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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."
Feminist nonfiction has played an important role in voicing concerns about women's lived experiences. For example, Maya Angelou 's I Know Why The Caged Bird Sings was extremely influential, as it represented the specific racism and sexism experienced by black women growing up in the United States.
Hélène Cixous first coined écriture féminine in her essay "The Laugh of the Medusa" (1975), where she asserts "woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies" because their sexual pleasure has been repressed and denied expression.
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 ...
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 ...
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.
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The essay, originally a lecture delivered by Rich at a women's writer convention, emphasizes the need for re-visioning of old texts, renaming of the various aspects of women which have been distorted by a male point of view, and developing a new form of writing that is free of the haunting male gaze, of convention and propriety and of the ...