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Sidebars: Anthony On the Subject Of. Victoria Lewes, 1 November Hester Lynch Thrale. Louis Margaret Fuller Society. Nell, On the Subject Of. Elizabeth Cady Stanton Overviews.

Topic: Ultimate Guide to Sandra Cisneros: Books, Book Articles, Book Chapters

Emma GoldmanGeneral Commentary. Margaret SangerFurther Reading. Eleanor Roosevelt the Committee of the Judicary of the Kate Millett Clare Boothe ship with Susan B. Excerpt Luce The Revolution. Carrie Chapman Catt Alice PaulPrincipal Works. The Pankhursts. Rebecca WestTitle Commentary. Harriot Stanton Blatch Ida B. Isak Dinesen Amy Lowell Indira Gandhi On the Subject Of.

Ntozake Shange The Little On the Subject Of.

Feminist Criticism - One Approach to Literature

Angela Carter Review. Elizabeth Bowen On the Subject Of. Grace Paley Muriel Rukeyser On the Subject Of. Alice Childress Colette On the Subject Of. Gloria Naylor Susan Glaspell On the Subject Of. Paula Gunn Djuna Barnes On the Subject Of. Germaine Greer Susan Faludi Principal Works. Gloria Steinem General Commentary. Betty Friedan Further Reading. Shirley Chisolm Sidebars: Bella Abzug excerpt from Anna Akhmatova: A Naomi Wolf Erica Jong Emma Studies on Writing as an Art, The Feminist Sidebars: Interest in H. Susan On the Subject Of. Connia A. Stories of Troy.

Susan Friedman, excerpt from Her People, Patraka,Author Index. Florence Howe, Introduction.

Women's and Gender Studies

The Golden Note- Title Commentary. Margaret Further Reading. Minot, Further Reading. Vincent Millay, From the Author: Excerpt from journal Primary Sources. David St. When I was a girl, I would go to the library the goal of social justice. When people in the FOREWORDwith my class, and all the girls would run to the United States speak of feminism, they are oftenNancy Drew books, while the boys would head referring to the mainstream liberal feminism thattoward the Hardy Boys books—each group drawn grew out of the relationship between grassrootsto heroes that resembled themselves.

Mainstream liberal femi-universal, and more valuable.

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Teachers and profes- nism helped many women achieve more equitysors told me this in such seemingly objective in pay and access to a wider range of careers whilelanguage that I never questioned it. Overall, I had no reason to ques- opposition between work and home, and fortion the values I had been taught, until I encoun- creating the superwoman stereotype that cantered feminism. The study of woman and works taught in my classes, I began to explore the gender as image then has contributed much to images of women as constructed by male authors. As a new Ph. And I found I was right to looking at women largely through male eyes did be skeptical.

Then you tell me if there were any of themselves. The book was the these early critical readings, even when including Norton Anthology of Literature by Women , both male and female authors. Also, she was disturbed by its In A Room of Her Own , Virginia Woolf focus on content rather than on how the text is asks the same questions.

She sits, looking at her written—the form, language, and literary ele- bookshelves, thinking about the women writers ments. Moi and others argued for the develop- who are there, and the ones who are not, and she ment of new feminist critical methods. Other writers answered her call. Often times,Atlantis. Such a quest tends to search for similari- this approach valued content over form, and theties among writers to attempt to prove the tradi- forms that were included did not differ much fromtion existed, but this can sometimes obscure the the canon they were reacting against.

These criticsdifferences among women writers. Rather,feminist literary criticism inadvertently mirrored texts that differ greatly began to be valued equallythe exclusionary structures of the canon they were for different reasons. In order to do this, criticsrevising. Instead, they exchanged the structure oftion, a lost motherland of language, in not only value from one pyramid with a few writers at thewhat was written but also how it was written: in a apex for one with multiple high points, a modelfemale language or ecriture feminine.

The model functioning in many past criti-Julia Kristeva, and Luce Irigaray argued that cal dialogues allowed for little diversity, privileg-gender shapes language and that language shapes ing one type of literature—western, male, linear,gender. Creating hierarchies of valueitself. Challenging the existence of the canoncourse of the academy that is male? FOREWORD Another problem is that the tradition that was simply add the women from non-western literary being recovered tended to look most like the crit- traditions into existing western timelines, catego- ics who were establishing it.

Literature Virtual Reference 1

Black Women and such as Gayatri Chakravorty Spivak, Ann DuCille, Feminism argued that academic feminism and Teresa Ebert argue post-colonial and transna- focused on the lives, conditions, histories, and tional critics have created yet another master nar- texts of white, middle-class, educated women. Yet, before the Such writers revealed how the same methods of westernness of this new, transnational narrative canon formation that excluded women were now can be addressed, critics need to be able read, being used by white feminists to exclude women discuss, and share the global texts that are now of color.

They also highlighted the silencing of being translated and published before we can do black women by white women through the as- anything else; therefore, this reclaiming and sumption that white womanhood was the norm. But it is only an early step in the continual cana, Native American, Asian, Jewish, lesbian, speak, react, revise pattern of feminist scholarship.

In that way, we could better examine they were still imposing the same structures of female-authored texts in relationship with male- tradition formation on new groups of women authored texts, and, thus, end the tendency to writers, still looking for the lost Atlantis. As Western feminist critics also began looking for Kathryn R.

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Now, however, all these and Transculturation as a potential model stages are occurring at the once. Reviewers decide who gets feminism? That being gendered is a text that canattention by reviewing them. Editors and publish- be read, interpreted, manipulated, and altered.

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That feminisms themselves are texts written byAnd librarians decide what books to buy and to real people in actual historical situations, and thatkeep on the shelves. That femi-to generation, these groups keep our cultural nism is forever growing and changing and rein-memory.

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  • Therefore, we gatekeepers, who are venting itself in a continual cycle of statement,biased humans living in and shaped by the intel- reaction, and revision. Each edition of GCCC was designed to meet the research needs the GCCC is created as a stand-alone set provid-of upper high school and undergraduate students. Topics covered are based on feedbackfrom a standing advisory board consisting of refer- Editions within the GCCC are either single-ence librarians and subject specialists from public, volume or multi-volume sets, depending on theacademic, and school library systems.

    The of the authors and literary works. The genre and publication date of footnotes and lists of abbreviations. Essays are each work is given. Topic entries commonly begin with general surveys of the subject or essays Feminism in Literature, the third set in the Gale providing historical or background informa- Critical Companion Collection, consists of six tion, followed by essays that develop particular volumes. Each volume includes a detailed table of aspects of the topic. Unsigned criti- antiquity through the 18th century. It consists of cism is preceded by the title of the source in three topic entries, including Women and Wom- which it appeared.

    In the case the Middle Ages, and seven author entries on such of excerpted criticism, only those footnotes women writers from this time period as Christine that pertain to the excerpted texts are in- de Pizan, Sappho, and Mary Wollstonecraft. Volumes 2 and 3 focus on the 19th century.

    Volumes 4, 5, and 6 focus on the essay is being reprinted in its entirety. Also located entry and provides social and historical infor- here are any name variations under which an mation important to understanding the criti- author wrote. If the author wrote consistently cism. The list is divided tion. Uncertain birth or death dates are indi- into alphabetical sections by name; works cated by question marks.

    The the most important works by the author. The Author Index also includes birth and death dates genre and publication date of each work is and cross references between pseudonyms and given.

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    A tion. The Primary Sources sec- of works written by the authors featured in tion includes letters, poems, short stories, volumes 1 through 6 and provides page numbers journal entries, novel excerpts, and essays or page ranges where commentary on these titles written by the featured author. General Com- can be found. English career and general studies; Title Commentary translations of foreign titles and variations of titles includes in-depth analyses of seminal works are cross-referenced to the title under which a by the author.

    Within the Title Commentary work was originally published. Unsigned criticism is preceded by the title of the source in which it appeared. All The Subject Index includes the authors and titles by the author featured in the text are titles that appear in the Author Index and the Title printed in boldface type. The Subject Index also of works are indexed.