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45 Student Essay Example: Feminist Criticism

The following student essay example of femnist criticism is taken from Beginnings and Endings: A Critical Edition . This is the publication created by students in English 211. This essay discusses Ray Bradbury’s short story ”There Will Come Soft Rains.”

Burning Stereotypes in Ray Bradbury’s “There Will Come Soft Rains”

By Karley McCarthy

Ray Bradbury’s short story “There Will Come Soft Rains” takes place in the fallout of a nuclear war. The author chooses to tell the story though a technologically advanced house and its animatronic inhabitants instead of a traditional protagonist. The house goes about its day-to-day as if no war had struck. It functions as though its deceased family is still residing in its walls, taking care of the maintenance, happiness, and safety of itself and the long dead family. On the surface, Bradbury’s story seems like a clear-cut warning about technology and humanity’s permissiveness. Given that the short story was written in the 1940s, it’s easy to analyze the themes present and how they related to women of the time. Bradbury’s apt precautionary tale can be used as a metaphor for women’s expectations and role in society after World War II and how some women may have dealt with the fallout of their husbands coming back home with psychological trauma.

To experience “There Will Come Soft Rains” from a feminist perspective, readers must be aware of the societal norms that would have shaped Bradbury’s writing. “Soft Rains” takes place in the year 2026. Yet the house and norms found throughout were, “modeled after concept homes that showed society’s expectations of technological advancement” (Mambrol). This can be seen in the stereotypical nuclear family that once inhabited the house as well as their cliché white home and the hobbies present. According to writer Elaine Tyler May’s book Homeward Bound, America’s view of women’s role in society undertook a massive pendulum swing during the World War II era as the country transitioned through pre-war to post-war life. For example, in a matter of decades support for women joining the workforce shifted from 80% in opposition to only 13% (May 59). Despite this shift, the men coming back from the war still expected women to position themselves as the happy housewife they had left behind, not the newfound career woman architype. Prominent figures of the 40s, such as actress Joan Crawford, portrayed a caricature of womanhood that is subservient to patriarchal gender roles, attempting to abandon the modern idea of a self-sufficient working-class woman (May 62-63). Keeping this in mind, how can this image of the 1940s woman be seen in Bradbury’s work?

Throughout Bradbury’s life he worked towards dismantling clichés in his own writing. A biography titled simply “Ray Bradbury” mentions that even in his earlier work, he was always attempting to “escape the constrictions of stereotypes” found in early science fiction (Seed 13). An example of him breaking constrictions could be his use of a nonhuman protagonist. Instead, Bradbury relies on the personification of the house and its robotic counterparts. Bradbury describes the house as having “electric eyes” and emotions such as a, “preoccupation with self-protection which bordered on a mechanical paranoia,” something that would make the house quiver at the sounds of the outside world (2-3). While these descriptions are interesting, Bradbury’s use of personification here is a thought-provoking choice when one breaks down what exactly the house is meant to personify.

One analysis of this story notes that the house’s personification, “replaces the most human aspects of life,” for its inhabitants (Mambrol). Throughout the story, the house acts as a caretaker, records a schedule, cooks, cleans, and even attempts to extinguish an all-consuming fire. While firefighting is not a traditionally feminine career or expectation from the 1940s (more on that later), most of the house’s daily tasks are replacing jobs that were traditionally held by a household’s matriarch. Expanding further on this dichotomy of male/woman tasks, a chore mentioned in the story that is ‘traditionally’ accepted as a masculine household duty—mowing the law—is still assigned as a male task. This is feels intentional to the house’s design as Bradbury is, “a social critic, and his work is pertinent to real problems on earth” (Dominianni 49). Bradbury’s story is not meant to commentate on just an apocalypse, but society at large.  Bradbury describes the west face of the house as, “black, save for five places” (Bradbury 1-2). These “five places” are the silhouettes of the family who had been incinerated by a nuclear bomb. The family’s two children are included playing with a ball, but the mother and father’s descriptions are most important. The mother is seen in a passive role, picking flowers, while the father mows the lawn. The subtext here is that the man is not replaceable in his mundane and tedious task. Only the woman is replaced. While this is a small flash into the owners’ lives, what “human aspect” or autonomy of the father’s life has been replaced by the house’s actions if the house is mainly personifying only the traditional 1940s female-held positions? The message here is that a man’s position in society is irreplaceable while a woman’s is one of mere support.

While this dynamic of husband vs subordinate is harmful, wives supporting their partners is nothing new. Homeward Bound explains that life after World War II for many women meant a return to their previous position as a housewife while many men came home irreparably damaged by years of warfare. PTSD, known then as shellshock, affected countless men returning from the war. Women were often expected to mend the psychological damage as part of their domestic responsibilities, even if they were unprepared for the realities of the severe trauma their husbands had faced (May 64-65). The psychological effects of the war came crashing into women’s lives the same way that the tree fell into the autonomous house in “Soft Rains”. As mentioned earlier, firefighting is not a task someone from the 40s would expect of women, but the house’s combustion and its scramble to save itself can be seen as a metaphor for women attempting to reverse the cold reality that the war had left them with. The picturesque family they had dreamed of would forever be scarred by the casualties that took place overseas. While Bradbury may not have meant for women to be invoked specifically from this precautionary tale, it’s obvious that him wanting his science fiction to act as, “a cumulative early warning system against unforeseen consequences,” would have impacted women of the time as much as men (Seed 22). The unforeseen consequences here is the trauma the war inflicted on families.

While men were fighting on the front lines, women back home and in noncombat positions would still feel the war’s ripples. In “Soft Rains” the nuclear tragedy had left, “a radioactive glow which could be seen for miles” (Bradbury 1). Despite the destruction, the house continues its routine as though nothing had happened. This can be seen as a metaphor for how women responded to the trauma their husbands brought back from the war. Women were urged to, “preserve for him the essence of the girl he fell in love with, the girl he longs to come back to. . .The least we can do as women is to try to live up to some of those expectations” (May 64). Following this, many could have put their desires and personal growth to the side to act as a secondary character in their husband’s lives.

The final line can be read as the culmination of similarities between post-war women and Bradbury’s house. The violence and destruction that fell upon the house in its final moments leaves little standing. What’s remarkable is how the house still attempts to continue despite its destruction. The final lines of the short story exemplify this: “Within the wall, a last voice said, over and over again and again, even as the sun rose to shine upon the heaped rubble and steam: ‘Today is August 5, 2026, today is August 5, 2026, today is…’” (Bradbury 5). The house is acting just like the women from the 40s, clinging to their past in an attempt to preserve something that had already been lost, society’s innocence. One analysis points out that, “The house is depicted in this way because it represents both humanity and humanity’s failure to save itself” (Mambrol). While it might be wrong to say that women were unable to save themselves in this situation, this quote does touch on an idea present in the feminist metaphor for “Soft Rains”. The preservation of “the essence of the girl he fell in love with, the girl he longs to come back to” was a failure (May 64). The same way that the house cannot preserve itself from destruction, women cannot preserve an image of themselves that had already dissolved. As mentioned earlier, women had already entered the workforce, a huge step towards removing sexist stereotypes around women’s worth. After garnering work-based independence, it seems impossible that the idea of women solely as men’s support would not immolate.

While Bradbury’s “Soft Rains” can be viewed as an apt precautionary tale with real modern world issues at hand, in many ways it is a period piece. As a writer in the 1940s, it’s hard to imagine that Bradbury’s story would not have been influenced by the framework of a nuclear family and the stereotypical expectations of this time. Bradbury’s use of personification opens dialogue about gender roles in the 1940s and how war had complicated patriarchal expectations. Despite his attempt to bypass science fiction stereotypes, his story is full of metaphor for gender stereotypes. Using a feminist lens to analyze the story allows it to be read as a metaphor for war and its effects on married women. The standard analysis appears to say that, “machine no longer served humanity in “There Will Come Soft Rains”; there humanity is subservient to machinery” (Dominianni 49). From a feminist perspective, instead of machine, the house represents patriarchy and gender norms. While men suffered greatly during World War II, women often put their wants and futures on hold to support their husbands. This is a selfless act that shows the resilience of women despite their society’s wish to downplay their potential and turn them into mere support.

Works Cited

Bradbury, Ray. “August 2026: There Will Come Soft Rains.” Broome-Tioga BOCES, 1950, pp. 1-5. btboces.org/Downloads/7_There%20Will%20Come%20Soft%20Rains%20by%20Ray%20Bradbury.pdf.

Dominianni, Robert. “Ray Bradbury’s 2026: A Year with Current Value.” The English Journal , vol. 73, no. 7, 1984, pp. 49–51. JSTOR, https://doi.org/10.2307/817806

Mambrol, Nasrullah. “Analysis of Ray Bradbury’s There Will Come Soft Rains.” Literary Theory and Criticism , 17 Jan. 2022.

May, Elaine Tyler. “War and Peace: Fanning the Home Fires.”  Homeward Bound: American Families in the Cold War Era.  20th ed., Basic Books, 2008, pp. 58-88.

Seed, David. “Out of the Science Fiction Ghetto.”  Ray Bradbury (Modern Masters of Science Fiction).  University of Illinois, 2015, pp. 1-45.

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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Literary Theory and Criticism

Home › British Literature › Feminist Literary Criticism

Feminist Literary Criticism

By NASRULLAH MAMBROL on October 7, 2022

Feminist literary criticism has its origins in the intellectual and political feminist movement. It advocates a critique of maledominated language and performs “resistant” readings of literary texts or histories. Based on the premise that social systems are patriarchal—organized to privilege men—it seeks to trace how such power relations in society are reflected, supported, or questioned by literary texts and expression.

One of the founders of this kind of approach was Virginia Woolf , who showed in her 1929 essay A Room of One’s Own how women’s material and intellectual deprivation were obstacles to authorship. Woolf illustrated her case with the abortive artistic aspirations of Shakespeare’s fictitious sister Judith. In another essay, “Professions for Women,” Woolf also announced the necessity for women writers to kill the “angel in the house,” taking her cue from Coventry Patmore’s mid-Victorian poem of the same name that glorified a domestic (or domesticated) femininity devoid of any critical spirit.

Another important source of inspiration has been Simone de Beauvoir ’s 1949 The Second Sex . Here de Beauvoir wrote that “one is not born a woman, one becomes one.” De Beauvoir’s point behind her muchquoted comment was that “ ‘woman’ is a cultural construction, rather than a biological one.” As Ruth Robbins notes, this remark is important because it highlights the fact that “the ideas about male and female roles which any given society may have come to regard as natural are not really so and that given that they are not natural they may even be changed” (118). All three texts provided ammunition for the women’s liberation movement of the 1960s and 1970s and are useful starting points for discussions of short stories that take women and the feminine as central concerns.

The ensuing critical response may best be described as bifurcating into an Anglo-American and a French strand. The former was defined by the greater importance British feminists such as Sheila Rowbotham, Germaine Greer, and Michèle Barrett attached to class. Literary critics working in this school were interested in representations of women in literary texts, an approach most famously encapsulated in Kate Millett’s Sexual Politics (1970)—probably the world’s best-selling doctoral thesis. Groundbreaking as the book turned out to be in reading canonized authors (e.g., Charles Dickens, D. H. Lawrence) against the grain and in drawing attention to their suffocating (and often misogynist) representations of women, it was also criticized for its insistence on a male conspiracy. There were objections that its readings were too often based on the assumption that literature simply mirrors reality.

feminist critical perspective essay

Left, Susan Gubar. Right, Sandra M. Gilbert. | Left, Eli Setiya. Right, Peter Basmajian. Via Vox

Subsequent critics sought to redress the gaps in Millet’s book by setting out to discover and reevaluate neglected female writing. Among those mapping this dark continent (in Sigmund Freud’s trope) was Ellen Moers, whose Literary Women (1976) is often seen as pioneering in its attempts to focus on noncanonical women writers such as Mary Shelley. The book has since been criticized on account of its unqualified appraisal of “heroinism,” an appraisal that leaves the concept of the “great writer”—a central category of male literary historiography—intact. One of the terms used by Elaine Showalter in A Literature of Their Own (1977) is “ gynocriticism ,” a term intended to indicate her concern with the history of women as authors. In A Literature of Their Own Showalter posited the idea of a “feminine” period of literary history (1840–80) in which the experiences of women such as the Brontës, Elizabeth Gaskell, Mary Elizabeth Braddon, and George Eliot—notably their use of male pseudonyms and imitation of male standards—demonstrate the obstacles women writers have tended to face. Showalter then described a second phase (1880–1920) that comprised so-called New Woman writers (e.g., Vernon Lee, George Egeron, Ella D’Arcy) dedicated to protest and minority rights. After 1920, this feminist stage was transcended by a female phase whose major representatives, Katherine Mansfield and Virginia Woolf are said to move beyond mimicry or opposition by asserting feminine identities, no matter how fragile or provisional these might be. Their narratives explore allegedly minor yet personally significant, even epiphanic moments and experiment with gender roles including androgyny and homosexuality. Literary texts of this period can also be said to anticipate postmodernist views of gender in their emphasis on the cultural interpretation of the body as distinguished from the physical characteristics that make people male or female.

Further landmarks in the field of feminist research were provided by Sandra Gilbert and Susan Gubar ’s The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination (1979) and The Norton Anthology of Literature by Women (1985). The Madwoman, runner-up for a Pulitzer Prize in 1980, attributed an “anxiety of authorship” to writers such as Jane Austen, the Brontës, and George Eliot. It also posited the widespread imagery of guilt or rage in texts by 19th-century women writers as part of a specifically female aesthetic—an aesthetic whose distinctness from male writers was emphasized in the canon of women’s literature as established by the 1985 Norton Anthology. Gilbert and Gubar have remained extremely influential, although some critics have questioned the clearcut separatism of their canon (male versus female) on the grounds that it unconsciously validates the implicit patriarchal ideology.

French feminism shifted the focus onto language. Its proponents drew on Freudian models of infant development that the French psychoanalyst Jacques Lacan had connected with processes of language acquisition and the construction of sexual difference. Lacan’s disciples Julia Kristeva, Hélène Cixous, and Luce Irigaray started from the premise that a child’s entry into language coincides with the disruption of its dyadic relationship with the mother. Language then reflects a binary logic that works through oppositions such as male/female, nature/culture. This pattern connecting oppression and language tends to group positive qualities with the masculine side. Woman, it is argued, is therefore alienated from linguistic structures and is liable to turn to a different discourse, derived from a preoedipal, “semiotic” period of fusion of mother and child. As so-called écriture feminine , this form of writing disturbs the organizing principles of “symbolic” masculinized language. It dissolves generic boundaries, causal plot, stable perspectives, and meaning in favor of rhythmic and highly allusive writing. Such transgression, though, is not gender-specific but can be performed by anyone—indeed, James Joyce is cited as the major representative of “writing one’s body” on the margins of dominant culture.

Both the French celebration of disruptive textual pleasure and the Anglo-American analysis of textual content have come under attack for their underlying assumption that all women—African slave and European housewife—share the same oppression. Postcolonial feminism, as advanced by Alice Walker, bell hooks, Gayatri Spivak, and Chandra Talpade Mohanty, took issue with the reductive ways of representing nonwhite women as sexually constrained, uneducated, and in need of being spoken for. They also objected to feminism’s insistence that women needed to reinforce their homogeneity as a sex, because they felt that this thinking demonstrated an ignorance of plurality and in fact perpetuated the very hierarchies on which patriarchy and Western imperialism had thrived.

From today’s perspective, so much has been done to improve female presence that some commentators have suggested that we live in an age of postfeminism . However, there are many who would argue that even in a postfeminist age much needs to be done to highlight the importance of interrogating seemingly natural signs of male/female difference. Critics following Judith Butler have begun to entertain the idea that the very assumption of an innate biological sex might itself be a cultural strategy to justify gender attributes. Whether one accepts this position or not, seeing identities as the embodiments of cultural practices may prompt change. This, in turn, might pave the way for a correspondingly flexible critical approach to identities as things that are entwined with other categories: ethnicity, sexual orientation, social status, health, age, or belief. In this sense, the prefix post- should not be read as meaning after feminism or as suggesting a rejection of feminism; rather, it should suggest a more self-reflexive working on the blind spots of former readings.

Key Ideas of Sandra Gilbert and Susan Gubar
Post-Feminism: An Essay
Kate Millett’s Sexual Politics
Simone de Beauvoir and The Second Sex
Feminism: An Essay
Analysis of Virginia Woolf’s A Room of One’s Own

BIBLIOGRAPHY Butler, Judith. Gender Trouble. Feminism and the Subversion of Identity. 2nd ed. London: Routledge, 1999. Eagleton, Mary. Working with Feminist Criticism. Oxford: Blackwell, 1996. Gamble, Sarah, ed. The Routledge Companion to Feminism and Postfeminism. London: Routledge, 2001. Hanson, Clare, ed. Re-reading the Short Story. New York: St. Martin’s, 1989. Moi, Toril. Sexual/Textual Politics. Feminist Literary Theory. London: Methuen, 1985. Ruth Robbins, “Feminist Approaches.” in Literary Theories, edited by Julian Wolfreys and William Baker, 103–126. London: Macmillan, 1998. Showalter, Elaine. A Literature of Their Own. Princeton: Princeton University Press, 1977.

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Categories: British Literature , Gender Studies , Literary Terms and Techniques , Literature , Queer Theory

Tags: Alice Walker , and George Eliot , bell hooks , Brontës , Chandra Talpade Mohanty , Elaine Showalter , Elizabeth Gaskell , Ella D'Arcy , Ellen Moers , Feminism , Feminism and literary criticism , Feminism and Literary Theory , Feminist literary criticism , Feminist Literary Criticism Analysis , Feminist Literary Criticism history , feminist literary critics , Feminist literary theory , feminist movement , Gayatri Spivak , George Egeron , Key works by Feminist Literary Critics , major Feminist Literary Critics , Mary Elizabeth Braddon , Vernon Lee

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Feminist Theory and Critical Theory: Unexplored Synergies

Although both feminist theory and critical theory focus on social and economic inequalities, and both have an agenda of promoting system change, these fields of inquiry have developed separately and seldom draw on each other’s work. This paper notes areas of common interest. It assesses the validity of critiques of feminist theory, such as claims that it focuses on privileged women and does not challenge existing hierarchical arrangements. Because these critiques do not accurately describe much of contemporary feminist scholarship, this paper argues that synergies between critical theory and feminist theory could and should be explored.

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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.

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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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Feminist Literary Criticism

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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

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The Oxford Handbook of Feminist Philosophy

The Oxford Handbook of Feminist Philosophy

Kim Q. Hall is Professor of Philosophy and a faculty member of the Gender, Women’s, and Sexuality Studies Program at Appalachian State University. She is the guest editor of New Conversations in Feminist Disability Studies, a special issue of Hypatia: Journal of Feminist Philosophy (2015); editor of Feminist Disability Studies (Indiana University Press, 2011); and coeditor of Whiteness: Feminist Philosophical Reflections (Rowman and Littlefield, 1999). Her research focuses on topics at the intersections of feminist philosophy, disability studies, and queer theory. She is currently working on a book titled Queering Philosophy.

Ásta is Professor of Philosophy at San Francisco State University. She works in feminist philosophy, metaphysics, and social philosophy and on related topics in epistemology and philosophy of language. She is the author of Categories We Live By: The Construction of Sex, Gender, Race, and Other Social Categories (Oxford University Press, 2018). Her website is astaphilosophy.com.

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This exciting new Handbook offers a comprehensive overview of the contemporary state of the field. The editors’ introduction and forty-five essays cover feminist critical engagements with philosophy and adjacent scholarly fields, as well as feminist approaches to current debates and crises across the world. Authors cover topics ranging from the ways in which feminist philosophy attends to other systems of oppression, and the gendered, racialized, and classed assumptions embedded in philosophical concepts, to feminist perspectives on prominent subfields of philosophy. The first section contains chapters that explore feminist philosophical engagement with mainstream and marginalized histories and traditions, while the second section parses feminist philosophy’s contributions to with numerous philosophical subfields, for example metaphysics and bioethics. A third section explores what feminist philosophy can illuminate about crucial moral and political issues of identity, gender, the body, autonomy, prisons, among numerous others. The Handbook concludes with the field’s engagement with other theories and movements, including trans studies, queer theory, critical race, theory, postcolonial theory, and decolonial theory. The volume provides a rigorous but accessible resource for students and scholars who are interested in feminist philosophy, and how feminist philosophers situate their work in relation to the philosophical mainstream and other disciplines. Above all it aims to showcase the rich diversity of subject matter, approach, and method among feminist philosophers.

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feminist critical perspective essay

Feminism, Capitalism, and Critique

Essays in Honor of Nancy Fraser

  • © 2017
  • Banu Bargu 0 ,
  • Chiara Bottici 1

Department of Politics, New School for Social Research, New York, USA

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Department of Philosophy, New School for Social Research, New York, USA

  • Offers contributions from leading thinkers across disciplines of philosophy, political science, sociology, gender studies, and economics
  • Examines the work of Nancy Fraser, one of the most prominent critical theorists today, through meditations on such themes as capitalism, feminism, and modalities of critique that have defined her research trajectory
  • Presents original analyses of the role of women, gender, and sexuality in the recent capitalist crisis

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feminist critical perspective essay

Subject and Research in Global Capitalism: Some Notes on the Fundamentals of Feminist and Marxist Theories on the Frame of Intersectionality

feminist critical perspective essay

Neoliberal Capitalism: An Ally for Women? Materialist and Imbricationist Feminist Perspectives

feminist critical perspective essay

From a Theory of Justice to a Critique of Capitalism: How Nancy Fraser Revitalizes Social Theory

  • Frankfurt school
  • civil disobedience
  • redistribution
  • recognition
  • participation
  • intersectionality
  • public sphere
  • counterpublics
  • neoliberalism
  • subjectivity
  • externalities

Table of contents (15 chapters)

Front matter, introduction.

  • Banu Bargu, Chiara Bottici

From Socialist Feminism to the Critique of Global Capitalism

  • Richard J. Bernstein

Debates on Slavery, Capitalism and Race: Old and New

  • Robin Blackburn

Feminism, Capitalism, and the Social Regulation of Sexuality

  • Johanna Oksala

Capitalism’s Insidious Charm vs. Women’s and Sexual Liberation

  • Cinzia Arruzza

The Long Life of Nancy Fraser’s “Rethinking the Public Sphere”

  • Jane Mansbridge

Feminism, Ecology, and Capitalism: Nancy Fraser’s Contribution to a Radical Notion of Critique as Disclosure

  • María Pía Lara

Recognition, Redistribution, and Participatory Parity: Where’s the Law?

  • William E. Scheuerman

(Parity of) Participation – The Missing Link Between Resources and Resonance

  • Hartmut Rosa

Curbing the Absolute Power of Disembedded Financial Markets: The Grammar of Counter-Hegemonic Resistance and the Polanyian Narrative

  • Alessandro Ferrara

Hegel and Marx: A Reassessment After One Century

  • Axel Honneth

Crisis, Contradiction, and the Task of a Critical Theory

  • Rahel Jaeggi

What’s Critical About a Critical Theory of Justice?

  • Rainer Forst

Beyond Kant Versus Hegel: An Alternative Strategy for Grounding the Normativity of Critique

Nancy fraser and the left: a searching idea of equality.

  • Eli Zaretsky

Back Matter

Editors and affiliations.

Chiara Bottici

About the editors

Banu Bargu is Associate Professor of Politics at the New School for Social Research, USA.  She is the author of  Starve and Immolate: The Politics of Human Weapons  (2014), which received APSA’s First Book Prize given by the Foundations of Political Theory section and was named an Outstanding Academic Title for 2015 by Choice.

Chiara Bottici is Associate Professor of Philosophy at the New School for Social Research, USA. She is the author of  Imaginal Politics: Images beyond Imagination and The Imaginary  (2014),  A Philosophy of Political Myth  (2007), and  Uomini e stati. Percorsi di un'analogia  (2004), which was published in English as  Men and States  (2009). 

Bibliographic Information

Book Title : Feminism, Capitalism, and Critique

Book Subtitle : Essays in Honor of Nancy Fraser

Editors : Banu Bargu, Chiara Bottici

DOI : https://doi.org/10.1007/978-3-319-52386-6

Publisher : Palgrave Macmillan Cham

eBook Packages : Political Science and International Studies , Political Science and International Studies (R0)

Copyright Information : The Editor(s) (if applicable) and The Author(s) 2017

Hardcover ISBN : 978-3-319-52385-9 Published: 03 August 2017

Softcover ISBN : 978-3-319-84893-8 Published: 03 August 2018

eBook ISBN : 978-3-319-52386-6 Published: 24 July 2017

Edition Number : 1

Number of Pages : VIII, 323

Topics : Political Theory , Democracy , Feminism , Critical Theory , Political Philosophy , Political Sociology

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