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[1] [3] [4] Most genres and subgenres have undergone a similar analysis, so literary studies have entered new territories such as the "female gothic" [5] or women's science fiction. According to Elyce Rae Helford, "Science fiction and fantasy serve as important vehicles for feminist thought, particularly as bridges between theory and practice."
The academic discipline of women's writing is a discrete area of literary studies which is based on the notion that the experience of women, historically, has been shaped by their sex, and so women writers by definition are a group worthy of separate study: "Their texts emerge from and intervene in conditions usually very different from those which produced most writing by men."
Susan D. Gubar (born November 30, 1944) [2] is an American author and distinguished Professor Emerita of English and Women's Studies at Indiana University.. She is best known for co-authoring the landmark feminist literary study The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (1979) with Sandra Gilbert.
Nonetheless, in practice the French women's movement developed in much the same way as the feminist movements elsewhere in Europe or in the United States: French women participated in consciousness-raising groups; demonstrated in the streets on the 8 March; fought hard for women's right to choose whether to have children; raised the issue of ...
Before the 1970s—in the first and second waves of feminism—feminist literary criticism was concerned with women's authorship and the representation of women's condition within the literature; in particular the depiction of fictional female characters. In addition, feminist literary criticism is concerned with the exclusion of women from the ...
The title of the essay comes from Woolf's conception that "a woman must have money and a room of her own if she is to write fiction". [2] The narrator of the work is referred to early on: "Here then was I (call me Mary Beton, Mary Seton, Mary Carmichael or by any name you please—it is not a matter of any importance)". [9]
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While previous figures like Virginia Woolf and Simone de Beauvoir had already begun to review and evaluate the female image in literature, [2] and second-wave feminism had explored phallocentrism and sexism through a female reading of male authors, gynocriticism was designed as a "second phase" in feminist criticism – turning to a focus on, and interrogation of female authorship, images, the ...