A feminist criticism essay is usually a careful analysis of the feminist issues, represented in the book, which are basically concerned with the images of the female characters and their role in the narration. There are a number of standard aspects you can focus on, while exploring the view of the author on women, expressed in his work.
The second step would be to compare and contrast these female heroines to their male counterparts. Their opposition is of vital importance for feminist criticism. While contrasting them, it is recommended to take into account the historical period of time, depicted in the book, and decide whether the relationship, shown between the male and female characters, was typical for that time or not, and, probably, indicate the reasons for this.
What is more, it can help you learn the views of the writer on the ideal situation with women, as it can give you a key to understanding the female characters. It is also advisable to analyse the conversations between men and women, their attitude to each other and their overall role in the book. Make sure you examine the views that men and women in the book express concerning females.
How To Write An Essay Using Feminist Criticism
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Feminist criticism is a literature trait, which deals with the rights of women, and other issues concerning women. Feminist criticism is a trait that involves analyzing the picture and character of women in books. The trait is also a political campaign, which has an aim of influencing the way people see and take women. This is achievable when a book advocates for the rights of women or the book demonstrates the way a woman is undergoing oppression daily by her male counterpart. When one critically analyses all these issues the result is feminist criticism.
Feminist literary criticism is literary criticism informed by feminist theory, or more broadly, by the politics of feminism. It uses the principles and ideology of feminism to critique the language of literature. This school of thought seeks to analyze and describe the ways in which literature portrays the narrative of male domination by exploring the economic, social, political, and psychological forces embedded within literature.[1] This way of thinking and criticizing works can be said to have changed the way literary texts are viewed and studied, as well as changing and expanding the canon of what is commonly taught. It is used a lot in Greek myths.[2]
Traditionally, feminist literary criticism has sought to examine old texts within literary canon through a new lens. Specific goals of feminist criticism include both the development and discovery of female tradition of writing, and rediscovering of old texts, while also interpreting symbolism of women's writing so that it will not be lost or ignored by the male point of view and resisting sexism inherent in the majority of mainstream literature. These goals, along with the intent to analyze women writers and their writings from a female perspective, and increase awareness of the sexual politics of language and style[3] were developed by Lisa Tuttle in the 1980s, and have since been adopted by a majority of feminist critics.
Additionally, feminist criticism has been closely associated with the birth and growth of queer studies. Modern feminist literary theory seeks to understand both the literary portrayals and representation of both women and people in the queer community, expanding the role of a variety of identities and analysis within feminist literary criticism.[5]
Since the development of more complex conceptions of gender and subjectivity and third-wave feminism, feminist literary criticism has taken a variety of new routes, namely in the tradition of the Frankfurt School's critical theory, which analyzes how the dominant ideology of a subject influences societal understanding. It has also considered gender in the terms of Freudian and Lacanian psychoanalysis, as part of the deconstruction of existing relations of power, and as a concrete political investment.[9] The more traditionally central feminist concern with the representation and politics of women's lives has continued to play an active role in criticism. More specifically, modern feminist criticism deals with those issues related to the perceived intentional and unintentional patriarchal programming within key aspects of society including education, politics and the work force.
While the beginning of more mainstream feminist literary criticism is typically considered during second-wave feminism, there are multiple texts prior to that era that contributed greatly to the field. Feminist literary criticism can be traced back to medieval times, with some arguing that Geoffrey Chaucer's Wife of Bath could be an example of early feminist literary critics.[2] Additionally, the period considered First wave feminism also contributed extensively to literature and women's presence within it. For example, 1929's A Room of One's Own by Virginia Woolf is undoubtedly considered one of these formative texts. In it, Woolf argues that in order to write creatively and be critically successful, a woman must be able to own her own space and financial stability. And though the basis of the plot is around a Woolf speaking at a conference for women's literature, she speculates that there is still a long way to go for women and so-called 'women's issues' in creative space, especially based on the differences in educational quality Woolf observed between men and women.[10]
Modern feminist literary criticism finds most of its roots in the 1960s second-wave feminist movements. Beginning with the interrogation of male-centric literature that portrayed women in a demeaning and oppressed model, theorists such as Mary Ellman, Kate Millet and Germaine Greer challenged past imaginations of the feminine within literary scholarship. Within second-wave feminism, three phases can be defined: the feminine phase, the feminist phase, and the female phase. During the feminine phase, female writers adhered to male values. In the feminist phase, there was a theme of criticism of women's role in society. And in the female phase, it was now assumed that women's works were valid, and the works were less combative than in the feminist phase.[11]
Susan Lanser suggested changing the name of feminist literary criticism to "critical literary feminism" to change the focus from the criticism to the feminism, and points out that writing such works requires "consciousness of political context."[6] In a similar vein, Elaine Showalter became a leading critic in the gynocritical method with her work A Literature of their Own in 1977. By this time, scholars were not only interested in simply demarcating narratives of oppression but also creating a literary space for past, present and future female literary scholars to substantiate their experience in a genuine way that appreciates the aesthetic form of their works.
Additionally, Black literary feminist scholars began to emerge, in the post-Civil Rights era of the United States, as a response to the masculine-centric narratives of Black empowerments began to gain momentum over female voices. Although not a "critical" text, The Black Woman: An Anthology, edited by Cade (1970) is seen as essential to the rise of Black literary criticism and theory. Its compilation of poems, short stories and essays gave rise to new institutionally supported forms of Black literary scholarship. The Combahee River Collective released what is called one of the most famous pieces in Black literary scholarship known as "A Black Feminist Statement" (1977), which sought to prove that literary feminism was an important component to black female liberation.
In 1979 Sandra Gilbert and Susan Gubar published The Madwoman in the Attic, an analysis of women's poetry and prose, and how it fits into the larger feminist literary canon. This publication has become a staple of feminist criticism and has expanded the realm of publications considered to be feminist works, especially in the 19th century. The book specifically argues that women have largely been considered in two distinct categories by men in academia, monsters or angels. Gilbert and Gubar argued that being trapped in these categories regulated women writers to specific areas of literature and writing, leaving the rest open only to men, and causing a distinct anxiety in women's writers to stay specifically within those categories or be ridiculed.[12] Gilbert and Gubar's specific focus on literary criticism in the realm of poetry and other short pieces has expanded the possibilities of feminist literary contributions today, as they were previously seen as less valid than longer works. Today, writers like Gloria E. Anzalda have been able to contribute to the feminist canon, while still working with writing forms other than full-sized novels.
In the 1980s, Hazel Carby, Barbara Christian, bell hooks, Nellie McKay, Valerie Smith, Hortense Spillers, Eleanor Traylor, Cheryl Wall and Sheryl Ann Williams all contributed heavily to the Black Feminist Scholarship of the period. During that same time, Deborah E. McDowell published New Directions for Black Feminist Criticism, which called for a more theoretical school of criticism versus the current writings, which she deemed overly practical. In this essay McDowell also extensively discussed black women's portrayal in literature, and how it came across as even more negative than white women's portrayal. As time moved forward, the theory began to disperse in ideology. Many decided to shift towards the nuanced psychological factors of the Black experience and further away from broad sweeping generalizations. Others began to connect their works to the politics of lesbianism. Some decided to analyze the Black experience through their relationship to the Western world. Regardless, these scholars continue to employ a variety of methods to explore the identity of Black feminism in literature.[13] be457b7860
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