Feminine Writing Research Articles

Feminine Writing in Toni Morrisons Sula

Toni Morrisons Sula vividly depicts the struggles of black women against patriarchy in a black community in Ohio from 1919 to 1965. The three female characters Sula, Hannah and Eva are studied through the lens of feminism in this paper. In fact, writing about their sexual experiences proves to show the essence of feminine writing. It can be explained by Hlne Cixous theory in which she argues that women must write about women on the basis of their bodily experiences and speak for themselves. As a result, the explicit expressions of female desires, vivid narrations of female sexuality as well as the careful descriptions of female body based on the three characters experiences ultimately contribute to reveal female voice from womans perspective, liberate womens body and therefore break the phallocentric discourse. The paper then serves to combine the theory and practice and at the same time helps enrich the understanding of feminine writing.

Feminine Writing of Murasaki Shikibu and in The Tale of Genji

Murasaki Shikibu is one of the most famous court lady writers, or Feminine Hand, in Heian Japan. Her work The Tale of Genji, usually interpreted as revealing womens sufferings, needs an alternative explanation with a new eye. That is, a feminist voice must exist at that time, as well as unconscious feminist awareness. They have already begun to explore love, desire, and pleasure for themselves. They were even eager to express themselves in their language system, and, most importantly, they were successful in doing it. Helen Cixouss ricture Fminine theory from The Laugh of Medusa provides a new lens to look through Murasakis era and the Genji. Indeed, Murasaki can be regarded as a medieval feminist who voiced her thoughts on gender inequality in a new language system. The characters she created are individualized rather than generalized. Murasaki, a representative of many other female writers, heralded an era of female writing and entered the canon of world literature: use her body to write and never stop exploring womens own galaxy.

“Feminine Writing” in Oranges Are Not the Only Fruit

Oranges Are Not the Only Fruit is a semi-autobiographical novel written by British author Jeanette Winterson. The novel narrates the growth story of Jeanette, a girl who gradually finds her own identity under the religious oppression brought by her mother and the church. This thesis is an analysis of how the author Jeanette embodies feminine writing in the novel. To clarify the definition of feminine writing, this thesis mainly borrows the viewpoint of “feminine writing” put forward by Hélène Cixous, a representative of the Western feminist criticism of the French realm. From the “male writing” represented by the Bible to the contradiction between the protagonist and her mother, the author deconstructs and debunks the binary opposition of male centrism, and then creates an unrestricted feminine discourse. Eventually, the author completely breaks free of the patriarchal and religious oppression and manages to reconstruct her subjective identity. The importance of female self-consciousness is conveyed through feminine writing in the hope that readers can boldly question and resist male authority.

Feminine Writing as Seen by Zinaïda Gippius

The paper examines the question of Zinaïda Gippiusʼ attitude to women's literature in the context of her views on the possibility of constructing female creative subjectivity. The article, based on the analysis of critical articles by Gippius, reveals her attitude to the work of women writers, her contemporaries, in terms of the genuine realization of female subjectivity in literature, on a par with male creativity and without imaginary opposition to it. The analysis is based on the material of literary criticism by Zinaïda Gippius of the works of Liudmila Vilkina, Ekaterina Bakunina, Lidia Zinovieva-Annibal, Poliksena Solovieva, Marina Tsvetaeva, Anna Akhmatova. At the end of the paper, it is noted that Gippius recognizes the presence of literary talent for women, but its implementation is questioned.

A GLIMPSE ON FEMININE WRITING

The paper attempts to explore the nuances and the influence of socio cultural environment on feminine writing. The paper refers to the select literary works unearthing feminine consciousness. The paper also vividly expounds the theory of Masculine and feminine language in Indian and English literature. Women writers are placed in the peripheral position and the feminist critics like Helen Cixous attempts to deconstruct the male centric discourse by motivating women writers to write more of them. Women no more engage in subservient role and the present scenario witness a considerable rise in their status at the professional level. While perusing the history of women literature the theories on feminist writings are discussed. The language flow in women writings is gauged to affirm the power of women in the realm of language and literature amidst social and cultural pressure. Feminine language reflecting the socio cultural situation and the feminist theories that emerged to propel and motivate feminine writings are explored in the paper. Changes are ineluctable that affects the society and the writings of women mirror the culture of the contemporary society. The mind set and language behavior of the people are interrelated that have a major impact on the society. Hence the paper registers the perceptions of male critics on women literature.

여성적 글쓰기와 공동체 윤리학: 홀리 휴즈의 자전적 공연을 중심으로

여성적 글쓰기와 공동체 윤리학: 홀리 휴즈의 자전적 공연을 중심으로

Elizabeth Josceline’s Mothers Legacy as a Feminine Writing

Elizabeth Josceline’s Mothers Legacy as a Feminine Writing

Following the Traces of Feminine Writing in Adrienne Rich’s Poems

The phallogocentric structure of language privileges the male in construction of meaning throughout the patriarchal history which allows no place for feminine writing. Opposing what Lacan calls as phallogocentric discourse, poststructuralist feminists exhort to what Cixous terms as “ecriture feminine” as the inscription of female difference in language and text. Therefore, viewing women's difference as a source (of imagery) rather than a point of inferiority to men, Rich rediscovers female experiences in her poems through using “ecriture feminine” and thus exhibits the productivity and plurality of women’s language. Hence, the present study, looking from the perspective of Cixous’s “ecriture feminine,” aims at analyzing female modes of writing in Rich’s poems. The main finding of the research is that, through using genuine female forms of expression as opposed to phallogocentric structure of expression, Rich brings into being the symbolic weight of female consciousness, illustrating the oppressive forces that obstruct female expression.

Elements of Feminine Writing in Sepedeh Shamlu’s Novel Sorkhi-e-to az man (“Your Redness Is Mine”)

Elements of Feminine Writing in Sepedeh Shamlu’s Novel Sorkhi-e-to az man (“Your Redness Is Mine”)

욕망의 주체되기: 『뜨겁고 고동치는』에 나타난 여성적 글쓰기

욕망의 주체되기: 『뜨겁고 고동치는』에 나타난 여성적 글쓰기

Feminine Writing: Text as Dolls, Drag and Ventriloquism

This article provides a case study of feminine writing, including the production of text in the form of a series of three dolls. It seeks to broaden ideas about what is acceptable as research including notions of ‘data’ and representation. To do this it employs the written word, but includes fiction, asking if this is ‘fictional truth’. The article considers the position of women in organizations through the creation of three rag dolls which represent the author's experience of women in organization. This is followed by three fictional ‘interviews’ with the dolls in which they describe their experiences of organizing and being organized in a gendered world. The paper ends with a reflection on the usefulness and validity of this arts methodology and outlines the feminist critique of organizations and organizing that the method reveals. I describe this as feminine writing because it troubles or queers conventional academic writing by producing a text (the dolls and the fiction) which is rich in embodiment and affect, and which has a feminist project: that of exposing the myriad ways in which women and organizations may be seen (and are seen in this article) as incompatible.

Organizing Love — Thoughts on the Transformative and Activist Potential of Feminine Writing

This paper engages with what it means to write love and poses the question: what does love do for feminine writing? I move beyond the concept of love as an ideology or condition of work (such as ‘for the love of the job’) and draw on a feminine poetics of organization that highlights its disruptive potential. Love, in this sense, breaks the rationality and order of the ‘masterful’ text and alters gendered academic writing. The power of writing with love and effecting change in organizations is developed through a discussion of three feminist writers. The paper explores three significant texts, Kristeva's Tales of Love; Irigaray's The Way of Love; and hooks’ All About Love, in order to examine the problematic representation of love and to advocate a turn to an ethics of love as a basis for self‐other relations that points us to defiant, activist and transformative forms of feminine writing. These writers bring to bear practical politics and possibilities through political interruption — namely through three modes: reconstruction, reclamation and activation, and I discuss the implications of these modes for work and organization, notably that writing and thinking the wisdom of love offers insight into how we creatively imagine socially just organizations of the future. © 2015 John Wiley & Sons Ltd

Compositional and Critical Strategies for Feminine Writing in Performance

This essay celebrates the script and performance of Experiments in Écriture Féminine as markedly feminist acts that ground disciplinary conversations of adaptation and composition in the female body and in feminine form(s). This essay also argues that how these performance texts are composed and adapted are explicitly political, strategic, and feminist concerns that eschew masculinist preoccupations with order, linearity, and objective meaning.

Feminine Writing of Organizations

Feminine Writing of Organizations

From Ru Se to Za Zhong —— On Zhou ren Ling’Construction and Deconstruction of Feminine Writing and It Variation

From Ru Se to Za Zhong —— On Zhou ren Ling’Construction and Deconstruction of Feminine Writing and It Variation

Helene Cixous: writing and sexual difference

General Editor's Preface Acknowledgements Introduction PART I: WRITING AND SEXUAL DIFFERENCE Poetry and Politics: Cixous and her Critics The Major Concepts PART II: UNDOING THE LAW Feminine Writing and Sexual Difference: James Joyce The Moment of the Third Body: Virginia Woolf and The Waves Libidinal Education: Lispector and Cixous The Question of Transgression: Angela Carter PART III: WRITING, THEORY, AND BEYOND Where Do We Go From Here? (Moving Towards Freedom) Notes Annotated Bibliography Bibliography Index

Feminine Writing Within the Hybrid Cultural Context — A Comparative Study of Overseas Chinese Women Writings

Feminine Writing Within the Hybrid Cultural Context — A Comparative Study of Overseas Chinese Women Writings

¿Escriptura femenina?: les canto i les celebro

This article has been written throughout many days and many (or, perhaps, not so many) different readings. It tries (as earnestly as possible) to explore some aspects of what is called (and what it should be?) feminine writings, showing some of their features and problematizing some topics around them. As the question does no allow a straight answer, the article is divided into sections that presents different typologies of feminine writing, and it also includes several notes which can be read simutaneously with the article or after reading the article, as they comment on or elaborate different questions dealt with in the article itself.

The Three Faces of June: Anais Nin's Appropriation of Feminine Writing

The Three Faces of June: Anais Nin's Appropriation of Feminine Writing

A Stepmother Tongue: "Feminine Writing" in Assia Djebar's Fantasia: An Algerian Cavalcade

A Stepmother Tongue: "Feminine Writing" in Assia Djebar's Fantasia: An Algerian Cavalcade