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Feminist approaches to literature.

This essay offers a very basic introduction to feminist literary theory, and a compendium of Great Writers Inspire resources that can be approached from a feminist perspective. It provides suggestions for how material on the Great Writers Inspire site can be used as a starting point for exploration of or classroom discussion about feminist approaches to literature. Questions for reflection or discussion are highlighted in the text. Links in the text point to resources in the Great Writers Inspire site. The resources can also be found via the ' Feminist Approaches to Literature' start page . Further material can be found via our library and via the various authors and theme pages.

The Traditions of Feminist Criticism

According to Yale Professor Paul Fry in his lecture The Classical Feminist Tradition from 25:07, there have been several prominent schools of thought in modern feminist literary criticism:

• First Wave Feminism: Men's Treatment of Women In this early stage of feminist criticism, critics consider male novelists' demeaning treatment or marginalisation of female characters. First wave feminist criticism includes books like Marry Ellman's Thinking About Women (1968) Kate Millet's Sexual Politics (1969), and Germaine Greer's The Female Eunuch (1970). An example of first wave feminist literary analysis would be a critique of William Shakespeare's Taming of the Shrew for Petruchio's abuse of Katherina.
• The 'Feminine' Phase - in the feminine phase, female writers tried to adhere to male values, writing as men, and usually did not enter into debate regarding women's place in society. Female writers often employed male pseudonyms during this period.
• The 'Feminist' Phase - in the feminist phase, the central theme of works by female writers was the criticism of the role of women in society and the oppression of women.
• The 'Female' Phase - during the 'female' phase, women writers were no longer trying to prove the legitimacy of a woman's perspective. Rather, it was assumed that the works of a women writer were authentic and valid. The female phase lacked the anger and combative consciousness of the feminist phase.

Do you agree with Showalter's 'phases'? How does your favourite female writer fit into these phases?

Read Jane Eyre with the madwoman thesis in mind. Are there connections between Jane's subversive thoughts and Bertha's appearances in the text? How does it change your view of the novel to consider Bertha as an alter ego for Jane, unencumbered by societal norms? Look closely at Rochester's explanation of the early symptoms of Bertha's madness. How do they differ from his licentious behaviour?

How does Jane Austen fit into French Feminism? She uses very concise language, yet speaks from a woman's perspective with confidence. Can she be placed in Showalter's phases of women's writing?

Dr. Simon Swift of the University of Leeds gives a podcast titled 'How Words, Form, and Structure Create Meaning: Women and Writing' that uses the works of Virginia Woolf and Silvia Plath to analyse the form and structural aspects of texts to ask whether or not women writers have a voice inherently different from that of men (podcast part 1 and part 2 ).

In Professor Deborah Cameron's podcast English and Gender , Cameron discusses the differences and similarities in use of the English language between men and women.

In another of Professor Paul Fry's podcasts, Queer Theory and Gender Performativity , Fry discusses sexuality, the nature of performing gender (14:53), and gendered reading (46:20).

How do more modern A-level set texts, like those of Margaret Atwood, Zora Neale Hurston, or Maya Angelou, fit into any of these traditions of criticism?

Depictions of Women by Men

Students could begin approaching Great Writers Inspire by considering the range of women depicted in early English literature: from Chaucer's bawdy 'Wife of Bath' in The Canterbury Tales to Spenser's interminably pure Una in The Faerie Queene .

How might the reign of Queen Elizabeth I have dictated the way Elizabethan writers were permitted to present women? How did each male poet handle the challenge of depicting women?

By 1610 Thomas Middleton and Thomas Dekker's The Roaring Girl presented at The Fortune a play based on the life of Mary Firth. The heroine was a man playing a woman dressed as a man. In Dr. Emma Smith's podcast on The Roaring Girl , Smith breaks down both the gender issues of the play and of the real life accusations against Mary Frith.

In Dr. Emma Smith's podcast on John Webster's The Duchess of Malfi , a frequent A-level set text, Smith discusses Webster's treatment of female autonomy. Placing Middleton or Webster's female characters against those of Shakespeare could be brought to bear on A-level Paper 4 on Drama or Paper 5 on Shakespeare and other pre-20th Century Texts.

Smith's podcast on The Comedy of Errors from 11:21 alludes to the valuation of Elizabethan comedy as a commentary on gender and sexuality, and how The Comedy of Errors at first seems to defy this tradition.

What are the differences between depictions of women written by male and female novelists?

Students can compare the works of Charlotte and Emily Brontë or Jane Austen with, for example, Hardy's Tess of the d'Ubervilles or D. H. Lawrence's Lady Chatterley's Lover or Women in Love .

How do Lawrence's sexually charged novels compare with what Emma Smith said about Webster's treatment of women's sexuality in The Duchess of Malfi ?

Dr. Abigail Williams' podcast on Jonathan Swift's The Lady's Dressing-Room discusses the ways in which Swift uses and complicates contemporary stereotypes about the vanity of women.

Rise of the Woman Writer

With the movement from Renaissance to Restoration theatre, the depiction of women on stage changed dramatically, in no small part because women could portray women for the first time. Dr. Abigail Williams' adapted lecture, Behn and the Restoration Theatre , discusses Behn's use and abuse of the woman on stage.

What were the feminist advantages and disadvantages to women's introduction to the stage?

The essay Who is Aphra Behn? addresses the transformation of Behn into a feminist icon by later writers, especially Bloomsbury Group member Virginia Woolf in her novella/essay A Room of One's Own .

How might Woolf's description and analysis of Behn indicate her own feminist agenda?

Behn created an obstacle for later women writers in that her scandalous life did little to undermine the perception that women writing for money were little better than whores.

In what position did that place chaste female novelists like Frances Burney or Jane Austen ?

To what extent was the perception of women and the literary vogue for female heroines impacted by Samuel Richardson's Pamela ? Students could examine a passage from Pamela and evaluate Richardson's success and failures, and look for his influence in novels with which they are more familiar, like those of Austen or the Brontë sisters.

In Dr. Catherine's Brown's podcast on Eliot's Reception History , Dr. Brown discusses feminist criticism of Eliot's novels. In the podcast Genre and Justice , she discusses Eliot's use of women as scapegoats to illustrate the injustice of the distribution of happiness in Victorian England.

Professor Sir Richard Evans' Gresham College lecture The Victorians: Gender and Sexuality can provide crucial background for any study of women in Victorian literature.

Women Writers and Class

Can women's financial and social plights be separated? How do Jane Austen and Charlotte Brontë bring to bear financial concerns regarding literature depicting women in the 18th and 19th century?

How did class barriers affect the work of 18th century kitchen maid and poet Mary Leapor ?

Listen to the podcast by Yale's Professor Paul Fry titled "The Classical Feminist Tradition" . At 9:20, Fry questions whether or not any novel can be evaluated without consideration of financial and class concerns, and to what extent Virginia Woolf's A Room of One's Own suggests a female novelist can only create successful work if she is of independent means.

What are the different problems faced by a wealthy character like Austen's Emma , as opposed to a poor character like Brontë's Jane Eyre ?

Also see sections on the following writers:

• Jane Austen
• Charlotte Brontë
• George Eliot
• Thomas Hardy
• D.H. Lawrence
• Mary Leapor
• Thomas Middleton
• Katherine Mansfield
• Olive Schreiner
• William Shakespeare
• John Webster
• Virginina Woolf

If reusing this resource please attribute as follows: Feminist Approaches to Literature at http://writersinspire.org/content/feminist-approaches-literature by Kate O'Connor, licensed as Creative Commons BY-NC-SA (2.0 UK).

Feminist literary criticism - Free Essay Samples And Topic Ideas

Feminist literary criticism is an approach to literature that seeks to explore and challenge the representation of gender and gendered relations in literary works. Essays on feminist literary criticism might delve into analyses of gender representation in specific texts, the history and evolution of feminist literary theory, or the impact of feminist criticism on literary studies and wider cultural discourses. They might also explore intersectional approaches within feminist literary criticism that consider race, class, sexuality, and other axes of identity. A substantial compilation of free essay instances related to Feminist Literary Criticism you can find in Papersowl database. You can use our samples for inspiration to write your own essay, research paper, or just to explore a new topic for yourself.

Feminist Criticism on Chopin’s the Story of an Hour

  Kate Chopin was a daring woman, who took her writing to a new level. Breaking many conventional social behaviors, she wrote openly about women’s emotions towards their relationships with men, children and sexuality. Kate has written several different pieces expressing her opinion. However, in one of her narratives, The Story of An Hour, she projects her feminist beliefs on marriage and the emotions it entails through the main character, Mrs. Mallard. In the beginning of the story, Mrs. Mallard […]

How Alice Walker Created Womanism

The Color Purple is a novel that traces the suffering of black women from gender, racial domination in patriarchy society. This novel demonstrates the universally prevalent multiple injustices towards women: sexual violence and violation, sexism, political, economic and social domination. Male keeps women oppressed denying equal power. So, females have been prevented from enjoying their basic rights and are totally excluded from the social, political and economic life. The present study attempts to investigate how the color purple of Alice […]

Memory and Past – the Giver

"Lois Lowry’s novel entitled The Giver, takes place against the background of very different times in which it alters from past, present, and future. Nonetheless, it speaks to the concern: the vital need of people to be aware of their interdependence, not only with each other but with the world and its environment where everything is the same – there is no music, no color, no pain. In the eye of a Marxist, The Giver explains the essential and true […]

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Feminism in the Scarlet Letter and Goblin Market: Exploring Female Sexuality

Contextual Background of Desire in 19th-Century Literature Both The Scarlett Letter (1850), a gothic romance by Nathaniel Hawthorne, and Goblin Market (1862), a narrative poem by Christina Rossetti, explore the ideas of female desire and sexuality, which would have been a very controversial topic in the mid-19th century due to the religious nature of society at the time. Similarly, both texts feature the dangers of unbridled sexuality and desire through the temptation and consequence the female protagonists face in the […]

The Manic Pixie Dream Girl Trope: an Examination of its Impact and Critique

The term "Manic Pixie Dream Girl" (MPDG) describes a character type that keeps popping up in movies and books. These gals are all about being quirky and bringing spontaneity into the life of a brooding dude who's usually the main character. Coined by film critic Nathan Rabin in 2007, the MPDG thing has sparked both praise and criticism for how it shows female characters. While they might seem charming and full of life, these characters often end up being more […]

Insights into Feminist Language Analysis

Language serves as more than just a medium of communication; it embodies power dynamics, cultural norms, and social hierarchies. Within feminist discourse, language is a central battleground where the struggle for gender equality is waged. Feminist approaches to textual analysis delve deep into the politics of language, aiming to uncover the subtle ways in which language shapes and perpetuates gender inequalities. At the heart of feminist textual analysis lies the recognition that language is not neutral. Rather, it is laden […]

Feminist Rewritings: Challenging Male-Centric Narratives in Literature

Literature has long been dominated by male perspectives, with female characters often relegated to secondary roles or portrayed through a narrow lens. However, in recent years, feminist writers have been reclaiming narratives, subverting traditional tropes, and offering fresh perspectives that challenge the patriarchal status quo. Through the lens of feminist theory, these writers interrogate and deconstruct male-centric narratives, highlighting the complexities of gender, power, and agency. One of the key strategies employed by feminist writers is the practice of rewriting […]

Feminist Mythology: Deconstructing and Reimagining Classic Myths through a Gendered Lens.

In the rich tapestry of human storytelling, myths have long woven the fabric of cultural narratives. However, beneath the surface of these timeless tales lies a pervasive undercurrent of gender bias, often relegating female characters to stereotypical roles. This essay embarks on an exploration of feminist mythology, an intriguing lens through which we deconstruct and reimagine classic myths, fostering a deeper understanding of the dynamics between myth and gender. Classic myths, ranging from Greek and Roman to Norse and beyond, […]

Feminist Insights into Classic Literature: a Provocative Exploration

Within the realm of literary analysis lies a transformative lens that has the power to illuminate the shadows of classic texts: feminism. This critical perspective, ever dynamic and potent, challenges traditional readings by unearthing the buried narratives of female characters and questioning the power structures entrenched within the pages of revered works. Feminist literary criticism dismantles the notion of women as passive ornaments within narratives, urging readers to perceive them as agents of change and defiance against patriarchal norms. Consider […]

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How to Write an Essay About Feminist Literary Criticism

Understanding feminist literary criticism.

Before writing an essay about feminist literary criticism, it's essential to understand what this critical approach entails. Feminist literary criticism analyzes literature and literary criticism based on the feminist theory, focusing on how literature reflects or distorts the experiences, status, and roles of women. This approach also explores how literary works contribute to or challenge gender inequalities. Begin your essay by defining feminist literary criticism and its historical development. Discuss the variety of forms it has taken over time, from exploring women's writing as a separate literary tradition to examining gender politics and representation in literature. Understanding the key theorists in the field, such as Simone de Beauvoir, Virginia Woolf, and Elaine Showalter, can provide a solid foundation for your analysis.

Developing a Thesis Statement

A strong essay on feminist literary criticism should be centered around a clear, concise thesis statement. This statement should present a specific viewpoint or argument about feminist literary criticism. For instance, you might examine the role of feminist literary criticism in reshaping the literary canon, analyze how it has changed the interpretation of a particular text, or argue for its relevance in contemporary literary studies. Your thesis will guide the direction of your essay and provide a structured approach to your analysis.

Gathering Textual Evidence

To support your thesis, gather evidence from a range of sources, including feminist literary texts, critical essays, and theoretical works. This might include specific examples of feminist critiques of literary works, discussions of the portrayal of female characters in literature, or analyses of gender dynamics in different literary genres. Use this evidence to support your thesis and build a persuasive argument. Be sure to consider different feminist perspectives and methodologies in your analysis.

Analyzing Key Themes in Feminist Literary Criticism

Dedicate a section of your essay to analyzing key themes and concepts in feminist literary criticism. Discuss issues such as the representation of women in literature, the intersection of gender with other identities like race and class, and the role of language in perpetuating gender stereotypes. Explore how feminist critics have challenged traditional literary criticism and offered new insights and interpretations of texts.

Concluding the Essay

Conclude your essay by summarizing the main points of your discussion and restating your thesis in light of the evidence provided. Your conclusion should tie together your analysis and emphasize the significance of feminist literary criticism in understanding literature and its social implications. You might also want to suggest areas for future research or discuss the potential impact of feminist literary criticism on literary studies and broader cultural discourses.

Reviewing and Refining Your Essay

After completing your essay, review and refine it for clarity and coherence. Ensure that your arguments are well-structured and supported by evidence. Check for grammatical accuracy and ensure that your essay flows logically from one point to the next. Consider seeking feedback from peers, educators, or experts in feminist literary criticism to further improve your essay. A well-written essay on feminist literary criticism will not only demonstrate your understanding of the approach but also your ability to engage critically with literary theory and analysis.

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Literary Theory and Criticism

Home › Feminism: An Essay

Feminism: An Essay

By NASRULLAH MAMBROL on April 27, 2016 • ( 6 )

Feminism as a movement gained potential in the twentieth century, marking the culmination of two centuries’ struggle for cultural roles and socio-political rights — a struggle which first found its expression in Mary Wollstonecraft ‘s Vindication of the Rights of Woman (1792). The movement gained increasing prominence across three phases/waves — the first wave (political), the second wave (cultural) and the third wave (academic). Incidentally Toril Moi also classifies the feminist movement into three phases — the female (biological), the feminist (political) and the feminine (cultural).

The first wave of feminism, in the 19th and 20th centuries, began in the US and the UK as a struggle for equality and property rights for women, by suffrage groups and activist organisations. These feminists fought against chattel marriages and for polit ical and economic equality. An important text of the first wave is Virginia Woolf ‘s A Room of One’s Own (1929), which asserted the importance of woman’s independence, and through the character Judith (Shakespeare’s fictional sister), explicated how the patriarchal society prevented women from realising their creative potential. Woolf also inaugurated the debate of language being gendered — an issue which was later dealt by Dale Spender who wrote Man Made Language (1981), Helene Cixous , who introduced ecriture feminine (in The Laugh of the Medusa ) and Julia Kristeva , who distinguished between the symbolic and the semiotic language.

The second wave of feminism in the 1960s and ’70s, was characterized by a critique of patriarchy in constructing the cultural identity of woman. Simone de Beauvoir in The Second Sex (1949) famously stated, “One is not born, but rather becomes a woman” – a statement that highlights the fact that women have always been defined as the “Other”, the lacking, the negative, on whom Freud attributed “ penis-envy .” A prominent motto of this phase, “The Personal is the political” was the result of the awareness .of the false distinction between women’s domestic and men’s public spheres. Transcending their domestic and personal spaces, women began to venture into the hitherto male dominated terrains of career and public life. Marking its entry into the academic realm, the presence of feminism was reflected in journals, publishing houses and academic disciplines.

Mary Ellmann ‘s Thinking about Women (1968), Kate Millett ‘s Sexual Politics (1969), Betty Friedan ‘s The Feminine Mystique (1963) and so on mark the major works of the phase. Millett’s work specifically depicts how western social institutions work as covert ways of manipulating power, and how this permeates into literature, philosophy etc. She undertakes a thorough critical understanding of the portrayal of women in the works of male authors like DH Lawrence, Norman Mailer, Henry Miller and Jean Genet.

In the third wave (post 1980), Feminism has been actively involved in academics with its interdisciplinary associations with Marxism , Psychoanalysis and Poststructuralism , dealing with issues such as language, writing, sexuality, representation etc. It also has associations with alternate sexualities, postcolonialism ( Linda Hutcheon and Spivak ) and Ecological Studies ( Vandana Shiva )

Elaine Showalter , in her “ Towards a Feminist Poetics ” introduces the concept of gynocriticism , a criticism of gynotexts, by women who are not passive consumers but active producers of meaning. The gynocritics construct a female framework for the analysis of women’s literature, and focus on female subjectivity, language and literary career. Patricia Spacks ‘ The Female Imagination , Showalter’s A Literature of their Own , Sandra Gilbert and Susan Gubar ‘s The Mad Woman in the Attic are major gynocritical texts.

The present day feminism in its diverse and various forms, such as liberal feminism, cultural/ radical feminism, black feminism/womanism, materialist/neo-marxist feminism, continues its struggle for a better world for women. Beyond literature and literary theory, Feminism also found radical expression in arts, painting ( Kiki Smith , Barbara Kruger ), architecture( Sophia Hayden the architect of Woman’s Building ) and sculpture (Kate Mllett’s Naked Lady).

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Feminist Literary Criticism

Feminism Definition

• History Of Feminism
• Important Figures
• Women's Suffrage
• Women & War
• Laws & Womens Rights
• Feminist Texts
• American History
• African American History
• African History
• Ancient History and Culture
• Asian History
• European History
• Latin American History
• Medieval & Renaissance History
• Military History
• The 20th Century
• J.D., Hofstra University
• B.A., English and Print Journalism, University of Southern California

Feminist literary criticism (also known as feminist criticism) is the literary analysis that arises from the viewpoint of feminism , ​ feminist theory , and/or feminist politics.

Critical Methodology

A feminist literary critic resists traditional assumptions while reading a text. In addition to challenging assumptions that were thought to be universal, feminist literary criticism actively supports including women's knowledge in literature and valuing women's experiences. The two main features of feminist literary criticism include:

• Identifying with female characters: By examining the way female characters are defined, critics challenge the male-centered outlook of authors. Feminist literary criticism suggests that women in literature have been historically presented as objects seen from a male perspective.
• Reevaluating literature and the world in which literature is read: By revisiting the classic literature, the critic can question whether society has predominantly valued male authors and their literary works because it has valued males more than females.

Embodying or Undercutting Stereotypes

Feminist literary criticism recognizes that literature both reflects and shapes stereotypes and other cultural assumptions. Thus, feminist literary criticism examines how works of literature embody patriarchal attitudes or undercut them, sometimes both happening within the same work.

Feminist theory and various forms of feminist critique began long before the formal naming of the school of literary criticism. In so-called first-wave feminism, the "Woman's Bible," written in the late 19th century by Elizabeth Cady Stanton , is an example of a work of criticism firmly in this school, looking beyond the more obvious male-centered outlook and interpretation.

During the period of second-wave feminism, academic circles increasingly challenged the male literary canon. Feminist literary criticism has since intertwined with postmodernism and increasingly complex questions of gender and societal roles.

Tools of the Feminist Literary Critic

Feminist literary criticism may bring in tools from other critical disciplines, such as historical analysis, psychology, linguistics, sociological analysis, and economic analysis. Feminist criticism may also look at intersectionality , looking at how factors including race, sexuality, physical ability, and class are also involved.

Feminist literary criticism may use any of the following methods:

• Deconstructing the way that female characters are described in novels, stories, plays, biographies, and histories, especially if the author is male
• Deconstructing how one's own gender influences how one reads and interprets a text, and which characters and how the reader identifies depending on the reader's gender
• Deconstructing how female autobiographers and biographers of women treat their subjects, and how biographers treat women who are secondary to the main subject
• Describing relationships between the literary text and ideas about power, sexuality, and gender
• Critique of patriarchal or woman-marginalizing language, such as a "universal" use of the masculine pronouns "he" and "him"
• Noticing and unpacking differences in how men and women write: a style, for instance, where women use more reflexive language and men use more direct language (example: "she let herself in" versus "he opened the door")
• Reclaiming women writers who are little known or have been marginalized or undervalued is sometimes referred to as expanding or criticizing the canon—the usual list of "important" authors and works. Examples include raising the contributions of early playwright ​ Aphra Behn and showing how she was treated differently than male writers from her own time forward, and the retrieval of Zora Neale Hurston 's writing by Alice Walker .
• Reclaiming the "female voice" as a valuable contribution to literature, even if formerly marginalized or ignored
• Analyzing multiple works in a genre as an overview of a feminist approach to that genre: for example, science fiction or detective fiction
• Analyzing multiple works by a single author (often female)
• Examining how relationships between men and women and those assuming male and female roles are depicted in the text, including power relations
• Examining the text to find ways in which patriarchy is resisted or could have been resisted

Feminist literary criticism is distinguished from gynocriticism because feminist literary criticism may also analyze and deconstruct the literary works of men.

Gynocriticism

Gynocriticism, or gynocritics, refers to the literary study of women as writers. It is a critical practice of exploring and recording female creativity. Gynocriticism attempts to understand women’s writing as a fundamental part of female reality. Some critics now use “gynocriticism” to refer to the practice and “gynocritics” to refer to the practitioners.

American literary critic Elaine Showalter coined the term "gynocritics" in her 1979 essay “Towards a Feminist Poetics.” Unlike feminist literary criticism, which might analyze works by male authors from a feminist perspective, gynocriticism wanted to establish a literary tradition of women without incorporating male authors. Showalter felt that feminist criticism still worked within male assumptions, while gynocriticism would begin a new phase of women’s self-discovery.

Resources and Further Reading

• Alcott, Louisa May. The Feminist Alcott: Stories of a Woman's Power . Edited by Madeleine B. Stern, Northeastern University, 1996.
• Barr, Marleen S. Lost in Space: Probing Feminist Science Fiction and Beyond . University of North Carolina, 1993.
• Bolin, Alice. Dead Girls: Essays on Surviving an American Obsession . William Morrow, 2018.
• Burke, Sally. American Feminist Playwrights: A Critical History . Twayne, 1996.
• Carlin, Deborah. Cather, Canon, and the Politics of Reading . University of Massachusetts, 1992.
• Castillo, Debra A. Talking Back: Toward a Latin American Feminist Literary Criticism . Cornell University, 1992.
• Chocano, Carina. You Play the Girl . Mariner, 2017.
• Gilbert, Sandra M., and Susan Gubar, editors. Feminist Literary Theory and Criticism: A Norton Reader . Norton, 2007.
• Gilbert, Sandra M., and Susan Gubar, editors. Shakespeare's Sisters: Feminist Essays on Women Poets . Indiana University, 1993.
• Lauret, Maria. Liberating Literature: Feminist Fiction in America . Routledge, 1994.
• Lavigne, Carlen. Cyberpunk Women, Feminism and Science Fiction: A Critical Study . McFarland, 2013.
• Lorde, Audre. Sister Outsider: Essays and Speeches . Penguin, 2020.
• Perreault, Jeanne. Writing Selves: Contemporary Feminist Autography . University of Minnesota, 1995.
• Plain, Gill, and Susan Sellers, editors. A History of Feminist Literary Criticism . Cambridge University, 2012.
• Smith, Sidonie, and Julia Watson, editors. De/Colonizing the Subject: The Politics of Gender in Women's Autobiography . University of Minnesota, 1992.

This article was edited and with significant additions by Jone Johnson Lewis

• What Is Radical Feminism?
• 1970s Feminist Activities
• Goals of the Feminist Movement
• Maxine Hong Kingston’s "The Woman Warrior"
• Liberal Feminism
• Feminist Poetry Movement of the 1960s
• The Feminist Movement in Art
• Socialist Feminism vs. Other Types of Feminism
• Redstockings Radical Feminist Group
• Patriarchal Society According to Feminism
• Adrienne Rich's 'Of Woman Born'
• 10 Important Feminist Beliefs
• Oppression and Women's History
• Biography of Marge Piercy, Feminist Novelist and Poet
• Biography of Adrienne Rich, Feminist and Political Poet
• Feminist Philosophy

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Approaches to Feminism

Feminist philosophy emerged in the US in the 1970s following only a decade behind the rise of the US women's movement in the 1960s. Although Simone de Beauvoir published her now highly influential The Second Sex in 1953, it would take at least a decade for women in the US to begin to organize around the injustices Beauvoir identified, and even longer for feminist philosophers in the US to turn to her work for inspiration.

Although I will focus in this introductory essay on the emergence of contemporary US feminist philosophies, it is important to stress that this is only one chapter in a larger history of feminist philosophy. Feminist philosophies have histories that date back historically at least to the early modern period, and have different genealogies in different geographical regions. Both the history of and particular character of feminist philosophy in other countries and in other time periods varies in important and interesting ways. It is crucial, therefore, to understand this essay only as an introduction to contemporary feminist philosophies in the U.S.

Understanding the emergence of feminist philosophy in the U.S. requires an overview of at least two contexts — the political context of what came to be called the “second wave of the woman's movement” and the nature of philosophy in U.S. academies.

1. The Political Context: The Rise of the U.S. Feminist Movement

2. the rise of feminist philosophical scholarship in the u.s., 3. the inheritance from philosophy, 4. approaches to feminist philosophy: overview of the encyclopedia sub-entries, other internet resources, related entries.

The 1950s are a complex decade in the U.S. The country is at the height of the McCarthy era, yet it is the same decade that witnesses the rise of the Civil Rights Movement. In 1953 Barrows Dunham, chair of the philosophy department at Temple University is subpoenaed by the House Committee on Un-American Activities. Although he is tried and acquitted for refusing to provide more than his name, address, and age, Temple University fires him. A number of philosophers are called upon to testify before the HUAC and others are fired from positions because of their membership in the Communist Party. In 1955 Rosa Parks is arrested for keeping her seat in the front of a bus in Montgomery Alabama just one year after the Supreme Court in Brown vs. the Board of Education bans segregation in public schools. In 1957 Martin Luther King is named president of the newly formed Southern Christian Leadership Conference and begins his campaign to end race discrimination.

It is important to remember that 1950 is only five years into a campaign to encourage women to return to home and hearth, leaving the jobs they had taken on as part of the war effort. [ 1 ] As one telling example, consider Adlai Stevenson's 1955 address to the Smith College graduating class urging these educated women not to define themselves by a profession but to participate in politics through the role of wife and mother. While McCarthyism rooted out political subversion, science and the media worked to instill proper gender roles. A 1956 Life magazine published interviews with five male psychiatrists who argued that female ambition was the root of mental illness in wives, emotional upsets in husbands, and homosexuality in boys.

But the increasing involvement of women in freedom marches and, somewhat later, the protests of the Vietnam War give rise to a budding awareness of gender injustices. Looking back in the 1975 edition to her landmark study of the U.S. Women's Movement in 1959, Eleanor Flexner explains:

First in the South and eventually everywhere in this country, women were involved in these struggles. Some white women learned the degree to which black women were worse off than they were, or than black men. White and black women learned what the minority of women active in the organized labor movement had learned much earlier: that women were typically excluded from policy-making leadership roles of even the most radical movement, a lesson that would have to be relearned again and again in the political and peace campaigns of the late sixties (1975, xxix).

The National Organization for Women forms in 1966, petitioning to stop sex segregation of want ads and one year later to request federally funded childcare centers. By 1968 NOW begins to focus on legalizing abortion. In 1967 Eugene McCarthy introduces the Equal Rights Amendment in the Senate. In 1968 feminists in New York protest the Miss America pageant and crown a live sheep as Miss America and set up a ‘freedom trashcan’ in which to dispose of oppressive symbols, including bras, girdles, wigs, and false eyelashes. (Although there was no fire, it was this symbolic protest that the media transformed into the infamous ‘bra burning’ incident.) The Stonewall riot in 1969 marks the beginning of the gay and lesbian rights movement. In 1970 the San Francisco Women's Liberation Front invades a CBS stockholders meeting to demand changes in how the network portrays women, and a model affirmative action plan is published by NOW and submitted to the Labor Department. In this same year three key texts of the U.S. feminist movement are published: Shulamith Firestone's The Dialectic of Sex ; Kate Millett's Sexual Politics ; and Robin Morgan's Sisterhood is Powerful . In 1970 a press conference headed by women's movement leaders Gloria Steinem, Ti-Grace Atkinson, Flo Kennedy, Sally Kempton, Susan Brownmiller, Ivy Bottini, and Dolores Alexander expressed solidarity with the struggles of gays and lesbians to attain liberation in a sexist society. However, in 1971, at a Women's National Abortion conference, while adopting demands for repeal of all abortion laws, for no restrictions on contraceptives, and taking a stance against forced sterilization, the group votes down a demand for freedom of sexual expression, causing many in the audience to walk out in protest and seeding the development of a separatist movement within the feminist movement (See What is Feminism? ).

It is out of this powerful social and political cauldron that feminist philosophy emerges in the U.S. While few would now dispute the claim that the development of ideas and theories in the sciences, as well as the social science and humanities, reflect and are influenced by their social, historical, and intellectual contexts, philosophers in the U.S. have, until recently, paid scant attention to the social contexts of twentieth century U.S. philosophy, particularly with how cultural and political factors have influenced the movements of philosophy within the academy (McCumber 2001). The emergence of feminist philosophy in the U.S. presents an excellent illustration of the close intersection between the development of philosophical positions and methods, and their social contexts.

Many of the early writings of U.S. feminist philosophers arose from attempts to grapple with issues that emerged from the women's movement: the identification of the nature of sexism and the underlying causes of the oppression of women, questions of how to best obtain emancipation for women — e.g., equal rights within the current political and social structure vs. revolutionary changes of that structure, the issue of ‘woman's nature,’ philosophical analyses of the morality of abortion, and so on. In this first decade of writing, feminist philosophers in the U.S. also turned their attention to the past to investigate how canonical philosophers dealt with the question of women, both to determine if their views might provide resources for addressing contemporary issues or whether the sexism of their theories continued to pervade contemporary philosophical and, perhaps, even social and political practices.

A snapshot, albeit a limited image, of the emergence of feminist philosophical scholarship in the U.S. and beyond can be obtained by looking at numbers of journal articles catalogued in The Philosophers Index . [ 2 ] The Philosopher's Index lists only three articles under the keyword ‘feminism’ until 1973 when the number leaps to eleven thanks in large part to a special issue of The Philosophical Forum edited by Carol Gould and Marx Wartofsky that became the basis for an important first anthology on feminist philosophy, Women and Philosophy: Toward a Theory of Liberation . From 1974 to 1980 these numbers increased to 109 entries for this seven year period, with the decade between 1981 to 1990 witnessing an explosion of work in the area of feminist philosophy with 718 entries listed in the Philosopher's Index .In the following 12 years 2,058 more articles are added to the Index under this heading.

Clearly there are a number of reasons for the startling expansion of feminist philosophical work in the U.S. Although I cannot trace all of them, I would like to identify a few that are particularly significant. First is the fact that many philosophers in the U.S. were involved in the social justice movements of the 60s. Most of the philosophers who contributed to the emergence of feminist philosophy in the 70s in the U.S. were active in or influenced by the women's movement. As a result of this participation, these philosophers were attentive to and concerned about the injustices caused by unfair practices emerging from the complex phenomena of sexism. Since their professional skills included the realm of philosophical scholarship and teaching, it comes as no surprise that they would turn the tools they knew best to feminist ends. Second, by the 1970s many women in traditionally male professions often experienced what Dorothy Smith called a ‘fault-line’ in which the expectations of the conventionally ‘proper role of women’ and their own professional experiences were in tension. As women moved through the profession of philosophy in the U.S. in increasing numbers, they often found themselves personally confronted by the sexism of the profession. Sexual harassment and other sexist practices contributed to creating a chilly climate for women in philosophy. But thanks to the consciousness-raising of their involvement in the women's movement, these women were less likely to internalize the message that women were, by nature, less capable of philosophical work or to give in to the sometimes unconscious efforts to exclude them from the profession.

In response to the sexism of the profession, U.S. feminist philosophers organized the Society for Women in Philosophy (SWIP) in 1972. [ 3 ] The emergence of SWIP is a third component in the swift rise in contemporary feminist philosophical scholarship in the U.S. SWIP was founded to promote and support women in philosophy. This goal took two forms: 1) working to overcome sexist practices in the profession and 2) supporting feminist philosophical scholarship. While the efforts of SWIP to overcome sexism in the profession certainly contributed to the inclusion and retention of more women in philosophy, it was in the latter goal that SWIP made a significant impact on scholarship. SWIP divisions were formed in a fashion parallel to the American Philosophical Association, with three divisions — Pacific SWIP, Midwest SWIP, and Eastern SWIP (plus a Canadian SWIP) — each of which held yearly or bi-yearly meetings that focused on feminist philosophical scholarship. In addition, the International Association of Feminist Philosophers (IAPh) was founded in 1974 in order to support international exchange of feminist philosophies.

After a decade of meetings, U.S. SWIP members decided to launch an academic journal, Hypatia: A Journal of Feminist Philosophy . Hypatia was set up “to provide a forum for dialogue on the philosophical issues raised by the women's liberation movement” and published feminist philosophical work committed “to understanding and ending the sexist oppression of women, and a sense of the relevance of philosophy to the task.” [ 4 ] While Hypatia was certainly not the only forum in which feminist philosophy was published, it contributed to the creation of a sustained dialogue amongst feminist philosophers in the U.S. and beyond, and a forum for developing feminist philosophical methods and approaches.

Those who drafted the first wave of contemporary feminist philosophical scholarship in the U.S. were influenced by another very important context, their philosophical training. Until very recently one could not go to graduate school to study ‘feminist philosophy.’ While students and scholars could turn to the writings of Simone de Beauvoir or look back historically to the writings of ‘first wave’ feminists like Mary Wollstonecraft, most of the philosophers writing in the first decades of the emergence of feminist philosophical scholarship both in the U.S. and in other countries brought their particular training and expertise to bear on the development of this area of scholarship.

Although many of the writings of the first decade of feminist philosophical scholarship in the U.S. were devoted to analyzing issues raised by the women's liberation movement, such as abortion, affirmative action, equal opportunity, the institutions of marriage, sexuality, and love, feminist philosophical scholarship increasingly focused on the very same types of issues philosophers had been and were dealing with. And since these feminist philosophers employed the philosophical tools they both knew best and found the most promising, U.S. feminist philosophy began to emerge from all the traditions of philosophy prevalent within the U.S. at the end of the twentieth century including analytic, Continental, and classical American philosophy. It should come as no surprise then that the thematic focus of their work was often influenced by the topics and questions highlighted by these traditions.

Feminist philosophical scholarship in the U.S. begins with attention to women, to their roles and locations. What are women doing? What social/political locations are they part of or excluded from? How do their activities compare to those of men? Are the activities or exclusions of some groups of women different from those of other groups and why? What do the various roles and locations of women allow or preclude? How have their roles been valued or devalued? How do the complexities of a woman's situatedness, including her class, race, ability, and sexuality impact her locations? To this we add attention to the experiences and concerns of women. Have any of women's experiences or problems been ignored or undervalued? How might attention to these transform our current methods or values? And from here we move to the realm of the symbolic. How is the feminine instantiated and constructed within the texts of philosophy? What role does the feminine play in forming, either through its absence or its presence, the central concepts of philosophy? And so on.

The ‘difference’ of feminist philosophical scholarship as it has developed in the U.S. proceeds not from a unique method but from the premise that gender is an important lens for analysis. Feminist philosophers in the U.S. and beyond have shown that taking gender seriously provides new insights in all the areas of philosophical scholarship: history of philosophy, epistemology, ethics, philosophy of science, aesthetics, social and political philosophy, metaphysics, etc.

Feminist philosophical scholarship is not homogeneous either in methods or in conclusions. Indeed, there has been significant debate within feminist philosophical circles concerning the effectiveness of particular methods within philosophy for feminist goals. Some, for example, have found the methods of analytic philosophy to provide clarity of both form and argumentation not found in some schools of Continental philosophy, while others have argued that such alleged clarity comes at the expense of rhetorical styles and methodological approaches that provide insights into affective, psychic, or embodied components of human experience. Other feminists find approaches within American pragmatism to provide the clarity of form and argumentation sometimes missing in Continental approaches and the connection to real world concerns sometimes missing in analytic approaches.

While Hypatia has embraced the diversity of approaches in feminist philosophy, publishing work from all three traditions, feminist scholarship in each of these traditions is advanced and supported though scholarly exchange at various professional societies. The Society for Analytical Feminism, for example, was founded in 1991 to promote the study of issues in feminism by methods broadly construed as analytic, to examine the use of analytic methods as applied to feminist issues, and to provide a means by which those interested in analytical feminist can meet and exchange ideas. philoSOPHIA was established in 2005 to promote continental feminist scholarly and pedagogical development. The Society for Interdisciplinary Feminist Phenomenology is a network of scholars who do work in phenomenology from a feminist perspective or who use phenomenological approaches in their scholarly work. In the field of feminist pragmatism, an affiliated group of scholars have formed the Jane Collective to advance pragmatism in the spirit of the social philosophy of Jane Addams (1860-1935). The Society for the Study of Women Philosophers was established in 1987 to promote the study of the contributions of women to the profession of philosophy.

While feminists have clearly embraced approaches from various traditions within philosophy, they have also argued for the reconfiguration of accepted structures and problematics of philosophy. For example, feminists have not only rejected the privileging of epistemological concerns over ethical concerns common to much of U.S. philosophy, they have argued that these two areas of concern are inextricably intertwined. Such questioning of the problematic of mainstream approaches to philosophy has often led to feminists using methods and approaches from more than one philosophical tradition.

One key area of intersection noted by Georgia Warnke is the appropriation of psychoanalytic theory. (Feminist Approaches to the Intersection of Analytic and Continental Philosophy.) The importance of psychoanalytic approaches is also underscored in Shannon Sullivan's essay Feminist Approaches to the Intersection of Pragmatism and Continental Philosophy. Given the importance of psychoanalytic feminism for all three traditions, a separate essay on this approach to feminist theory is included in this section.

The following are links to essays in this section:

• Analytic Feminism (Ann Garry)
• Continental Feminism (Ann J. Cahill)
• Pragmatist Feminism (Judy Whipps)
• Intersections Between Pragmatist and Continental Feminism (Shannon Sullivan)
• Intersections Between Analytic and Continental Feminism (Georgia Warnke)
• -->Psychoanalytic Feminism --> (Emily Zakin)

The essays in this section provide overviews of the dominant approaches to feminist philosophy in the U.S. It is important to note that U.S. feminist philosophy has been influenced by feminist philosophical work in other countries. For example, analytic feminism in the U.S. has benefited from the work of feminist philosophers in the United Kingdom and Canada; U.S. Continental feminist scholarship has been richly influenced by the work of feminist philosophers in Europe and Australia. But it is also important to note that, with only a few exceptions, the work of feminist philosophers in Asia, South America, Africa, and Russia have not been the focus of attention of most U.S. feminist philosophers.

• Alaimo, Stacy and Susan Hekman, 2007, Material Feminisms , Bloomington: Indiana University Press.
• Alanen, Lily and Charlotte Witt, 2004, Feminist Reflections on the History of Philosophy , Dordrecht/Boston/London: Kluwer Academic Publishers.
• Alcoff, Linda Martín, 2005, Visible Identities: Race, Gender, and the Self , New York: Oxford University Press.
• Allen, Amy, 2008, The Politics of Our Selves: Power, Autonomy, and Gender in Xontemporary Critical Theory , New York: Columbia University Press.
• Atherton, Margaret (ed.), 1994, Women Philosophers of the Early Modern Period , Indianapolis: Hackett.
• Battersby, Christine, 2007, The Sublime, Terror and Human Difference , New York: Routledge.
• Bell, Linda, 2003, Beyond the Margins: Reflections of a Feminist Philosopher , New York: SUNY Press.
• Bergoffen, Debra B., 1996, The Philosophy of Simone de Beauvoir: Gendered Phenomenologies, Erotic Generosities , New York: SUNY Press.
• Bordo, Susan (ed.), 1999, Feminist Interpretations of René Descartes , University Park: Penn State Press.
• Campbell, Sue, 2009, Embodiment and Agency , University Park: Pennsylvania State University Press.
• Cimitile, Maria, 2007, Returning to Irigaray: Feminist Philosophy, Politics, and the Question of Unity , New York: State University of New York Press.
• Code, Lorraine, 2006, Ecological Thinking: The Politics of Epistemic Location , New York: Oxford University Press.
• –––, 2002, Feminist Interpretations of Hans Gadamer , University Park: Penn State Press.
• –––, 1991, What Can She Know? Feminist Theory and the Construction of Knowledge , Ithaca: Cornell University Press.
• Cudd, Ann E., 2006, Analyzing Oppression , New York: Oxford University Press.
• Deutscher, Penelope, 1997, Yielding Gender: Feminism, Deconstruction, and the History of Philosophy , London: Routledge.
• Dykeman, Therese Boos (ed.), 1999, The Neglected Canon: Nine Women Philosophers First to the Twentieth Century , Dordrecht/Boston/London: Kluwer Academic Publishers.
• Falco, Maria J. (ed.), 1996. Feminist Interpretations of Mary Wollstonecraft . University Park: Penn State Press.
• Firestone, Shulamith, 1970, The Dialectic of Sex: The Case for Feminist Revolution , New York: Bantam Books.
• Flexner, Eleanor, 1975, A Century of Struggle: The Woman's Rights Movement in the United States , Cambridge: Harvard University Press.
• Freeland, Cynthia (ed.), 1998, Feminist Interpretations of Aristotle , University Park: Penn State Press.
• Fricker, Miranda and Jennifer Hornsby, 2000, Feminism in Philosophy , Cambridge: Cambridge University Press.
• Frye, Marilyn, 1983, The Politics of Reality: Essays in Feminist Theory , Trumansburg, N.Y.: Crossing Press.
• Frye, Marilyn & Sarah Lucia Hoagland (eds.), 2000, Feminist Interpretations of Mary Daly , University Park: Penn State Press.
• Fraser, Nancy, 1989, Unruly Practices: Power, Discourse, and Gender in Contemporary Social Theory , Minneapolis: University of Minnesota Press.
• Gardner, Catherine Villanueva, 2000, Rediscovering Women Philosophers: Philosophical Genre and the Boundaries of Philosophy , Boulder: Westview Press.
• Gould, Carol and Marx Wartofsky, 1976, Women and Philosophy: Toward a Theory of Liberation University Park: Penn State Press.
• Grasswick, Heidi, 2011, Feminist Epistemology and Philosophy of Science: Power in Knowledge , New York: Springer.
• Grosz, Elizabeth, 1994, Volatile Bodies: Toward a Corporal Feminism , Bloomington: Indiana University Press.
• Hamington, Maurice, 2004, Embodied Care: Jane Addams, Maurice Merleau-Ponty, and Feminist Ethics , Urbana: University of Illinois Press.
• Harding, Sandra, 2008, Sciences from Below: Feminisms, Postcolonialities, and Modernities , Durham: Duke University Press.
• Heyes, Cressida J., 2007, Self-Transformations: Foucault, Ethics, and Normalized Bodies , New York: Oxford University Press.
• Holland, Nancy (ed.), 1997, Feminist Interpretations of Jacques Derrida , University Park: Penn State Press.
• Holland, Nancy & Pat Huntington (eds.), 2001 Feminist Interpretations of Martin Heidegger , University Park: Penn State Press.
• Honig, Bonnie (ed.), 1995, Feminist Interpretations of Hannah Arendt , University Park: Penn State Press.
• Irigaray, Luce, 1985, Speculum of the Other Woman , Trans. Gillian C. Gill, Ithaca: Cornell University Press.
• Jacobson, Anne Jaap (ed.), 2000, Feminist Interpretations of David Hume , University Park: Penn State Press.
• Jaggar, Alison, 1983, Feminist Politics and Human Nature , Totowa, N.J.: Rowman & Allanheld.
• Jantzen, Gail, 1998, Becoming Divine: Towards a Feminist Philosophy of Religion , Manchester: Manchester University Press.
• Kittay, Eva, 1999, Love's Labor: Essays on Women, Equality, and Dependency , New York: Routledge.
• Kofman, Sarah, 1985, The Enigma of Woman: Women in Freud's Writings , Trans. Catherine Porter, Ithaca: Cornell University Press.
• –––, 1998, Socrates: Fictions of a Philosopher , Trans. Catherine Porter, Ithaca: Cornell University Press.
• Kourany, Janet, 1998, Philosophy in a Feminist Voice , Princeton: Princeton University Press.
• Lange, Lynda (ed.), 2002, Feminist Interpretations of Jean-Jacques Rousseau , University Park: Penn State Press.
• Le Dœuff, Michèle, 1989, The Philosophical Imaginary , Trans. C. Gordon, Stanford: Stanford University Press.
• Léon Céline & Sylvia Walsh (eds.), 1997, Feminist Interpretations of Soren Kierkegaard , University Park: Penn State Press.
• Lloyd, Genevieve, 2001, Feminism and the History of Philosophy , New York: Oxford University Press.
• –––, 1984, The Man of Reason: ‘Male’ and ‘Female’ in Western Philosophy , Minneapolis: University of Minnesota Press.
• Longino, Helen, 1990, Science as Social Knowledge , Princeton, NJ: Princeton University Press.
• Lugones, María, 2003, Pilgrimages = Peregrinajes: Theorizing Coalition Against MultipleOoppressions , Lanham, MD: Rowman and Littlefield.
• McWhorter, Ladelle, 2009, Racism and Sexual Oppression in Anglo-America: A Genealogy , Bloomington: Indiana University Press.
• Mann, Bonnie, 2006, Women's Liberation and the Sublime: Feminism, Postmodernism, Environment , New York: Oxford University Press.
• May, Vivian M., 2007, Anna Julia Cooper, Visionary Black Feminist: A Critical Introduction , New York: Routledge.
• Millett, Kate, 1970, Sexual Politics , Garden City: Doubleday.
• Mills, Patricia Jagentowicz (ed.), 1996, Feminist Interpretations of G.W.F. Hegel , University Park: Penn State Press.
• Morgan, Robin, 1970, Sisterhood is Powerful: An Anthology of Writings from the Woman's Liberation Movement , New York: Vintage Books.
• Murphy, Julien (ed.), 1999, Feminist Interpretations of Jean-Paul Sartre , University Park: Penn State Press.
• Narayan, Uma and Sandra Harding, 2000, De-centering the Center: Philosophy for a Multicultural, Postcolonial, and Feminist World , Bloomington: Indiana University Press.
• Nelson, Lynn Hankinson & Jack Nelson (eds.), 2003, Feminist Interpretations of W. Quine , University Park: Penn State Press.
• Nussbaum, Martha C., 1999, Sex and Social Justice , New York: Oxford University Press.
• Oliver, Kelly, 1993, Reading Kristeva: Unraveling the Double-Bind , Bloomington: Indiana University Press.
• Oliver, Kelly & Marilyn Pearsall (eds.), 1998, Feminist Interpretations of Friedrich Nietzsche , University Park: Penn State Press.
• Pearsall, Marilyn (ed.), 1999, Woman and Values: Readings in Recent Feminist Philosophy , Belmont: Wadsworth.
• Ruddick, Sara, 1989, Maternal Thinking: Towards a Politics of Peace , Boston: Beacon Press.
• Scheman, Naomi, 1993, Engenderings: Constructions of Knowledge, Authority, and Privilege , New York: Routledge.
• Scheman, Naomi and Peg O'Connor (ed.), 2002, Feminist Interpretations of Ludwig Wittgenstein , University Park: Penn State Press.
• Schott, Robin May, 2003, Discovering Feminist Philosophy , Lanham, Md: Rowman & Littlefield.
• Schott, Robin (ed.), 1997, Feminist Interpretations of Immanuel Kant , University Park: Penn State Press.
• Schwartzman, Lisa H., 2006, Challenging liberalism: Feminism as Political Critique , University Park: Pennsylvania State University Press.
• Sciabarra, Chris & Mimi Gladstein (eds.), 1999, Feminist Interpretations of Ayn Rand , University Park: Penn State Press.
• Seigfried, Charlene Haddock (ed.), 2001, Feminist Interpretations of John Dewey , University Park: Penn State Press.
• Shrage, Laurie J., 2009, You've Changed: Sex Reassignment and Personal Identity , New York: Oxford University Press.
• Simons, Margaret, 1986, Editorial, Hypatia: A Journal of Feminist Philosophy , 1(1): 1–2.
• Simons, Margaret A., (ed.), 1995, Feminist Interpretations of Simone de Beauvoir , University Park: Penn State Press.
• Spelman, Elizabeth, 1988, Inessential Woman: Problems of Exclusion in Feminist Thought , Boston: Beacon Press.
• Sullivan, Shannon, 2006, Revealing Whiteness: The Unconscious Habits of Racial Privilege , Bloomington: Indiana University Press.
• Stone, Alison, 2005, Luce Irigaray and the Philosophy of Sexual Difference , New York: Cambridge University Press.
• Superson, Anita M., 2009, The Moral Skeptic , New York: Oxford University Press.
• Tessman, Lisa, 2005, Burdened Virtues: Virtue Ethics for Liberatory Struggles , New York: Oxford University Press.
• Tougas, Cecile T., and Sara Ebenrick (eds.), 2000, Presenting Women Philosophers Philadelphia: Temple University Press.
• Tuana, Nancy (ed.), 1994, Feminist Interpretations of Plato , University Park: Penn State Press.
• –––, 1992, Woman and the History of Philosophy , New York: Paragon Press.
• Waithe, Mary Ellen (ed.), 1987-91, A History of Women Philosophers , Dordrecht/Boston/London: Kluwer Academic Publishers.
• Ward, Julia, 1996, Feminism and Ancient Philosophy , New York: Routledge.
• Whisnant, Rebecca, 2010, Global Feminist Ethics , Lanham, MD Rowman & Littlefield Publishers.
• Winnubst, Shannon, 2006, Queering Freedom , Bloomington: Indiana University Press.

How to cite this entry . Preview the PDF version of this entry at the Friends of the SEP Society . Look up this entry topic at the Indiana Philosophy Ontology Project (InPhO). Enhanced bibliography for this entry at PhilPapers , with links to its database.

• Hypatia: A Journal of Feminist Philosophy
• The Society for Women in Philosophy (SWIP)
• The Society for the Study of Women Philosophers (SSWP)
• Association for Feminist Ethics and Social Theory (FEAST)
• Association for Feminist Epistemologies, Methodologies, Metaphysics, and Science Studies (FEMMSS)
• Feminist Theory Website
• philoSOPHIA: A Feminist Society
• The Society for Interdisciplinary Feminist Phenomenology
• Society for Analytical Feminism
• The Jane Collective: Feminist Pragmatism

-->femapproach-psychoanalysis --> | feminist philosophy, approaches: continental philosophy | feminist philosophy, approaches: intersections between analytic and continental philosophy | feminist philosophy, approaches: intersections between pragmatist and continental philosophy | feminist philosophy, approaches: pragmatism | -->feminist philosophy, interventions --> | feminist philosophy, interventions: aesthetics | feminist philosophy, interventions: bioethics | feminist philosophy, interventions: environmental philosophy | feminist philosophy, interventions: epistemology and philosophy of science | feminist philosophy, interventions: ethics | feminist philosophy, interventions: history of philosophy | feminist philosophy, interventions: moral psychology | feminist philosophy, interventions: philosophy of biology | feminist philosophy, interventions: philosophy of language | feminist philosophy, interventions: philosophy of law | feminist philosophy, interventions: philosophy of religion | feminist philosophy, topics | feminist philosophy, topics: perspectives on class and work | feminist philosophy, topics: perspectives on reproduction and the family | feminist philosophy, topics: perspectives on science | feminist philosophy, topics: perspectives on sex markets | -->feminist philosophy, topics: perspectives on sexuality --> | feminist philosophy, topics: perspectives on the body | feminist philosophy, topics: perspectives on the self

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Feminist theory.

• Pelagia Goulimari Pelagia Goulimari Department of English, University of Oxford
• https://doi.org/10.1093/acrefore/9780190201098.013.976
• Published online: 19 November 2020

Feminist theory in the 21st century is an enormously diverse field. Mapping its genealogy of multiple intersecting traditions offers a toolkit for 21st-century feminist literary criticism, indeed for literary criticism tout court. Feminist phenomenologists (Simone de Beauvoir, Iris Marion Young, Toril Moi, Miranda Fricker, Pamela Sue Anderson, Sara Ahmed, Alia Al-Saji) have contributed concepts and analyses of situation, lived experience, embodiment, and orientation. African American feminists (Toni Morrison, Audre Lorde, Alice Walker, Hortense J. Spillers, Saidiya V. Hartman) have theorized race, intersectionality, and heterogeneity, particularly differences among women and among black women. Postcolonial feminists (Assia Djebar, Gayatri Chakravorty Spivak, Chandra Talpade Mohanty, Florence Stratton, Saba Mahmood, Jasbir K. Puar) have focused on the subaltern, specificity, and agency. Queer and transgender feminists (Judith Butler, Jack Halberstam, Susan Stryker) have theorized performativity, resignification, continuous transition, and self-identification. Questions of representation have been central to all traditions of feminist theory.

• continuous transition
• heterogeneity
• intersectionality
• lived experience
• performativity
• resignification
• self-identification
• the subaltern

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43 What Are Feminist Criticism, Postfeminist Criticism, and Queer Theory?

Learning Objectives

• Use a variety of approaches to texts to support interpretations (CLO 1.2)
• Using a literary theory, choose appropriate elements of literature (formal, content, or context) to focus on in support of an interpretation (CLO 2.3)
• Be exposed to a variety of critical strategies through literary theory lenses, such as formalism/New Criticism, reader-response, structuralism, deconstruction, historical and cultural approaches (New Historicism, postcolonial, Marxism), psychological approaches, feminism, and queer theory (CLO 4.1)
• Understand how context impacts the reading of a text, and how different contexts can bring about different readings (CLO 4.3)
• Demonstrate awareness of critical approaches by pairing them with texts in productive and illuminating ways (CLO 5.5)
• Demonstrate through discussion and/or writing how textual interpretation can change given the context from which one reads (CLO 6.2)
• Understand that interpretation is inherently political, and that it reveals assumptions and expectations about value, truth, and the human experience (CLO 7.1)

Feminist Criticism

Feminist criticism is a critical approach to literature that seeks to understand how gender and sexuality shape the meaning and representation of literary texts. While feminist criticism has its roots in the 1800s (First Wave), it became a critical force in the early 1970s (Second Wave) as part of the broader feminist movement and continues to be an important and influential approach to literary analysis.

Feminist critics explore the ways in which literature reflects and reinforces gender roles and expectations, as well as the ways in which it can challenge and subvert them. They examine the representation of female characters and the ways in which they are portrayed in relation to male characters, as well as the representation of gender and sexuality more broadly. With feminist criticism, we may consider both the woman as writer and the written woman.

As with New Historicism and Cultural Studies criticism, one of the key principles of feminist criticism is the idea that literature is not a neutral or objective reflection of reality, but rather, literary texts are shaped by the social and cultural context in which they are produced. Feminist critics are interested in gender stereotypes, exploring how literature reflects and reinforces patriarchal power structures and how it can be used to challenge and transform these structures.

Postfeminist Criticism

Postfeminist criticism is a critical approach to literature that emerged in the 1990s and 2000s as a response to earlier feminist literary criticism. It acknowledges the gains of feminism in terms of women’s rights and gender equality, but also recognizes that these gains have been uneven and that new forms of gender inequality have emerged.

The “post” in postfeminist can be understood like the “post” in post-structuralism or postcolonialism. Postfeminist critics are interested in exploring the ways in which gender and sexuality are constructed and represented in literature, but they also pay attention to the ways in which other factors such as race, class, and age intersect with gender to shape experiences and identities. They seek to move beyond the binary categories of male/female and masculine/feminine, and to explore the ways in which gender identity and expression are fluid and varied.

Postfeminist criticism also pays attention to the ways in which contemporary culture, including literature and popular media, reflects and shapes attitudes towards gender and sexuality. It explores the ways in which these representations can be empowering or constraining and seeks to identify and challenge problematic representations of gender and sexuality.

One of the key principles of postfeminist criticism is the importance of diversity and inclusivity. Postfeminist critics are interested in exploring the experiences of individuals who have been marginalized or excluded by traditional feminist discourse, including women of color, queer and trans individuals, and working-class women. If you are familiar with t he American Dirt controversy, where Oprah’s book pick was widely criticized because the author was a white woman, is an example of this type of approach.

Queer Theory

Queer theory is a critical approach to literature and culture that seeks to challenge and destabilize dominant assumptions about gender and sexuality. It emerged in the 1990s as a response to the limitations of traditional gay and lesbian studies, which tended to focus on issues of identity and representation within a binary understanding of gender and sexuality. According to Jennifer Miller,

“The film theorist Teresa de Lauretis (figure 1.1) coined the term at a University of California, Santa Cruz, conference about lesbian and gay sexualities in February 1990…. In her introduction to the special issue, de Lauretis outlines the central features of queer theory, sketching the field in broad strokes that have held up remarkably well.”

While queer theory was formalized as a critical approach in 1990, scholars built on earlier ideas from Michel Foucault’s History of Sexuality, as well as the works of Judith Butler, Eve Sedgewick, and others.

Queer theory is interested in exploring the ways in which gender and sexuality are constructed and performative, rather than innate or essential. As with feminist and postfeminist criticism, queer theory seeks to expose the ways in which these constructions are shaped by social, cultural, and historical factors, but additionally, queer theory seeks to challenge the rigid binaries of heterosexuality and homosexuality. Queer theory also emphasizes the importance of intersectionality, or the ways in which gender and sexuality intersect with other forms of identity such as race, class, and ability. It seeks to uncover the complex and nuanced ways in which multiple forms of oppression and privilege intersect.

Queer theory focuses on the importance of resistance and subversion. Scholars are interested in exploring the ways in which marginalized individuals and communities have resisted and subverted the dominant culture’s norms and values, observing how these acts of resistance and subversion can be empowering and transformative.

Scholarship: Examples from Feminist, Postfeminist, and Queer Theory Critics

Feminist criticism could technically be considered to be as old as writing. Since Sappho of Lesbos wrote her famous lyrics, women authors have been an active and important part of their cultures’ literary traditions. Why, then, are we sometimes not as familiar with the works of women authors? One of the earliest feminist critics is the French existentialist philosopher and writer Simone de Beauvoir (1908-1986). In her important book, The Second Sex, she lays the groundwork for feminist literary criticism by considering how in most societies, “man” is normal, and “woman” is “the Other.” You may have heard this famous quote: “One is not born a woman but becomes one.” (French: “On ne naît pas femme, on le devient”). This phrase encapsulates the essential feminist idea that “woman” is a social construct.

Feminist: Excerpt from Introduction to The Second Sex (1949), translated by H.M. Parshley

If her functioning as a female is not enough to define woman, if we decline also to explain her through ‘the eternal feminine’, and if nevertheless we admit, provisionally, that women do exist, then we must face the question “what is a woman”? To state the question is, to me, to suggest, at once, a preliminary answer. The fact that I ask it is in itself significant. A man would never set out to write a book on the peculiar situation of the human male. But if I wish to define myself, I must first of all say: ‘I am a woman’; on this truth must be based all further discussion. A man never begins by presenting himself as an individual of a certain sex; it goes without saying that he is a man. The terms masculine and feminine are used symmetrically only as a matter of form, as on legal papers. In actuality the relation of the two sexes is not quite like that of two electrical poles, for man represents both the positive and the neutral, as is indicated by the common use of man to designate human beings in general; whereas woman represents only the negative, defined by limiting criteria, without reciprocity. In the midst of an abstract discussion it is vexing to hear a man say: ‘You think thus and so because you are a woman’; but I know that my only defence is to reply: ‘I think thus and so because it is true,’ thereby removing my subjective self from the argument. It would be out of the question to reply: ‘And you think the contrary because you are a man’, for it is understood that the fact of being a man is no peculiarity. A man is in the right in being a man; it is the woman who is in the wrong. It amounts to this: just as for the ancients there was an absolute vertical with reference to which the oblique was defined, so there is an absolute human type, the masculine. Woman has ovaries, a uterus: these peculiarities imprison her in her subjectivity, circumscribe her within the limits of her own nature. It is often said that she thinks with her glands. Man superbly ignores the fact that his anatomy also includes glands, such as the testicles, and that they secrete 3 hormones. He thinks of his body as a direct and normal connection with the world, which he believes he apprehends objectively, whereas he regards the body of woman as a hindrance, a prison, weighed down by everything peculiar to it. ‘The female is a female by virtue of a certain lack of qualities,’ said Aristotle; ‘we should regard the female nature as afflicted with a natural defectiveness.’ And St Thomas for his part pronounced woman to be an ‘imperfect man’, an ‘incidental’ being. This is symbolised in Genesis where Eve is depicted as made from what Bossuet called ‘a supernumerary bone’ of Adam. Thus humanity is male and man defines woman not in herself but as relative to him; she is not regarded as an autonomous being. Michelet writes: ‘Woman, the relative being …’ And Benda is most positive in his Rapport d’Uriel: ‘The body of man makes sense in itself quite apart from that of woman, whereas the latter seems wanting in significance by itself … Man can think of himself without woman. She cannot think of herself without man.’ And she is simply what man decrees; thus she is called ‘the sex’, by which is meant that she appears essentially to the male as a sexual being. For him she is sex – absolute sex, no less. She is defined and differentiated with reference to man and not he with reference to her; she is the incidental, the inessential as opposed to the essential. He is the Subject, he is the Absolute – she is the Other.’ The category of the Other is as primordial as consciousness itself. In the most primitive societies, in the most ancient mythologies, one finds the expression of a duality – that of the Self and the Other. This duality was not originally attached to the division of the sexes; it was not dependent upon any empirical facts. It is revealed in such works as that of Granet on Chinese thought and those of Dumézil on the East Indies and Rome. The feminine element was at first no more involved in such pairs as Varuna-Mitra, Uranus-Zeus, Sun-Moon, and Day-Night than it was in the contrasts between Good and Evil, lucky and unlucky auspices, right and left, God and Lucifer. Otherness is a fundamental category of human thought. Thus it is that no group ever sets itself up as the One without at once setting up the Other over against itself. If three travellers chance to occupy the same compartment, that is enough to make vaguely hostile ‘others’ out of all the rest of the passengers on the train. In small-town eyes all persons not belonging to the village are ‘strangers’ and suspect; to the native of a country all who inhabit other countries are ‘foreigners’; Jews are ‘different’ for the anti-Semite, Negroes are ‘inferior’ for American racists, aborigines are ‘natives’ for colonists, proletarians are the ‘lower class’ for the privileged. Excerpt from The Second Sex by Simone de Beauvoir (translated by H.M. Parshley) is licensed All Rights Reserved and is used here under Fair Use exception.

How do you feel about de Beauvoir’s conception of woman as “Other”? How are her approaches to gender similar to what we have learned about deconstruction and New Historicism? Could feminist criticism, like Marxist, postcolonial, and ethnic studies criticism, also be thought of as having “power” as its central concern?

Let’s move on to postfeminist criticism. When you think of Emily Dickinson, sadomasochism is probably the last thing that comes to mind, unless you’re postfeminist scholar and critic Camille Paglia . No stranger to culture wars, Paglia has often courted controversy; a 2012 New York Times article noted that “ [a]nyone who has been following the body count of the culture wars over the past decades knows Paglia.” Paglia continues to write and publish both scholarship and popular works. Her fourth essay collection, Provocations: Collected Essays on Art, Feminism, Politics, Sex, and Education , was published by  Pantheon in 2018.

This excerpt from her 1990 book Sexual Personae , which drew on her doctoral dissertation research, demonstrates Paglia’s creative and confrontational approach to scholarship.

Postfeminist: Excerpt from “Amherst’s Madame de Sade” in Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson by Camille Paglia (1990)

Consciousness in Dickinson takes the form of a body tormented in every limb. Her sadomasochistic metaphors are Blake’s Universal Man hammering on himself, like the auctioneering Jesus. Her suffering personae make up the gorged superself of Romanticism. I argued that modern sadomasochism is a limitation of the will and that for a Romantic like the mastectomy-obsessed Kleist it represents a reduction of self. A conventional feminist critique of Emily Dickinson’s life would see her hemmed in on all sides by respectability and paternalism, impediments to her genius. But a study of Romanticism shows that post-Enlightenment poets are struggling with the absence of limits, with the gross inflation of solipsistic imagination. Hence Dickinson’s most uncontrolled encounter is with the serpent of her antisocial self, who breaks out like the Aeolian winds let out of their bag. Dickinson does wage guerrilla warfare with society. Her fractures, cripplings, impalements, and amputations are Dionysian disorderings of the stable structures of the Apollonian lawgivers. God, or the idea of God, is the “One,” without whom the “Many” of nature fly apart. Hence God’s death condemns the world to Decadent disintegration. Dickinson’s Late Romantic love of the apocalyptic parallels Decadent European taste for salon paintings of the fall of Babylon or Rome. Her Dionysian cataclysms demolish Victorian proprieties. Like Blake, she couples the miniature and grandiose, great disjunctions of scale whose yawing swings release tremendous poetic energy. The least palatable principle of the Dionysian, I have stressed, is not sex but violence, which Rousseau, Wordsworth, and Emerson exclude from their view of nature. Dickinson, like Sade, draws the reader into ascending degrees of complicity, from eroticism to rape, mutilation, and murder. With Emily Brontë, she uncovers the aggression repressed by humanism. Hence Dickinson is the creator of Sadean poems but also the creator of sadists, the readers whom she smears with her lamb’s blood. Like the Passover angel, she stains the lintels of the bourgeois home with her bloody vision. “There’s been a Death, in the Opposite House,” she announces with a satisfaction completely overlooked by the Wordsworthian reader (389). But merely because poet and modern society are in conflict does not mean art necessarily gains by “freedom.” It is a sentimental error to think Emily Dickinson the victim of male obstructionism. Without her struggle with God and father, there would have been no poetry. There are two reasons for this. First, Romanticism’s overexpanded self requires artificial restraints. Dickinson finds these limitations in sadomasochistic nature and reproduces them in her dual style. Without such a discipline, the Romantic poet cannot take a single step, for the sterile vastness of modern freedom is like gravity-free outer space, in which one cannot walk or run. Second, women do not rise to supreme achievement unless they are under powerful internal compulsion. Dickinson was a woman of abnormal will. Her poetry profits from the enormous disparity between that will and the feminine social persona to which she fell heir at birth. But her sadism is not anger, the a posteriori response to social injustice. It is hostility, an a priori Achillean intolerance for the existence of others, the female version of Romantic solipsism. Excerpt from Sexual Personae by Camille Paglia is licensed All Rights Reserved and is used here under Fair Use exception.

It’s important to note that these critical approaches can be applied to works from any time period, as the title of Paglia’s book makes clear. In this sense, post-feminist scholarship is similar to deconstruction and borrows many of its methods. After reading this passage, do you feel the same way about Emily Dickinson’s poetry? How does Paglia’s postfeminist approach differ from Simone de Beauvoir’s approach to feminism?

Our final reading is from Judith Butler , who is considered both a feminist scholar and a foundational queer theorist. Their 1990 book Gender Trouble: Feminism and the Subversion of Identity is considered an essential queer theory text. Expanding on the ideas about gender and performativity, Bodies that Matter (2011) deconstructs the binary sex/gender distinctions that we see in the works of earlier feminist scholars such as Simone de Beauvoir.

Queer Theory: Excerpt from “Introduction,”  Bodies that Matter  by Judith Butler (2011)

Why should our bodies end at the skin, or include at best other beings encapsulated by skin? -Donna Haraway, A Manifesto for Cyborgs If one really thinks about the body as such, there is no possible outline of the body as such. There are thinkings of the systematicity of the body, there are value codings of the body. The body, as such, cannot be thought, and I certainly cannot approach it. -Gayatri Chakravorty Spivak, “In a Word,” interview with Ellen Rooney There is no nature, only the effects of nature: denaturalization or naturalization. -Jacques Derrida, Donner le Temps Is there a way to link the question of the materiality of the body to the performativity of gender? And how does the category of “sex” figure within such a relationship? Consider first that sexual difference is often invoked as an issue of material differences. Sexual difference, however, is never simply a function of material differences that are not in some way both marked and formed by discursive practices. Further, to claim that sexual differences are indissociable from discursive demarcations is not the same as claiming that discourse causes sexual difference. The category “sex” is, from the start, normative; it is what Foucault has called a “regulatory ideal.” In this sense, then, “sex” not only functions as a norm but also is part of a regulatory practice that produces the bodies it governs, that is, whose regulatory force is made clear as a kind of productive power, the power to produce-demarcate, circulate, differentiate-the bodies it controls. Thus, “sex” is a regulatory ideal whose materialization is compelled, and this materialization takes place (or fails to take place) through certain highly regulated practices. In other words, “sex” is an ideal construct that is forcibly materialized through time. It is not a simple fact or static condition of a body, but a process whereby regulatory norms materialize “sex” and achieve this materialization through a forcible reiteration of those norms. That this reiteration is necessary is a sign that materialization is never quite complete, that bodies never quite comply with the norms by which their materialization is impelled. Indeed, it is the instabilities, the possibilities for rematerialization, opened up by this process that mark one domain in which the force of the regulatory law can be turned against itself to spawn rearticulations that call into question the hegemonic force of that very regulatory law. But how, then, does the notion of gender performativity relate to this conception of materialization? In the first instance, performativity must be understood not as a singular or deliberate “act” but, rather, as the reiterative and citational practice by which discourse produces the effects that it names. What will, I hope, become clear in what follows is that the regulatory norms of “sex” work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body’s sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative. In this sense, what constitutes the fixity of the body, its contours, its movements, will be fully material, but materiality will be rethought as the effect of power, as power’s most productive effect. And there will be no way to understand “gender” as a cultural construct which is imposed upon the surface of matter, understood either as “the body” or its given sex. Rather, once “sex” itself is understood in its normativity, the materiality of the body will not be thinkable apart from the materializatiqn of that regulatory norm. “Sex” is, thus, not simply what one has, or a static description of what one is: it will be one of the norms by which the “one” becomes viable at all, that which qualifies a body for life within the domain of cultural intelligibility. At stake in such a reformulation of the materiality of bodies will be the following: (1) the recasting of the matter of bodies as the effect of a dynamic of power, such that the matter of bodies will be indissociable from the regulatory norms that govern their materialization and the signification of those material effects; (2) the understanding of performativity not as the act by which a subject brings into being what she/he names, but, rather, as that reiterative power of dis.course to produce the phenomena that it regulates and constrains; (3) the construal of “sex” no longer as a bodily given on which the construct of gender is artificially imposed, but as a cultural norm which governs the materialization of bodies; (4) a rethinking of the process by which a bodily norm is assumed, appropriated, taken on as not, strictly speaking, undergone by a subject, but rather that the subject, the speaking “I,” is formed by virtue of having gone through such a process of assuming a sex; and (5) a linking of this process of “assuming” a sex with the question of identification, and with the discursive means by which the heterosexual imperative enables certain sexed identifications and forecloses and/ or disavows other identifications. This exclusionary matrix by which subjects are formed thus requires the simultaneous production of a domain of abject beings, those who are not yet “subjects” but who form the constitutive outside to the domain of the subject. The abject designates here precisely those “unlivable” and “uninhabitable” zones of so cial life, which are nevertheless densely populated by those who do not enjoy the status of the subject, but whose living under the sign of the “unlivable” is required to circumscribe the domain of the subject. This zone of uninhabitability will constitute the defining limit of the subject’s domain; it will constitute that site of dreadful identification against which-and by virtue of which-the domain of the subject will circumscribe its own claim to autonomy and to life. In this sense, then, the subject is constituted through the force of exclusion and abjection, one which produces a constitutive outside to the subject, an abjected outside, which is, after all, “inside” the subject as its own founding repudiation. The forming of a subject requires an identification with the normative phantasm of”sex,” and this identification takes place through a repudiation that produces a domain of abjection, a repudiation without which the subject cannot emerge. This is a repudiation that creates the valence of “abjection” and its status for the subject as a threatening spectre. Further, the materialization of a given sex will centrally concern the regulation of identificatory practices such that the identification with the abjection of sex will be persistently disavowed. And yet, this disavowed abjection will threaten to expose the self-grounding presumptions of the sexed subject, grounded as that subject is in repudiation whose consequences it cannot fully control. The task will be to consider this threat and disruption not as a permanent contestation of social norms condemned to the pathos of perpetual failure, but rather as a critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility. Lastly, the mobilization of the categories of sex within political discourse will be haunted in some ways by the very instabilities that the categories effectively produce and foreclose. Although the political discourses that mobilize identity categories tend to cultivate identifications in the service of a political goal, it may be that the persistence of disidentification is equally crucial to the rearticulation of democratic contestation. Indeed, it may be precisely through practices which underscore disidentification with those regulatory norms by which sexual difference is materialized that both feminists and queer politics are mobilized. Such collective disidentifications can facilitate a reconceptualization of which bodies matter, and which bodies are yet to emerge as critical matters of concern. Excerpt from Bodies that Matter by Judith Butler is licensed All Rights Reserved and is used here under Fair Use exception.

You can see in Butler’s work how deconstruction plays a role in queer theory approaches to texts. What do you think of her approach to sexuality and gender? Which bodies matter? Why is this question important for literary scholars, and how can we use literary texts to answer the question?

In our next section, we’ll look at some ways that these theories can be used to analyze literary texts.

Using Feminist, Postfeminist, and Queer Theory as a Critical Approach

As you can see from the introduction and the examples of scholarship that we read, there’s some overlap in the concepts of these three critical approaches. One of the first choices you have to make when working with a text is deciding which theory to use. Below I’ve outlined some ideas that you might explore.

• Character Analysis: Examine the portrayal of characters, paying attention to how gender roles and stereotypes shape their identities. Consider the agency, autonomy, and representation of both male and female characters, and analyze how their interactions contribute to or challenge traditional gender norms.
• Theme Exploration: Investigate themes related to gender, power dynamics, and patriarchy within the text. Explore how the narrative addresses issues such as sexism, women’s rights, and the construction of femininity and masculinity. Consider how the themes may reflect or critique societal attitudes towards gender.
• Language and Symbolism: Analyze the language used in the text, including the representation of gender through linguistic choices. Examine symbols and metaphors related to gender and sexuality. Identify instances of language that may reinforce or subvert traditional gender roles, and explore how these linguistic elements contribute to the overall meaning of the work.
• Authorial Intent and Context: Investigate the author’s background, motivations, and societal context. Consider how the author’s personal experiences and the cultural milieu may have influenced their portrayal of gender. Analyze the author’s stance on feminist issues and whether the text aligns with or challenges feminist principles.
• Intersectionality: Take an intersectional approach by considering how factors such as race, class, sexuality, and other identity markers intersect with gender in the text. Explore how different forms of oppression and privilege intersect, shaping the experiences of characters and influencing the overall thematic landscape of the literary work.

Postfeminist

• Interrogating Postfeminist Tropes: Examine the text for elements that align with or challenge postfeminist tropes, such as the notion of individual empowerment, choice feminism, or the idea that traditional gender roles are no longer relevant. Analyze how the narrative engages with or subverts these postfeminist ideals.
• Exploring Ambiguities and Contradictions: Investigate contradictions and ambiguities within the text regarding gender and sexuality. Postfeminist criticism often acknowledges the complexities of contemporary gender dynamics, so analyze instances where the text may present conflicting perspectives on issues like agency, equality, and empowerment.
• Media and Pop Culture Influences: Consider the influence of media and popular culture on the text. Postfeminist criticism often examines how cultural narratives and media representations of gender impact literature. Analyze how the text responds to or reflects contemporary media portrayals of gender roles and expectations.
• Global and Cultural Perspectives: Take a global and cultural perspective by exploring how the text addresses postfeminist ideas in different cultural contexts. Analyze how the narrative engages with issues of globalization, intersectionality, and diverse cultural perspectives on gender and feminism.
• Temporal Considerations: Examine how the temporal setting of the text influences its engagement with postfeminist ideas. Consider whether the narrative reflects a specific historical moment or if it transcends temporal boundaries. Analyze how societal shifts over time may be reflected in the text’s treatment of gender issues.
• Deconstructing Norms and Binaries: Utilize Queer Theory to deconstruct traditional norms and binaries related to gender and sexuality within the text. Explore how the narrative challenges or reinforces heteronormative assumptions, and analyze characters or relationships that subvert or resist conventional categories.
• Examining Queer Identities: Focus on the exploration and representation of queer identities within the text. Consider how characters navigate and express their sexualities and gender identities. Analyze the nuances of queer experiences and the ways in which the text contributes to a more expansive understanding of LGBTQ+ identities.
• Language and Subversion: Analyze the language used in the text with a Queer Theory lens. Examine linguistic choices that challenge or reinforce societal norms related to gender and sexuality. Explore how the text employs language to subvert or resist heteronormative structures.
• Queer Time and Space: Consider how the concept of queer time and space is represented in the text. Queer Theory often explores non-linear or non-normative temporalities and spatialities. Analyze how the narrative disrupts conventional timelines or spatial arrangements to create alternative queer realities.
• Intersectionality within Queer Narratives: Take an intersectional approach within the framework of Queer Theory. Analyze how factors such as race, class, and ethnicity intersect with queer identities in the text. Explore the intersections of different marginalized identities to understand the complexities of lived experiences.

Applying Gender Criticisms to Literary Texts

As with our other critical approaches, we will start with  a close reading of the poem below (we’ll do this together in class or as part of the recorded lecture for this chapter). In your close reading, you’ll focus on gender, stereotypes, the patriarchy, heteronormative writing, etc.  With feminist, postfeminist, and queer theory criticism, you might look to outside sources, especially if you are considering the author’s gender identity or sexuality, or you might bring your own knowledge and lived experience to the text.

The poem below was written by Mary Robinson, an early Romantic English poet. Though her works were quite popular when she was alive, you may not have heard of her. However, you’re probably familiar with her male contemporaries William Blake, William Wordsworth, Lord Byron, John Keats, Samuel Taylor Coleridge, or Percy Bysshe Shelley.

Keep in mind that reading this poem is thus itself a feminist act. When we choose to include historical voices of woman that were previously excluded, we are doing feminist criticism.

“January, 1795”

BY  MARY ROBINSON

Pavement slipp’ry, people sneezing, Lords in ermine, beggars freezing; Titled gluttons dainties carving, Genius in a garret starving.

Lofty mansions, warm and spacious; Courtiers cringing and voracious; Misers scarce the wretched heeding; Gallant soldiers fighting, bleeding.

Wives who laugh at passive spouses; Theatres, and meeting-houses; Balls, where simp’ring misses languish; Hospitals, and groans of anguish.

Arts and sciences bewailing; Commerce drooping, credit failing; Placemen mocking subjects loyal; Separations, weddings royal.

Authors who can’t earn a dinner; Many a subtle rogue a winner; Fugitives for shelter seeking; Misers hoarding, tradesmen breaking.

Taste and talents quite deserted; All the laws of truth perverted; Arrogance o’er merit soaring; Merit silently deploring.

Ladies gambling night and morning; Fools the works of genius scorning; Ancient dames for girls mistaken, Youthful damsels quite forsaken.

Some in luxury delighting; More in talking than in fighting; Lovers old, and beaux decrepid; Lordlings empty and insipid.

Poets, painters, and musicians; Lawyers, doctors, politicians: Pamphlets, newspapers, and odes, Seeking fame by diff’rent roads.

Gallant souls with empty purses; Gen’rals only fit for nurses; School-boys, smit with martial spirit, Taking place of vet’ran merit.

Honest men who can’t get places, Knaves who shew unblushing faces; Ruin hasten’d, peace retarded; Candor spurn’d, and art rewarded.

“January, 1795” by Mary Robinson is in the Public Domain.

Questions (Feminist and Postfeminist Criticism)

• What evidence of gender stereotypes can you find in the text?
• What evidence of patriarchy and power structure do you see? How is this evidence supported by historical context? Consider, for example, the 1794 contemporary poem “London” by William Blake. These two poems have similar themes. How does the male poet Blake’s treatment of this theme compare with the female poet Mary Robinson’s work? How have these two works and authors differed in their critical reception?
• Who is the likely contemporary audience for Mary Robinson’s poetry? Who is the audience today? What about the audience during the 1940s and 50s, when New Criticism was popular? How would these three audiences view feminism, patriarchy, and gender roles differently?
• Do a search for Mary Robinson’s work in JSTOR. Then do a search for William Blake. How do the two authors compare in terms of scholarship produced on their work? Do you see anything significant about the dates of the scholarship? The authors? The critical lenses that are applied?
• Do you see any contradictions and ambiguities within the text regarding gender and sexuality? What about evidence for subversion of traditional gender roles?

Example of a feminist thesis statement: While William Blake’s “London” and Mary Robinson’s “January, 1795” share similar themes with similar levels of artistry, Robinson’s work and critical reception demonstrates the effects of 18th-century patriarchal power structures that kept even the most brilliant women in their place.

Example of a postfeminist thesis statement: Mary Robinson’s “January, 1975” slyly subverts gender norms and expectations with a brilliance that transcends the confines of traditional eighteenth century gender roles.

To practice queer theory, let’s turn to a more contemporary text. “The Eyepatch” by transgender author and scholar Cassandra Arc follows a gender-neutral protagonist as they navigate an ambiguous space. This short story questions who sees and who is seen in heteronormative spaces, as well as exploring what it means to see yourself as queer.

“The Eyepatch”

The lightning didn’t kill me, though it should’ve. The bolt pierced my eyes, gifted curse from Zeus or Typhon or God. I remember waking up in that hospital, everything was black. I felt bandages, pain, fire. I tried to sit up, but a hand gently pushed me back into the bed. I heard the shuffling of feet and the sound of scrubs rubbing against each other. I smelled the pungent disinfectant in the air.  I heard the slow methodical beep of a heart rate monitor. That incessant blip-blip-blip was my heart rate. I heard the thunder of my heart beating to the same methodical rhythm. A metronome to a wordless melody of ignorance, an elegy to blindness.

I wasn’t awake long. They put me back to sleep. To salvage my face. My burned face, my charred face. I should’ve died. The next time I woke the bandages were gone. I could see the doctors, but I couldn’t see me. They wouldn’t let me see me, told me they would fix my face, make it look good again. I didn’t trust them. The doctors thought their faces were pretty. They weren’t. I asked to see my face. They wouldn’t let me. I’m lucky to be alive, that’s what they said. I’m lucky I can see.

But some things I can’t see. They left the eyepatch on my left eye. Told me the left eye would never work again. My right eye can’t see everything. It sees the doctors, their heads swathed in sterile caps, their wrinkled noses, their empty eyes. It sees the nurses, their exhaustion, their bitterness. It sees the bleak beige walls and the tiny tinny television hanging in the corner by the laminated wood door. It sees the plastic bag of fluid hanging from the metal rack on wheels, the plastic instruments and the fluorescent light panel above my head. But it can’t see my mom, it can’t see my sister. It can’t see myself. They never believe me.

My mom comes to visit me on the third day I’m awake. I hear her enter, smell her usual perfume, lilac with a hint of dirt and rain. I feel her hand hold mine, warmth and comfort and kindness. My right eye can’t see her. She came from the garden to see me, to make sure I’m okay. My right eye can’t see my mom. The doctors don’t believe me. My mom believes me.

The doctors pull her away from me. They say they need to fix my face. She can see me tomorrow. I smell the anesthesia and hear the spurt of the needle as they test to make sure no air bubbles formed in the syringe. I hear my mom crying. She assures me she’ll come back tomorrow. I can’t see her tears. They put me back to sleep.

In my dreams I can see them, my mother and sister. There is no eyepatch on my left eye; it can see them, and it can see me, reflected in the water. We swim across the pond to the island with the tree in the center. The reeds grow tall along the banks. The water smells of fish shit and moss. the reflection is murky except for the shallow blue eyes.

The reflection is broken by a ripple. My sister swims to me, wraps her arms around me, then splashes water directly into my face. Some droplets stick to my forehead and nose, like beads of cold sweat. She giggles, a grin emerges on her freckled face. Her wet blonde hair has strands of moss hanging from it. I smile back and with a quick flick of my wrist she too is drenched.  I feel peace from the water. My mother calls us to shore. Storm clouds, she says. The lightning might kill you. That’s what she said then. I didn’t believe her. Thunder echoes like the heartbeat of the sky.

The doctors wake me up. They have thunder too. I cannot see them, can’t see anything. Bandages surround my face. My face is fixed. That’s what they claim. I didn’t see anything wrong before. They wouldn’t let me see me. It’s a miracle. I’m lucky to be alive. I don’t believe them. They apologize for not being able to fix my eye.

My sister comes with my mom today. I can’t see her. She believes me, reminds me about the lightning. It could’ve killed me. When she learns I can’t see her, she cackles. She says she’ll have fun when I come home. She asks when I’ll come home.

I don’t know when I’ll come home. The doctors don’t know. I should’ve died. They want to keep me. My mother wants to take me. They shout at each other. My sister holds my left hand. I can’t see her hand, or mine.

The doctors remove the bandages. They show me a mirror. I see behind me, but I don’t see me . I see the eyepatch float. When I try to remove it the doctors stop me. My eye is too damaged. They tell me to never remove the eyepatch. They hold up a vase. My mom brought me flowers.  I can’t see the flowers. They don’t believe me. Their voices are angry. Stop being childish, they say. I lie and say I see the flowers.

Once one of the nurses I can’t see, he brought me food from outside. I saw the bag float in the room. I heard his footsteps. He handed me the brown paper bag and told me to enjoy. He sounded old. I felt a band of metal on his left-hand ring finger when I took the bag. The smell of chicken nuggets and French fries pierced the stale aroma of bleach and disinfectant. I heard the edge of the bed creak, the cushion indented slightly. The invisible nurse told wild tales of dragons and monsters while I ate. He didn’t know when I’ll be home. He watered invisible flowers before leaving. I fell back asleep.

In my dreams I’m still swimming. The sun is blocked by clouds. Drops of rain hit my hair. Mother calls from the cabin on the shore. My sister runs out of the water, her leg kicks water into my eyes. I’m blinded for a moment. I don’t leave. I stay in the water, dropping my eyes level with the water. They both hear the thunder. I don’t hear the thunder. They both see the lightning.

All I feel is heat. I’m blind. The lightning should’ve killed me. The lightning in my eyes, lucky to be alive.  My sister screams for help. Smell the ozone. Pungent and sweet. I don’t scream, I can’t scream. I’m dead. I’m alive. The lightning killed me. I can’t see my mom. I can’t see my sister. I can’t see the flowers. The lightning saved me. I can see the doctors, I can see the nurses, I can see the hospital.

The lightning killed me, that’s what they said. They brought me back with lightning, pads of metal, artificial energy. My eye is broken, the one the lightning struck. Three minutes. That’s what they told me. Three minutes of death. My face was burned. I can’t see it. They fixed it.

The doctors worried my body was broken too. The lightning still might kill me. They say I need to move, I need to walk. Lightning causes paralysis, or weakness. They bring in a special doctor. I can’t see this doctor. The other doctors leave. The invisible doctor takes me to a room for walking practice. I think I walk just fine. They hold me anyway. Crutches line the walls, pairs of metal handrails take up the center, and exercise equipment sits off to the right side. The invisible doctor lets go and I fall. My hands are too slow to catch me. My face hits one of the many black foam squares that make up the floor. I turn my head left and see the eyepatch almost fall off in the mirror on the wall. For a second, I think I see me, but I can’t see me. The invisible doctor fixes it and helps me to my feet. They tell me to be like a tree, that I’ll be okay. That I’ll be able to walk again soon. They tell me when I can walk I will go home. I place my hands on the rails. The metal is cold. The doctor yelps in shock and withdraws their hand; it was just static. My arms are weak but they hold me. My legs move slowly, but I can’t walk without the rails.

The invisible doctor takes me back after a while. They tell me I did good work. It’s a miracle I can still move. They tell me lightning takes people’s movement. The lightning should’ve killed me. That’s what they say. They tell me strength should come back to me. Lightning steals that too. Lightning can’t keep strength like it keeps movement.

My mom comes back again. She brings me the manatee, Juno. I can see Juno. Soft gray fabric, small black plastic eyes. I hold her tightly in my arms. Mom wants me home. The doctors still won’t let her take me. Juno will keep me safe, that’s what she said. She brings me homework too, and videos of teachers explaining how the world works. I can see them. I can’t see my mom.

I miss the smell of earth when my mom leaves. I want to smell her garden again. To swim in the pond and feel the moss brush against my skin. I want to feel the peace of the water and hear the crickets sing their lullaby. The invisible doctor tells me I will. They tell me I need to steal my strength from the lightning. They take me back to that room for walking. I only need one hand to guide me now. They tell me I’ll go home soon. They tell me I’m stronger than lightning. I still can’t see them.

Back in my room I learn about lightning. It’s hotter than the sun. I remember the heat I felt and wonder if that’s how it feels to touch the surface of a star. The video says that direct strikes are usually fatal. I’m lucky to be alive. I hold Juno tightly.

It takes a month to steal my strength back from the lightning. I walk without holding the rails. The invisible doctor applauds me and tells me I’m ready to go home. They call my mom. I still can’t see my mom.

I can’t see the trees with my right eye, my good eye. I know where they should be by the shaded patches of dirt in the ground. I can see the grass, the road, the dirt covered green Volvo Station wagon, Mom’s car. My sister shouts for joy and runs toward me. I fall to the ground. Her arms squeeze Juno into my chest. I can’t see my sister.

Mom drives me to the cabin. I can see the towering buildings of the city. In the reflection of the tinted glass, I see the station wagon. The eyepatch floats in the window right above Juno’s head. Mom tells me about what she’ll make for dinner. She killed one of the chickens and plucked carrots and celery from the ground. Soup gives strength. That’s what she said. She reminds me that I’m lucky to be alive.

I can’t see the reeds. Mom stops the car in front of the cabin. I can’t see the cabin, nor the rustic wood threshold. Mom helps me across it. The hand-carved wooden table is invisible, but I can see the small electric stove. I smell the soup, hear the water boil, guide my hand along the wood of the narrow hallway to help me walk. I can’t see my bedroom, nor the bed alcove carved into the wall. My mattress floats in the air as if by magic. I can see the plastic desk my mom bought me for school, and the lightbulb in the ceiling. I see wires in invisible walls.

My sister wants to play. She tugs on my arm. I set Juno into the bed alcove and feel my way back to the main room. Mom reminds me to be careful. She tells my sister to be gentle. She reminds us both that I can’t take off my eyepatch. We both take off our shoes.

My sister guides me to the shore. I enjoy the sensation of dirt beneath my feet and the occasional pain of a rock. We move slowly, some of my strength still belongs to the lightning. She runs in. I can’t see the pond. I can’t see the moss in the pond. I can’t see my sister. My sister asks about the eyepatch. She wants to know why I can’t take it off. I don’t know. She asks about my eye. The dark one. The one filled with abyss. The right eye. She asks why it’s dark. I don’t know. I put my foot in the invisible water. My sister jumps out. Something shocked her. She thinks I shocked her. She gets back in.

I stay close to the shore I can’t see. I don’t want to drown. I don’t want my eyes near the water. There are no storm clouds today. I fiddle with moss between my toes. Mom calls us in for dinner. My sister runs ahead. I try walking on my own. I trip over a tree root that I couldn’t see. I fall and hit my chin on the ground. The eyepatch slides up a bit. I quickly push it back down before it can come off. I can’t take off my eyepatch.

My mom hears the thud and comes running. She helps me to my feet, guides me back to the cabin, and sits me at the table. She brings me a bowl of soup, tells me I need to be careful. She wants me to stay alive. I sip the soup and listen to her sing while she cleans the soup pot. I can’t see my mom.

When I sleep, I dream of before. Before the lightning stole my left eye. Before it stole my strength. I dream of the pond. I dream of the old willow tree on the island. Its dark drooping branches blossoming every spring. The leaves fall on the pond. Nature’s Navy of little boats. The tree is stronger than lightning. I am the tree. I want to see the tree again.

My sister tells me she’ll guide me to the island. I refuse. I can’t see the tree, or the water. My eyes would have to be close to it. The eyepatch might come off. I spend the day holding Juno. My mom brings me a sandwich and sits with me a while. I only know she’s there from the sound of her bouncing leg. She’s nervous. She doesn’t smell of the garden yet. She won’t smell of the garden today. I want to smell of the garden, but I can’t see the garden.

In the evening I sit outside the cabin and listen to the crickets. I’m lucky to be alive. The lightning didn’t kill me. I scratch at an itch under the eyepatch. I feel a shock in my hand and pull it back. I smell the ozone on my fingertip.  In my mind I’m in the water again. I remember the heat, the pain. My mom comes running when I scream. She puts Juno in my arms. I feel safe again. I am stronger than the lightning. The lightning didn’t kill me.

While I sleep I am the tree, standing tall, guarding my island. The lightning wants to take it. It strikes at the water around me, burning my Navy of leaves. Once it struck me, but the rain extinguished its flames. I grew back stronger. My Navy rebuilt. The lightning always comes back. I am always stronger.

My sister and I play in the lake. I go out deeper today. My legs can tell how deep I am. We go to the tree. The lightning couldn’t steal the ability to swim. I follow the sound of my sister’s splashing. We push through invisible reeds, I feel the plants surround me. My sister holds my hand and guides me through the canopy of branches. I feel the incomplete ships of Nature’s Navy brush against my face. She puts my hand against the tree. I guide my hand along it until I find the once charred wood where lightning burned it. The lightning should’ve killed us.

My sister and I sit under the tree for a while. I feel the bugs occasionally crawl across my hands. She rests her shoulder on mine. I’m lucky to be alive. The lightning didn’t kill us.

We walk back to the shore. I feel the water, and one of Nature’s boats brush against my foot and look down. I still can’t see the water. I can’t see myself. I can see the Navy. The floating leaves atop the tranquil pond. The tears begin to fall. My sister asks why the tears from beneath the eyepatch are white as ash. I wish I knew.

The crickets sing again that evening. Tonight, they sing the ballad of the tree. Loud and harmonic. I whisper my thanks into the wind. The crickets whistle back. They believe me.

In the morning I wake up before anyone else. I shuffle through the halls and out to the porch to listen to the morning bird song. I let my head weave side to side in tune with their melody. I dance across invisible dirt. A laugh escapes my lips. I jump into invisible water. I sail with Nature’s Navy to the tree.

My soul sits atop resilient roots. Hands find the burned wood, where the lightning almost killed it. I bring the left hand to the eyepatch, where the lightning almost killed me. The wind blows through the leaves. Splashes echo from the opposite shore, sounds of someone swimming. Thunder echoes from my stomach, I rise to return home. Gallivanting down the invisible slope back towards my invisible home.

I trip across a root near the water. The eyepatch sinks beneath the surface of the lake. I yank my head back. The eyepatch slips off. My left hand covers my eye. A shock forces me to pull it away. The eyelid flutters opened. I see the lightning. Nature’s Navy set ablaze by my gaze. My eye touches the sun again as the lightning leaves. The tree set ablaze by my gaze. The crickets echo a lament. The birds resound a harmonizing elegy. The drooping branches fall lower, as if bowing. I bow in return.  The splashing water calms.

My left eye sees the water, sees the earth, sees myself. Authentic and whole. It observes my leaves of joy, fingers stretched in shallows. My left eye witnesses my roots of kindness, feet planted on solid shores. It beholds the resilience of my trunk, a beautiful body. The eyepatch floats in the water. I perceive my eyes again, the dark one and the white. my black and white tears drift across the surface of water. Someone shuffles the dirt behind me. I turn with a smile on my face.

Cassandra Arc is an autistic trans woman living in Portland, Oregon. In her writing she likes to focus on themes of healing, gender identity issues, and nature as a means of understanding authenticity. This story was originally published in the Talking River Review and is reprinted here by permission of the author (All Rights Reserved). 

• Who is the narrator of this story? What do we know about their gender? How do we know this? What does the lightning signify?
• What does the eyepatch represent? When the narrator says, “I see behind me, but I don’t see me,”  what does this mean? What ideas about social constructs are present in this narrative, and how does the story subvert those social constructs?
• How do characters navigate and express their gender identities in the text? Does the story expand your understanding of the queer experience? In what ways? What do you think about the way some things can’t be seen and some things can in the story? How might this experience relate to being queer?
• How are time and space treated in this story?
• How does the story subvert or resist conventional categories?

Example of a queer theory thesis statement: In “The Eyepatch” by Cassandra Arc, the binary oppositions of light, darkness, sight, and blindness are used to subvert heteronormative structures, deconstructing artificially constructed binaries to capture the experience of being in the closet and the explosive nature of coming out.

Limitations of Gender Criticisms

While these approaches offer interesting and important insights into the ways that gender and sexuality exist in texts, they also have some limitations. Here are some potential drawbacks:

• Essentialism: Feminist theory may sometimes be criticized for essentializing gender experiences, assuming a universal women’s experience that overlooks the diversity of women’s lives.
• Neglect of Other Identities: The focus on gender in feminist theory may overshadow other intersecting identities such as race, class, and sexuality, limiting the analysis of how these factors contribute to oppression or privilege.
• Overlooking Male Perspectives: In some instances, feminist theory may be perceived as neglecting the examination of male characters or perspectives, potentially reinforcing gender binaries rather than deconstructing them.
• Historical and Cultural Context: Feminist theory, while valuable, may not always adequately address the historical and cultural contexts of literary works, potentially overlooking shifts in societal attitudes towards gender over time.
• Oversimplification of Feminist Goals: Post-feminist criticism may be criticized for oversimplifying or prematurely declaring the achievement of feminist goals, potentially obscuring persistent gender inequalities.
• Individualism and Choice Feminism: The emphasis on individual empowerment in post-feminist criticism, often associated with choice feminism, may overlook systemic issues and structural inequalities that continue to affect women’s lives.
• Lack of Intersectionality: Post-feminist approaches may sometimes neglect intersectionality, overlooking the interconnectedness of gender with race, class, and other identity factors, which can limit a comprehensive understanding of oppression.
• Commodification of Feminism: Critics argue that post-feminism can lead to the commodification of feminist ideals, with feminist imagery and language used for commercial purposes, potentially diluting the transformative goals of feminism.
• Complexity and Jargon: Queer Theory can be complex and may use specialized language, making it challenging for some readers to engage with and understand, potentially creating barriers to entry for students and scholars.
• Overemphasis on Textual Deconstruction: Critics argue that Queer Theory may sometimes prioritize textual deconstruction over concrete political action, leading to concerns about the practical impact of this theoretical approach on real-world LGBTQ+ issues.
• Challenges in Application: Queer Theory’s emphasis on fluidity and resistance to fixed categories can make it challenging to apply consistently, as it may resist clear definitions and frameworks, making it more subjective in its interpretation.
• Limited Representation: While Queer Theory aims to deconstruct norms, some critics argue that it may still primarily focus on certain aspects of queer experiences, potentially neglecting the diversity within the LGBTQ+ spectrum and reinforcing certain stereotypes.

Gender Scholars

• Simone de Beauvoir (1908-1986): A French existentialist philosopher and writer, de Beauvoir is best known for her groundbreaking work “The Second Sex,” which explored the oppression of women and laid the groundwork for feminist literary theory.
• Virginia Woolf (1882-1941): A celebrated English writer, Woolf is known for her novels such as “Mrs. Dalloway” and “Orlando.” Her works often engaged with feminist themes and issues of gender identity.
• bell hooks (1952-2021): An American author, feminist, and social activist, hooks wrote extensively on issues of race, class, and gender. Her works, such as “Ain’t I a Woman” and “The Feminist Theory from Margin to Center,” are essential in feminist scholarship.
• Adrienne Rich (1929-2012): An American poet and essayist, Rich’s poetry and prose explored themes of feminism, identity, and social justice. Her collection of essays, “Of Woman Born,” is a notable work in feminist literary criticism.
• Gayatri Chakravorty Spivak: An Indian-American literary theorist and philosopher, Spivak is known for her work in postcolonialism and deconstruction. Her essay “Can the Subaltern Speak?” is a key text in postcolonial and feminist studies.
• Susan Faludi: An American journalist and author, Faludi’s work often explores issues related to gender and feminism. Her book “Backlash: The Undeclared War Against American Women” critically examines the societal responses to feminism.
• Camille Paglia: An American cultural critic and author, Paglia is known for her provocative views on gender and sexuality. Her work, including “Sexual Personae,” challenges conventional feminist perspectives.
• Rosalind Gill: A British cultural and media studies scholar, Gill has written extensively on gender, media, and postfeminism. Her work explores the intersection of popular culture and contemporary feminist thought.
• Laura Kipnis: An American cultural critic and essayist, Kipnis has written on topics related to gender, sexuality, and contemporary culture. Her book “Against Love: A Polemic” challenges conventional ideas about love and relationships.
• Judith Butler: A foundational figure in both feminist and queer theory, Judith Butler has made profound contributions to the understanding of gender and sexuality. Their work Gender Trouble  has been influential in shaping queer theoretical discourse.
• Eve Kosofsky Sedgwick: An influential scholar in queer studies, Sedgwick’s works, such as Epistemology of the Closet , have contributed to the understanding of queer identities and the impact of societal norms on the construction of sexuality.
• Michel Foucault: Although not exclusively a queer theorist, Foucault’s ideas on power, knowledge, and sexuality laid the groundwork for many aspects of queer theory. His works, including The History of Sexuality,  are foundational in queer studies.
• Teresa de Lauretis: An Italian-American scholar, de Lauretis has contributed significantly to feminist and queer theory. Her work Queer Theory: Lesbian and Gay Sexualities  explores the complexities of sexuality and identity.
• Jack Halberstam: A gender and queer studies scholar, Halberstam’s works, including Female Masculinity and In a Queer Time and Place,  engage with issues of gender nonconformity and the temporalities of queer experience.
• Annamarie Jagose: A New Zealand-born scholar, Jagose has written extensively on queer theory. Her book Queer Theory: An Introduction  provides a comprehensive overview of key concepts within the field.
• Leo Bersani: An American literary theorist, Bersani’s work often intersects with queer theory. His explorations of intimacy, desire, and the complexities of same-sex relationships have been influential in queer studies.

Further Reading

• Aravind, Athulya. Transformations of Sappho: Late 18th Century to 1900. Senior Thesis written for Department of English, Northeastern University. https://www.sfu.ca/~decaste/OISE/page2/files/deBeauvoirIntro.pdf  This is a wonderful example of a student-written feminist approach to English Romantic poetry.
• Banet-Weiser, Sarah, Rosalind Gill, and Catherine Rottenberg. “Postfeminism, Popular Feminism and Neoliberal Feminism? Sarah Banet-Weiser, Rosalind Gill and Catherine Rottenberg in Conversation.” Feminist Theory  21.1 (2020): 3-24.
• Butler, Judith.  Bodies that Matter: On the Discursive Limits of Sex . Taylor & Francis, 2011.
• Butler, Judith. Gender Trouble . Routledge, 2002.
• de Beauvoir, Simone.  The Second Sex.  Trans. H.M. Parshley. 1956.
• De Lauretis, Teresa. “Eccentric Subjects: Feminist Theory and Historical Consciousness.” Feminist Studies  16.1 (1990): 115-150.
• Gill, Rosalind. “Postfeminist Media Culture: Elements of a Sensibility.” European Journal of Cultural Studies  10.2 (2007): 147-166.
• Foucault, Michel. The History of Sexuality, Vol. 1: An Introduction.  Trans. Robert Hurley. Vintage, 1990.
• Foucault, Michel.  The History of Sexuality, Vol. 2: The Use of Pleasure . Vintage, 2012.
• Halberstam, Jack.  Trans: A Quick and Quirky Account of Gender Variability . Vol. 3. Univ of California Press, 2017.
• hooks, bell. Feminist Theory: From Margin to Center . Pluto Press, 2000.
• hooks, bell. “Choosing the Margin as a Space of Radical Openness.” Women, Knowledge, and Reality . Routledge, 2015. 48-55.
• Jagose, Annamarie.  Queer Theory: An Introduction . NYU Press, 1996.
• Miller, Jennifer. “Thirty Years of Queer Theory.” In Introduction to LGBTQ+ Studies: A Multidisciplinary Approach. Pressbooks. https://milnepublishing.geneseo.edu/introlgbtqstudies/chapter/thirty-years-of-queer-theory/   
• Paglia, Camille.  Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson . Yale University Press, 1990.
• Sedgwick, Eve Kosofsky.  Touching Feeling: Affect, Pedagogy, Performativity . Duke University Press, 2003.
• Sedgwick, Eve Kosofsky.  Epistemology of the Closet . Univ of California Press, 2008.
• Spivak, Gayatri Chakravorty.  The Spivak Reader: Selected works of Gayatri Chakravorty Spivak . Psychology Press, 1996.

Critical Worlds Copyright © 2024 by Liza Long is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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A Feminist Approach in the Film “Thelma and Louise” Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

There are extremely few films that explore not only female friendships but also delve into the interpersonal connection of women, seeking to escape the restrictions of gender, class, time, and place. In turn, Scott’s road movie reveals the female nature from the inside. Thelma, married at 18 and tolerating her tyrannical husband, is not as downtrodden and tame as many would like to see. Thelma does not agree to condone, so she packs her things, throws suitcases into her friend’s car, leaves a note for her husband, and goes off with Louise for the whole weekend. If Thelma is an amateur adventurer, then Louise is a serious rebel. Her boyfriend Jimmy has no power over her, but rather she dictates the rules to him, although she is forced to endure his constant adventures while she works as a waitress. Louise does not hesitate to shoot the man who tried to rape her girlfriend.

Seeing the world through the eyes of liberated women driving merrily into the unknown was an innovation that boldly granted a woman the right to be human. Cooper notes that this is a movie about women who defy eternity and openly neglect social conditions. It has a philosophical background in the immortality of the soul and the lofty value of freedom, which despises even death. The film’s finale proves that suicide is preferable to prison, just as lethal injection is better than life imprisonment.

It is a pity that they do not make strong films about women’s struggles in Hollywood anymore; that is why it remains to revise Thelma and Louise from year to year. The current films about women ending with a wedding, and receiving a ring from a man are equated to the moment of personal transformation and self-identification of a woman who is looking for only worldly peace in life. These stereotypical films are forgotten and will never become a symbol of the female spirit, which Thelma and Louise became precisely because it reflects the true woman’s need for freedom.

Smith, in her speech, focuses on gender inequality in cinema. As confirmation, the speaker presents depressing statistics. First, according to Smith, less than a third of all speaking characters are women (2:39). The most unexpected thing is that the situation has not changed for 70 years. As my example, I can cite the world-famous film The Lord of the Rings, where all ten central roles are male. Thus, the woman is still noticeably absent from the screen.

Second, Smith asserts that in addition to gender inequality, Hollywood films are characterized by racial and ethnic discrimination. It is noteworthy that it is possible to expect changes in this direction. In 2020, the Academy of Motion Picture Arts and Sciences announced the introduction of special rules that should eliminate inequalities within the organization itself and the film industry. Rottenberg affirms that starting in 2024, films that qualify for the Best Film award must meet at least two of the four criteria. Among them is the presence of actors from an ethnic or racial minority, 30% of the composition of a woman, representatives of the LGBTQ+ community, a racial or ethnic minority, and people with disabilities. Moreover, there must be the same diversity in the production and marketing teams that work on the film, and the film must represent one of the listed minorities. Nevertheless, women remain in the minority since the requirement is 30%, but women are about half of society.

Third, Smith notes that only 4.1% of directors are women (6:00). Moreover, only three of the 886 directors are African American or black, and only one woman is Asian (Smith 6:13). At the same time, there is a pattern between the gender of the director and the peculiarity of the roles in this movie. Thus, the more women participate in creating a movie, the more women appear on the screen, and vice versa. This fact is one of the reasons for the disappointing statistics on the number of women in cinema and the peculiarity of their representation. Therefore, given the disheartening statistics and trends that have taken place in recent years, Hollywood cinema is not a very good place for women.

Chelsey, thanks for your opinion. Indeed, in addition to the motif of freedom and independence, Thelma and Louise unfold with a feminist approach, making women as strong as men. The film’s female perspectives undermine and appropriate the dominant male gaze typical of mainstream Hollywood cinema, using mockery as a narrative device to illustrate the sexism inherent in the male gaze. Three narrative devices are explicated that structure the mockery in the film: stereotypes about depraved and testosterone-obsessed men; portray men as a spectacle for female attention; and the celebration of women’s friendships. The result of the tongue-in-cheek techniques is a strong female gaze that resists and defies patriarchy and opens the film’s text to a feminist reading. As for the TED talk by Stacy Smith, indeed, the situation regarding the role of women in the film industry is disastrous. Thus, nowadays, most films are shot by men and many films still represent the male gaze.

Works Cited

Cooper, Brenda. “‘Chick Flicks’ as Feminist Texts: The Appropriation of the Male Gaze in Thelma & Louise.” Women’s Studies in Communication, vol. 23, no. 3, 2000, pp. 277-306.

Rottenberg, Josh. New Oscars Standards Say Best Picture Contenders Must Be Inclusive to Compete . Los Angeles Times. 2020. Web.

Smith, Stacy. “ The Data behind Hollywood’s Sexism ”. TED. 2016. Web.

• “Doing Ethics: Moral Reasoning, Theory, and Contemporary Issues”: Feminist Ethics
• Feminism: Reflection of Cultural Feminism
• Social Issues in the “Thelma and Louise” Movie
• Thelma’s Tacos Incorporation Analysis
• Feminism and Film Theory
• Feminism in “A Doll’s House” Play by Ibsen
• Reasons Why Women Are Often the Victims of Violent Crimes
• Representation of African American Women in Federal Government
• Popular Feminism in Video Post of Emma Watson
• Postfeminism, Gender and Organization
• Chicago (A-D)
• Chicago (N-B)

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Bibliography

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Home — Essay Samples — Literature — Feminist Literary Criticism

Essays on Feminist Literary Criticism

Welcome, college students! This page is designed to help you find the perfect essay topic for your Feminist Literary Criticism assignment. Choosing the right topic is crucial, as it allows you to explore your interests and showcase your creativity. By selecting a topic that resonates with you, you can produce a more engaging and insightful essay.

Essay Types and Topics

Argumentative.

• Representation of Women in Literature: A Study of Stereotypes
• Feminist Themes in Modern Poetry

Paragraph Example: In the world of literature, the portrayal of women has been a subject of much debate. From traditional stereotypes to modern redefinitions, the representation of women in literature has evolved over time. This essay aims to analyze the various portrayals of women in literary works and their impact on society.

Paragraph Example: Through this analysis, it becomes evident that the representation of women in literature plays a significant role in shaping societal perceptions. By examining the evolution of these portrayals, we can gain a deeper understanding of the social and cultural influences on literary works.

Compare and Contrast

• Gender Roles in Classic vs. Contemporary Literature
• Feminist Themes in Novels by Different Authors

Paragraph Example: A comparative analysis of gender roles in classic and contemporary literature provides a unique opportunity to explore the changing dynamics of society and the portrayal of gender in literary works. This essay aims to examine the similarities and differences in the representation of gender roles in two distinct literary periods.

Paragraph Example: By comparing and contrasting the gender roles in classic and contemporary literature, we can gain valuable insights into the evolving societal norms and the impact of these changes on literary expression.

Formatting Instructions

As you explore the various essay topics, remember to engage with the material and let your creativity shine. Your unique perspective and critical thinking skills are what will make your essay stand out. Embrace the opportunity to express your thoughts and ideas in a thoughtful and engaging manner.

Educational Value

Each essay type offers a valuable learning experience. Argumentative essays help you develop analytical thinking and persuasive writing skills. Compare and contrast essays enhance your ability to critically analyze literary works, while descriptive and narrative essays allow you to hone your descriptive abilities and narrative techniques.

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Feminist Criticism Example: Kate Chopin’s The Awakening

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Literary Criticism of The Short Stories of The Late 19th Century Through The Feminist Lens

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Feminism in Anne of Green Gables and The Hunger Games 

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Fun Fact: Feminist Literary Criticism has been closely associated with the birth and growth of queer studies . - Wikipedia

Where am I? Home -> The Evolution of Alice Criticism -> Feminist Criticism

The feminist approach.

“Alice’s two dream adventures are almost a comic compendium of feminist issues.” – Judith Little  

What is a Feminist Critical Approach?

Feminist criticism is an often misunderstood branch of literary theory which is rather difficult to summarize.  Lois Tyson gives this “bare bones” definition: “Feminist criticism examines the ways in which literature (and other cultural productions) reinforces or undermines the economic, political, social and psychological oppression of women.” ( 83 )  Feminist critics incorporate many other literary schools (historical, psychoanalytic, etc) to “increase our understanding of women’s experience, both in the past and present, and promote our appreciation of women’s value in the world” ( 119 ). They are extremely wide-ranging in scope, interest, topics, and conclusions. The practice of feminist criticism usually entails examining how the gender roles of a work of literature reflect or subvert “traditional” gender roles.

Feminism and Alice

Alice is an interesting case study for feminist critics.  For, although written by a man during the Victorian Era, the book’s strong female heroine and her adventures are a veritable gold mine for feminist critics to study.   In fact, Judith Little even wrote that the Alice books are “almost a comic compendium of feminist issues” ( 195 ). Alice the Rebel There are two main ways to approach Alice.  Either critics have seen her as a feminist hero, a rebel breaking out of the traditional female gender roles, or they are more hesitant to give Carroll the credit of really breaking any stereotypes. Judith Little and Megan S. Lloyd are both of the former camp. They argue that Alice is a “literally ‘underground’ image of a woman resisting the ‘system’ “ ( Little 204 ).  They see Alice’s assertiveness, activity, and curiosity as distinctively “Un-Victorian” traits which make her not only an important example of a “subversive” woman, but also, in Lloyd’s view, an ideal role model for our society. Lloyd writes, “[Alice’s] is a reality where women author their own tales, work out their own problems, expect the extraordinary, and speak their minds.  Faced with continuing mistreatment and stereotypical expectations, today’s young women do well to ask themselves, what would Alice do?” ( 17 ).  

Alice the Slave

However, not all critics are ready to accept Alice’s perceived power so unconditionally. Carina Garland , for instance, argues that the way Carroll describes Alice demonstrates his idea of female sexuality as a “frightening and destructive force” ( 23 ).  She describes Alice as a slave to whims of the male author and the male characters of the book.  For instance, she cites the episode of Alice and the mushroom. The Caterpillar gives Alice the ambiguous instruction that "one side will make you grow taller, and the other side will make you grow shorter." However, as Garland points out, “Alice doesn't know what the food will do to her, but is told she must eat it…The result…is that the [instruction] completely denies her knowledge and therefore any control over what she consumes and the changes her body undertakes as a result of this eating” ( 31 ).  In Garland’s view, Alice, the small girl, represents the passive femininity which was a large part of what attracted Carroll to his “child friends,” and in the book is completely controlled by the male powers around her.  

Other Women in Wonderland

Besides Alice, there are only three other women in the entire novel: the Duchess , her cook , and the Queen of Hearts .  As these are the most senseless and violent characters in the book it would be understating to say that they don’t come off well.  Carroll’s women are among the worst type of women portrayed in literature.  They are violent, irrational, frightening.  And certainly the Queen of Hearts could almost be read as the “male nightmare”: women with too much power bringing about a chaotic dystopia. This extremely sexist reading implies that women should be kept docile and domestic, otherwise their animal passion would ruin the nation. Judith Little , on the other hand, sees the violence of the Duchess as the natural psychological result from her being forced to fill role of “mother”: “The peppery kitchen is full of an irritation which seems to grow out of the demands of mother-hood—making soup, tending a baby, and perhaps trying to control a ‘disruptive’ sexual passion” ( 197 ). 

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Article: "Visions of Life on the Border" by Laura E. Ciolkowski from Genders.org

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Essay on Feminism

500 words essay on feminism.

Feminism is a social and political movement that advocates for the rights of women on the grounds of equality of sexes. It does not deny the biological differences between the sexes but demands equality in opportunities. It covers everything from social and political to economic arenas. In fact, feminist campaigns have been a crucial part of history in women empowerment. The feminist campaigns of the twentieth century made the right to vote, public property, work and education possible. Thus, an essay on feminism will discuss its importance and impact.

Importance of Feminism

Feminism is not just important for women but for every sex, gender, caste, creed and more. It empowers the people and society as a whole. A very common misconception is that only women can be feminists.

It is absolutely wrong but feminism does not just benefit women. It strives for equality of the sexes, not the superiority of women. Feminism takes the gender roles which have been around for many years and tries to deconstruct them.

This allows people to live freely and empower lives without getting tied down by traditional restrictions. In other words, it benefits women as well as men. For instance, while it advocates that women must be free to earn it also advocates that why should men be the sole breadwinner of the family? It tries to give freedom to all.

Most importantly, it is essential for young people to get involved in the feminist movement. This way, we can achieve faster results. It is no less than a dream to live in a world full of equality.

Thus, we must all look at our own cultures and communities for making this dream a reality. We have not yet reached the result but we are on the journey, so we must continue on this mission to achieve successful results.

Impact of Feminism

Feminism has had a life-changing impact on everyone, especially women. If we look at history, we see that it is what gave women the right to vote. It was no small feat but was achieved successfully by women.

Further, if we look at modern feminism, we see how feminism involves in life-altering campaigns. For instance, campaigns that support the abortion of unwanted pregnancy and reproductive rights allow women to have freedom of choice.

Moreover, feminism constantly questions patriarchy and strives to renounce gender roles. It allows men to be whoever they wish to be without getting judged. It is not taboo for men to cry anymore because they must be allowed to express themselves freely.

Similarly, it also helps the LGBTQ community greatly as it advocates for their right too. Feminism gives a place for everyone and it is best to practice intersectional feminism to understand everyone’s struggle.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Feminism

The key message of feminism must be to highlight the choice in bringing personal meaning to feminism. It is to recognize other’s right for doing the same thing. The sad part is that despite feminism being a strong movement, there are still parts of the world where inequality and exploitation of women take places. Thus, we must all try to practice intersectional feminism.

FAQ of Essay on Feminism

Question 1: What are feminist beliefs?

Answer 1: Feminist beliefs are the desire for equality between the sexes. It is the belief that men and women must have equal rights and opportunities. Thus, it covers everything from social and political to economic equality.

Question 2: What started feminism?

Answer 2: The first wave of feminism occurred in the late nineteenth and early twentieth centuries. It emerged out of an environment of urban industrialism and liberal, socialist politics. This wave aimed to open up new doors for women with a focus on suffrage.

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What is feminism?

At its core, feminism is the belief in full social, economic, and political equality for women. Feminism largely arose in response to Western traditions that restricted the rights of women, but feminist thought has global manifestations and variations.

In medieval France philosopher Christine de Pisan challenged the social restrictions on women and pushed for women’s education. In 18th-century England Mary Wollstonecraft ’s A Vindication of the Rights of Woman became a seminal work of English-language feminist philosophy. Feminism in the United States had a number of prominent activists during the mid- to late-19th century. Notable mainstream activists included Lucretia Mott , Elizabeth Cady Stanton , and Susan B. Anthony . Less mainstream but similarly important views came from Sojourner Truth , a formerly enslaved Black woman, and Emma Goldman , the nation’s leading anarchist during the late 19th century.

Intersectionality is a term coined by professor Kimberlé Crenshaw in 1989 to describe how different social categories interact, sometimes resulting in compounding effects and tensions. Her paper on the subject argued that discrimination specifically against Black women is different from general anti-woman discrimination or anti-Black racism. Instead, it involves the unique compound experience of both sexism and racism. Initially used in the context of discrimination law, the concept saw a resurgence in the 21st century among left-wing activists who broadened intersectionality to include categories such as class and sexual orientation.

Feminism has provided Western women with increased educational opportunities, the right to vote, protections against workplace discrimination, and the right to make personal decisions about pregnancy. In some communities, feminism has also succeeded in challenging pervasive cultural norms about women. Outside of the Western world, activists such as Malala Yousafzai have highlighted issues such as unequal access to education for women.

feminism , the belief in social, economic, and political equality of the sexes. Although largely originating in the West, feminism is manifested worldwide and is represented by various institutions committed to activity on behalf of women’s rights and interests.

Throughout most of Western history, women were confined to the domestic sphere, while public life was reserved for men. In medieval Europe, women were denied the right to own property , to study, or to participate in public life. At the end of the 19th century in France, they were still compelled to cover their heads in public, and, in parts of Germany, a husband still had the right to sell his wife. Even as late as the early 20th century, women could neither vote nor hold elective office in Europe and in most of the United States (where several territories and states granted women’s suffrage long before the federal government did so). Women were prevented from conducting business without a male representative, be it father, brother, husband, legal agent, or even son. Married women could not exercise control over their own children without the permission of their husbands. Moreover, women had little or no access to education and were barred from most professions. In some parts of the world, such restrictions on women continue today. See also egalitarianism .

History of feminism

There is scant evidence of early organized protest against such circumscribed status. In the 3rd century bce , Roman women filled the Capitoline Hill and blocked every entrance to the Forum when consul Marcus Porcius Cato resisted attempts to repeal laws limiting women’s use of expensive goods. “If they are victorious now, what will they not attempt?” Cato cried. “As soon as they begin to be your equals, they will have become your superiors.”

That rebellion proved exceptional, however. For most of recorded history, only isolated voices spoke out against the inferior status of women, presaging the arguments to come. In late 14th- and early 15th-century France, the first feminist philosopher, Christine de Pisan , challenged prevailing attitudes toward women with a bold call for female education. Her mantle was taken up later in the century by Laura Cereta, a 15th-century Venetian woman who published Epistolae familiares (1488; “Personal Letters”; Eng. trans. Collected Letters of a Renaissance Feminist ), a volume of letters dealing with a panoply of women’s complaints, from denial of education and marital oppression to the frivolity of women’s attire.

The defense of women had become a literary subgenre by the end of the 16th century, when Il merito delle donne (1600; The Worth of Women ), a feminist broadside by another Venetian author, Moderata Fonte, was published posthumously. Defenders of the status quo painted women as superficial and inherently immoral, while the emerging feminists produced long lists of women of courage and accomplishment and proclaimed that women would be the intellectual equals of men if they were given equal access to education.

The so-called “debate about women” did not reach England until the late 16th century, when pamphleteers and polemicists joined battle over the true nature of womanhood. After a series of satiric pieces mocking women was published, the first feminist pamphleteer in England, writing as Jane Anger, responded with Jane Anger, Her Protection for Women (1589). This volley of opinion continued for more than a century, until another English author, Mary Astell, issued a more reasoned rejoinder in A Serious Proposal to the Ladies (1694, 1697). The two-volume work suggested that women inclined neither toward marriage nor a religious vocation should set up secular convents where they might live, study, and teach.

The feminist voices of the Renaissance never coalesced into a coherent philosophy or movement. This happened only with the Enlightenment , when women began to demand that the new reformist rhetoric about liberty , equality, and natural rights be applied to both sexes.

Initially, Enlightenment philosophers focused on the inequities of social class and caste to the exclusion of gender . Swiss-born French philosopher Jean-Jacques Rousseau , for example, portrayed women as silly and frivolous creatures, born to be subordinate to men. In addition, the Declaration of the Rights of Man and of the Citizen , which defined French citizenship after the revolution of 1789, pointedly failed to address the legal status of women.

Female intellectuals of the Enlightenment were quick to point out this lack of inclusivity and the limited scope of reformist rhetoric. Olympe de Gouges , a noted playwright, published Déclaration des droits de la femme et de la citoyenne (1791; “Declaration of the Rights of Woman and of the [Female] Citizen”), declaring women to be not only man’s equal but his partner. The following year Mary Wollstonecraft ’s A Vindication of the Rights of Woman (1792), the seminal English-language feminist work, was published in England. Challenging the notion that women exist only to please men, she proposed that women and men be given equal opportunities in education, work, and politics. Women, she wrote, are as naturally rational as men. If they are silly, it is only because society trains them to be irrelevant.

The Age of Enlightenment turned into an era of political ferment marked by revolutions in France, Germany, and Italy and the rise of abolitionism . In the United States, feminist activism took root when female abolitionists sought to apply the concepts of freedom and equality to their own social and political situations. Their work brought them in contact with female abolitionists in England who were reaching the same conclusions. By the mid-19th century, issues surrounding feminism had added to the tumult of social change , with ideas being exchanged across Europe and North America .

In the first feminist article she dared sign with her own name, Louise Otto, a German, built on the work of Charles Fourier , a French social theorist, quoting his dictum that “by the position which women hold in a land, you can see whether the air of a state is thick with dirty fog or free and clear.” And after Parisian feminists began publishing a daily newspaper entitled La Voix des femmes (“The Voice of Women”) in 1848, Luise Dittmar, a German writer, followed suit one year later with her journal, Soziale Reform .

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