* EAGLETON, TERRY. SECTIONS IN “PSYCHOANALYSIS” “POLITICAL CRITICISM” and afterwords LITERARY THEORY: AN INTRODUCTION OXFORD BLACKWELL. 1996.
* SHOWALTER, ELAINE. @FEMINISM and LITERATURE”. LITERARY THEORY TODAY. EDS. PETER COLLIER AND HELGA GEYER RYAN>CAMBRIDGE: POLITY P. 1990. pg 179-202.
* THE MARXIST-FEMINIST COLLECTIVE. FROM 2WOMEN WRITING: JANE EYRE, SHIRLEY, VILLETTE, AURORA LEIGH2. IDEOLOGY AND CONSCIOUSNESS, 3(1978): pg 30-35. Reprinted in MODERN LITERARY THEORY: A READER 2nd edition. PHILIP Rice and Patricia Waugh . London : Edward Arnold, 1989. pg 102-107.
Q1) The MARXIST-FEMINIST COLLECTIVE, in the extract from their “WOMEN WRITING:JANE EYRE, SHIRLEY, VILLETTE, AURORA LEIGH”. identify one of the diffeicult negotiations faced by Feminist critics working in VICTORIAN period to locate authors such as the BRONTE’s or JANE AUSTEN as ‘women novelist’s, not simply novelists, runs the risk of reproducing a ” gender criticism” which subsumes their texts into the “sexually-defined personality of its author, and thereby threatens to obliterate [their] literarity2. On the other hand, to pass over the ideology of gender ignores the fact that the “conditions of literary production and consumption are articulated, in the VICTORIAN period, in crucially differen ways for men and women”
What is at stake in this negotiation? do you think it is possible to discuss the works of writers such as Jane Austen without considering the position as a woman i a partriarchal society? Do you think that you could discuss the work of a modern female writer without considering gender?
Q2) In her article”FEMINISM and LITERATURE” ELAINE SHOWALTER admits that ‘no one, including myself, speaks for feminist criticism”. As SHOWALTER goes on to suggest, FEMINISM has drawn on a diverse range of critical tools, including cultural anthropology, linguistics, psychoanalysis, marxism, deconstruction, semiotics and discourse theory. FOR THOSE 3 REFERENCES THAT WAS ASK TO BE USED FOR THESE QUESTIONS PAYING PARTICULAR ATTENTION TO THE INFLUENCES THAT HAVE SHAPED THE INDIVIDUAL APPROACHES OF EACH CRITIC. DO THEY HAVE ANY ELEMENTS IN COMMON? WHAT COULD BE SAID TO UNITE THESE WRITERS WITHIN A COMMON THEORETICAL FRAME?
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