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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.
Critics argue that pseudo-feminism can be damaging as it co-opts and dilutes the meaning of feminism, undermining the efforts of genuine feminist movements. It is seen as a form of cultural appropriation, exploiting feminist discourse for personal gain or commercial interests without understanding or commitment to the underlying principles. [2]
In literature, writing style is the manner of expressing thought in language characteristic of an individual, period, school, or nation. [1] As Bryan Ray notes, however, style is a broader concern, one that can describe "readers' relationships with, texts, the grammatical choices writers make, the importance of adhering to norms in certain contexts and deviating from them in others, the ...
Lucas begins with a definition of style in prose, and a discussion of its importance. He questions the extent to which style can be taught, given that it is a reflection of personality ("The problems of style are really problems of personality" [6]), but concludes that "Writers should write from the best side of their characters, and at their best moments."
Feminist pedagogy involves reading texts written by women, and taking care to understand those texts are not simply appropriations of texts written by men, without any sort of critique of androcentrism. [1] One style of feminist theory that is being utilized in the composition classroom is the theory of Invitational Rhetoric.
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."
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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 ...
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