By Professor Gill Plain, Susan Sellers
Feminism has remodeled the tutorial learn of literature, essentially changing the canon of what's taught and environment new agendas for literary research. during this authoritative background of feminist literary feedback, prime students chart the advance of the perform from the center a while to the current. the 1st portion of the booklet explores protofeminist proposal from the center a long time onwards, and analyses the paintings of pioneers comparable to Wollstonecraft and Woolf. the second one part examines the increase of moment wave feminism and maps its interventions around the 20th century. a last part examines the effect of postmodernism on feminist concept and perform. This ebook deals a finished consultant to the heritage and improvement of feminist literary feedback and a full of life reassessment of the most matters and authors within the box. it's crucial examining for all scholars and students of feminist writing and literary feedback.
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Extra info for A History of Feminist Literary Criticism
The mingling of the physical and mental aspects of writing (the quill, pregnancy, laughter, the mind), as well as the close interaction of reading and writing, gives a sense of the immediacy of authorship and links writing to the body and personality of the writer. A similar effect was created some thirty years later in Margaret Cavendish’s description of the writing process, included in her autobiographical memoir ‘A True Relation’. Despite referring to her art as more ‘scribbling than writing’, she gives a remarkable account of how, when ‘thoughts are sent out in words’, they cease to draw back but tumble out like a ‘ragged rout’ too quickly for her pen to keep up (Cavendish, 1656/ 1989: 93–4).
In the late medieval period there was keen awareness of the masculine domination of textual tradition and, concomitantly, a vibrant concern about the effects of the antifeminist literary tradition, though there was no consensus on how to correct that tradition: what worked for Christine de Pizan in her Book of the City of Ladies (unvarying portraits of good women) was seen as a punishment that ironically backfires in the Legend of Good Women (cf. Delany, 1986). But in such representations as Chaucer’s powerful characters, Christine’s polemics and recuperative work and Margery Kempe’s critical self, we may indeed find works that have informed modern and postmodern feminist preoccupations with gender, empire, translation, textuality and embodiment.
1987: 1058–63) Robert Henryson, one of the so-called Scottish Chaucerians who followed the poet in the fifteenth century, obligingly enacted the patriarchal literary critical gesture so dreaded by Criseyde: in a broad gesture of anti-feminist literary criticism, in his Testament of Cresseid he created a Criseyde so corroded by shame that she is figured as a leper. Gavin Douglas, another of the Scottish Chaucerians and first translator of the Aeneid into English, remarked famously in the first preface to his Eneados that Chaucer was ‘evir, God wait, wemenis frend [always, God knows, a friend of women]’.
A History of Feminist Literary Criticism by Professor Gill Plain, Susan Sellers