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Feminist literary criticism is literary criticism informed by feminist theory, or more broadly, by the politics of feminism. It uses the principles and ideology of feminism to critique the language of literature. This school of thought seeks to analyze and describe the ways in which literature portrays the narrative of male domination by exploring the economic, social, political, and psychological forces embedded within literature. This way of thinking and criticizing works can be said to have changed the way literary texts are viewed and studied, as well as changing and expanding the canon of what is commonly taught. It is used a lot in Greek myths.
Gloria Jean Watkins, better known by her pen name bell hooks, was an American author, theorist, educator, and social critic who was a Distinguished Professor in Residence at Berea College. She was best known for her writings on race, feminism, and class. She used the lower-case spelling of her name to decenter herself and draw attention to her work instead. The focus of hooks' writing was to explore the intersectionality of race, capitalism, and gender, and what she described as their ability to produce and perpetuate systems of oppression and class domination. She published around 40 books, including works that ranged from essays, poetry, and children's books. She published numerous scholarly articles, appeared in documentary films, and participated in public lectures. Her work addressed love, race, social class, gender, art, history, sexuality, mass media, and feminism.
Postcolonial feminism is a form of feminism that developed as a response to feminism focusing solely on the experiences of women in Western cultures and former colonies. Postcolonial feminism seeks to account for the way that racism and the long-lasting political, economic, and cultural effects of colonialism affect non-white, non-Western women in the postcolonial world. Postcolonial feminism originated in the 1980s as a critique of feminist theorists in developed countries pointing out the universalizing tendencies of mainstream feminist ideas and argues that women living in non-Western countries are misrepresented.
Feminist theory is the extension of feminism into theoretical, fictional, or philosophical discourse. It aims to understand the nature of gender inequality. It examines women's and men's social roles, experiences, interests, chores, and feminist politics in a variety of fields, such as anthropology and sociology, communication, media studies, psychoanalysis, political theory, home economics, literature, education, and philosophy.
Postmodern feminism is a mix of postmodernism and French feminism that rejects a universal female subject. The goal of postmodern feminism is to destabilize the patriarchal norms entrenched in society that have led to gender inequality. Postmodern feminists seek to accomplish this goal through opposing essentialism, philosophy, and universal truths in favor of embracing the differences that exist amongst women in order to demonstrate that not all women are the same. These ideologies are rejected by postmodern feminists because they believe if a universal truth is applied to all women of society, it minimizes individual experience, hence they warn women to be aware of ideas displayed as the norm in society since it may stem from masculine notions of how women should be portrayed.
Feminist sociology is an interdisciplinary exploration of gender and power throughout society. Here, it uses conflict theory and theoretical perspectives to observe gender in its relation to power, both at the level of face-to-face interaction and reflexivity within social structures at large. Focuses include sexual orientation, race, economic status, and nationality.
Kimberlé Williams Crenshaw is an American civil rights advocate and a scholar of critical race theory. She is a professor at the UCLA School of Law and Columbia Law School, where she specializes in race and gender issues.
Barbara Creed is a professor of cinema studies in the School of Culture and Communication at the University of Melbourne. She is the author of six books on gender, feminist film theory, and the horror genre. Creed is a graduate of Monash and La Trobe universities where she completed doctoral research using the framework of psychoanalysis and feminist theory to examine horror films. She is known for her cultural criticism.
Martha Albertson Fineman is an American jurist, legal theorist and political philosopher. She is Robert W. Woodruff Professor of Law at Emory University School of Law. Fineman was previously the first holder of the Dorothea S. Clarke Professor of Feminist Jurisprudence at Cornell Law School. She held the Maurice T. Moore Professorship at Columbia Law School.
This Bridge Called My Back: Writings by Radical Women of Color is a feminist anthology edited by Cherríe Moraga and Gloria E. Anzaldúa first published in 1981 by Persephone Press. The book centers on the experiences of women of color and emphasizes the points of what is now called intersectionality within their multiple identities, challenging white feminists who made claims to solidarity based on sisterhood. Writings in the anthology, along with works by other prominent feminists of color, call for a greater prominence within feminism for race-related subjectivities, and ultimately laid the foundation for third wave feminism. It is among the most cited books in feminist theory.
Angela McRobbie is a British cultural theorist, feminist, and commentator whose work combines the study of popular culture, contemporary media practices and feminism through conceptions of a third-person reflexive gaze. She is a professor of communications at Goldsmiths College, University of London.
A variety of movements of feminist ideology have developed over the years. They vary in goals, strategies, and affiliations. They often overlap, and some feminists identify themselves with several branches of feminist thought.
The personal is political, also termed The private is political, is a political argument used as a rallying slogan by student activist movements and second-wave feminism from the late 1960s. In the feminist movement of the 1960s and 1970s, it was seen as a challenge to the nuclear family and family values. The phrase was popularized by the publication of feminist activist Carol Hanisch's 1969 essay, "The Personal Is Political." The phrase and idea have been repeatedly described as a defining characterization of second-wave feminism, radical feminism, women's studies, or feminism in general. It has also been used by some female artists as the underlying philosophy for their art practice.
Ecofeminism integrates feminism and political ecology. Ecofeminist thinkers draw on the concept of gender to analyse relationships between humans and the natural world. The term was coined by the French writer Françoise d'Eaubonne in her 1974 book Le Féminisme ou la Mort. Ecofeminist theory introduces a feminist perspective to Green politics and calls for an egalitarian, collaborative society in which there is no one dominant group. Today, there are several branches of ecofeminism, with varying approaches and analyses, including liberal ecofeminism, spiritual/cultural ecofeminism, and social/socialist ecofeminism. Interpretations of ecofeminism and how it might be applied to social thought include ecofeminist art, social justice and political philosophy, religion, economics, contemporary feminism, and literature.
Diana Meyers is a philosopher working in the philosophy of action and in the philosophy of feminism. Meyers is professor emerita of philosophy at the University of Connecticut.
In feminist theory, the male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. The concept was first articulated by British feminist film theorist Laura Mulvey in her 1975 essay, Visual Pleasure and Narrative Cinema. Mulvey's theory draws on historical precedents, such as the depiction of women in European oil paintings from the Renaissance period, where the female form was often idealized and presented from a voyeuristic male perspective. Art historian John Berger, in his work Ways of Seeing (1972), highlighted how traditional Western art positioned women as subjects of male viewers’ gazes, reinforcing a patriarchal visual narrative.
Technofeminism is a theoretical and practical framework that explores the intersections between technology, gender, and power. Rooted in feminist thought, it critically examines how technology shapes, reinforces, or disrupts gender inequalities and seeks to envision more equitable futures through technological design and use.
Suzanna Danuta Walters is the director of the Women's, Gender, and Sexuality Studies Program and professor of sociology at Northeastern University, Boston. She is also the editor-in-chief of Signs: Journal of Women in Culture and Society and the author of several books, including The Tolerance Trap: How God, Genes, and Good Intentions are Sabotaging Gay Equality. She is the author of the op-ed "Why can't we hate men?" in The Washington Post.
Feminist rhetoric emphasizes the narratives of all demographics, including women and other marginalized groups, into the consideration or practice of rhetoric. Feminist rhetoric does not focus exclusively on the rhetoric of women or feminists but instead prioritizes the feminist principles of inclusivity, community, and equality over the classic, patriarchal model of persuasion that ultimately separates people from their own experience. Seen as the act of producing or the study of feminist discourses, feminist rhetoric emphasizes and supports the lived experiences and histories of all human beings in all manner of experiences. It also redefines traditional delivery sites to include non-traditional locations such as demonstrations, letter writing, and digital processes, and alternative practices such as rhetorical listening and productive silence. In her book, Rhetorical Feminism and This Thing Called Hope (2018), Cheryl Glenn describes rhetorical feminism as, "a set of tactics that multiplies rhetorical opportunities in terms of who counts as a rhetor, who can inhabit an audience, and what those audiences can do." Rhetorical feminism is a strategy that counters traditional forms of rhetoric, favoring dialogue over monologue and seeking to redefine the way audiences view rhetorical appeals.
All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave (1982) is a landmark feminist anthology in Black Women's Studies printed in numerous editions, co-edited by Akasha Gloria Hull, Patricia Bell-Scott, and Barbara Smith.
References
- ↑ "Martha McCaughey Vitae". Archived from the original on April 6, 2019. Retrieved March 10, 2013.
