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Feminist literary theory essay
Feminist literary criticism an introduction summary
Feminist literary theory essay
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In her essay “Gender” Myra Jehlen analyze the concept of gender in relation to literature. She explores the notion of sexual identity, specifically conceptions of masculinity and femininity. She first expresses two different ways of thinking about the nature of gender: as natural or as cultural. After introducing readers to these two major perspectives, Jehlen discusses the relationship of gender and sex. Ultimately, through her examination of the ideology of gender, Jehlen represents gender as a performance, which she both emphasizes and rationalizes through her reading of Huck Finn. In introducing readers to the nature/nurture debate of gender, Jehlen supports the Nurture side. She explains that the dominant view of gender is that it is natural (264). This essentialist view holds that gender is “rooted in biology”, that it is inherent (264). In contrast, there is an alternative perspective (i.e. nurture) that has been gaining popularity. This view holds that gender is not biologically based, but rather it is a cultural construct that is socially learned (264). In other words, gender is a category and the characteristics attributed to this social category are culturally/socially defined. Speaking in the context of literature, Jehlen states that “the character conventionally assigned men and women in novels reflect history and culture rather than nature . . . [they] are neither timeless or transcendent” (264). In other words, conceptualizations of gender in literature are situated in a culture and historical context ; the context out of which a work of literature emerges molds the interpretation of gender in that work. Given that literature is a form of symbolic culture, that it has culture within it as much as... ... middle of paper ... ...hink more critically about gender when reading literary texts, for them to also come to find new and unobvious definitions/conceptualizations of gender. Jehlen does not only call into question conceptualizations of gender. She offers a fresh perspective on the concept, arguing that gender is a cultural performance. Her careful reading of this scene from Huck Finn, examining of an array of gender related dichotomies (nurture/nature, culture/nature, man/woman, masculine/feminine, etc.) and Huck’s identity in flux demonstrate her argument. Her argument for gender as a performance offers a new conceptualization of the term/concept, and it also helps to show that the concept is indeed relevant to texts that are not commenting directly on gender (such as Huck Finn). Overall, Myra Jehlen’s representation of gender adds a new layer to the conversation on gender.
For centuries women have been perceived as overshadowed figures who remain in a separate sphere from men. The term “separate spheres” refers to the distinct, conventional characteristics associated with gender differences. The public sphere of men is associated with commerce whereas the domestic sphere for women is linked with the household. However, there is more than just one perspective on feminism. The feminist view is influenced by three main voices: the French, American, and British. French feminists focus their attention on language; American feminists analyze the literary aspects; and British feminists examine the historical processes (Murfin 296-299). Using these perspectives, we can see the oppression of women conveyed in many different texts throughout literature and in history. Mary Shelley’s Frankenstein, for instance, exhibits not only a feminist view in the text, but also in society during Shelley’s time period as displayed by her negotiations with the separate spheres. Voltaire’s Candide also conveys powerful gender differences and reveals the oppression of women throughout the novel. Therefore, a correlation can be seen between the view of women in the two novels and how it reflects the culture and time period in which the novels were written.
For readers who observe literature through a feminist lens, they will notice the depiction of female characters, and this makes a large statement on the author’s perception of feminism. Through portraying these women as specific female archetypes, the author creates sense of what roles women play in both their families and in society. In books such as The Grapes of Wrath by John Steinbeck and The Great Gatsby by F. Scott Fitzgerald, the roles that the main female characters play are, in different instances, both comparable and dissimilar.
...socially directed hormonal instructions which specify that females will want to have children and will therefore find themselves relatively helpless and dependent on males for support and protection. The schema claims that males are innately aggressive and competitive and therefore will dominate over females. The social hegemony of this ideology ensures that we are all raised to practice gender roles which will confirm this vision of the nature of the sexes. Fortunately, our training to gender roles is neither complete nor uniform. As a result, it is possible to point to multitudinous exceptions to, and variations on, these themes. Biological evidence is equivocal about the source of gender roles; psychological androgyny is a widely accepted concept. It seems most likely that gender roles are the result of systematic power imbalances based on gender discrimination.9
Gendered strategies, in the criticism of early fiction, made feminine fiction incapable of excellence. By using conventional heterosexual relationships in their prefaces, authors only succeed in supporting the masculine control over fiction. The appraisals women gained only reinforced their inferior status. "Criticism placed female authors in a specific and confined critical sphere, while it located male authors in an other, more respected field" (375). By aligning their works with popular male literature, women inadvertently strengthened male authority. Women were only granted recognition in terms of their limited social stature. It is these gendered values and strategies that makes the history of the novel and feminine achievement difficult to assess.
Reading literature, at first, might seem like simple stories. However, in works like William Faulkner's “A Rose for Emily,” Katherine Mansfield's “Miss Brill,” and Kate Chopin's “The Storm,” the female protagonists are examples of how society has oppressive expectations of women simply because of their gender.
Gender roles are not the product of innate biology; They are formed based on the cultural and societal beliefs that surround an individual during their development. These factors play a very important role in gender identity, and often lead individuals to believe in stereotypical representations of gender identity such as gender roles. The way in which these cultures interpret the expression of gender identity heavily impacts the way an individual chooses to express themselves.
It has long been debated whether there is a difference between sex and gender, and if so, what that difference is. In recent years it has been suggested that sex is a purely biological term, and gender is socially constructed, or defined and enforced by society. Sex is assigned at birth based on the genitalia, and usually, gender is determined by the sex. If parents are told their baby is a girl, they will reinforce traditional female stereotypes for her whole life. Society and peers will also help to reinforce her gender as she begins to spend more time outside of her immediate family. In this way, gender is a process, whereas sex is simply a static characteristic based on one’s physical appearance. The more dynamic process of gendering, however, defines “man” and “woman,” teaches one to see and internalize what is expected from one’s gender, and to act according to those expectations (Lorber 2006).
In “The Gender Blur: Where Does Biology End and Society Take Over?” Deborah Blum states that “gender roles of our culture reflect an underlying biology” (Blum 679). Maasik and Solomon argue that gender codes and behavior “are not the result of some sort of natural or biological destiny, but are instead politically motivated cultural constructions,” (620) raising the question whether gender behavior begins in culture or genetics. Although one may argue that gender roles begin in either nature or nurture, many believe that both culture and biology have an influence on the behavior.
One of the most fascinating elements that female authors bring to light is their use of perspective—something that’s most commonly illustrated through the eyes of a man, a male author, or, more often than not, both. Women writers offer a different voice than their male counterparts, even if it’s simply by the subtle inclusion of their own experiences within the narrative of the central character. With that in mind, the question must be asked—how do these female authors present their male characters? It’s common for male authors to stick to stereotypes and caricatures of the women they include in their works; but do female authors choose to follow this style as well? How do they represent the “modern man” within their texts? Through Woolf’s
In A Room of One's Own the narrator begins an exploration of women in literature. She attempts to answer many questions regarding women. The first being why is literature about women written by men. She also critiques the scholarship of the great men of literature.
Throughout American Literature, women have been depicted in many different ways. The portrayal of women in American Literature is often influenced by an author's personal experience or a frequent societal stereotype of women and their position. Often times, male authors interpret society’s views of women in a completely different nature than a female author would. While F. Scott Fitzgerald may represent his main female character as a victim in the 1920’s, Zora Neale Hurston portrays hers as a strong, free-spirited, and independent woman only a decade later in the 1930’s.
Allen defines gender and distinguishes it from sex throughout the chapter. Initially this was a topic I didn’t understand enough to have an opinion on, but after analyzing the text I’ve found that I agree with her in this respect. She also discusses dominant value systems relating to gender, which I decided to focus the majority of my essay on. _________________ The final section dealt with the research and emotions associated with communicating gender, which I had an opportunity to do myself in this essay. I hope that my summarization of Allen’s work and description of personal experiences can reinstate Allen’s thesis/project/thoughts: gender
In contemporary society, many social issues involving gender still prevail today and influence many of our everyday life choices, from what one wears, the jobs one pursues or how one may think. In this essay, the issues being discussed involve the importance associated with gender, essentialism and deviance around gender inequality.
The affective element of a gender role ideology is described as one’s attitude or feeling toward an individual based on their sex alone. This outlook is known as sexism. The cognitive component of our view toward gender roles is explained as “our beliefs about the features of the biological or psychological categories of male and female” (Helgeson, 2017, p.10). Finally, the behavioural piece of a gender role ideology is recognized as sex discrimination, which “involves the differential treatment of people based on their biological sex” (Helgeson, 2017, p.
“We have been very conditioned by the cultures that we come from and are usually very identified with the particular gender that we happen to be a member of.” This quote by Andrew Cohen explains partially how gender identity develops, through the conditioning of our environments. The most influential factor of gender development, however, is still a very controversial issue. An analysis of the gender identification process reveals two main arguments in what factor most greatly contributes to gender development: biology differences (nature) or the environment (nurture).