女性主义批评 英语版

Feminist Criticism:
Feminism criticism is a product of the feminist movement. It is a criticism focus on the woman’s point of view. It tries to revise the books which are criticized and understood by male authors. Since the early 1970s three strains of feminist criticism have emerged which can be categorized as French, American and British.
French feminists tend to focus on the language and analyzing the ways in which meaning is produced. It absorbed some ideas of psychoanalytic philosopher Jacque Lacan and paid more attention on the women writing. The French feminists told us that the language is a realm of public discourse and the language is associated with the separation of the mother. The female can write something they image like the male while they cam also write something in silence a represent of it called Kristeva who associates feminine writing with the female body. Many other critics also join her idea such as Helene Cixous who alos points out the essential relationship between the woman’s body and women’s writing. Luce Lrigaray finds the connection between women’s sexual pleasure and women’s language.
American feminist has some similarities with the French Feminist in interest and distrust of the concept of feminine writing. But the difference is the American feminist critics began by analyzing literary texts rather than philosophizing abstractly about language. Kate millet, Carolyn heilbrun, and Judith Fetterley created a mode called “the feminist critique”of “male-constructed literary story”. And other critics created other different modes such as “gynocriticism”, whose purposes are well-known women writers, rediscover women’s history and culture and discover neglected or forgotten women writers. Showalter’s historical approach to women’s culture allows a feminist critic to use theory on nonfeminist disciplines. The debate within American feminism is the question of whether feminism wakens of fortifies itself by emphasizing its separateness.
British feminist tend to emphasis on the culture and popular art. They think that American opposition to male stereotypes that denigrate women has often led to countstereotypes of feminine virtue that ignores the real differences of race, class and culture among women. The British feminist theory emphasizes an engagement with historical process in order to promote social change.
Feminist perspective
I see turn of the screw as an exemplar of the problematic nature of feminine representation and feminine subjectivity. This story is written by a male novelist whose narrator is a young woman but her narrative is retold by a man called Douglas. By reading this text we can find in the prologue part there are three narrators, those are the author, Douglas and the governess. Finally, the feminine teller is constructed as an inferior narrator by James’s reflection. The feminine teller is double buried: the first is by James and later by Douglas and the narrator within the tale itself. This kind of situation leads to the distance between the feminine teller and readers then her “I”becomes less commanding. As a result, this text effectively dramatizes the disenfranchisement of feminine subjectivity.
Victorian women were not speakers and they were not generally thought of thinking, felling subjects with desires but, rather the objectives of male desire. If they did be viewed to have their own desires they were thought of as lunatics or whores because their desires were associated with sexuality whereas sane and legitimate women were not sexual beings. In Victorian culture, the women belonged to three categories those are pure and asexual mother, having sexual inclinations lunatics or whores. The young governess is a single woman who were born in a parson’s family and served as a mother substitute; while because she was young ad naturally had the sexual desires.
In this text the “male gaze”which “serves as a maker of sexuality and control”insofar it makes a person to be a “spectator” not a “ spectacle” the young governess is just a victim of her master’s gaze as well as a victim of her imagined male gaze. All the things that the governess had done were just for her master and she wanted to be watched by him. She fell in love with her master at the first sight and worked, lived under the master’s gaze. It is the main source of her allusion. Quint’s figure highlights the governess’s sexual implication and emphasizes her possession of a potentially dangerous sexuality.
The last part is about the figure of Mrs. Gross and Miss Jessel. Mrs. Gross is a proper feminine character and a representation of material. On the country, Miss Jessel was considered improper and a portrait of a woman fallen. She is a warn for the governess because the governess thinks that if she had some improper relationship with men then her future would be more worse than Miss Jessel. Then in such a situation the little girl Flora was in the battle of these three women: the asexual mother Mrs. Gross, the sexual whore role played by Miss Jessel and unformed special figure the governess. Finally, Flora tends to the familiar figure Mrs. Gross and the governess did her best to win the Miles in the battle with Quint.。