intersectional black feminist, the writer constantly advocates the theory within activism, for a feminist practice anti-racist, anti-sexist, anti-classist and anti-homophobic practice that fights against all forms of violence and domination, inviting all people to intervene in social reality. For the author, feminism is for women and men, pointing to the urgency of moving other alternatives, new models of non-hegemonic masculinities, family and child feminist beauty and feminist sexualities, feminist education for life transformation and of our social, political, affective and spiritual relationships. Feminism. Revolution. bell hooks
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Dekoven, Marianne. "Jouissance, Cyborgs, and Companion Species: Feminist Experiment." PMLA/Publications of the Modern Language Association of America 121, no. 5 (October 2006): 1690–96. http://dx.doi.org/10.1632/pmla.2006.121.5.1690.
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In the late seventies and early eighties (around 1981, in Jane Gallop's memorable formulation), utopia still seemed at hand. The energies of the defeated revolutionary political and counter cultural movements of the sixties seemed to have been channeled into feminism. For some feminist theorists and critics working in literary academia, the revolution of the word, that fabulous legacy of the twentieth-century avant-gardes, seemed to have become the revolution itself. Experimental writing—writing that disrupts conventional modes of signification and provides alternatives to them—was, for literature, the site of this revolution. Through the work of continental poststructuralists and psychoanalytic theorists, particularly Roland Barthes, Jacques Derrida, Michel Foucault, Gilles Deleuze and Felix Guattari, Jacques Lacan, Julia Kristeva, Helene Cixous, and Luce Irigaray, we (academic feminists, almost entirely Euro-American and white) assembled an arsenal of ideas and analyses that we thought would change the world, as sixties activism had failed to do.
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Champagne, John. "A Feminist Pirandello: Female Agency in As You Desire Me." Forum Italicum: A Journal of Italian Studies 39, no. 1 (March 2005): 49–72. http://dx.doi.org/10.1177/001458580503900103.
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Given that Luigi Pirandello's 1930 Come tu mi vuoi (As You Desire Me) is about a woman's attempt to determine her identity, one would think that the play would be praised by feminists. In fact, some critics argue that it simply reinforces traditional gender norms. This essay offers a different feminist interpretation of the play, one that foregrounds the question of female agency, L'Ignota is the only character who may know the truth of her identity. That she withholds this truth from both the other characters and the audience is evidence of the play's feminism. The character retains the right to her self, placing both the other characters and the audience in the position of “lack” and not the plenitude associated with male authority and subjectivity. The unmasking of that plenitude as illusory is for some theorists at least a feminist gesture par excellence. By the conclusion of “As You Desire Me,” both characters and audience are confronted with a woman who refuses the usual rules of the game. The essay concludes by examining an earlier work of Pirandello's that also takes up the question of the identity of a woman. This suggests that perhaps a feminist re-evaluation of Pirandello's work is in order.
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Nugraha, Dipa, and Suyitno Suyitno. "REPRESENTATION OF ISLAMIC FEMINISM IN ABIDAH EL KHALIEQY’S NOVELS." LITERA 18, no. 3 (November 26, 2019): 465–84. http://dx.doi.org/10.21831/ltr.v18i3.27012.
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The Indonesian literary tradition during the reform period was marked by the rise of female writers who raised the issue of feminism. Within the framework of locality and contextuality, the feminism movement echoed by female writers comes in diverse expressions. This study aims to describe the reference figures and issues of Islamic feminism that are represented in novels by Abidah El Khalieqy. This research uses a feminist literary criticism approach. The data sources of the research are three novels by Abidah El Khalieqiy, namely Perempuan Berkalung Sorban, Geni Jora, and Mataraisa. The technique used to gather feminist voices in the three novels is a close reading. The analysis was conducted using a descriptive qualitative method. The results of the study are as follows. First, Islamic feminist figures who were referred to by the feminism movement were Fatima Mernisi and Riffat Hassan. Fatima Mernisi is known as a misogonic hadith critic, while Riffat Hassan uses the hermeneutic principle in the interpretation of the Quran. Second, the issues of feminism represented are: the lives of women in the pesantren tradition, the position of women in the family, the view of normal sexual relations and relationships, and the interpretation of the hadiths and verses of the Qur'an relating to women. Islamic feminism voiced by Abidah El Khalieqy brings its own color compared to the Western feminism movement which refers to the concept of ecriture feminine. Keywords: Islamic Feminism, ecriture feminine, Indonesian literary history, politics of difference, intersectionality REPRESENTASI FEMINISME ISLAM DALAM NOVEL-NOVEL KARYA ABIDAH EL KHALIEQY AbstrakTradisi sastra Indonesia masa reformasi ditandai maraknya penulis perempuan yang mengangkat permasalahan feminisme. Dalam bingkai lokalitas dan kontekstualitas, gerakan feminisme yang digaungkan para penulis perempuan hadir dalam ekspresi yang beragam. Penelitian ini bertujuan mendeskripsikan tokoh rujukan dan persoalan feminisme Islam yang direpresentasikan dalam novel-novel karya Abidah El Khalieqy. Penelitian ini menggunakan pendekatan kritik sastra feminis. Sumber data penelitian adalah tiga novel karya Abidah El Khalieqiy, yaitu Perempuan Berkalung Sorban, Geni Jora, dan Mataraisa. Teknik yang dipakai untuk mengumpulkan suara-suara feminisme di dalam ketiga novel adalah pembacaan cermat (close reading). Analisis dilakukan dengan metode deskriptif kualitatif. Hasil penelitian sebagai berikut. Pertama, tokoh feminis Islam yang menjadi rujukan gerakan feminisme adalah Fatima Mernisi dan Riffat Hassan. Fatima Mernisi dikenal dengan kritik hadist misogonis, sedangkan Riffat Hassan dengan prinsip hermeneutika dalam tafsir Alquran. Kedua, persoalan feminisme yang direpresentasikan adalah: kehidupan perempuan dalam tradisi pesantren, kedudukan perempuan dalam keluarga, pandangan terhadap relasi dan hubungan seksual yang normal, dan tafsir terhadap hadist dan ayat Al-quran berkaitan dengan perempuan. Feminisme Islam yang disuarakan Abidah El Khalieqy membawa warna tersendiri dibandingkan dengan gerakan feminisme Barat yang merujuk pada konsep ecriture feminine. Kata kunci: feminisme Islam, ecriture feminine, sejarah sastra Indonesia, politik perbedaan, interseksionalitas.
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Freedman, Lucy. "A ‘Beautiful half hour of being a mere woman’: The Feminist Subject and Temporary Solidarity." Historical Materialism 26, no. 2 (July 30, 2018): 221–41. http://dx.doi.org/10.1163/1569206x-00001631.
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Abstract Taking Mina Loy’s articulation of femininity in her poem ‘One O’Clock at Night’ as a point of departure, I examine a false dichotomy facing contemporary feminism: should we identify with or reject the gender imposed upon us? In conjunction with a materialist analysis which posits women as a class, this paper argues that Loy’s discussion of gender could provide a useful framework with which to critique the ‘soft abolitionist’ approach trending today; a largely online movement which assumes that the individual can permanently sever themselves from the confines of gender and construct an autonomous political subjectivity from this shared (and often openly traumatised) ‘non-identity’. I discuss criticisms by trans theorists of the notion that liberation can be located from within gender, and explore ways in which the identification- versus-rejection question has been engaged with in historical feminisms. This includes Monique Wittig’s partial rejection of the term ‘woman’, and a strand of 1970s radical feminism termed (by its critics) ‘the anti-woman line’. In its conclusion, this paper looks to the present – using the feminist-activist group Sisters Uncut as a case study. It asks whether a dialectical praxis, looking to the conversations around ‘identity’ had within historical feminist movements, could inject contemporary feminisms and struggles with a politics of solidarity or political subjecthood, cutting through debates based on narrow understandings of identity and non-identity.
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Cuzovic-Severn, Marina. "The Geopolitics of Emilia Pardo Bazán’s La Quimera: Femme Fatale as Split Feminist Subject." Mediterranean Journal of Social Sciences 8, no. 5 (September 1, 2017): 31–40. http://dx.doi.org/10.1515/mjss-2017-0021.
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AbstractThis paper analyzes the representation of the femme fatale in Emilia Pardo Bazán’s La Quimera (1905). Femme fatale is described by many critics as an expression of masculine anxieties and fears, caused by political crisis and growth of feminine independence in the nineteenth century. Male authors employed this figure to preserve patriarchal structure and the existent power balance between prescribed gender roles. I argue that Pardo Bazán, through imitation of male writers and manipulation of hidden meanings in La Quimera, employs this masculinist projection to express latent feminist ideas and a critique of the contemporary social position of women. In her novel, Pardo Bazán creates a feminist femme fatale and, through her geopolitically split formation (France/Latin America/Spain), criticizes Spanish patriarchy, domesticity and non-modernity. She achieves this without overtly violating masculine narrative structure or demeaning patriarchal order, as she appropriates the originally masculinist imagery of fatal woman. Nevertheless, the eventual fate of Pardo Bazán’s femme fatale—especially the elaboration of internal dialogs and her presentation not as antagonist and invasive Other but as protagonist and subject—demonstrates fundamental differences of a feminist perspective within her elaboration of this masculine fantasy. In this way, in a time and space where feminism as a movement did not yet exist or was in its formative years, Pardo Bazán immensely contributed to the development of European/Spanish feminist thought.
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Feldman Kołodziejuk, Ewelina. "The Mothers, Daughters, Sisters: The Intergenerational Transmission of Womanhood in Margaret Atwood’s The Handmaid’s Tale and The Testaments." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (June 19, 2020): 67–85. http://dx.doi.org/10.4312/elope.17.1.67-85.
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The article reads The Handmaid’s Tale and The Testaments as a response to changes in the feminist movement. Less radical than their mothers’ generation, second-wave feminists’ daughters often abandoned the struggle for equality and focused on homemaking. Nevertheless, the 1990s saw a resurgence of the women’s liberation movement known as the third wave. These feminism(s) significantly redefined the notion of womanhood and emphasised the diversity of the female. After 2010, critics argue, third-wave feminism entered the fourth wave. This analysis of The Handmaid’s Tale focuses on Offred’s relationship with her mother, which is representative of the wider phenomenon of the Backlash. It investigates how the mother and her generation influenced the maternal choices of the Handmaid and discusses the trauma of child removal suffered by Offred. The final section examines The Testaments through the lens of third-wave feminism and analyzes the plight of Offred’s daughters, focusing on their attitudes towards womanhood and maternity.
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Garber, Elizabeth. "Art Critics on Frida Kahlo: A Comparison of Feminist and Non-Feminist Voices." Art Education 45, no. 2 (March 1992): 42. http://dx.doi.org/10.2307/3193324.
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Cickaric, Lilijana. "Feminist approach to discursive critics of gender equality." Sociologija 60, no. 1 (2018): 288–98. http://dx.doi.org/10.2298/soc1801288c.
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The article illustrates how the quality of gender equality policies is constructed through policy debates in ways that are dependent on the different discursive, institutional and structural factors specific to various policy contexts. Discursive dynamics play an important role in shaping the meanings of gender ?quality. The article discusses the relation between hegemonic discourses on gender equality policies and feminist presamptions and expectations. By discursive politics I mean the intentional or unintentional engaging of policy actors in conceptual disputes that result in meanings attributed to the terms and concepts employed in specific contexts. The consequences of these discursive processes are depoliticizing and degendering. The processes of bending gender equality to some other goal depoliticize the issue of gender equality, thus not representing gender equality as a political issue. One key element that is neutralized in the depoliticization is the ?dimension of conflict? that is relevant because it highlights power dynamics. Depoliticizing an issue tends to obscure its discordant relations, its hierarchy of power, which, if recognized, could have opened up possibilities for challenging that hierarchy. Depoliticization in gender equality is also found in the idea of degendering. This refers to how issues that were quite promisingly politicized and consciously gendered soon after became de-gendered - the gender dimension was reduced, neutralized, or abolished.
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Udry, J. Richard. "Feminist Critics Uncover Determinism, Positivism, and Antiquated Theory." American Sociological Review 66, no. 4 (August 2001): 611. http://dx.doi.org/10.2307/3088927.
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Cantore, Francesca, and Giulia Muggeo. "Federico Fellini and the debate in Italian feminist magazines (1973–80)." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 45–62. http://dx.doi.org/10.1386/jicms_00050_1.
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Many articles focus on the feminine ‘Fellinian’ models and stereotypes, on his sexist imaginary and, in wider terms, on the relationship between Fellini and women in general, but very few analyses have actually investigated the real effects that these feminist critics had in shaping Federico Fellini’s public image. Starting from the debate that surrounds his films La città delle donne (City of Women) (1980), Amarcord (1973) and Il Casanova di Federico Fellini (Fellini’s Casanova) (1976), this article analyses the bonds between Fellini and the feminist movement in the 1970s, and it focuses on the role played by feminist magazines in the director’s public image construction. The problematic relationship between Fellini and the feminist movement and ideologies will be analysed especially through a review of feminist magazines such as Quotidiano donna and Effe. Daily newspapers Il Giorno, Corriere della Sera and Paese Sera will also be taken into account in order to consider a wider field of investigation.
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Miriam, Kathy. "Toward a Phenomenology of Sex-Right: Reviving Radical Feminist Theory of Compulsory Heterosexuality." Hypatia 22, no. 1 (2007): 210–28. http://dx.doi.org/10.1111/j.1527-2001.2007.tb01157.x.
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In this essay, Miriam argues for a phenomenological-hermeneutic approach to the radical feminist theory of sex-right and compulsory heterosexuality. Against critics of radical feminism, she argues that when understood from a phenomenological’ hermeneutic perspective, such theory does not foreclose female sexual agency. On the contrary, men's right of sexual access to women and girls is part of our background understanding of heteronormativity, and thus integral to the lived experience of female sexual agency.
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Prismanisa, Lana. "THE REPRESENTATION OF FEMALE CHARACTER IN EDGE OF TOMORROW (2014) FILM BASED ON FEMINIST FILM CRITICS." Diksi 29, no. 1 (March 29, 2021): 1–9. http://dx.doi.org/10.21831/diksi.v29i1.33063.
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(Title: The Representation of Female Character in “Edge of Tomorrow” (2014) Film Based on Feminist Film Critics). This research analyzes the female character in Edge of Tomorrow, Rita Vrataski. This research intends to understand how female character is described in the film and how female character is described according to feminist film critic. The method used is descriptive qualitative method. This research also uses theory character and characterization in film and theory feminist film critic. As the result, Rita is described as a female soldier who has characteristics as committed, brave, assertive, strong, muscular, intelligent and skillful soldier. Even though Rita, as the female character who has man’s characteristics, she still needs help from another male character. Rita character in this film is still passive because the one who finishes the mission in the story is the male character, William Cage. This film proves that male domination still exists in story of film. Thus, the female stereotype has been attached in film and it is difficult to change it.Keywords: female character ,women in film , feminist film critic
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Walters, Amy Madeleine. "Elisabeth Schüssler Fiorenza and the Quest for the Historical Jesus." Open Theology 6, no. 1 (August 5, 2020): 468–74. http://dx.doi.org/10.1515/opth-2020-0117.
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AbstractThe feminist theological and historical work of Elisabeth Schüssler Fiorenza has been met with diverging responses. For feminist biblical scholars, Schüssler Fiorenza is essential reading, with even her works from the 1970s and 1980s still standing as key reference points. For mainstream (“malestream”) biblical scholarship, however, her entire body of writing is typically ignored, including within historical Jesus research (HJR), despite its value in both problematising and advancing the so-called Quests for the Historical Jesus. By evaluating and synthesising Schüssler Fiorenza’s HJR work on fundamentalism, feminism, and anti-Semitism, this article situates the effects of Schüssler Fiorenza’s work and the credibility of her critics within the Quests. While the themes Schüssler Fiorenza addresses, such as feminism and Judaism, are key features of the Third Quest, Schüssler Fiorenza’s proposals with regard to HJR, including the politics of interpretation, the shift to memory and orality studies, and the evaluation of meaning-making itself, are theoretically critical and self-reflexive in a way which the Third Quest has rarely been. Given the emphasis Schüssler Fiorenza places on self-evaluation, and her critical examination of the work of her peers in HJR, one is led to consider the possibility that her work may represent a Third Quest Critical-Stream, or even a Fourth Quest.
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West, Candace. "Goffman in Feminist Perspective." Sociological Perspectives 39, no. 3 (September 1996): 353–69. http://dx.doi.org/10.2307/1389251.
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In this paper, my aim is to call attention to Erving Goffman's contributions to feminist theory. I begin by reviewing his sociological agenda and assessments of that agenda by his critics. Next, I consider various substantive contributions of his work to our understanding of women's experiences in public places, spoken interaction between women and men, and sex and gender. I conclude with a discussion of the significance of Goffman's work for analyzing the politics of and in the personal sphere.
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Davis, Deanna L. "Feminist Critics and Literary Mothers: Daughters Reading Elizabeth Gaskell." Signs: Journal of Women in Culture and Society 17, no. 3 (April 1992): 507–32. http://dx.doi.org/10.1086/494747.
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Federici, Eleonora. "Metaphors in dialogue: feminist literary critics, translators and writers." MonTI. Monografías de Traducción e Interpretación, no. 3 (2011): 355–76. http://dx.doi.org/10.6035/monti.2011.3.12.
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STOUT, NOELLE M. "Feminists, Queers and Critics: Debating the Cuban Sex Trade." Journal of Latin American Studies 40, no. 4 (November 2008): 721–42. http://dx.doi.org/10.1017/s0022216x08004732.
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AbstractCuban scholars and women's advocates have criticised the widespread emergence of sex tourism in post-Soviet Cuba and attributed prostitution to a crisis in socialist values. In response, feminist scholars in the United States and Europe have argued that Cuban analysts promote government agendas and demonise sex workers. Drawing on nineteen months of field research in Havana, I challenge this conclusion to demonstrate how queer Cubans condemn sex tourism while denouncing an unconditional allegiance to Cuban nationalism. By introducing gay Cuban critiques into the debate, I highlight the interventionist undertones of feminist scholarship on the Cuban sex trade.
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Babovic, Marija. "Gender and economic inequalities: Trends in feminist economics and sociology at the centre and semi-periphery of the global knowledge production system." Sociologija 60, no. 1 (2018): 11–34. http://dx.doi.org/10.2298/soc1801011b.
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Main objective of this article is to provide an overview of the state of art in the feminist perspectives in the study of gender economic inequalities. The feminist perspectives in sociology and then economics (late 1960s and 1970s), brought radical change in the study of intersection between economic and gender inequalities (in case of economy) and gender, economic inequalities and class (in case of sociology). During this stage instigated by the rise of Second Wave Feminism, fundamental critics of capitalist societies, that generate and reproduce gender inequalities through economic sphere was developed, with simultaneous critics of key social disciplines that were omitting to see the role of gender inequalities for the reproduction of the system and existing power relations. The aim of this article is to provide overview of contemporary state of art in the feminist economics and feminist sociology in regard to gender economic inequalities. The analysis is focused on thematic and geographical scope of articles published in two international journals with high impact: ?Feminist Economics? and ?Gender and Society?. The aim is to obtain insights in significance ascribed to economic inequalities within the broader studies of gender, economy and society. This is initial stage of broader research focused on differences in knowledge production on gender economic inequalities among the scholars from center, semi-periphery and periphery of the global system, which is more focused on substantive aspects - interpretation of causes, forms and consequences of gender economic inequalities in societies with different position in the world capitalist system and at the same time in the global system of knowledge production. The second line of the analysis includes insights in the state of art in Serbia, based on two leading sociological journals: ?Sociology? and ?Sociological Review?, and two leading economic journals: ?Economic Annals? and ?Economic Ideas and Practice?. The analysis is conducted on the journal volumes published during 2013-2017.
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Mishra, Indira Acharya. "Women and Nature in BP Koirala's Sumnima: An Ecofeminist Study." Dristikon: A Multidisciplinary Journal 10, no. 1 (December 31, 2020): 128–42. http://dx.doi.org/10.3126/dristikon.v10i1.34547.
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The article aims to analyze the connections between women and nature in Bisheshwar Parsad Koirala's novel Sumnima. To examine the relation between women and nature in the novel, the theory of eco feminism has been used. Eco feminism deals with the relationships between women and nature that particularly deals with the domination of women and exploitation of nature in a patriarchal social order. Eco feminist critics believe that issues of women and ecology are interrelated. They critique that the domination of nature by human beings is guided by the patriarchal world view, the same world view that justifies the domination of women. Thus, they resist the exploitation of women and nature. Koirala's Sumnima underscores the patriarchal structure based on dualisms like men/woman, masculine/ feminine, culture/nature, and spiritual/material, which destabilizes the system based on the hierarchy of the traditional gender roles. Thus, the article argues that the novel is written from the perspective of eco feminism. The analysis of the study centers on the depiction of women and nature in the novel. The finding of the article shows that, in patriarchy, women and nature are treated as feminine and they are dominated and exploited. The analysis is significant as it helps to understand the importance of feminine to maintain harmonious relation between men, women and nature.
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Hatem, Mervat. "Toward the Study of the Psychodynamics of Mothering and Gender in Egyptian Families." International Journal of Middle East Studies 19, no. 3 (August 1987): 287–305. http://dx.doi.org/10.1017/s0020743800056749.
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Feminist interest in the social origins and the emotional/psychological development of gender roles has led to a new theoretical debate on the critical importance of mothering. The feminist contribution in this area lies in the formulation of a successful theoretical synthesis of Marxist and psychoanalytic insights to explain the development of gendered roles and personalities in contemporary capitalist society. In contrast to conventional Freudian approaches, which posit the universality of the psychological/emotional processes by which the self is developed, the feminist critics emphasize the historically (and socially) specific nature of the family, mothering patterns, and the way such patterns influence the development of gendered personalities in the West.
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Ahmadgoli, Kamran, and Liath Faroug Raoof. "AN EXAMINATION OF SISTERHOOD AS AN EMANCIPATIVE CONCEPT IN ALICE WALKER'S NOVELS: MERIDIAN AND THE COLOR PURPLE." Humanities & Social Sciences Reviews 7, no. 6 (December 22, 2019): 929–37. http://dx.doi.org/10.18510/hssr.2019.76139.
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Purpose of the study: The study aims to examine the concept of sisterhood as an emancipative endeavor to empower and free the Afro-American women in Alice Walker's (1942) novels: Meridian and the Color Purple, through the liberal treatment of Black Feminism.
Methodology: Qualitative research aims to form speculations or facts that are derived from secondary sources. It tries to understand Walker's liberal treatment of sisterhood, in the selected novels, through the radical black feminism, and the feminist liberal lens of bell hooks. The study considered other related critics and scholars to help further illuminate the emancipative notion of sisterhood. The study is a library-based drawn on literary and critical books and articles.
Main finding: The study clarifies the emancipative notion of hooks on Walker's feminist attitude of sisterhood in the selected novels as a privilege to enhance black women's growth and to strengthen the social bond to achieve women's liberation. Simultaneously, the study criticizes the Western oppressive authority as well as the traditional one-sided thinking of mainstream feminism. By a new and liberal reading of hooks' perspective, the study illuminates that the collective power and mass struggle of Afro-American women lead to self-realization and identity.
Implication: This study can be used by scholars and activists to understand how Afro-American women have been undergoing a long process of transformation by radical feminist thinking, from exploitation, domination, and oppression toward the center of social, political and cultural focus.
Originality/Novelty: A new reading of Walker's novels is utilized by the light of bell hooks' emancipative notion of sisterhood.
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Jones, Adam. "Does ‘gender’ make the world go round? Feminist critiques of international relations." Review of International Studies 22, no. 4 (October 1996): 405–29. http://dx.doi.org/10.1017/s0260210500118649.
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In the last two decades, the classical tradition in international relations has come under sustained attack on a number of fronts, and from a diverse range of critics. Most recently, feminist thinkers, following in the footsteps of neo-Marxists and critical theorists, have denounced IR as ‘one of the most gender-blind, indeed crudely patriarchal, of all the institutionalized forms of contemporary social and political analysis’. Feminists have sought to subvert some of the most basic elements of the classical paradigm: the assumption of the state as a given; conceptions of power and ‘international security’; and the model of a rational human individual standing apart from the realm of lived experience, manipulating it to maximize his own self-interest. Denouncing standard epistemological assumptions and theoretical approaches as inherently ‘masculinist’, feminists, particularly those from the radical band of the spectrum, have advanced an alternative vision of international relations: one that redefines power as ‘mutual enablement’ rather than domination, and offers normative values of cooperation, care giving, and compromise in place of patriarchal norms of competition, exploitation, and self-aggrandizement.
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Lara, María Pía. "A Reply to My Critics." Hypatia 15, no. 3 (2000): 182–86. http://dx.doi.org/10.1111/j.1527-2001.2000.tb00338.x.
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My text is written to answer the questions asked at the APA Meeting's presentation of the book Moral Textures: Feminist Narratives in the Public Sphere by professors María Lugones and Eduardo Mendieta. The answer seeks to clarify that Lugones's infrapolitics position is not so distant from mine. I also address Mendieta's question directed more to the aesthetic domain. There, I seek to show how my position could be taken as a creative effort to extend some of Habermas's early work on the public sphere, and to develop the thesis of the important relations between the aesthetic and the moral realms.
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Crawford, Julie. "The Case of Lady Anne Clifford; or, Did Women Have a Mixed Monarchy?" PMLA/Publications of the Modern Language Association of America 121, no. 5 (October 2006): 1682–89. http://dx.doi.org/10.1632/pmla.2006.121.5.1682.
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I became a feminist critic of the renaissance in 1989, when a professor, in answer to my question about why there were no women on the syllabus, replied that there were no women writers in the seventeenth century. This comment took me to the library, where I discovered what he should have known but did not have to: not only were there women writers in the period, but feminist literary critics were retrieving them from the archives and rewriting literary history in the light of their contributions. One of these women writers was Lady Anne Clifford (1590–1676), the author of a singularly massive amount of genealogical, historical, and personal writings and a subject of interest, long before the 1980s, for Vita Sackville-West and Virginia Woolf. In 1985, the Marxist feminist critic Katharine Hodgkin wrote an essay about Clifford's conflicted status as a woman (victim of patriarchy) and as a landlord (oppressor). Clifford has received different treatment in recent years, considered primarily as a diarist (with the attendant and often ahistorical assumptions the genre solicits [see Kunin]) and as a heroic resister of patriarchal forces. My goal here is to use Clifford as a case study for the role of feminist criticism today, not only because she has raised such complex issues for feminist critics of the Renaissance and early modern period but also because the issues her life and work raise about kinship and the household, property and political agency, and the intersectionality of determining forces of identity and power are of continuing relevance to feminist methodologies and politics. I am particularly concerned with feminist claims that have become axiomatic—for the early modern period as well as others—both at the level of historical progression (the march toward modernity) and in more synchronic analyses of social and cultural practices and relationships (including our assumptions that we know what patriarchy, kinship, and household mean). By unsettling these axioms and reconsidering the stories Clifford tells, I hope to illustrate the truth that feminist criticism is by its nature a reconsideration, a form of doing rather than being.
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Wang, Yueming. "Misogyny or Feminism? A Probe into Hawthorne and His The Scarlet Letter." English Language and Literature Studies 7, no. 2 (May 30, 2017): 139. http://dx.doi.org/10.5539/ells.v7n2p139.
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Nathaniel Hawthorne’s The Scarlet Letter has been focused onby critics from different aspects due to his ambiguity used in the novel. Hawthorne himself has been doubted as to whether he is a misogynist or a feminist when describing the female character, Hester Prynne. This article supports the idea that Hawthorne holds the idea offeminism in his work The Scarlet Letter. A writer who mirrors Hester’s life as his own cannot be a misogynist; a writer who honors a woman’s rebelling against patriarchy cannot be a misogynist; a writer who has a beloved wife and mother cannot be a misogynist. Harmonic family relationships, sympathetic character descriptions, and mild demonstrations against patriarchy all prove that Hawthorne is not a misogynist, but a feminist. Hawthorne depicts through four aspects on Hester’s life, Hester’s rebel, Hawthorne’s own family relationship to advocate feminism in his novel.
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Rigsby, Roberta K. "Feminist critics and archetypal psychology: What's in it for us?" Lit: Literature Interpretation Theory 2, no. 3 (February 1991): 179–200. http://dx.doi.org/10.1080/10436929108580055.
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Jackson, J. Kasi. "Companion Species and Model Systems." Humanimalia 9, no. 1 (September 22, 2017): 88–120. http://dx.doi.org/10.52537/humanimalia.9615.
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Alice Sheldon provided perhaps the earliest call for a feminist approach to research using model organisms. Her work was grounded in ongoing debates about theoretical models and methodological issues, specifically the choice of model organisms and the interpretations of data the models produced. When she became convinced that the laboratory conditions of her day did not permit her to practice feminist science, she turned to feminist science fiction to reimagine them. This piece shows how Sheldon’s experiences as a research scientist in experimental psychology influenced her science fiction writing and how she used that writing as a platform within which to think through the key scientific concerns in her specialty, as well as their connection to the feminist and environmental movements of her day. I examine Sheldon’s resistance to the dominance of reductionism and her desire to develop non-reductionist methods of research on human and non-human animals. She rejected the dominant paradigms of her contemporary research field, but believed in the possibility of science to address oppression and promote feminism, which many of her contemporaries and some recent critics see as incompatible. I argue that she believed that a different kind of science — a contextualized, non-reductionist biology — could solve gender oppression and environmental degradation, harms she saw as linked.
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Nelson, Lynn Hankinson. "The Very Idea of Feminist Epistemology." Hypatia 10, no. 3 (1995): 31–49. http://dx.doi.org/10.1111/j.1527-2001.1995.tb00736.x.
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The juxtaposition encompassed in the phrase “feminist epistemology” strikes some feminist theorists and mainstream epistemologists as incongruous. To others, the phrase signals the view that epistemology and the philosophy of science are not what some of their practitioners and advocates have wanted or claimed them to be—but also are not “dead,” as some of their critics proclaim. This essay explores the grounds for and implications of each view and recommends the second.
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Sutphin, Christine. "Revising Old Scripts: The Fusion of Independence and Intimacy in Aurora Leigh." Browning Institute Studies 15 (1987): 43–54. http://dx.doi.org/10.1017/s0092472500001814.
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Elizabeth Barrett Browning's Aurora Leigh is an unusual Victorian heroine because she ultimately combines career and marriage. Although Aurora's story has been recognized as an important revision of a traditional woman's story by such famous readers as Virginia Woolf (182–92) and Ellen Moers (60–62), some feminist critics have been disturbed by the ending, even as they describe its compelling feminist vision. Rachel Blau DuPlessis, while acknowledging that the story is a “rescripting,” argues that “being an artist is, at the end, reinterpreted as self-sacrifice for the woman, and thus is aligned with feminine ideology” (87). Sandra Gilbert and Susan Gubar argue that Aurora has to learn “not to be herself,” that is, she must learn sympathy and service (576–77). Deirdre David goes even further in asserting Barrett Browning's conservatism when she argues that Aurora's art does not subvert Romney's authority; instead, feminine art serves “male socialist politics” and “a woman's voice [speaks] patriarchal discourse – boldly, passionately, and without rancor” (134).
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KARAMAN, HATICE. "The Mother, Who Is Not One: Reflections Of Motherhood In Shakespeare's Romeo And Juliet, The Tempest, And The Taming Of The Shrew." Gender Studies 13, no. 1 (December 1, 2014): 37–47. http://dx.doi.org/10.1515/genst-2015-0003.
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Abstract The lack of proper motherhood in Shakespeare's plays has been a point of attraction for many feminist critics actively engaged in emphasizing the patriarchal aspect of Shakespeare's plays. This paper aims to analyze motherhood and the lack of mother/mother-figure in The Tempest, Romeo and Juliet and The Taming of the Shrew through Luce Irigaray's theory of gender and the work of other feminist critics. The issues of gender, father-daughter relations and the reflections of the absent mothers will be discussed. Male/Female Subjectivity will also be questioned, in view of Irigaray's conceptualization of gender by relating it to Subject.