Academic literature on the topic 'Gynocriticism'

From the beginning of the scholarly work on the women, most of the research have been carried out by opposite gender. Therefore, there have been limited work done to see how a woman portrays another woman in her writings. Moreover, there have been limited research conducted utilizing corpus tools for the analysis of gynocriticism. Thus, the present research aims to examine The Color Purple by Alice Walker by employing the corpus-based approach to investigate the representation of female character by the author in the novel. The positive or negative portrayal of women by the author in the novel was investigated through author’s usage of adjectives. Showalter's (2009) Theory of Gynocriticsim was used as a theoretical framework for the current research. Further, corpus-based methodology was employed to analyze how Alice Walker has portrayed the female character in her novel through the use of adjectives. An in-depth analysis has shown that Alice Walker has depicted woman as a helpless and sidelined being who can be turned as a resilient after suffering from frightful circumstances. The current research also opens new gates for the researchers to analyze the text from Gynocriticial perspective along with corpus techniques. Keywords: Adjectives; Corpus-based analysis; Gynocriticsim; The Color Purple; Woman

Over the centuries women have been struggling to gain recognition, calling their independent voice to be heard in patriarchal and racist societies. As they follow the standards and the values of their societies, women tend to break the stereotypical and submissive images that degrade their position in their societies. Thus, this paper will scrutinize thoroughly women’s intellectual ability from a Gynocriticism perspective taking Virginia Woolf’s short story “The Legacy” (published posthously in 1944) as an example. The present paper provides an analytical view of the four models of gynocriticism; i.e., biological, linguistic, cultural, and psychological. It also attempts to shed light on some common feminist themes such as the theme of marriage and how oppressed marriage motivates male dominance. The paper addresses the relationship between wife and husband in terms of gender inequality and women’s identity. It also tackles women’s trapped position as distinct from the liberty of men and oppressed by husband in an unhappy marriage. It relies heavily not only on feminist perspectives as gynocriticism, gender inequality, and the theme of marriage; but also on the authors’ personal life. The paper concludes that being unable to speak their voice freely, women view writing as their salvation for their voice to be heard.

Laura Riding Jackson is one of the influential poets of the early twentieth century in America. As a matter of fact, it is for her poetry, however, that Riding is best known, and her poems reflect her commitment to write with truth. In the other words, she knows poetry a process of a degree of awareness to recognize the capacity to know selfhood. Further, her accuracy as a writer lies in her extreme seriousness about the act of writing poems, with no attention to the outside. Nevertheless, the critics know her poems as a game, not something valuable to consider. Therefore, in the heart of traditional poetic language of masculinity, she continues her way of 'female phase' of Showalter, toward poetic history. Showalter's gynocritism is a framework for women in which a woman can judge a woman's literature womanly. Present research is looking at Laura Riding Jackson's some poems through Showalter's cultural view of 'female phase' of her gynocriticism.

Using the term "gynocriticism", coined by Elaine Showalter fifty years ago, and other critical practices which explore the creativity of women, the paper sets out to explore continuity of women's narratives about experience, change, happiness and misfortune represented in the second book of stories by Marijana Čanak. Her collection of stories, titled Pramatere easily translated as "Foremothers", delves deep into the lives of several generations of women who fight against the shortcomings of their respective lives, and struggle to keep the legacy of their grandmothers and mothers alive. Marijana Čanak focuses on the aims gynocriticism has defined as the most important, such as the objective to change the male-oriented literary heritage and to focus on the lives of women who have been silenced, marginalized and neglected.

This research discusses Louisa May Alcott’s novel, “Little Women”. It is a story about four sisters and mother in the March Family. The novel, which has a background in the Victorian Era, addresses many issues about women. The description of women at that time, positions in the Family, Education and Public work environment. Therefore this study aims to determine aspects of the struggle of women in Victorian era in terms of family, education, and Public work environment using a gynocriticism approach. The data used documentation data where data comes from novels and other supporting sources. The results of this study researchers found that there were aspects of women’s struggle at that time in the novel “Little Women” in Family, Education and Public work environment. In addition, researcher found a relation between the life story of author Louisa May Alcott and the “Little Women” novel that has been presented in some data.Keywords: Victorian Era, Gynocriticism, Louisa May Alcott, Little Women.

In the time of modern writing, women writers are increasingly free in raising the theme of their writing. Women are no longer reluctant to write things related to a woman’s body and it’s issue. This research aims to analyze the body of women and woman’s rights as portrayed in Rupi Kaur’s milk and honey (2014). This research belongs to library research that applied descriptive qualitative method with gynocriticism approach. Reading and selecting data techniques were used to collect the data. 28 poems raise the theme of the body of a woman and its issue used as the data in this research. To analyze the body of woman and woman’s rights in milk and honey, gynocriticism theory by Ellaine Showalter were used. The result of the analysis shows that: 1) Woman’s body is described into three aspects, that is objectification of the body, owner of the body, and strength of the body. 2) There are three ways for a woman to embrace their rights. First, a woman is asked to be able to accept and acknowledge herself as she is. Second, a woman is expected to love and consider herself precious and equal to a man. Third, women must be able to help and to support other women in fighting for their rights.

One of the most radical and stylish fiction authors of the 20th century, Angela Carter, expresses her views of feminism through her various novels and fairy tales. Carter began experimenting with writing fairy tales in 1970, which coincided with the period of second wave feminism in the Unites States. The majority of Angela Carter’s work revolve around a specific type of feminism, radical libertarian feminism and her critique of the patriarchal role that have been placed on women. In this article, the main concentrate is on heroine’s internalized consciousness which echoes in their behavior. All of the female protagonists in carter’s short stories; such as The Company of Wolves, and Werewolf and mainly in Wolf_Alice have similar characteristics with different conditions, in which they are represented in a very negative light with less than ideal roles. In these stories, the protagonist is a young girl who has many conflicts with love and desire. Carter attempts to encourage women to do something about this degrading representation.

Orientador: Maria Dolores Aybar Ramirez
Resumo: Ao nos decidirmos, inicialmente, por um levantamento arqueológico de mulheres escritoras árabes/muçulmanas para uma escolha posterior de obras que nos levassem a um maior conhecimento dessa literatura, deparamos com a escassez de traduções e publicações no Brasil, em comparação com o grande número existente em outros países, principalmente da Europa e da América do Norte. Acreditamos que isso se deva a maior presença dessas mulheres escritoras em tais continentes, gerando um fascínio pelo exótico, mas também um misto de atração e repulsão, sempre acompanhado de estereótipos, já enraizados pelo orientalismo. No Brasil, no entanto, salvo raras exceções, as editoras voltaram-se quase que exclusivamente para as autobiografias de mulheres que tecem duras críticas aos seus países de origem, às suas leis, à situação e normas de conduta para as mulheres, na maioria restritivas e opressoras, reafirmando uma imagem já impregnada de preconceitos. Vemos assim que a oferta de publicações em nosso país também nos impede uma visão mais abrangente e nos força a ratificar impressões essencialistas que em nada contribuem para o conhecimento e possível fruição da literatura produzida por essas mulheres, agora veladas, inclusive, por questões mercadológicas que camuflam e perpetuam as mesmas visões engessadas. Na tentativa de fugir desses relatos, sempre carregados de perseguição e dor, priorizamos para o nosso estudo o romance Meu nome é Salma, da autora jordaniano-britânica Fadia Faqir pois su... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: When deciding, initially, for an archaeological survey of Arab/Muslim women writers for a later choice of works which would lead us to a greater knowledge of this literature, we faced the scarcity of translations and publications in Brazil, in comparison with the large number which exists in other countries, mainly in Europe and North America. We believe that this is due to the greater presence of these women writers in such continents, creating a fascination with the exotic, but also a mixture of attraction and repulsion, always accompanied by stereotypes, already rooted by Orientalism. In Brazil, however, with a few rare exceptions, publishers turned almost exclusively to the autobiographies of women who harshly criticize their countries of origin, their laws, the situation and rules of conduct for women, most of which are restrictive and oppressive, reaffirming an image already steeped in prejudice. We thus see that the supply of publications in our country also prevents us from taking a more comprehensive view and forces us to ratify essentialist impressions which in no way contribute to the knowledge and possible enjoyment of the literature produced by these women, now veiled, by marketing issues which camouflage and perpetuate the same plastered visions. So as to escape these accounts, always laden with persecution and pain, we prioritized the novel My name is Salma, by the Jordanian-British author Fadia Faqir because her narrative, written in English, involves other di... (Complete abstract click electronic access below)
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This research work is a detailed feminist reading of the poetry of a selected group of Kurdish women poets which has been written in Sorani Kurdish. The poets come from two different locations, but are originally from Iraqi Kurdistan. A group of them live in the diaspora and the rest are home-based. Thus, it is the study of the Sorani-written poetry produced by Kurdish women poets locally and externally. The study chooses the time extending from 1990 to 2009 as its scope. There are clear reasons for the selection of this time as it stands for the most hectic period when Kurdish women’s poetry flourishes at a fast pace in southern Kurdistan. The study argues that the liberation of southern Kurdistan in 1991 from the overthrown Iraqi Ba’th regime plays a vital role in the productive reemergence of Kurdish women’s poetry after decades of silence and suppression being inflicted by the male-dominated Kurdish literature. Reliance on Anglo-American feminist criticism, Showalter’s gynocritics and some limited theories about the relation between gender and nationalism for the thematic analysis of the poetry of Kurdish women poets is another influential aspect of this study. The study justifies the importance of these theories for giving Kurdish women’s poetry the literary and social value it deserves and placing it within the larger repertoire of Kurdish literature. It is these theories that reveal the misjudgment and misapprehension of Kurdish women’s poetry by Kurdish male critics. Meanwhile, an extensive thematic analysis of the poetry of diasporic and home Kurdish women poets forms the core content of this work. The work studies the poetic texts of seventeen Kurdish women poets, seven from the diaspora, and ten from home. The themes to be focused on significantly represent the life realities of Kurdish women and the attitudes of Kurdish society towards their rights and existence. Through the exposition of the themes, this study aims to present a realistic picture of Kurdish women and urge for actions required to guarantee gender justice in southern Kurdistan. The themes symbolise a long-term war waged jointly by Kurdish women poets at home and in exile against the classic Kurdish patriarchy and its misogynistic laws. They reflect the injustice committed against women in a century when the respect of women’s rights have taken big steps forward elsewhere and should theoretically be ensured. The conclusion the study reaches is an emphasis on the overall condition of Kurdish women’s poetry and the challenges lying ahead of it. It indicates the level of progress Kurdish women’s poetry has made in southern Kurdistan and the role feminist criticism in unison with certain gender theories that criticise the link between women and nation can play in further developing this type of poetry. Moreover, a rather detailed comparison between the thematic structure and form of the poetry of diasporic and home Kurdish women poets is what enriches the conclusion. The influence of exile on diasporic Kurdish women poets and its relation to freedom of expression is also underlined and measured against opposite conditions back at home. Finally, the point where the poets of the two different localities converge is not omitted.

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Na busca de uma escrita que falasse do corpo feminino pela própria mulher, encontrei a lírica de Maria Teresa Horta. Em seus poemas, a eu-lírica dá voz a um corpo, de forma a desamarrá-lo de um jugo patriarcal. Há, portanto, uma voz e uma escrita feminina que partem de uma imanência, analisadas, a princípio, a partir de um movimento interior que nos responderá perguntas essenciais, tais como: o que torna esta escrita verdadeiramente feminina? Em quais aspectos ela diverge de uma escrita masculina? Esta escrita é uma manifestação biológica ou seu conceito não se funda nesta perspectiva? Na concepção de Hélène Cixous e Luce Irigaray, teóricas do feminismo da diferença, há um ser mulher que foi constantemente apagado pela lei do pai e do logos, portanto a escrita e a fala feminina precisariam subverter o falogocentrismo e deixarem-se fluir através do próprio corpo feminino. Seria a retomada da linguagem semiótica de Kristeva, essencialmente feminina e circular, que não se prende na denominação e estaticidade do nome. Numa linguagem poética e erótica, encontramos esta fala do corpo que em si ultrapassa uma ordem imposta à sociedade, e isto nos leva ao segundo movimento – um movimento exterior. As implicações de uma retomada do corpo feminino pelas mulheres fora da soberania patriarcal levariam a uma mudança completa da sociedade, em que homens e mulheres não ocupariam espaços verticais; antes disso, suas posições sociais dar-se-iam num eixo horizontal em que não haveria hierarquia, logo as mulheres não seriam subalternas aos homens e vice-versa. Haveria respeito mútuo dentro da diferença e politicamente a diferença de gênero não seria motivo de discriminação e subalternidade. A poesia representa, portanto, a possibilidade de subversão da ordem patriarcal, da ordem do falo, desde que, quando produzida por mulheres, seja uma escrita do corpo feminino, uma escrita feminina que se diz a partir da voz de uma eu-lírica. Da mesma forma que do devir mulher surge uma lírica feminina, emerge também a ginocrítica – teoria literária que marca uma tradição feminina nos estudos da literatura que rejeita a crítica tradicional.
In the search for writings by women that talked about the female body I found Maria Teresa Horta’s lyric. In her poems, the eu-lírica gives voice to a body as a way to untie it from the patriarchal domain. Thus, there is a woman’s voice and a woman’s writing that derive from an immanence. They are analyzed, at first, from an internal movement that will answer some essential questions, such as: what makes this writing truly feminine? In what aspects is it different from a masculine one? Is it a biological manifestation or is this concept not founded in such perspective? According to the ideas of Hélène Cixous and Luce Irigaray, theoreticians of the difference feminism, there is a ‘woman being’ that has constantly been erased by the “father”’s and the logos’s laws, therefore women’s writing and speech need to subvert phallogocentrism and let themselves flow through female body. It would be the return of the semiotic language of Kristeva, essentially feminine and circular, which is not tied to the denomination and immobility of the name. In a poetic and erotic language, we find this speech of the body that surpasses an imposed social order, thus leading us to a second movement – an external one. The implications of a recovery of the female body by women outside the patriarchal sovereign would lead to a complete change in society, in which men and women would not occupy vertical spaces; on the contrary, their social positions would be established in a horizontal axis with no hierarchy, so women would not be subordinated to men and vice-versa. There would be mutual respect inside the difference. Politically, gender difference would not be a reason for discrimination and subordination. Hence, poetry represents the possibility of subversion of the patriarchal order from the phallus, as long as, when produced by women, it is the writing of a female body, a woman’s writing that voices the eu-lírica. From the becoming of a woman, women’s lyrics is born. Similarly, there comes gynocritics– a literary theory that marks a women’s tradition in the literary studies that rejects traditional criticism.

This text is devoted to Gloria Evangelina Anzaldúa’s theory of writing, in the context of feminist criticism, especially gynocritics and French theory of Hélène Cixous called écriture feminine. The author discusses the most important concepts and theories created by Anzaldúa throughout her life such as: writing of convergence; Gloria Multiplex; vision of El Mundo Zurdo; the idea of bridging understood as a connection between women from different backgrounds; “autohistoria”; theory of inclusivity; the idea called New Tribalism; the concept of Nepantla; theory of “nos/otras”; and finally the idea of “conocimiento”, which is an alternative method of knowledge resulting from the awakening of consciousness. Zygadło also briefly presents Gloria Anzaldúa’s biography focusing on those moments in her life that significantly influenced her writing philosophy.