A CRITICAL HISTORY
and Jane Eyre
WHAT IS FEMINIST CRITICISM?
Feminist criticism comes in many forms, and feminist critics have a variety of goals. Some have been interested in rediscovering the works of women writers overlooked by a masculine-dominated culture. Others have revisited books by male authors and reviewed them from a woman's point of view to understand how they both reflect and shape the attitudes that have held women back. A number of contemporary feminists have turned to topics as various as women in postcolonial societies, women's autobiographical writings, lesbians and literature, womanliness as masquerade, and the role of film and other popular media in the construction of the feminine gender.
Until a few years ago, however, feminist thought tended to be classified not according to topic but, rather, according to country of origin. This practice reflected the fact that, during the 1970s and early 1980s, French, American, and British feminists wrote from somewhat different perspectives.
French feminists tended to focus their attention on language, analyzing the ways in which meaning is produced. They concluded that language as we commonly think of it is a decidedly male realm. Drawing 460
WHAT IS FEMINIST CRITICISM-
on the ideas of the psychoanalytic philosopher Jacques Lacan, they
reminded us that language is a realm of public discourse. A child enters the linguistic realm just as it comes to grasp its separateness from its mother, just about the time that boys identify with their father, the family representative of culture. The language learned reflects a binary logic that opposes such terms as active/passive, masculine/feminine, sun/moon, father/mother, head/heart, son/daughter, intelligent/ sensitive, brother/sister, form/matter, phallus/vagina, reason/emotion. Because this logic tends to group with masculinity such qualities as light, thought, and activity, French feminists said that the structure of language is phaUocentric: it privileges the phallus and, more generally, masculinity by associating them with things and values more appreciated by the (masculine-dominated) culture. Moreover, French feminists
suggested, "masculine desire dominates speech and posits woman as an idealized fantasy-fulfillment for the incurable emotional lack caused by separation from the mother" (Jones, "Inscribing," 83). French feminists associated language with separation from the mother. Its
distinctions, they argued, represent the world from the male point of view. Language systematically forces women to choose: either they can imagine and represent themselves as men imagine and represent them (in which case they may speak, but will speak as men) or they can choose "silence," becoming in the process "the invisible and unheard sex" (Jones, "Inscribing" 83).
But some influential French feminists maintained that language only seems to give women such a narrow range of choices. There is another possibility, namely, that women can develop a feminine language. In various ways, early French feminists such as Annie Leclerc, Xaviere Gauthier, and Marguerite Duras suggested that there is something that may be called I'ecriture feminine: women's writing. More recently, Julia Kristeva has said that feminine language is "semiotic," not "symbolic." Rather than rigidly opposing and ranking elements of reality, rather than symbolizing one thing but not another in terms of a third, feminine language is rhythmic and unifying. If from the male perspective it seems fluid to the point of being chaotic, that is a fault of the male perspective.
According to Kristeva, feminine language is derived from the preoedipal period of fusion between mother and child. Associated with the maternal, feminine language is not only a threat to culture, which is patriarchal, but also a medium through which women may be creative in new ways. But Kristeva paired her central, liberating...
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