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"The Laugh of the Medusa" is an exhortation and call for a "feminine mode" of writing which Cixous calls "white ink" and écriture féminine. Cixous builds the text using the elements of this mode and fills it with literary allusions. She instructs women to use writing as a means of authority.
She writes in white ink". [21]) when characterizing the essence of écriture féminine and explaining its origin. This notion raises problems for some theorists: "Ecriture féminine, then, is by its nature transgressive, rule-transcending, intoxicated, but it is clear that the notion as put forward by Cixous raises many problems. The realm of ...
Today's NYT Connections puzzle for Tuesday, December 10, 2024The New York Times
Écriture féminine literally means women's writing. It is a philosophy that promotes women's experiences and feelings to the point that it strengthens the work. It is a strain of feminist literary theory that originated in France in the 1970s. Cixous first uses this term in her essay, The Laugh of the Medusa in which she asserts:
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Zephir used the term to differentiate de Beauvoir's views from writers described as "Neofeminist", such as literary theorist Luce Irigaray, who indicated in her own writing that women had an essentialist femininity that could express itself in écriture féminine (feminine writing/language), among other ways.
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In the 1970s, French writers approached feminism with the concept of écriture féminine (which translates as female, or feminine writing). [28] Hélène Cixous argues that writing and philosophy are phallocentric and along with other French feminists such as Luce Irigaray emphasize "writing from the body" as a subversive exercise. [28]
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