... a Diffrence Is There in Degree”: Aernilia Lanyer and the Aims of Feminist Criticism Lisa Schnell ne of the most dramatic changes to the Renaissance canon has 0been the inclusion of women, both as they are represented (or not represented) in work by male writers and, more significantly...

... writer and a feminist critic. Copyright © 2019 by University of Washington 2019 Nancy Armstrong Michel Foucault feminist criticism D esire and Domestic Fiction took Jane Eyre away from me. That was disappointing. In the wake of Nancy Armstrong’s anatomization of that novel’s...

... the other’s plight? Can we talk when one of us is silent or silenced? Kaplan interrogates representations of conversation, or at least the search for conversation, and examines the ways that feminist critics have read those conversations. She argues that in these texts women are unable to engage...

... provisional our models of women’s past have been because they have had to be. The work of recovery and reassessment essential to any re-vision of women’s intellectual ancestry is still so much in progress that most feminist critical generalizations about tradition and the female talent have necessar...

.... With the success of what Elaine Showalter called “gynocriticism” (a term that no longer seems Culler “Feminism in Time”: A Response 181 timely),3 there seems to be less valuable and neglected work by women to discover, and the productive tasks for a feminist criticism focused on the past...

... by African-American women have delineated black feminist thought.’ While many of them espouse black feminist literary critical perspectives, attention to literary expression by African-American women perhaps constitutes their only common characteristic. They represent a range of critical approaches...

... effects achieved in this col- lection: the writer is at once an analyst of culture, an advocate of (some kind of) feminist politics, and a maker of a cultural artifact that blurs the line between fiction and criticism. Consider, for instance, Rachel Blau DuPlessis’s use of “chapter” headings recalling...

... Gubar, “What Ails Feminist Criticism?” Critical Inquiry 24 (1998): 878–902; and my response, “What Ails Feminist Criticism? A Second Opinion,” Crit- ical Inquiry 25 (1999): 362 –79. 168 MLQ March 2004 to have not only my thought but thought unhinged from...

... in criticism, tells us how these representations have overflowed the text, and how they have reflected the ideological character of their times, erupting as debates between dominant and feminist views in periods of gender crisis and redefinition” (91). Showalter’s recourse is thereby clear. First, the previous...

... arising from the essentialized depths of the self. Such was the state of Bronte criticism when feminist critics Sandra Gilbert and Susan Gubar entered with The Madwoman in th Attic. How, if at all, did feminist criticism in its formative years change the doc- trine of experience? Gilbert...

... Armstrong’s book appeared, novel criticism was burgeoning and innovative. Those new studies in the 1980s took inspiration from the rise of feminist scholarship and also from the theory movement. Feminism and theory, separately and together, began to transform the perspectives and protocols of literary history...

... Mill in chapters 3 and 4. In the last chapter there is a suddenly feminist critic who challenges the ideol- ogy of the historical narrative to which the book’s central section is devoted. All of this may make hard going for a reviewer seeking coherence, but I do not offer these observations...

... and subjectivity has increased the density and subtlety of the discussion, which has as much to do with psychology as with literature. They order such matters differently in France, and transatlantic communication among feminist critics has become famously problematic: people here M’ ho celebrate...

... of Frankfurt school theorists on the part of American poststructural and feminist critics. One hopes that our limited access to Eng- lish translations of German critics who have further developed the paradigm of Adornian and Benjaminian aesthetic theory will be rectified in the near future...

... begins with an extended dip cussion of Virginia Woolf, who has become perhaps the dominating pres- ence in the feminist critical project of redefining modernism. In a fascinat- ing analysis of her daring revisionary approaches to history, Gilbert and Gubar recognize how much the attempt...

... instance of genuine romantic fiction in England. Such recent revisions of this reception history as have occurred can be credited largely to feminist critics, whose excavatory work has demonstrated the variety and influential vitality of works by women authors during this period...

... was regarded as critically important to women. The first girls’ school was established in Shanghai in 1897. However, educa- tion was limited to urban women from a bourgeois or “respectable” family background. This was partly responsible for the “middle-class,” urban nature of the initial feminist...

.... The extreme isolation of Lucy Snowe at the end of Villelte is acknowl- edged, but is taken at its best as a state that satisfies the heroine’s need for self-preservation. Nestor is with the majority of feminist critics in finding Eliot rather too bleak in her estimate of women’s prospects, too...

... definition of New Historicism, which Wyrick expressly endeavors to dissociate from ideological criticism. Marxist and feminist critics of eighteenthcentury texts who use the New Histori- cism, she complains, tend to produce “implausible readings”: . . . the strength of [feminists...

... embedded in and so responsive to each other that they are not in fact opposed? Perhaps most important, why does McGann set aside cultural studies and feminist criticism on the basis of their ten- dency “to look for value in the moral qualities that can be found in the works” (5)-a characterization...