studies courses offered in colleges across the country. It came about as a direct result of the politicization of professional literary scholars as the new feminist movement began to emerge in the late 1960's and early 1970's. who had jobs teaching in colleges and universities had been teaching traditional the way it had been taught to us in graduate school. We taught the standard canon of English and American poetry, fiction, and drama, and reiterated the literary judgments that had been assigned to these works. This meant accepting without question the male view of what women are or should be as well as who were the significant writers and even definitions of what is and is not literature itself. Thus we taught Margot Macomber as a classic Hemingway bitch and Chaucer's Griselda as the ideal, patient wife; accepted without question Jocasta's decision to sacrifice her child because of the prophecy that he would kill his father; and condemned Clytemnestra for her unforgiving nature. For these views, and for not rocking the academic boat generally, many of us were rewarded with degrees, jobs, and promotions. But women English teachers are women as well as teachers, and we could not help responding to the political climate around us. Two important books, both published in 1970, permanently changed my life and, I suspect, also changed the lives of many other academic women. Robin Morgan's Sisterhood is Powerful is still the classic women's liberation anthology; it is as alive and urgent as it was ten years ago. It led me to reexamine my personal life and to try to find a consciousness raising group in my neighborhood. Kate Millett's Sexual Politics had more significance to English teachers than to other women: it showed us a new way to look at and a new way of teaching it, as well as a new way of seeing ourselves in the class structure of he academy. As Sexual Politics made clear, all of could be reviewed and reinterpreted from a feminist perspective. I wanted to apply this exciting insight to my teaching. I discovered that other women had had similar ideas and had developed Women in courses. syllabi for these courses were collected by Know, Inc. (they are now collected by Feminist Press). So I was able to see actual working syllabi and course outlines and to model the outline for my course on them. This subsequently became an important point in trying to sell my course to my English Department Curriculum Committee. I felt that I was not alone in my approach, and the English Department felt that it was not going out too far on a limb. They approved the course, but too late for it to be listed in the preregistration offerings. I was warned by my dean that unless it could get the minimum of fifteen students at registration, the course would be canceled. In spite of these warnings, however, Women in Literature, first offered at William Paterson College in Spring 1972, turned out to be a huge success. I used as the basic text Mary Anne Ferguson's newly published Images of in Literature (which I ordered sight unseen from Houghton Mifflin and which is now about to go into a third edition). In the text Ferguson tries to uncover social and emotional stereotypes of women and organizes her material by these stereotypes. Her chapter headings are: The Submissive Wife and Feminine Mystique, The Mother: Angel or Mom, The
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