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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."
The feminist movement produced feminist fiction, feminist non-fiction, and feminist poetry, which created new interest in women's writing. It also prompted a general reevaluation of women's historical and academic contributions in response to the belief that women's lives and contributions have been underrepresented as areas of scholarly ...
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 ...
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.
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.
The essay quotes Oscar Browning, through the words of his (possibly inaccurate) biographer H. E. Wortham, [19] "that the impression left on his mind, after looking over any set of examination papers, was that, irrespective of the marks he might give, the best woman was intellectually the inferior of the worst man". [20]
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 ...
In the most general terms, feminist literary criticism before the 1970s was concerned with the politics of women's authorship and the representation of women's condition within literature. [72] Since the arrival of more complex conceptions of gender and subjectivity, feminist literary criticism has taken a variety of new routes.