A History of Feminist Literary Criticism. Edited by Gill Plain and Susan Sellers. Cambridge: Cambridge University Press, 2008. Pp. xii+352.

2010 ◽  
Vol 107 (4) ◽  
pp. E79-E82
Author(s):  
Toril Moi
Keyword(s):  
Literary Criticism ◽  
Cambridge University ◽  
Feminist Literary Criticism ◽  
History Of

scholarly journals Analisis Kritik Sastra Feminis dalam Cerpen Catatan Hati Yang Cemburu Karya Asma Nadia

2020 ◽  
Vol 15 (4) ◽  
pp. 535-545
Author(s):  
Suaibatul Aslamiyah ◽  
Suci Nadilla ◽  
Cindy Aprilia Pratami
Keyword(s):  
Social Media ◽  
Literary Criticism ◽  
Value Of Life ◽  
Feminist Literary Criticism ◽  
The People ◽  
The World ◽  
History Of ◽  
Qualitative Descriptive ◽  
Universal Values ◽  
The Subject

Art has opened the eyes of the world throught literary works that record the history of a writing. Also the subject of women’s affairs is subject to an author’s reference to the problem of a sense of injustice. Such views have been discussed to voice gender equality and to seek efforts to overcome those problems. Nadia’s asthma is one of the authors who attempt to awaken women to the patriarchate system that has been going on. His works consistently incorporate such universal values as equality in various fields, human freedom, and tolerance so that his readers can adopt the value of life. In addition, she was actively involved in social media as a means of channeling her mind. The twitter feed says some of the people were repressed. Seeing the account encourage him to make a book and then be poured into a storybook of several different stories and in which one of the women’s true account t with the tittle of a jealous heart note. The study used qualitative descriptive methods with the theory of feminist literary criticism.

scholarly journals Charlotte Brontë and Jane Eyre: the beginning of an emancipatory process between literary girls and real girls

2020 ◽  
Vol 7 (1) ◽  
pp. 5-17
Author(s):  
Marianna Alfonsi
Keyword(s):  
Literary Criticism ◽  
Charlotte Bronte ◽  
Female Child ◽  
Point Of View ◽  
Jane Eyre ◽  
Female Protagonists ◽  
Feminist Literary Criticism ◽  
History Of ◽  
Women And Girls ◽  
The One

Giving a right place to literature for children in the context of general literature means to recognizing its roots and influences in a wider landscape. Charlotte Brontë work inserted in this context has a double meaning both because it links adult and child female characters (The italian society of literates has defined them «personagge»), and because it brings us back to the roots of a literature written by women with female protagonists able to undermine the socially approved traditional rules. Recovering Jane Eyre is the first step to be taken to trace a new way of writing about women and telling about “the becoming” of women, delineating a parallel path to bildungsroman, in which the feminine youth has not found full consideration. To define an itinerary for women and girls it is then necessary to analyze the studies of feminist literary criticism that has investigated the relationship between women and literature since 70s, both from the writer’s and reader’s point of view. The objective thus becomes the one to recover the history of that link that unites the presence of women and girls in literature and their search for an autonomous space of imagination, thought and action. Inserting Jane Eyre in the children’s literature allows us to trace the birth of the authentic female child, and the beginning of an emancipatory process that poses important questions about the role of reading and literature in social and educational contexts.

scholarly journals A Gynocritic-intersectional Reading of Raja Alem’s The Dove’s Necklace

2018 ◽  
Author(s):  
AWEJ for Translation & Literary Studies ◽  
Najla R. Aldeeb
Keyword(s):  
Literary Criticism ◽  
Arab World ◽  
Feminist Criticism ◽  
Multiple Identities ◽  
The Novel ◽  
Female Characters ◽  
Feminist Literary Criticism ◽  
History Of ◽  
Research Gap ◽  
Arabic Fiction

When Showalter (1981) coined the term gynocriticism to undermine feminist methodicide, feminist literary criticism established a clear methodological structure for application (as cited in Barry, 2009, pp. 17-20). However, as a result of technology, globalization and political changes, women suffer not only because of their gender but also because of their class, race or religion, which Crenchaw (1989) summarizes in the term “intersectionality” (p. 538). Shedding light on women’s multiple identities can help contemporary societies spot the discrimination that contemporary women suffer from; consequently, these societies can find solutions to eliminate the sources of women’s double marginalization. Race, class, ethnicity, religion and sexual orientation are intersecting loci of discriminations or privileges (McCall, 2005, p. 1771). Although this is a western paradigm, it can be applied to Saudi Arabian literature. The elements of gynocriticism and intersectionality are evident in the works of Raja Alem, a feminist writer from Mecca, Saudi Arabia and the first woman to win the International Prize for Arabic Fiction. Due to the dearth of structured feminist literary criticism in the Arab world, this paper traces the history of feminist literary criticism and applies a gynocritic-intersectional model to Raja Alem’s novel, The Dove’s Necklace (2012) in order to examine the projection of women and help close the research gap in Arabic feminist criticism. The researcher probes the biological, linguistic, psychoanalytical and cultural depiction of the female characters in the novel along with their intersectional identities. The findings show that women’s overlapping identities influence the way they experience oppression and discrimination.

Re-reading Henrik Ibsen’s A Doll’s House: A Modern Feminist Perspective

2021 ◽  
Vol 2 (3) ◽  
pp. 79-87
Author(s):  
Saima Akter
Keyword(s):  
Literary Criticism ◽  
Social Institutions ◽  
Feminist Perspective ◽  
Song Bird ◽  
Feminist Literary Criticism ◽  
The Social ◽  
History Of ◽  
Nora Helmer ◽  
Individual Self ◽  
A Doll's House

This article aims to present a re-reading of Henrik Ibsen’s A Doll’s House from a feminist perspective. Ibsen’s play is a pioneering feminist play, and he is credited for creating the first real feminist character in the history of theatre. The central female characters are analyzed, and the article also addresses the attitude of society towards women and how they struggle to prove themselves. Feminist literary criticism and feminism constitute the conceptual framework of the paper. In this play, Nora Helmer is under the illusion that her married life is perfect and that she owns what she deserves. Torvald, her husband calls her a ‘twittering lark’, ‘squirrel’, ‘song-bird’, and she is pleased with it. However, her illusion shatters when she faces the reality of finding herself being treated like a doll. As soon as she realizes that there exists an individual self of her, she revolts. She leaves the house, challenging the social institutions which contribute to women’s subjugation. Nora protests against the ill-treatment towards her by society for her willingness to get her right back, for her self-respect, and for finding herself.  

Gender, Theatre, and the Origins of Criticism: From Dryden to Manley. By Marcie Frank. Cambridge: Cambridge University Press, 2003; pp. 175. $60 cloth.

2004 ◽  
Vol 45 (2) ◽  
pp. 303-305
Author(s):  
Julia Schmitt
Keyword(s):  
Women Writers ◽  
Literary Criticism ◽  
Literary Tradition ◽  
Aphra Behn ◽  
John Dryden ◽  
Cambridge University ◽  
Delarivier Manley ◽  
Rightful Place ◽  
History Of

Gender, Theatre, and the Origins of Criticism: From Dryden to Manley explores the role theatrical artists played in the emergence of literary criticism. Marcie Frank suggests that a study of this emergence should begin with John Dryden, and that it must also include the contributions made by female playwrights (such as Aphra Behn, Catharine Trotter, and Delarivier Manley)—not merely as side notes worthy of attention in a feminist attempt to include women writers in the history of criticism but, more important, as writings that actively carried on the genealogical literary tradition that Dryden established. Frank makes the case that by figuring the transmission of a national vernacular canon “as a patrimony, [Dryden] drew the lines of access to a native literary tradition for subsequent writers and critics” (2). The essays in the book work to establish the presence of a critical legacy left to us by Dryden, Behn, Trotter, and Manley. In doing so, Frank hopes to restore the theatre's rightful place in the story of criticism's emergence, thereby allowing an acknowledgment of the “performativity of criticism, both in the sense of what it accomplishes—the establishment of a native tradition coded as filiation—and in the appreciation of the means by which it does so” (2).

scholarly journals Kazimiera Iłłakowiczówna mniej więcej znana

2018 ◽  
pp. 75-94
Author(s):  
Lucyna Marzec
Keyword(s):  
Literary Criticism ◽  
Literary Studies ◽  
Religious Poetry ◽  
The Past ◽  
Feminist Literary Criticism ◽  
History Of ◽  
The New Woman ◽  
History Of Literature ◽  
Government Institution ◽  
Unusual Type

The article is the analysis of the place of Kazimiera Iłłakowiczówna in contemporary literary discourse. The author of the article claims – using Pierre Bayard’s theory – that the poetess is known “more or less”: she is remembered as someone who got prizes and recognition but at the same time she is impossible to read nowadays. There is political ambiguity and antiquity in her texts that keep her in the past. Marzec points at four areas of literary studies, where Iłłakowiczówna is still present: 1. Poetics: Iłłakowiczówna uses an original and unusual type of the Polish tonic verse. The author of this article analyses it using tools of psychoanalysis. 2. Religious discourse: Iłłakowicz.wna is interpreted as the author of religious poetry but Marzec argues with such interpretations. 3. Post-dependence studies: Iłłakowiczówna has not been analysed in terms of post-dependence studies yet but she is mentioned in the Polish borderlines discourse. 4. Feminist literary criticism: Iłłakowiczówna used to be studied as the author of androgynous poetry, but Marzec points out other motifs such as miscarriage, infanticide or problems of the new woman, like work at government institution, contestation of vitalism and bureaucracy. The aimof this article is to show that writing of Kazimiera Iłłakowiczówna needs to be read in terms of the history of literature which is devoid of evaluation and judging. Such analysis means going back in terms of modern literary studies which have undergone multiple turns that changed the tools accessible to contemporary critics.

scholarly journals CITRA PEREMPUAN DALAM NOVEL CERITA TENTANG RANI KARYA HERRY SANTOSO; TINJAUAN KRITIK SASTRA FEMINIS* (The Image of Women in the Novel Entitled Cerita Tentang Rani by Herry Santosa: A Feminist Literary Criticism)

ALAYASASTRA ◽  
2019 ◽  
Vol 15 (2) ◽  
pp. 71
Author(s):  
Choerul Anam
Keyword(s):  
Literary Criticism ◽  
Qualitative Method ◽  
Feminist Criticism ◽  
The Novel ◽  
Main Character ◽  
Descriptive Research ◽  
Feminist Literary Criticism ◽  
History Of ◽  
And Gender ◽  
Research Types

This study aims to describe the image of women in Herry Santoso's novel: Cerita Tentang Rani in the perspective of feminist literary criticism. The method applied in the research is a qualitative one. The purpose of the qualitative method leads the writer being able to get to know the in-depth history of the research environment by applying descriptive research types. Feminist criticism theory of Rosemarie Putnam Tong and gender theory of Judith P. Butler were applied in this research. The results of this study prove that the image of the main character, Maharani, is a strong and tough woman. The images of the woman cover 1) the image of women in her relation with Allah Swt (God); 2) the image of women in her relation with herself; and 3) the image of women in her relationship with others. Keywords: female image, feminist literary criticism, Novel Cerita Tentang Rani.

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