Género y Literatura

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1. Adrienne "Women-centred" Gender Difference theorist and poet who sees lesbians as having more in common with other women
Rich than with men. She outlines what she called a "lesbian continuum" which suggests that the experiences of heterosexual
(1929) women and lesbians are not as distinct as heterosexist and patriarchal society presumes. In her work she focuses upon
what is common to women, what is shared between women, and how this is different from men.
"Women-centred" Gender Difference feminism has been strongly contested, because it is viewed as reflecting conservative
popular ideas about the immutable and unitary nature of men and women. Social constructionists asserted that the point
was not whether men and women are different, or whether common positive features of womanhood may be discovered,
but the main emphasis is put on power. Difference is not the cause of social discrimination but rather arises from it.
This author has written directly and overtly as a woman, out of a woman's body and experience, for to take women's
existence seriously as theme and source of art was something she had been hungering to do, needing to do, all her writing
life. [Beasley, Norton]
2. "African- Narratives of black women's lives when black women no longer live their lives in cultures dominated by a white, male
American "norm," and when black women are free to write their own stories. As male critics long condemned women's writing for not
women's being, in essence, "male," so white critics have long castigated black authors for writing in ways that defy white critics'
writing" expectations about what is important. However, many black women writers of working-class experiences, or from "outside"
the English language, are marginalized within the already marginal category of black women. The impact of these black
women writers was largely made by black women themselves, while black male authors tended to deny a connection to
those who came before them. So, black women writers felt the need to challenge even the developing male voices, as they
did not represent the wide experiences and ideas of black women. The importance of teaching black women's writing in the
academic curriculum is growing day by day. But problems of race and representation, appropriation and interpretation
persist. In teaching about and studying African-American women's fiction, it is important that we remember the dynamics of
race and class, as well as gender in the classroom. [Goodman]
3. Alfred, Name of the author of the poem "The Lady of Shalott".
Lord
Tennyson
4. Alfred, Identify the author of this extract and its title:
Lord "A bowshot from her bower eaves,
Tennyson, He rode between the barley sheaves.
'The Lady The sun came dazzling thorough the leaves,
of Shalott' And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight forever kneeled
To a lady in his shield,
That sparkled on the yellow field,..."
5. Alice Name of the author of the novel 'The Color Purple'.
Walker
6. Alice Many of Walker's characters become adept in the new cultural language of Black Arts and black power to which the author
Walker herself contributed as a young writer. The Color Purple (1982), her famous third novel, centres on a strong woman with a
and 'The need to write and a love of creative work; a woman who comes to know herself better as she learns to use language on her
Color own advantage. She makes her strongest narrative statement, formulated as it is from what she calls a "womanist" (as
Purple' opposed to a strictly feminist) perspective. This approach draws on the black folk expression "womanish", which in a
mother-to-daughter context signifies a call to adult, mature, responsible (and courageous) behaviour. Such behaviour is
beneficial to both women and men, and is necessary, in Walker's words, for the survival of all African Americans by keeping
creativity alive. In the novel, the protagonist's ability to write letters gives her the possibility to express herself and act
successfully in order to obtain the status of an individual in the world.
Throughout her career, Walker speaks for the need for strength from African American women, and her writing is ever
conscious of providing workable models for such strength to be achieved. In The Color Purple she represents more
prosperous black women than were usually represented in fiction. [Norton, Goodman]
7. Andrea Rita She was an American radical feminist and writer best known for her criticism of pornography, which she argued was
Dworkin linked to rape and other forms of violence against women, and for statements that were interpreted as claiming that all
heterosexual sex is rape, an interpretation she rejected. An anti-war activist and anarchist in the late 1960s, this author
wrote 10 books on radical feminist theory and practice. During the late 1970s and the 1980s, she gained national fame
as a spokeswoman for the feminist anti-pornography movement, and for her writing on pornography and sexuality,
particularly in Pornography: Men Possessing Women (1981) and Intercourse (1987), which remain her two most widely
known books. She teamed with legal scholar Catharine A. MacKinnon to advocate for having pornography ruled a
violation of women's civil rights. Their crusade began on behalf of Linda Lovelace, the porn actress who starred in Deep
Throat.
While teaching together at the University of Minnesota, this author and Catharine MacKinnon conceived of an anti-
pornography ordinance that did not ban flesh magazines and videos but enabled those "harmed" by them to sue
pornographers for damages. The measure twice passed the Minneapolis City Council but was vetoed by the mayor.
Other communities approved the measure, but federal courts ruled the laws unconstitutional on free speech grounds,
decisions upheld by the U.S. Supreme Court. This author argues that pornography enacts women's object status -that is,
it shows that women are to be used as things and is meant to show that they enjoy pain, humiliation and dominance.
8. Androcentric A view of theory that is male-centred. Focused or centred on men. [Beasley, Encarta]
9. The Angel in Term adopted and updated by Virginia Woolf from a long narrative poem by Coventry Patmore. Woolf's use of the term
the House referred to the idealized "feminine" figure who sacrified her creative self for domestic harmony.
10. "An A poem by Charlotte Perkins Gilman that can be read as a piece about the "obstacles" of gender stereotypes and
Obstacle" prejudices which blocked the progress of women writers for so long. The narrator and author of the poem has
experienced a lack of cooperation and support from the social world, characterized by "Prejudice." Gilman shows women
striving to move ahead, patriarchal attitudes standing in the way. "Prejudice" faces all writers who do not conform to
some "norm" of acceptability or importance. The author recognizes the joy of moving beyond an obstacle, whether
personal or general. [Goodman]
11. Anon Anonymous. In a famous quotation, Virginia Woolf emphasizes that many women wrote in previous generations, but that
social factors to do with gender kept many writers "anonymous," hidden, silenced or otherwise excluded from the
"canon." [Goodman]
12. "A Room of Virginia Woolf wrote this essay taking into account the relationship between form, function and gender. Her concern is
One's Own" with the real conditions which long kept women from writing. She reckons that women need financial security and space
with "gender to write fiction, that is, marriage. However, marriage is neither a sufficient nor a necessary condition for women's
on the creative writing. They need genius developed with education and the freedom to write. [Goodman]
agenda"/The
public
versus the
private
13. Art and life During the first two thirds of the nineteenth century art for a woman practitioner was thought to be destructive. In Aurora
in nineteenth Leigh Browning lets us see how Aurora claims that art and fame are no substitute for life itself. Concentrated on her art,
century Aurora feels that she has denied herself a woman's true life. However, Browning demonstrated that the two could be
poetry combined as reading and writing involved escape from a cage, the cage in which brainy women were placed by a
combination of patriarchal authority and Evangelical property. Thus, at the end of the poem, Aurora acquires a husband
on her own terms and controls the relationship.
The Lady in Tennyson's "The Lady of Shalott" is at work weaving representations of life. She is cut off from the joys of
the world and cursed to emerge into life only at the cost of her own death. [Goodman]
14. 'Aurora The title of a novel in verse published in 1856 by Elizabeth Barrett Browning in which the poem's narrator succeeds in
Leigh' writing professionally and feels that art and fame are no substitute for life itself.
15. 'Aurora Readers were scandalized with its masculine wordliness as Elizabeth Barrett deals with subjects such as socialism,
Leigh' with rape, prostitution and "high society" viewed satirically, which female poets were not supposed to handle. [Goodman]
"gender on
the agenda"
16. Bachelor Positive masculine category set against feminine equivalents like "spinster." "Buddy" from brother is also a good thing in
opposition to "sissy" derived from sister. [ Beasley]
17. bell (Please notice that bell hooks has consciously chosen to write her name without capital letters). Gloria Jean Watkins (1962),
hooks better known by her pen name bell hooks, is an American author, feminist, and social activist. Her writing has focused on
the interconnectivity of race, class, and gender and their ability to produce and perpetuate systems of oppression and
domination. She has published over thirty books and numerous scholarly and mainstream articles, appeared in several
documentary films and participated in various public lectures. Primarily through a postmodern perspective, hooks has
addressed race, class, and gender in education, art, history, sexuality, mass media and feminism. Her work has ranged
over time from a Modernist Difference focus on Identity towards more Postmodern influenced concerns with
diversity/multiplicity rather than overly unified and positive conceptions of identity. Her early work is Modernist-oriented. She
focuses on a critique of Feminism as largely a white feminism. However, from the late 1980s onwards, hooks increasingly
outlines a more broadly postmodern interest in acknowledging differences within "race" (African-American) identity as well
as with gender identities. This inclination can be seen in her discussion of heterosexism in the black community and her
critique of black "macho" men. hooks both asserts and criticizes identity-based politics at various points, thereby suggesting
ways in which the divide between the Modernist and the Postmodernist frames of reference may be seen as by no means
impermeable. Her location on terms of politics appears at the crossing of race/ethnicity and gender approaches and directs
a high degree of criticism to the black community in the USA. hooks is highly critical of "women-centred" accounts in which
feminism becomes a means to talk only of gender and hence to erase racialised difference. Hence, her work may be located
as attending to (multiple) Differences in this case those associates with race and gender.
hook's sense of the invisibility of black women's experience, in both Feminism and writings on race/ethnicity (race/ethnicity
theorising includes consideration of indigenous peoples, immigrant populations and the diasporas created by slavery and
forced labour), fuels a stance highly reminiscent of Sojourner Truth (well-known in anti-slavery circles, she was born a slave
and gained freedom in 1827). Truth's famous phrase "Ain't I a woman" sums up precisely hooks' initial analysis of Western
feminist theory as she starts her writings from a marginalized position as a black woman. hooks points out the ways in which
black women in the USA are excluded and are oppressed inverting what she sees as white feminist claims to offer an
authentic voice of oppression as women. She establishes black women's authenticity, their right to speak in terms of
suffering/oppression, initially by a rejection of the notion of a common bond between women -that is, a rejection of the
"women-centred" feminism. Despite her antagonism to the "women-centred" Gender Difference feminism associated with
standpoint theory (you see differently depending on your standpoint in society and this has consequences for politics), she
employs the logic of this theory to develop a view that black women can offer the most profound insights to a feminist politics
since they experience the greatest levels of oppression. hooks inverts what she sees as the condescension of white
feminists who seem to believe that they can provide black women with the correct thinking and strategy, by presenting black
women as constructing a more genuinely resistant politics out of their gender, more real oppression. Like Sojourner Truth,
she converts invisibility into presence.
hook's later books in the 1990s and 2000s on black representations and audiences in film and on black masculinity in many
ways contains the early concentration upon privileging or giving voice to a marginalised "race" identity. These later works still
focus on the political prospect of uniting black men and women in overthrowing oppression. She retains an optimistic
unambiguous certainty regarding her political mission which may be said to be characteristic of a Modernist perspective.
She assumes that she knows the true path to political change on the basis of her oppressed political identity. In 1993, in an
exchange with Naomi Wolf, she declares against bourgeois feminists and asserts that Feminism is a revolutionary "Left-
wing" struggle which is not a women's movement alone. hooks notes the need for African Americans to sometimes withdraw
into separatist support activities as a sign of "positive self-care." In Black Looks (1992) and We Real Cool (2003), she
discusses the dangers of a women-oppressive masculinity, dangers to both men and women. In her recent books on love All
about Love (2000), Salvation (2001) and Communion (2002), she castigates black men like Collin Powell as supporting white
supremacy. hook's politics is a celebration, an invitation to connect with others by offering a call to solidarity.
18. Betty Together with Gloria Steinem (1934), also in the USA, and Beatrice Faust (1939) in Australia, this thinker exemplified the
Friedan new Liberal feminism. Born in the 1960s and 1970s, she can be inserted in the second wave of Liberal feminism, which
denounced that women remained confined to the domestic sphere and continued to be discriminated against, not only on the
basis of merit but also on the basis of their sex. [Beasley]
19. Black It is a Modernist variant of REI feminism that offers a decidedly expanded version of the positive re-evaluating of
feminism women/feminine in the Gender difference approach in that it offers a positive re-evaluation of black/ethnic minority/Third
World women. There are indeed strong connections between women-centred "standpoint theory" associated with Nancy
Harstock and the largely Modernist "black feminist" standpoint approaches of writers like Patricia Collins and bell hooks.
20. Black The First Black Renaissance (formerly called the 'Harlem Renaissance' or the 'Negro Renaissance') can be identified as
Renaissance beginning in the mid-1920s. Though it was centered in the Harlem neighborhood of New York City, many French-
speaking black writers from African and Caribbean colonies who lived in Paris were also influenced by the Harlem
Renaissance. The Negro was placed, for a time, at the heart of a national myth and dramatized a self-image at odds with
that offered by American society as an adequate account of black life. This phenomenon appeared at a time of rapid
cultural change and literary development, much as the 1970s were for women writers. The 'Second Black Renaissance'
is a term used to describe a later flowering of work by African-American writers, and other people of colour in North
America. It began with the writings of Richard Wright, author of many key works including Uncle Tom's Children (1938)
and Native Son (1940), and led to a rapidly growing body of literature by people of colour, including many women writers.
[Goodman]
21. Black Term used to describe an extraordinary flowering of work by African-American writers, and other people of colour in
Renaissance North America. It began with the writing of Richard Wright, and lead to a rapidly growing body of literature by people of
colour, including many women writers.
22. Carol "Women-centred", Gender Difference theorists concerned with promoting a "care ethic" in society. They argue that
Gilligan, women's intimate connection with others, especially as experienced in their social responsibility for children, suggests a
Sara better model of self and of social relations than Liberal competitive individualism. [Beasley]
Ruddick and
Virginia Held
23. Catharine A well-known American feminist, scholar, lawyer, teacher and activist, specializes in sex equality issues under
Mackinnon international and constitutional law. She pioneered the legal claim for sexual harassment and created ordinances
recognizing pornography as a civil rights violation, along with the late Andrea Dworkin, a leading figure in the feminist
anti-pornography movement. The Supreme Court of Canada has largely accepted her approaches to equality,
pornography, and hate speech. On a recent trip to New Delhi, she spoke on the issues of prostitution and sex inequality,
saying that sex inequality in all its forms should be abolished step by step, not tolerated by law. Representing Bosnian
women survivors of Serbian genocidal sexual atrocities, this author won
with co-counsel a damage award of $745 million in August 2000 in Kadic v. Karadzic, which first recognized rape as an
act of genocide. The Supreme Court of Canada largely accepted her approaches to equality, pornography, and hate
speech.
24. Chandra A prominent postcolonial and transnational feminist theorist. She became well-known after the publication of her
Talpade influential essay, "Under Western Eyes: Feminist Scholarship and Colonial Discourses" in 1984. In this essay, the author
Mohanty critiques the political project of Western feminism in its discursive construction of the category of the "Third World
woman" as a homogenous entity. She states that Western feminisms have tended to gloss over the differences between
Southern women, but that the experience of oppression is incredibly diverse, and contingent on geography, history, and
culture.
25. Charlotte The U.S. author of the nineteenth century short-story about madness and the confinement of a woman in a room as
Perkins metaphor for female domination by a patriarcal order at a psychological, physical and social level in the historical period
Gilman in which it was written.
26. Charlotte Name of the author of the short story "The Yellow Wallpaper".
Perkins
Gilman
27. Charlotte Identify the author of this extract and its title:
Perkins The colour is repellent, almost revolting; a smouldering unclear yellow, strangely faded by the slow-turning sunlight.
Gilman, 'The It is a dull yet luric orange in some places, a sickly sulphur tint in others.
Yellow No wonder the children hated it! I should hate it myself if I had to live in this long room.
Wallpaper'
28. Christina Name of the author of the poems 'Goblin Market' and "In an Artist's Studio".
Rossetti
29. Domestic The term alludes to traditional representations of women's roles in the home, and then with reference to the feminist
fiction writing which challenged and continues to challenge such traditions. [Goodman]
30. Domestic The role of creative writer may sometimes still come into conflict with the traditional roles of mother, lover, wife, or even
writing vs teacher and friend. Such writers as the Brontës or Jane Austen were able to transcend the limitations of the domestic by
domestic writing about them (writing as creative work and as paid work, of marriage as a trade, domesticity and creativity, femininity
lives and form or gender and genius). Writing, even about domestic themes, is not the same as living a domestic life; the writing
either gets in the way of or takes the place of the domestic to some extent, for better or worse. Cicely Hamilton and George
Eliot disdained the domestic ideal for women while recognizing their awkward position as female writers living and working
in that grey area. [Goodman]
31. Drama Is the form of literature written for performance.
32. e.e. Name of the author of the poems "the boys i mean are not refined" and "Buffalo Bill".
cummings
33. Elaine An American feminist author that established the term "gynocriticism" to study the literature about and by women.
Showalter
34. Elizabeth Name of the author of the poems "To George Sand" and 'Aurora Leigh'.
Barrett
Browning
35. Elizabeth Name of the author of the poem "The Gentleman of Shalott".
Bishop
36. Elizabeth Along with other post-Lacanian writers of "Sexual Difference", she focuses upon the problem of the masculine norm which
Grosz equates difference with inferiority. She does not intent to reverse the masculine-centre/women-periphery dichotomy or the
Modernist Gender Difference approach that aims to "put women in the centre," but to deconstruct centres. Her intention is
to enable recognition of the materiality of sexual difference. She advocates what she calls "corporeal feminism" and is
inclined to assert that there is not just one form of body/self but at least two. She notes the content of the body itself and
suggests that the body cannot be reduced to the social. Her corporeal emphasis on "sexual difference" insists that specific
body forms are part and productive of meanings. The sexually specific body is the material through which the social can
come into being. Her intention is to incorporate the interrelationship between bodily and social in her analysis, rather than
merely focusing on the social as the term "gender" is inclined to do. She opposes Marilyn Butler's concern with the term
gender as insufficiently attentive to the specific and embodied character of the sexually differentiated power and calls for
alternative strategies which acknowledge the ongoing complexities of difference between men and women. She asserts
that women cannot be confined to the position of man's deficient "other" and that the bodies of women contribute
alternative possibilities.
37. Emily Identify the author and missing words in the lines of this poetic fragment:
Dickinson; Much__________ is divinest Sense-
Madness; To a discerning Eye-
Madness Much Sense-the starkest_________
38. Emily Gender is relevant to the study of Dickinson's poetry, even if it is not a central theme of the poet's. She was always in touch
Dickinson with the major concerns of other women's writers, her reading of literature, her personal experiences and lack of them.
with Poem 280 covers a theme in much women's writing―rationality and madness. It represents the poetic persona's fight
"gender between rationality, faith and knowledge. The narrator closes herself/himself to common people and open herself to faith.
on the The author suffers from a mental breakdown which points out to a new kind of perception beyond reason which makes the
agenda" lyrical self enter into an imagined individual reality.
In poem 486 her image of herself as slight is more metaphorical than a physical description. The narrator discloses the
guarded and secretive idea of a persona embarrassed by the noise and triviality of shared community; one who therefore
depicts herself living most enjoyably and creatively at night or just before sunrise. Her existence is preserved and, like the
poem itself, literally, formed by her nocturnal acts of composition. She may be the least member of the family but has been
chosen "to catch the Mint."
With poem 435 Dickinson is telling us that it is better to be masters of our own decision than to worry about what society
accepts. With madness you can reject social views and become dangerous.
Poem 1737 involves indignant repudiation to the state of wifehood and the women's entrapment in a cage of domesticity
which might derive from Dickinson's complex relationship with her sister-in-law. By keeping her secrets bandaged, she
displays the fierceness of her feelings. [Goodman, Widmer, Farr]
39. Female What is sewing the metaphor for in such works as "The Lady of Shallott" and "The New Dress"?
Creativity
40. Female Term named by Judith Halberstam offers "gender variance" and sexual dissidence. A masculinity without men or male
Masculinity bodies, clearly undermines the myth of masculinity as the promise of social privilege and authority, and extends even
further the critique of Masculinity Studies offered by gay and REI masculinity writers by refusing to accept any naturalized
basis for manhood or indeed, more controversially or necessary connection between masculinity and power. This is a term
that recognizes the whole history of transgender persons rather than a final outcome, unlike transsexual histories which
often render invisible early parts of the story (their sex/gender designation at birth) to become "real" men or women.
41. "Female A term coined by Hélène Cixous to refer to women's writing, which derives from women's unique experience. [Goodman]
writing"
("écriture
feminine")
42. A In the Times Literary Supplement (1923), Virginia Woolf decided that her contemporary Dorothy Richardson had found a
"feminine sentence that we might call the 'psychological sentence' of the feminine gender. It was a woman's sentence, but only in
sentence" the sense that it is used to describe a woman's mind by a writer who is neither proud nor afraid of anything that she may
discover in the psychology of her sex. [Goodman]
43. Feminism A recognition of the historical and cultural subordination of women and a resolve to do something about it. The advocacy
of women's rights on the ground of the equality of the sexes. It is a critical theory that refuses what it describes as the
masculine bias of mainstream Western thinking on the basis that this bias renders women invisible/marginal to
understanding of humanity and distorts understandings of men.
44. Feminism The issue of rights for women first became prominent during the French and American revolutions in the late eighteenth
century. [Goodman, Drabble, Beasley, Oxford]
45. Feminism It is a critical stance that decentres the assumptions of the mainstream in terms of centre (men)/periphery (women). For
the Feminists the notion of woman is placed centre stage.
46. Feminism Feminism has widely been associated with Modernist thinking, if those types of feminism that began in the second wave
and of the 1960s and 1970s offer a weaker Modernism. Liberal and Marxist feminisms, which began in the eighteenth and
Modernist nineteenth centuries and continue to the present day, are strongly attached to Modernism. Liberal feminism is often seen
thinking as synonymous with feminism per se.
Modernism in the West has involved two major traditions: the individualist tradition, which followed Hobbes, Locke, Kant,
Mill and Wollstonecraft, has become the mainstream "ideology" of Western capitalist societies, and the collectivist tradition
that may be linked to Rousseau, Hegel, Marx, Goldman, Kollontai and Said, which has had a greater impact in Socialist
societies. [Beasley]
47. Feminist They tend to line up together and focus on the significance of gender (sexed identities). [Beasley]
and
Masculinity
Studies
48. Feminist Feminist criticism has become a varied field of debate rather than an agreed position. Its substantial achievements are
literary seen in the readmission of temporarily forgotten women authors to the literary canon in modern reprints and newly
criticism commissioned studies by feminist publishing houses such as Virago (1977) and the Women's Press (1978), in anthologies
and academic courses. [Goodman, Drabble]
49. Feminist The growth of (_____________) has helped us to study gender as it is represented in literature and other art forms. The
literary beginnings of this movement are to be found in the journalism of Rebecca West from about 1910. Early European feminist
criticism writings began with the work of Simone de Beauvoir, while Anglo-American writing is often associated with Virginia Woolf.
50. Feminist An academic approach to the study of literature which applies feminist thought to the analysis of literary texts and the
literary contexts of their production and reception. A modern tradition of literary commentary and controversy devoted to the
criticism defence of women's writing or of fictional female characters against the condescensions of a predominantly male literary
establishment.
51. Feminist The literary corpus written by contemporary women within the context of "second wave" or even "third wave" (that is,
literature current) feminist awareness. Feminist authors have a political and ideological agenda in the writing of their work. Thus,
some knowledge of the author's intentions is necessary. Literature may have a feminist impact even if its authors do not
identify themselves as feminist. [Goodman]
52. "Firing the The phrase means a revaluation of the standards by which authors and texts have been singled out and "canonized",
canon" followed by an active search for other authors and texts for inclusion. [Goodman]
53. First- The syntagm often refers to the Suffragists who believed in fighting for women's rights rallied around one central cause:
wave women's right to vote. In Britain it was not until the emergence of the suffragette movement in the late nineteenth century
feminism that there was a significant political change. It was marked by its critique of dominant Western thinking of the time, that is, its
critique of Liberalism. However, eighteenth and nineteenth-century Liberalism, though using the gender neutral language of
"humanity," "individual," and "reason," rested in practice upon a notional man and was indeed confined to men. Early Liberal
feminists proposed women's inclusion in the Liberal universal conception of a human common nature as well as a common
action political agenda. [Goodman, Encarta, Beasley]
54. First- The syntagm that often refers to the Suffragists who believed in fighting for women's rights rallied around one central cause:
wave women's right to vote.
feminism
55. Freud Sigmund Freud, the well-known Austrian neurologist, has been considered 'the father' of modern psychoanalysis. Some of
and his most relevant theories have been widely adopted by feminists because of its extraordinary account of the development
Feminism of the self. Freud is interested in how we become human, in how we develop a self. He asks not what is a woman, but how
is a woman made. Freud remarks the importance of our early years and sees children and people with psychological
problems as offering us insights into what we are and how we came into being. For him the self is multifaceted, full of
tensions and fragmented. In his view, we are not fixed creatures and, although the construction of the gendered self is
difficult to alter consciously, changing social assumptions about the centrality of men/the masculine is possible yet difficult.
That is why psychoanalytic feminists assert that Freud's approach is helpful to provide a space for change in gendered
society.
Nevertheless, most feminists are critical of aspects of Freud's work because, for him, social relations appear to flow from an
innate biological sexual hierarchy. They criticize him on the grounds that he is not simply describing how male-dominated
societies come into being, but is accepting and prescribing male dominance as the basis of all human culture and human
selfhood. [Beasley]
56. Gayatri Born in Calcutta in 1942 into a progressive, educated family, moved to the USA as a graduate student. Her work offers a
Spivak critique of Western feminism's valorization of "women," post-colonial Indian studies rewriting imperialist histories from the
viewpoint of marginalized ("subaltern"), and Marxist analysis of the working class. In these approaches, Western feminism's
"woman" is once again revealed as Euro-centric and middle-class. She makes use of a particular kind of postmodern
thinking derived from the work of Jacques Derrida, termed "deconstruction," although she reckons that Derrida is not her
prophet. She rejects any straightforward employment of categories like Third World or Women as a basis for political
change and instead pursues a more pluralistic analysis intended to overcome the dangers of identity-oriented Self/Other,
Us/Them distinctions. This author highlights the disparate, hybrid character of cultures and peoples. She exhorts Post-
colonial theorists and others concerned with political change to proceed in certain circumstances -such as in resistance
movements. Like other Post-colonial writers, this author stresses that she is attempting to avoid set categorizations which
reiterate imperialist and male-centred stereotyping while enabling an "oppositional consciousness" (Post-colonial feminists
are less inclined to jettison a positive advocacy of marginal group identities like "black" or "Third World" women entirely).
Some critics assert that her work does not hold together and is representative of the political failings of the postmodern
critique. In relation to the charge of "essentialism," This author's viewpoint suggests that, at least sometimes, it is worthwhile
and perhaps even unavoidable to risk the dangers of essentialism (gender was the essential/fundamental core to power and
presumed an essence to gender identity such that it proposed a fixed feminine way of being with a definite list of
characteristics attached to the category of "women") in order to act politically even though the limits and risks must always
be acknowledge.
57. Gayatri A very influential post-colonial feminist scholar whose works are based on postmodernism and poststructuralism originally
Spivak born in India.
58. Gender Frequently involves creating hierarchies between divisions. In modern Western societies, it usually refers to the categories
of men and women and the social practices which associate men with public life and women and domestic life. Some
commentators see it more in terms of social interactions and institutions that from groups, thus, as a structuring process.
Although it is commonly linked to notions of reproduction, some analysts reject its connection to social interpretation of
reproductive biological distinctions. [Goodman, Beasley]
59. Gender Social or cultural category based on the ways of seeing and representing people and situations influenced by sex
difference. Typically refers to the social process of dividing up people and social practices along the lines of sexed identities.
60. Gender In the nineteenth century, women and girls in fiction are occupied with certain kinds of creative work. Weaving, sewing and
and needlework represent those forms of work and a metaphor for female expression which operates on many levels
creative simultaneously. However, some other women use writing as a way to express creative freedom. That is the case of
work Charlotte Perkins Gilman who, both in her story "The Yellow Wallpaper" and in her own life, writes as a process of healing
and emotional release. She values creative freedom and intellectual stimulation over the domestic. [Goodman]
61. Gender and All writing is gendered so far as all authors use language. Language is created in so far as all authors use language, and
language language is created, spoken and written in culture, where each of us has a sex and a gender.
62. Gender and A way of texting the "gender-relevance" of a text is deciding what relationships of power and authority are conveying
language through the language and characterization of a text. Feminist commentators note that in Western thought to speak of men
is taken as speaking universally. [Goodman, Beasley]
63. Gender This movement focuses on the importance of difference between men and women. It consists of two variants, so-called
Difference "women-centred," approach which is organized, on one hand, around Identity Politics, revaluing women and, on the
Feminism other, a more Postmodern-influenced psychoanalytic approach dominated by what is often called "Sexual Difference"
feminism. The "woman-centred" approach assert that women have a common identity, which is associated with a shared
gendered oppression but is also usually seen as having positive features: women are generally more relational, more
nurturing than men. Most "women-centred" writers agree that women's common identity is not pre-given or natural, but
socially constructed and men too can take on positive "womanly" qualities and become more like women.
64. Gender Developed from the 1980s onwards, Gender Difference feminism is somewhat more sympathetic to Marxism. However,
Difference Gender difference feminists also challenged Marxism's universal claims regarding the one struggle, a singular political
feminism agenda based on a universal co-operative nature. For them, equality means sameness between men and women. They
give value to women's group identity as women. Gender difference theorists accept and celebrate difference and re-value
women and the feminine, the latter appearing as a positive reassessment of the socially marginal. Gender Difference
feminism offers a turning point for women and the feminine, highlighting a specific sense of the self and increasing an
affirmation of women and woman-to woman relationships. Freud's work is seen as useful by feminists concentrating on
gender difference because psychoanalysis argues that gender (sexual) difference is what makes the self and indeed
underpins social life. Gender difference feminists contend that sexual identities are not simply the result of social imitation
or modeling, but are far more deeply internalized into the very structure of one's identity. Feminists of difference stress
the role of the mother in the development of the self, in contrast to Freud himself who highlighted the father. However, all
psychoanalytic feminists suggest that Freud's analysis can be employed to support a positive re-evaluation of
women/femininity, despite its male focus and bias. [Beasley]
65. Gender A kind of thinking or theory belonging to the second-wave feminism that advocates the privilege of women's ways of
difference knowing, being and valuing, that is, a women's own perception of the world from which to develop literary, political and
feminism cultural theories.
66. "Gendering Female poets often write in "masculine rhyme," and male poets in "feminine rhyme." The distinction exemplifies perfectly
of rhyme" how language creates "gender." It assumes that men are stronger and firmer, women lighter and weaker. Lyric poetry
and was thought more suitable for women. The sonnet, which was developed in the Middle Ages, was a versatile medium
language suited to "lyric" expression of passion as well as to philosophical exploration and political statement and available to
nineteenth century women in Britain. Verse by present-day poets is commonly written in free forms, even with no
element of rhyme at all. [Goodman]
67. Gender in Several poems written by women between 1780 and 1830 specifically addressed the two most important political events
nineteenth of the period, the French revolution and the campaign to abolish the slave trade.
century Gender played a significant role in the poetic arguments for the abolition of slavery. The most prominent male abolitionist
poetry poets, such as William Cowper, Thomas Day or Robert Southey, tended to attack slavery as an offense against natural
law, the principle that all men and women are born equal and have certain inalienable rights. Female poets such as
Hannah Moore, Anne Yearsley, Hellen Maria Williams or Amelia Opie tended to condemn slavery because it violated the
domestic affections by separating mothers from their children and husbands from their wives and subjected black women
to sexual abuse from their white masters. [Mellor]
68. Gender, Alice is ahead of its time because it is an example of children's fiction with a female protagonist. Unlike the other
language children's stories written in the previous generation, the central character is active, inquisitive, intelligent and engaging.
and Alice's Most of the fantastic creatures encountered by Alice are gendered male and they are male for a reason: they serve a
Adventures function to do with language and power in a male-dominated world. The language of the piece and the gendering of the
in other characters in the story reveal that Alice is at odds in a male-dominated, male-controlled world. Most of the creatures
Wonderland encountered by the fictional Alice are male or endowed with masculine power and authority, often expressed through
(1865) their "mastery" of, and experimentation with language. [Goodman] By Charles L D
69. Gender, Professor Higgins undertakes his task in order to win a bet and to prove his own points about English speech and the
language class system: he teaches Eliza Doolittle to speak standard English and introduces her to a successfully social life. Eliza
and Doolittle is a woman constructed, imagistically and linguistically, by a man. The male playwright -G. B. Shaw- shows the
Pygmalion brutality of the patriarchal system of language and power which entraps her. For Eliza Doolittle language is inextricably
tied to gender and class issues. The knowledge she has acquired of language and social relations makes her enter a
new culture, a new language. Her previous ways of using language, and of seeing herself, are no longer open to her. The
political and social views of G. B. Shaw are expressed through the mouths of his characters. [Goodman, Drabble]
70. Gender, In this Victorian poem of Arthurian echoes, the Lady of the title is disempowered by language itself. She is not the
language and subject of active verbs but a passive presence in contrast with an active man and an active landscape. The word
"The Lady of "bold" is used in the poem in relation to Sir Lancelot. It is only used in relation to the Lady by way of analogy to a
Shalott" (1832) seer, gendered male. [Goodman]
71. Gender, Male power determines meaning by assuming the right to designate "correct" uses of language and rules for female
language and behaviour. The female narrator describes her feelings of frustration at being told not to write, and implicit in that
"The Yellow frustration is a desire to be the one who writes her own story, who uses language to represent her own self. Gilman
Wallpaper" is critical of Doctor John, the female narrator's husband, but her criticism is not expressed in any direct terms within
(1892) the text but through our sympathy with the confined woman. The entire narrative becomes the expression of a
stifled creative voice in the form of a secret journal. Gilman uses language to create a picture of reality: to show
what is presented as "reason" by men. [Goodman]
72. "Gender on the The process of reading with a concern for gender issues that affects the writing or reading of texts. It means paying
agenda" attention to factors such as women's relative lack of access to higher education, women lower economic status,
women's domestic responsibilities, and the conflict between nurturing roles such as motherhood and domestic work.
It involves the reader in an active process of imagination and interpretation. [Goodman, Drabble]
73. Gender The theory about the construction of gender identity that developed in the 1990s reacting to the principle of sexual
Performativity difference of identity politics and which is based on the postmodern vision, foregrounded by Judith Butler, about
(?) identity as performative.
74. Gender/Sexual The aim of Gender Difference feminists is to acknowledge difference positively by revaluing the marginal, by
Difference revaluing the feminine. Sexual Difference theorists do not assume that women have any particular qualities that can
thinking be contrasted with those of men, but revalue the Feminine as representing in cultural terms "difference" from the
(masculine) norm. By revaluing the Feminine, they envisage plurality in society.
_____________ approaches share with Feminist Identity Politics the common theme of the incommensurability of
the sexes and the importance of celebrating rather than suppressing difference in social life. [Beasley]
75. Gender/Sexual Writers such as Nancy Chodorow, Mary Daly, Carol Gilligan, and Luce Irigaray speak for an alternative worldview
Difference which recognizes and highlights difference. Like the Emancipatory feminists, they argue that universal presumptions
thinking are in fact not neutral but derived from men or notions of the masculine and constitutes women as outsiders.
76. Gender/Sexuality Includes a full range of major subfields of ________―that is, Feminist, Masculinity, and Sexuality Studies. These
Theories subfields tend to focus on only two sexes, but recently have begun to allow for more plural sexual identities. All the
subfields are characterized by an inclination to challenge the notion of a proper, appropriate, natural "norm" in
relation to gender and sexuality.
77. Gender/Sexuality ________________ and all its subfields are committed to social reform, or at least social destabilisation. The
theories subfields show a concern with some level of social change that resists the existing hierarchy of sex and power.
Beasley outlines five main directions spreading across the Modernist-Postmodern continuum that focus on the
Human -Modernist (Emancipatory/Liberationsit) feminisms-, (Singular) Difference -Identity Politics to "Sexual
Difference" feminisms-, (Multiple) Differences -race, ethnicity, imperialism and feminism-, Relational Social Power -
Feminist Social Constructionism-, and Fluidity/Instability -Postmodern feminism. Some critics have distinguished two
major groupings or standards within the field of Feminist Studies, such as "relational" and "individualist" feminisms
and "equality" and "difference" feminisms. [Beasley]
78. Gender Studies A concern with the representation, rights and status of women and men. Academic courses in sociology, history,
literature, and psychology which focus on the roles, experiences, and achievements of women in society. Teaching
programmes centrally focused on Masculinity under the rubric of gender studies also pay attention to sexuality,
while Sexuality Studies programmes discuss writers who, at the very least, debate gender matters. [Goodman,
Encarta, Beasley]
79. Genre Term used to distinguish between distinct types of writing, art or thought. The three major literary genres are poetry,
prose fiction, and drama. [Goodman]
80. "Gestalt" view of It analyses the patterns involved in reading and interpreting literature. [Goodman]
literature and
gender
81. "Girl" with Focused on domestic detail and physical appearance, this short story written by black American writer Jamaica
"gender on the Kincaid in 1978, offers a girl's perception of her place in a familiar and cultural context. This story presents two
agenda" voices, a young woman and her mother who teaches how to be a proper woman. The protagonist is in the middle of
a conflict between her view of herself and how is viewed by the others. [Goodman]
82. Gynocentric Centred on or concerned exclusively with women; taking a female (or specifically a feminist) point of view. [Encarta]
83. Harriet A white woman writer whose novel Uncle Tom's Cabin (1852) brought the experience of slaves and former slaves to the
Beecher wide public attention, in and through literature. The novel was a best seller, and her politics influenced many white
Stowe American writers such as Louisa May Alcott. She made a major contribution to the development of a black literary history
with her novel, but the fact that she was white and middle-class has been criticized as in part an appropriation of black
people's experiences, reinvented and perhaps misinterpreted by a white author. However, no one black woman author
can be seen to represent all black women either. In later novels such as The Minister's Wooing (1859), The Pearl of Orr's
Island (1862), Oldtown Folks (1869) and Poganuc People (1878), she developed the figure of an innocent young woman
whose religious intuitions resist the bookish theologies of male religious authorities. [Goodman, Norton]
84. Harry Brod A theorist born in 1951 who is widely recognized as a founding figure of the field of men's studies, also known as
Masculinity Studies, which applies theories and concepts derived from women's studies to examine men and
masculinities, and as a spokesperson for the pro-feminist men's movement.
85. Harry Brod Is widely recognized as a founding figure of the field of men's studies, also known as Masculinity Studies, which applies
(1951) theories and concepts derived from women's studies to examine men and masculinities, and as a spokesperson for the
pro-feminist men's movement. His first book was the first to carry the pluralized "masculinities" in its title. This has become
the standard scholarly convention, and his leadership is recognized in moving the field away from a monolithic concept of
"masculinity" to embrace diversity at its core, to study men and masculinities as they vary by race, ethnicity, class, sexual
orientation, religion, and other categories. This author developed a programme of study in the 1980s and writes from
within the Social Constructionist framework, adopting a broadly Socialist pro-feminist position. He is "critical of
masculinity" but sympathetic to men. Men and women are seen as separate identity groupings in a bipolar hierarchy. He
argues that Women's Studies programmes are concerned with the question of how women are socially marginalized and
have not attended to men. Thus, he recommends a focus on men which he sees as requiring the specific and separate
development of Men's Studies. Feminist writers like Joyce Canaan and Christine Griffin articulated early doubts about his
project suggesting that perhaps under the cover of a pro-feminist mission this author was reinstating men back at the
centre of the picture. Derek Nystrom comments that the men-on-men analysis at the centre of this author's account
appears as invested on traditional conceptions of masculine identity rather than strongly concerned with re-imagining it.
The author is clearly concerned about men's power over women, as is evident in his view of pornography, and on this
basis argues that men should be treated as a unitary category. Even though he is aware of the importance of recognizing
multiple masculinities, he argues that the use of the singular identity-based category "men" is politically more effective. He
insists on sympathy for men and shows and involvement with manhood and caution about criticism them.
86. Hegemonic Refers to the most valuable and most rewarded form of masculinity, which provides a widely accepted model legitimizing
masculinity masculine social dominance. [Beasley]
87. Herstory An English term introduced by feminist scholarship to refer to women's history. The expression was created to be serious
and comic at the same time since it implies a pun with which it claims women's right to rewrite history from the perspective
of female experience.
88. Identity Reflects the idea that characteristics derived from gender, race or sexuality produce a shared experience and a related
politics commonality. [Beasley]
89. "I felt a Identify the title and author of this extract of a poem:
Funeral in I felt a Funeral, in my Brain,
my Brain", And Mourners to and fro
Emily Kept treading - treading - till it seemed
Dickinson That Sense was breaking through -
And when they all were seated,
A Service, like as Drum -
Kept beating - beating- till I thought
My Mind was going numb -
90. Illona Name of the author of the poem "Ain't I a Woman?" which refers to Soujourner Truth's famous discourse.
Linthwaite
91. "In an Identify the title and author of this extract of a poem:
Artist's He feeds upon her face by day and night,
Studio", And she with true kind eyes looks back on him,
Christina Fair as the moon and joyful as the light:
Rossetti Not as she is, but was when hope shone bright;
Not as she is, but as she fills her dream.
92. 'In Search A groundbreaking non-fictional book by Alice Walker where she states the influential term of "womanist prose".
of Our
Mothers'
Gardens'
93. Jackie Kay Name of the author of the poem "The Telling Part".
94. Jacques French psychoanalyst and psychiatrist, and a contemporary interpreter of Freud's approach. His work becomes
Lacan important in Postmodern feminist psychoanalytic accounts because he replaces his biological stance with a more
thoroughly cultural perspective. He sees gender difference as a psycho-social construction, based on language rather
than on responses to literal bodily forms. [Beasley]
95. Jamaica Name of the author of the short story "Girl".
Kincaid
96. Jamaica Identify the author of this extract and its title: "... this is how to bully a man; this is how a man bullies you; this is how to
Kincaid, love a man, and if this doesn't work here there are other ways, and if they don't work don't feel to bad about giving up;
"Girl" this is how to spit up in the air if you don't feel like it;...".
97. 'Jane Eyre' The title of a nineteenth-century novel that combines elements of the gothic and the domestic. It can be read as a
narrative about gender relations and class difference. It can be interpreted as the tale of a young governess's struggles
to survive as an independent female in a conservative patriarchal culture.
98. Jane Flax Is the author of four books (Thinking Fragments; Disputed Subjects; The American Dream in Black and White;
Resonances of Slavery in Race/Gender Relations: Shadow at the Heart of American Politics) and many articles. Her
work is unusual because she goes across many disciplinary boundaries. She teaches political theory, and she is also a
psychotherapist in private practice. This author suggests the affinity between Postmodernism and Feminism in that both
forms of theorizing are concerned to deconstruct such singular explanations as the Enlightenment concept of Reason as
singular truth of Human nature and activity. She does not accept that there is something essential and common to
womanhood. Her approach is upon heterogeneous and multiple relations of power and partial vantage points, rather
than upon the shared characteristics of subordinated groupings. She has a strong interest in the interwoven connections
between gender and race and has developed a position which continues to be attentive to psychoanalytic approaches
which focus on the role of the Mother in gender identity.
99. John Name of the author of the play 'Look Back in Anger'.
Osborne
100. John Holds degrees in divinity and fine arts. He is well known as a feminist activist and author. He has written a series of
Stoltenberg books and articles criticizing traditional concepts of manhood or maleness, such as Refusing to Be a Man: Essays on
(1945) Sex and Justice" (1990), Why I Stopped Trying to be a Real Man, and The End of Manhood: A Book for Men of
Conscience (1993). He created "The Pose Workshop," which entailed men adopting the poses that women strike in
pornographic shots (intended partly for men attending Christian retreats), a version of which was broadcast on BBC
television. He was Andrea Dworkin's life partner for thirty-one years. They began living together in 1974; in 1998 they
married. He is a founder of the group 'Men Can Stop Rape' and developed the group's 'My Strength' campaign which
aims to educate young men on sexual relationships, consent and rape. He also creative-directs the group's 'My Duty'
sexual-assault-prevention media campaign, which is licensed to the Department of Defense, Sexual Assault Prevention
and Response Office. He is credited with the quote "Pornography tells lies about women. But pornography tells the truth
about men" (The Forbidden Language of Sex, 1990). This author is particularly influenced by the Radical feminist stance
of Andrea Dworkin but he is not the flavour of the month among masculinity theorists. He discusses the essential
attributes of manhood and does not associate men's categorical status with any biological or eternal differences. For him,
men do not have power in-built and links masculinity to dominance and sexual oppression in Classic Social
Constructionist terms (MS is not a territory that men can own as theirs without fear of rebuke). His Radical pro-feminism
supports the largely binary account focused on gender, and on this basis utterly disavows manhood/masculinity. He is
not especially sympathetic to progressive men but towards the women's movement, particularly its Radical feminist wing.
This author associates sexual intercourse with the enactment of male dominance. He claims that pornography actively
shapes dominance and not merely reflects it. He seems to assume that masculinity is equivalent to violence,
rape/domestic violence and violent pornography. His critics say that he fails to attend to wider social institutions of
masculinity and tends to ignore much of what occurs in the everyday lives of women.
101. Judith American theorist and Postmodernist writer (1956). Key figure in queer theory due to the book 'Gender Trouble' (1998)
Butler which argued that the idea of two biological sexes is just as socially constructed as gender is. She describes gender
identity as "performative" to stress that no interior essence, no real "self" exists.
102. Judith Butler American theorist and Postmodernist writer. Key figure in queer theory due to the book Gender Trouble (1998) which
(1956) argued that the idea of two biological sexes is just as socially constructed as gender is. Feminist discussion of men and
women as one coherent group has only served to maintain this problem. She calls for proliferation of radical gender
performances to subvert assumptions. As a Postmodern feminist, this author in some ways even goes beyond Foucalt
in their refusal of any essential, immutable, pre-existent elements of identity. She insists that the body too is a
thoroughly cultural product, such that bodily sex and anatomy itself can be seen in terms of cultural interpretations of
gender difference. In her analysis, the body is also a gendered performance which is socially constituted as the
essence of gender, as it is an untouched foundation, and is all the more culturally powerful for this interpretation as
being outside culture. In her view, socially constituted gender creates anatomical sex, rather than the other way round,
in the sense that the former makes the latter relevant in social practice. For this author, as for Postmodernist feminists,
we must not return to identity as the basis of politics. Categories like "women" delimit rather than advance resistance to
gender norms and hence can never form the basis of a feminist political movement. She works to displace norms of
identity. She describes gender identity as "performative" to stress that no interior essence, no "real" self exists.
This author says that the aim of rendering visible marginal identities is not seen as a sufficient strategy by those who
argue for this "pragmatism," since even they would wish to transform existing gender and sexuality identities. She
refutes that she is assisting in the silencing of women/lesbians, but rather is making use of identities precisely to call
them into question. She wants to ask from the beginning for openness rather than starting from closure hoping it will
lead to openness later.
103. Judith Primarily focuses on the topic of female masculinity and has published a book titled after the concept. In this work, she
"Jack" famously discusses a common by-product of gender binarism, termed "the bathroom problem." This outlines the
Halberstam dangerous and awkward dilemma of a perceived gender deviant justification of presence in a gender-policed zone,
such as a public bathroom, and the identity implications of "passing" therein. Her concern with female masculinity
represents a different direction from most Masculinity writings, but at the same time her work offers support for the
criticisms raised by gay and REI masculinity writers. Her analysis considering Trans issues may be placed at a cross-
roads of multiple Differences and Postmodern/Queer theoretical trajectories. She disarticulates male from masculine
and masculine from men. Since masculine in her analysis no longer speaks of men, the gender hierarchy and
sexualities that cluster around men are no longer necessary part of this masculine. By contrast with Social
Constructionist accounts, masculinity in this author is not viewed as a relational institutional form firmly tied into gender
and sexuality regimes. She posits the emergence of a masculinity, shorned of its history of being about dominance. For
her, female masculinity is a specific subordinate masculinity, and not just a copy. Female masculinity is a powerful
style, not social dominance. It does not claim manliness. She pays attention to a female masculinity which asserts itself
as not woman, but also at a distance from the category man. She accuses the bulk of masculinity writers of re-centering
"the white male body." Halberstam finds that even "normal" masculinity is "impure" because female masculinity reveals
this category can be inhabited by women. The author's female masculinity provides a practical examplar of gender
ambiguity, which avoids the inclination to abstraction in a good deal of Queer theorizing although, sometimes, stands in
isolation. Her approach to female masculinity refuses to exclude either tomboy heterosexuals or female-to-male
transmen as either disloyal women or as gender conformists. Her work rests upon a revalorization of the lesbian butch
and there is no acknowledgement of the revolutionary potential of alternative femininities. On this basis, Antonoiu in
"Review to Female Masculinity" (2000) fears that this author implies that the female female is always a victim of the
binary system of gender, whereas the masculine female poses a radical challenge to it. Her work disengages
masculinity from men and their social positioning and raises questions about Queer thinking and Queer's iconic figure of
the transgender.
104. Judith A female figure created by Virginia Woolf to stand for all the unrecognized and underdeveloped genius of the past. She
Shakespeare was a brilliant but uneducated, talented but unappreciated woman who was written out of history by her gender.
105. Kate Chopin Name of the author of the novel 'The Awakening'.
106. Kate Rushin Name of the author of the poem "The Bridge Poem".
107. Kate Rushin Rushin laments the need of some white feminists to use individual black women as a bridge to black experience. It is
and "The just this representative role which Rushin rejects in no uncertain terms, claiming instead her right to be the bridge only
Bridge to her own true self. [Goodman]
Poem" with
"gender/race
on the
agenda"
108. "Lady Identify the title and author of this poetic fragment:
Lazarus", I have done it again.
Sylvia One year in every ten
Plath I manage it-

A sort of walking miracle, my skin

bright as a Nazi lampshade,
My right foot

A paperweight,
My face a featureless, fine
Jew linen.

Peel off the napkin

O my enemy.
Do I terrify?-
109. Language Lucy Aikin's Epistles on Women (1810) is based on a concept of poetry as conversation or linguistic mothering which
and vividly contests the Wordsworthian concept of poetry as the overflow of powerful feeling in a solitary, contemplative mind.
nineteenth [Mellor]
century
poetry
110. Liberalism A type of feminism influenced by the Enlightenment ideals about the individual and that advocates equality between men
and women in the subjective and social level through education that was characteristic of first wave feminism.
111. Liberalism Possibly the only widespread and "popular" platform for feminist thinking today because of its willingness to celebrate the
and virtues of mainstream capitalist democracies. Liberal feminism is a response to the development of Liberalism, obviously
Liberal based on Liberal thought. Born in the eighteenth and nineteenth centuries, Liberalism offered a form of thought in which
feminism "the individual" is an autonomous rational being. According to Enlightenment thinking, all those who can reason are
capable of independent thought and action and should participate in society. Liberal feminism pointed out that the Liberal,
supposedly universal standards of humanity, equality and reason were not in fact universal because women were denied
full social participation, public life and education. Still today, Liberal feminists argue that mainstream Liberalism's all-
embracing pretensions are built upon the assumption that only Western men matter, that men's equality in the West is
equivalent to equality for all fully human beings. Liberal feminism, from its earliest forms to now, may be understood as
focusing upon the elimination of constraints facing women and gaining equal civil rights for women as public citizens. The
main orientation is to assimilate women more comfortably into a basically masculine model of social life without much
altering the discrepancies between the existing differential roles of men and women. [Beasley]
112. "Literary It is the body of writings generally recognized as "great" by some "authority." A body of approved works, comprising either
canon" writings genuinely considered to be those of a given author, or writings considered to represent the best standards of a
given literary tradition. [Goodman, Drabble]
113. Literature Body of writing that aims to be creative. It includes poetry, prose fiction, and drama. [Goodman]
114. Mabel A character at Mrs Dalloway's party who is the main character of Woolf's story "The New Dress."
Waring
115. Madness Both Sense and Sensibility (1811) and Jane Eyre (1847) resists romanticizing mental breakdown, insisting on the degree
in Jane to which the literary fashion for ornamental female insanity debilitated and degraded women. The novels resist the
Austen depiction of madness as the product of a naturally unstable femininity.
and Brontë manipulates Bertha Mason's character and depicts her as different from the sentimental madwomen usually found
Charlotte in preceding novels. Jane Eyre is antithetical to Victorian ideals of femininity in a way which can be interpreted as
Brontë feminist. [Goodman]
116. Madness From a gendered perspective, this topic often relates to the conflict between artistic and domestic sensibilities. In some
in occasions madness is a means of escape, of liberation for women. For Sandra Gilbert and Susan Gubar the frequency
literature with which women have written about madness is to be seen as one of the most revealing symptoms of their own feelings
of entrapment and oppression. [Goodman]
117. Madness In her novels, the American writer Louisa May Alcott wrote about depressions connected with the struggle to balance
in Moods artistic creativity with domesticity. [Goodman]
118. Madness in In her influential study, Elaine Showalter notes that madness is the price women artists have to pay for the exercise of
'The Female their creativity in a male-dominated culture. [Goodman]
Malady'
119. Madness in In this representative story what drives the narrator mad is the confinement of her creative imagination. Madness
"The Yellow could be an escape from one kind of cage into another. [Goodman]
Wallpaper"
120. Major male The Oxford Companion to Twentieth-Century Poetry in English (1994) includes biographical entries for equal numbers
poets of "British Isles" and US poets, and represents Canadian, Australian and New Zealand writers fully. Out of 1500
poets, only about 200 are women. Poetry has always attracted lots of women and a taste for verse is most times
considered effeminate. Poetry has never been gendered male but it has been far easier for male poets to get
published. [Goodman]
121. Margaret Name of the author of the poem "The Reincarnation of Captain Cook"
Atwood
122. Margaret Identify the author of this extract and its title:
Atwood, "The "Earlier than I could learn
Reincarnation the maps have been coloured in,
of Captain when I pleaded, the kings told me
Cook" nothing was left to explore.

I set out anyway, but everywhere I went

there were historians, wearing
wreaths and fake teeth
belts, or in the deserts, cairns."
123. Martha An internationally regarded and highly influential academic from the US born in 1947 who sees reason as the truth
Nussbaum opposing convention and habit, in particular those conventions/habits which disempower or oppress us. She is
particularly antagonistic to Posmodern feminists. She has been recently awarded with Premio Príncipe de Asturias.
124. Martha An internationally regarded and highly influential academic from the USA who worked for six years as a research
Nussbaum advisor at the United Nations University World's Institute for Development Economics Research. Like Mary
(1947) Wollstonecraft, she is against convention and habit, and for reason. Nussbaum sees reason as the truth opposing
convention and habit, in particular those conventions/habits which disempower or oppress us. Thus, reason enables
us to throw off power, to throw off oppression. She is particularly antagonistic to Postmodern feminists, the most
skeptical theorists regarding the claims of reason, because they refute any notion of any objective position outside a
social context, outside social life, or which can escape power.
Nussbaum is an example of how theoretical waves are not confined to particular historical periods and can co-exist
today. She identifies her work with second-wave Liberal feminism. She follows many of Mary Wollstonecraft concerns
and talks specifically about the works of John Stuart Mill. The connections between Wollstonecraft and Nussbaum
show the features of contemporary Liberal feminism (the notion of reason; women as the "test case" enabling
assessment of a just society in Liberal terms, that is, assessment of its claims regarding equality and democracy; and
the focus on social reform). Nussbaum argues that women's rights must be answered before referring to cultural
conventions/customs. Thus, gender equity must precede the claims of multiculturalism. Nussbaum campaigns to
eliminate some cultural/religious protocols by means of a range of interventions, even including armed ones, on the
basis of human rights for women, being this a practical approach for some feminists and a return to a frankly
imperialist tone of earlier Liberal thinkers like Mill.
Nussbaum adopts a strong Modernist perspective, a "grand theory" approach which offers to explain and solve global
problems according to a singular conception of the truth. She is antagonistic to those who do not share her certainty
and accuses Postmodern writers like Jacques Derrida (1930) and Judith Butler (1956) of "political quietism." She
even asserts that Butler offers nothing to the poor and disadvantaged. [Beasley]
125. Mary Daly A radical feminist concerned with "Women-centred" Gender Difference who insists that women are intrinsically
different from men. She identifies women with the creative and life affirming. [Beasley]
126. Mary Shelley Name of the author of the novel 'Frankenstein'.
127. Mary The author of Vindication of the Rights of Women written in 1778 emphasizes the right for women to be educated and
Wollstonecraft sees early marriages as a stop to improvement, especially if a woman is joined to a not sensible man. For her,
education is a palliative to marriage. Other writers such as Cicely Hamilton or Virginia Woolf saw marriage as a trade.
[Goodman]
128. Mary As the pioneer of Liberal feminism, this woman (the mother of Mary Shelley) argued for women to be included in
Wollstonecraft the masculine project. Her aim was for women to be given access to education, to the Liberal model of knowledge
and rationality and to enter public life. She did not ignore women's differences from men but asserted that these
did not exclude them from reason or rights. Her influential work, A Vindication of the Rights of Woman (published
in 1792), applies Enlightenment ideas to the situation of women and states that Liberal feminism is based upon the
idea that women are individuals possessed of reason, that as such they are entitled to full human rights and have
the freedom to do what they choose to do. She points out that women's dependency has a negative impact upon
the future training of boys and men, and proposes that those responsible for this training (women) must be able to
exercise reason in order to better train children and thus improve the whole of society. [Beasley]
129. Masculinity/Men's Is about shoring up masculinity and its existing social status. It is predominantly a site for apolitical therapy and
movement personal support or for a politically conservative reassertion of men's rights and in turn of masculinity itself.
130. Masculinity Offers a critical stance on sex and power but, rather than focusing on the marginalized, attends to those that are
Studies traditionally central to Western thinking―that is, men and masculinity. Indeed, while this subfield has become
more attentive to diversity, it still primarily attends to white middle-class heterosexual men. [Beasley]
131. Masculinity Is a small and relatively new subfield in the wider arena of Gender/Sexuality Studies. It is a form of Gender Studies
Studies scholarship which focuses upon critical studies of masculinity. It offers a particular range of ideas and debates
which exists in relation to and also at some distance from masculinity politics. As an arena of academic
scholarship, MS has generally been concerned to offer critical analyses of masculinities. It is linked to an activist
network/movement that is largely not especially socially critical. MS represents one aspect of the more politically
progressive wing of the Men's movement. It rarely mentions "males" because masculinity is seen as socially,
historically and culturally variable and is constituted as against that which is deemed non-masculine. Its focus is
upon a social construction which may not even signal so-called "male" bodies in that the masculine may be
associated with female bodies.
Many writers render to masculinity, rather than Men's Studies. That indicates a growing awareness of debates
concerning the problems of identity politics which may be attached to the group term "men." Western thinking has
been dominated by an unexamined focus on men, but an explicit focus on men as men described as MS began in
the 1970s with the rise of "Men's Liberation." Even nowadays, the critical stance of MS is linked to a small network
of pro-feminist men's organizations and groups, as well as having some connections with other men'
organizations, such as New Age spiritual and Christian groups.
MS remains largely Modernist and sociological in approach and their theorists very often express Socialist pro-
feminist commitments. Although MS writers certainly do not have the straightforwardly "positive" attitude to their
subject matter that is associated with Feminism and Sexuality thinking, they do nevertheless appear overall to be
rather more positive towards the socially privileged category of masculinity than the latter two subfields. MS
stands somewhat apart from the other arenas of
gender/sexuality because it examines power from a point of view of some relative privilege rather than starting
from a perspective of marginality. MS is really the intellectual voice of only a distinct part of masculinity politics,
most obviously the pro-feminist part. MS has also attended to lesbian, gay, bisexual, transgender, intersexual,
Queer, and race/ethnicity/imperialism issues, but its orientation remains largely a form of comparatively singular
gender thinking and political activism. Today it is increasingly inclined to question homogeneous gender identity
categories such as the category "men" and hence more often refers to "masculinity." MS is dominated by Social
Constructionism and by a Socialist pro-feminist version of it.
132. Maya Angelou Respected writer, essayist and activist who is now hailed as a classic of feminist and black women's writing. She
(1928) refers to the tremendous addition to the burden of black Americans with the legacy of slavery and its impact on the
self-esteem of a race, and with associated reverberations of repeated and continuing oppressions of a racist
society, language and educational system. Famous for her autobiographical writing, I Know Why the Caged Bird
Sings (1969), the first volume of her life story, in which she highlights the image of the caged bird so familiar in
much feminist literature, the book is a clear inspiration for Alice Walker's The Color Purple. [Goodman]
133. Men's Liberation Is a response to Women's Liberation feminist critiques of gender injustice. The development of Men's Liberation
may also be linked to increased concerns about the men's powerlessness in a corporatist, globalizing world and
the decreasing significance of men's creative physical labour -that is, of traditional markers of proper masculinity.
Men's Liberation in the 1970s could scarcely be called a movement. In this decade they saw themselves as
providing support for individual change. The relationship between Men's Liberation and critical Masculinity Studies
is said to be equivocal as the former argued that "sex roles" hurt both men and women (men and women are
equally oppressed by sexist society.
134. Men's rights By the late 1970s and early 1980s "Men's Liberation" had split into several main groupings (Men's Rights,
groupings Mythopoetical/Spiritual and Pro-feminist groups). They are concerned with either men as victims or a reassertion of
traditional masculinity. They propose an ideology of men's victimization and argues for a reshaping of traditional
masculinity because it has produced costs for men as against benefits for women. They assert that women are more
likely to retain custody of children following divorce and support fathers' rights to intervene in women's decisions against
pregnancy whether or not fathers are involved in an ongoing relationship with such pregnant women. Men's rights
thinkers argue against what they see as the feminization of men.
135. Modernism Among many other things, Modernism is preoccupied with what is universal about society and power relations within
that society. [Beasley]
136. Modernist It is concerned with what is universal to human beings. Typically associated with them, it defends the notion that they
thinking possess an essence which sets them apart from other animals and nature. It is optimistic about the opportunities for
change and sustains that everything gets better over time. [Beasley]
137. Modernist Predominant version of western feminism of the 1980s that rejects the stress on the universal human of
"Women- Liberalism/Marxism, but remains committed to Modernist accounts of power and society. Its political project aims mainly
centred" at discovering women's uncontaminated, authentic differences, and perceives the world through the lens of a decisive
feminism division between male and female experience. There is a concomitant concern with women's commonality as a group,
rather than with Human commonality. "Women-centred" feminists assert the positive value of women's difference from
men and commonality with each other. [Beasley]
138. Mythopoetic Focus on realigning men with an essential or "deep" manhood through rituals of male-bonding and spiritual
men's consciousness-rising. They lionize what they regard as quintessentially masculine activities such as hunting and sports,
groupings and associate ideal manhood with indigenous cultures, ancient times and the Middle Ages. For this reason Mythopoetic
philosophy urges men to meet with each other in natural settings, away from the presence of women and civilization.
139. Nancy An American feminist psychoanalist that studied the way women had a "relational self" due to the primal relation to the
Chodorow mother and suggested men should have a greater involvement in parenting in order to change normative gender roles.
140. Nancy "Women-centred", Gender Difference Freudian (psychoanalytic) feminists who propose that the organization of the
Chodorow family within patriarchal society produces different kinds of self for men and women, and in particular induces women's
and Dorothy nurturing qualities. Such positive qualities could be used to reform society by spreading them to men. Alongside with
Dinnerstein most psychoanalytic feminists, Chodorow argues that women's supposedly negative identity as constituted by lack -lack
of a penis- must be reassessed. She accuses Freud of assuming that people's selfhood depends only on separating
from others (from the mother). In her view, girls partially reject their mothers not for a penis/father/baby, but rather out of
disappointed love for their mothers. Chodorow does not mean that girls remain incomplete, but show greater relational
potential which impels women to become mothers. Women contribute to develop connections to manhood in boys and,
thus, encourage the perpetuation of their own oppression. She recommends that men should be more involved in
parenting. In a period of concern for others, Chodorow suggests that women can offer a model for reforming neo-liberal
individualism and masculinity. [Beasley]
141. Nancy A theorist concerned with "Women-centred" Gender Difference, who argues a position marked by its socialist feminist
Hartsock commitments. For her, women are not biologically different from men, yet patriarchal power relations produce different
experiences and senses of self. As women are not powerful, they develop a different and useful "take" on social life.
This author distinguishes her work from that of radical and psychoanalytic accounts of gender difference and women's
selves by arguing that she focuses on social positioning and not upon a universal gendered sense of self/identity. Critics
on Gender Difference feminism suggest that this author has employed a similar macro understanding of women as
positively different, as constituting a socially differential group identity that must claim self-definition to resist continuous
subjugation. [Beasley]
142. Naomi Wolf The author of The Beauty Myth (1990) and Misconceptions (2001) devotes considerable attention to the social obstacles
women face, urging social reform to these obstacles. Her political programme is about individuals and criticizes what
she calls "victim feminism" for saddling women with an "identity and powerlessness." She encourages women to form
"power groups" to pool their resources in the way men do and seeks to incorporate women and Feminism into a North
American style of capitalism. She celebrates gun ownership among women as a sign of progress beyond victimhood.
[Beasley]
143. The "New Goodman suggests that this phrase might have come into the minds of members of the first audience of A Doll's House
Woman" by the end of the scene between Nora and Mrs Linde in Act I. It suggests a new, more independent kind of woman who
can act with self-determining, progressive views and conduct. "New" signified 'good', the opening out of a new world
order.
144. The New A new, more independent kind of woman who appeared when in the 1880s and 1890s a wave of feminist thinking and
Woman agitation swept across Europe.
145. The New The poster of the performance of Sydney Grundy's play ________, performed at the Comedy Theatre in London in
Woman 1894, shows a young woman in black in a cabinet with a large latchkey and a smouldering cigarette, which became the
infamous tokens of her "advanced" nature.
Both plays demonstrate an underlying hostility to the whole notion of _____ because of the fact that these women could
work or deal with money, which was a way of transgression of the social boundaries that require middle-class women to
be dependent on either father, husband of brother.
Ibsen influenced G. B. Shaw in Pygmalion (1913) and Mrs. Warren's Profession (1931), the first contributions to the new
age of "New Women" in the theatre. The Norwegian playwright's work was instrumental in a developing trend for strong
women on the stage, which later developed in the plays of the suffrage movement. [Goodman]
146. Objectified Such Metaphysical poems as John Donne's "The Flea" (1633) or Andrew Marvell's "To His Coy Mistress" (1681) are
women and parodies of Petrarchan seduction to flatter and persuade the poets' shy lady lovers who have no reason to deny them
language in physically but, on the contrary, to fully indulge carnal pleasure. Both poems (written by Puritans!) represent a moment
English in an ongoing relationship in which a shocking male poetic persona tries to shape the future by controlling the response
poetry of the person addressed.
147. Objectified Elizabeth Barrett Browning in Sonnet XIV from Sonnets from the Portuguese (1850) wants to be loved neither by her
women and looks nor by her thought but "for love's sake." Christina Rossetti in "In an Artist's Studio" (1890) presents a female
language in objectified sitter whose beauty is fed by a male artist for the purposes of his art. In "O Distinct" (Tulips and Chimneys,
English 1922), "since feeling is first" or "some ask praise of their fellows" (is 5, 1926), the American poet Edward Estlin
poetry Cummings shows gorgeous women as assertive presences who just smile, cry or make gestures with their bodies but
with apparently no capacity of response. It is the audience who has to envision the woman's responses in the empty
spaces between lines and stanzas. In his last works written at the end of the 1950s, Cummings approximates to the
universe of the feminine and claims for the unity of the lovers. "Standing Female Nude" (Standing Female Nude, 1985)
or "Small Female Skull" (Mean Time, 1994) are examples in which the British poet Carol Ann Duffy help discover
hidden implications which challenge traditional gender roles more effectively than conventional ones, making female
voices more dominant and self-sufficient in a traditional masculine word. Through women's discourse, Duffy shows
disrespect for the tradition of the individual great man by exaggerating his weaknesses and faults so as to reduce him to
an almost comic figure. [Gottlieb]
148. Patriarchy In Feminism, systemic and trans-historical male domination over women. A system or society of government in which
the father or eldest male is head of the family and descent is reckoned through the male line. System or society of
government in which men hold the power and women are largely excluded from it. Along with "compulsory
heterosexuality," this term indicates the negative nature of power, its quality of repression. [Oxford, Beasley]
149. people of A general term that includes First Nations people (Native Americans), as well as Aboriginal people and Asian, Hispanic,
colour Caribbean, and many others. [Goodman]
writing
150. Performance Is the new entity that is created when the words of the play text are directed, acted and interpreted in three dimensions
on stage, or for audio.
151. Poetess In the nineteenth century this term seems appropriate for women who self-consciously embraced the aesthetics of the
beautiful, who celebrated domestic affections, and saw themselves as writing a specifically feminine poetry, however
much they questioned that category. A great deal of poetry by women of this period does not conform to this poetic
practice. [Mellor]
152. Poet The official poet of Great Britain appointed a member of the royal household by a British monarch, and, especially
Laureate formerly, is expected to write poems celebrating great national or royal events. The heir to the epic poets of ancient
Greece and Rome, who were ceremonially awarded laurel wreaths (hence the modern term "poet laureate"). Carol Ann
Duffy and Kay Ryan are the Poets Laureate of Great Britain and the United States respectively. [Encarta, Goodman]
153. Post- It is a relatively recent development -from the 1990s onwards- and typically offers a more extensive refusal of
colonial overarching identity categories. This feminist movement is concerned with challenging arrogantly universal claims and
feminism homogenizing tendencies in Western thought. This theory asserts that the unsurpassed authority of Western thought is
of concern because it remains imbued with an imperialist agenda. The West is thereby cast as central and as the norm,
while other cultures and peoples as different and therefore inferior. Gender difference and Modernist REI feminists
accept and retain the dichotomous distinctions of mainstream Western thought, like Men/other and the West/other, but
valorize that which is "othered." This feminist movement deconstructs such dichotomies and problematises their identity
based-terms. It aims to destabilize any notion of a central focus or universal norm and relatedly deconstructs notions of
discrete identities by acknowledging the hybrid heterogeneous character of peoples and cultures. It has given attention
to the plural and fluid character of identity, as well as to the permeability of cultural borders, evident on writings on
"diaspora," the possibilities of borderline/"impure" positionings and mixed cultural ancestry.
154. Post-Lacanian Just like feminists who use Freud, these feminists reject his acceptance of gender hierarchy. Psychoanalysis is
feminists used by these feminist writers to question the notion that men and women are beings essentially different from
the moment of birth and that gender identities are discrete and stable. They suggest that actual women do not
have a common identity and argue that "woman" is difference. For them, woman is the "marginalized," the symbol
of what is left out and different from the cultural order. Among the most outstanding post-Lacanian feminists we
can include Luce Irigaray, Julia Kristeva and Elizabeth Grosz.
155. Postmodern Offers the multiplication of difference that appears in the group difference(s) approaches. There is an expansion
feminism of difference towards differences, towards a plurality that resists any set identities. Post-modern feminists intent
to destabilize the very conception of identity (human or group) and the binary identities (such as men and
women). They assert that there is no "truth" behind identity. For them, gender is a masquerade and there is
nothing behind or before this "mask." Postmodern views are even more strongly but have had limited impact on
Masculinity Studies. [Beasley]
156. Postmodern Postmodernism does not accept that there can be any one, single explanation, account or "truth" dealing with all
Gender Difference of society, power and the self. It is wary or even against, singular overarching conceptions of society and
Feminism sceptical about or antagonistic towards macro theories, notions of power as only negative domination, the notion
of a true self that can be liberated from power and notions of history in which human beings over time become
free of power. Postmodernism is in favour of notions of constitutive/productive power (for example, women may
be very attracted to the identity of womanhood and this identity may produce pleasures and investments), notions
of the self and of history as unstable. In Postmodernism uncertainty, fragmentation, and multiplicity predominate.
157. Postmodern Psychoanalysis is the archetypal "gender difference" theory. Psychoanalytic and Postmodern Gender Difference
Gender Difference Writers accept the fundamental significance of gender as the basis of the formation of the self. They accept some
Psychoanalytic Modernist elements within Freud's approach (the self as not one singular essence but as necessarily uncertain,
Feminism divided/split, and unstable). Psychoanalytic feminists do not argue that men and women are actually necessarily
different or that actual womanhood involves a common set of qualities or political potentialities. They criticize any
assumption that women are a homogeneous group with common features and focus on mother-daughter
relations. They are critical of "women-centred" writings.
158. Postmodernism Roughly speaking, this movement is skeptical about any universalizing foundational account, and wary of any
notions of any founding explanatory centre that is eternal or fixed in human life. Postmodernists declare that
there is no essential truth to the human, social power, the self or history. [Beasley]
159. Postmodern/Queer Focus on the non-cultural aspects of masculinity and question the naturalness of masculinity by indicating the
approaches in constructed nature of the normative. They include writings which draw upon and show the possible limitations of
Masculinity both gender and sexuality. It is Postmodern and Queer in that it refuses macro and universal conceptions of truth,
Studies power, society and the self as well as specifically applying this insight within the framework of non-essentialist,
non-naturalist accounts of gender/sexuality. In suggesting a Masculinity Studies without men, without male-born
bodies, this approach is radically at variance with almost all writings in the subfield.
160. Production Is the set of performances comprising one 'run' of a play: one director's choice of casting and interpretation,
enhanced by the chosen designer's setting and the input which the cast make to the interpretative process of
performing.
161. Pro-feminist Still debated by feminist criticism, it is a term sometimes used for men sympathetic to feminist concerns. Such
literary works as Jane Eyre and Pygmalion can be defined as pro-feminist. The story of Jane Eyre exhibits the
bright independent heroine, a woman who struggles with learning, work and desire. Eliza Doolittle in Pygmalion
escapes her creator and becomes a character with more integrity and humanity than Professor Higgins, her male
counterpart. [Goodman]
162. Promise Keepers Led by African-American Muslim activist Louis Farrakhan, exemplify spiritually-oriented but fundamentalist
and the Nation of religious groupings concerned with upholding masculinity. They do not advocate an essential core masculinity
Islam derived from representation of archetypal myth, but rather a reassertion of traditional masculine authority in the
family and community. They exclude women and call upon African-American men to shoulder the special
responsibility that God requires of them. Farrakhan's approach insists that the Black American community will be
redeemed by the restoration of black men's authority over black women in particular. All these groupings assert a
clear categorical or identity politics in which men and women are taken to be definitively, eternally and
biologically different.
163. Psychoanalysis and Employing psychoanalysis (gender/sexual difference is what makes the self and indeed underpins social
Modernist "Women- life), feminists of difference valued positively the fact that women have a different self/identity which is a
centred" writers/feminists source for social reform. Gender Difference feminists stress the role of the mother in the development of
of difference the self, in contrast to Freud himself, who highlighted the role of the father/the masculine. All
psychoanalytic feminists suggest that Freud's analysis can be used to support a positive re-evaluation of
women/femininity, despite its male focus and bias. They also assert that changing social assumptions
about the centrality of men/ the masculine is possible yet difficult. [Beasley]
164. 'Pygmalion' The title of a play written by George Bernard Shaw in 1911 which recounts the story of a working class
woman "recreated" by an upper class man, who treats her like an experiment, like an animal in a cage to
be thought and rewarded for learning to act like a "lady".
165. Queer theory Typically focused upon the question of individual identity, and upon cultural/symbolic and literary/textual
issues, aims to destabilize identity through the construction of a supposedly "inclusive," non-normative
(almost invariably non-heterosexual) sexuality and a simultaneous dismantling of gender roles. [Beasley]
166. Race/ethnicity/imperialism They wish to revalue and affirm group difference and identities. For them, categories of men and women
feminists cannot be seen as self-evident identities that are always the same and bear the same social
consequences everywhere.
167. Radical feminism From the 1970s a strand of masculinity activists/thinkers broke away from Men's Liberation and
developed a form of masculinity thinking that supported Radical feminism. Within the context of MS the
approach is designated Radical pro-feminist and took from Radical feminism its strong emphasis on
gender as a system of domination by men as a group over women as a group, and on the importance of
prioritizing gender subordination (women are a marginalized or subordinated sex class and men a
dominant sex class). Radical feminist and Radical masculinity writers pay
attention to sexuality and pleasure. For Radical feminism, the patriarchal gender order involves fairly
sharp distinctions between men as a group and women as a group. Most Radical feminists may be
located in the Modernist Gender Difference framework -that is, they adopt a women-centred approach.
Even those Radical feminists typically associated with the Social Constructionist (SC) framework are
inclined to depict men and women as sharply divided sex "classes." Radical feminist and Radical pro-
feminist masculinity approaches were viewed as engaged in an alliance with the moral Right-wing, an
alliance which amounted to a new push to limit socially acceptable sexual choices for women and new
opportunities for censorship of gay/lesbian materials.
168. Raewyn Connell Connell is best known outside Australia for studies of the social construction of masculinity. She was one
of the founders of this research field, and her book Masculinities (1995, 2005) is the most-cited in the
field. The concept of "hegemonic masculinity" has been particularly influential and has attracted much
debate. She has been an advisor to UNESCO and UNO initiatives relating men, boys and masculinities
to gender equality and peacemaking. Raewyn Connell is a transgender woman, and changed her name
from Robert William Connell. She remains widely known under the initials R.W. During her career, her
works have appeared under several different name forms including Bob Connell, Robert Connell, Robert
W. Connell, Robert William Connell, R.W. Connell, R. Connell and Raewyn Connell. Her famous book
Masculinities appeared in a new edition in 2005 under the name R.W. Connell, but since 2007, her books
have appeared under the name Raewyn Connell. In Gender and Power (1987), she proposed that the
word "gender" be discussed in terms of three structures (power, production/labour and emotion/sexual
relations). She asserts that one gender cannot be studied in isolation from another and insists on
differences between men, within the category of men, though neither choose the Postmodern strategy of
thoroughly destabilizing this category. Connell's work is focused on the non-homogeneous character of
masculinity. Connell argues, masculinity politics cannot operate as a political movement like Feminism.
Feminists often attempt to evaluate positively aspects of women's marginalized identities. On the other
hand, masculinity writers are almost invariably negative about the privileges accruing to masculinity.
169. Reason and Feminism First-wave feminists employ reason as a means to persuade men in power to grant women equal rights.
On the other hand, second-wave feminists (beginning in the 1960s and 1970s) began to argue that,
supposedly, genderless universal standards like reason were not merely in practice only granted to men,
but actually about men. Rather than arguing, as first-wave feminists did, second-wave feminists
increasingly drew attention to the status of reason as a thoroughly social term. If it was part of the social
world, it might be about power, and power is male biased. Reason is a way of reaching the truth.
Postmodern feminisms are even skeptical because, ironically, they are sure that claims to reason
promoted universalist authoritarian absolutism -the belief that one is absolutely right. [Beasley]
170. REI Feminism It attends to race/ethnicity/imperialism. Race generally tends to be discussing black women/women of colour. It
includes migrant women in Western countries. Those theorists writing on imperialism/colonialism tend to discuss
"Third World" women who have become resident in the West or women in developing countries in the Third World.
REI feminist writers range across the Modernist-Postmodern continuum. Their work is typically located in the
borderlands of the Modernist-Postmodern divide.
171. REI Feminism Term used to define in Feminism and more broadly, theories which engage and critique imperialist practices. This
includes writings which directly address the experiences of colonial oppression, as well as those which speak about
imperialism more generally as the political project of Othering specific cultural groups while privileging Whiteness in
particular.
172. "Reincarnation Margaret Atwood is a feminist and the poem may be well read as a feminist statement. Apart from "kings" no word in
of Captain the text has been specifically gendered. "Historians," recently, have not always been men. However, most history has
Cook" with been written to serve the interests of ruling élites, then "kings" and "historians" both evoke power and class as
"gender on the strongly as gender.
agenda" "Cook" carries a kind of pun: Cook was a man but his surname is the same as the noun describing one who enacts
the traditional domestic role which is conventionally assigned to women. [Goodman]
173. Robert Name of the author of the poem "My Last Duchess".
Browning
174. Second-wave The popular designation for the feminist movement in the West during the 1960s, 1970s and even the 1980s, to
feminism distinguish it from feminist thinking and politics developed in earlier times (first-wave feminism).
175. Second-wave It has an "emancipatory" orientation or Modernist approach which consists of assimilating women into society, a fact
feminism they would necessarily transform that society. Its aim is to throw off macro structures of power that oppress women
and other subordinated groups as far as to propound a particular notion of the self less tied to a particular account of
competitive masculinity. Women must be assimilated into an enhanced view of the social world, participating in social
tasks as men do. During this wave of feminism gender difference was increasingly promoted: the focus was more
upon women's difference than from men, upon affirming women as a group and gynocentrism. [Oxford, Beasley]
176. "Second-wave "Movement" focused particularly on women's rights with an emphasis on unity and sisterhood. It began during the
feminism" political upheaval in England, Europe and America in the 1960s and 1970s, and attempted to combat social and
cultural inequalities. Seminal figures included Betty Friedan and Germaine Greer.
177. Second-wave Popular renderings of Feminism often presuppose the politics of Liberal feminism during this ______. However, in
feminism feminist writings this wave refers to at least four main directions: (reworked versions of) Liberal, Marxist, Socialist
feminisms and additionally Radical feminism.
178. Second-wave Is the most "welfarist" version of mainstream Liberalism which advances a sense of collective or social responsibility
Liberal and a marked attention to social justice. It pays attention to repealing or reforming social obstacles to women's public
feminism participation, and enables them to achieve the status of autonomous "individuals" in public life as equals of men.
However, second-wave Liberal feminists are less focused upon individual self-realization, self-expression and self-
fulfillment as a way to alter social hierarchy. Such thinkers as Gloria Steinem and Beatrice Faust outline a more
collective political method to achieve the individualized goal of equality among individuals. Faust describes Naomi
Wolf (third-wave feminism) as narrowly individualistic, as she provides an inferior model of political practice by
comparison with Australian Liberal feminists, because Wolf fails to take into consideration political and policy
institutions, like governments. [Beasley]
179. Sex Biological category that distinguishes between male and female. It is ineluctably a matter of human
organization―that is, it is political, associated with social dominance and subordination, as well as capable of
change. [Goodman, Beasley]
180. Sexed regimes Identities and practices typically involving categories such as men and women. [Beasley]
181. Sexual Coverall term for the field of study of sexed identities. [Beasley]
difference
182. Sexual Attends to critical analyses of gender and sexual relations. [Beasley]
embodiment
183. Sexuality The realm of sexual experience and desire. Sometimes it refers to a person's sexual orientation as heterosexual,
bisexual or homosexual. [Goodman]
184. Sexuality Focus upon the organization of desire (not on having or doing sex per se, but upon sexualities). _________ is mostly
Studies (like Feminism) concerned with marginalized identities and practices (lesbian, gay, bisexual, transgender, intersex)
and/or Queer Studies. Nevertheless, more recently there has been a growing body of work in _________ concerned
with heterosexuality, with "mainstream" sexuality. [Beasley]
185. "Shakespeare's A female figure created by Virginia Woolf to stand for all the unrecognized and underdeveloped genius of the past.
sister" She named her Judith, a brilliant but uneducated, talented but unappreciated woman who was written out of history
by her gender. [Goodman]
186. Short story and Such characteristics as identity, fragmentation, alienation, multiplicity, open-endedness, presentation of characters,
women's writing brevity, isolation in time, the description of present moments, alienation, the fact of giving voices to the submerged
voices of women, the lack of emphasis on traditional narrative as far as illuminating the dark lives of women
constitute a particularly feminine way of writing and an exemplary feminine strategy.
As all these features are also available to men. Similarly, women writers are now taking up the form of the short
story that have been traditionally associated with men such as the adventure story or the hard-boiled detective
story. [Goodman]
187. Social Takes as its central "brief" a refusal of any naturalized set account of the self. It is particularly opposed to biological
Constructionism essentialism but also resists any social essentialism -that is, accounts of a socially fixed singular core identity.
Rather than attending to what people are, this movement is concerned with what people do together, with the
generation of social relations and processes in special historical cultural settings. Social Constructionists strongly
reject gender difference models which in any sense talk about re-valuing women's difference from men or re-
valuing the difference associated with "the feminine". Social Constructionist writers consider this celebration of a
subordinated position is an essentialist reassertion of a conservative model of woman/femininity and argue that the
focus should be on relations of dominance, not upon "difference." SC feminists do not jettison Feminism as a
politics about women as, for them, Feminism involves using gender -gendered identity categories- to undo gender.
188. Social They argue that "difference" does not adhere in the self/identity, is not an inherent essence, but is created by
Constructionist relations of power. They describe truth and power in universal macro terms and power is largely perceived as
Feminists negative domination. __________, along with Postmodernism, offers a critique of both Emancipatory and Gender
Difference approaches in that both of the latter accounts stress relatively fixed notions of identity. [Beasley]
189. Socialist They include Marxist, Socialist and Radical feminisms, and are more inclined to question an unthinking assumption
feminisms that a single viewpoint can give access to foundational truth, because this may amount to little more than support
for the status quo of the Liberal capitalist society. Notions of the universal human are typically undercut in these
feminisms by recognition of specific social differences like class, race and gender. [Beasley]
190. Suffrage era An early period of considerable development of women's plays in the United States and England precursor of the
drama profusion of first wave and second wave feminists plays.
191. Susan Glaspell Name of the author of the play 'Trifles'.
192. Susan Glaspell, Identify the author of this extract and its title:
'Trifles' HALE: Why, I don't think she minded -one way or the other. She didn't pay much attention. I said, "How do, Mrs
Wright, it's cold, ain't it?" And she said, "Is it?" -and went on kind of pleating at her apron. Well, I was surprised; she
didn't ask me to come up to the stove, or to set down, but just sat there, not even looking at me, so I said, "I want to
see John." And then she -laughed. I guess you could call it a laugh. I thought of Harry and the team outside, so I
said a little sharp "Can't I see John?"
193. Susan Glaspell, Identify the author and the work to which this fragment belongs:
'Trifles' (The women draw nearer)
MRS PETERS (to the other woman) Oh, her fruit; it did freeze. (To the COUNTY ATTORNEY) She worried about
that when it turned cold. She said the fire'd go out and her jars would break.
SHERIFF Well, can you beat the women! Held for murder and worryin' about her preserves.
COUNTY ATTORNEY I guess before we're through she may have something more serious than preserves to
worry about.
194. Sylvia Plath Name of the author of the poems "The Colossus" and "Lady Lazarus".
195. Sylvia Plath, Identify the author of this extract of a poem and its title:
"Lady Lazarus" Nevertheless, I am the same, identical woman.
The first time it happened I was ten.
It was an accident.

The second time I meant

To last it out and not to come back at all.
I shocked shut

As a seashell.
They had to call and call
And pick the worms off me like sticky pearls.
196. Sylvia Plath, Identify the author of this extract and its title:
"The Colossus" A blue sky out of the Oresteia
Arches above us. O father, all by yourself
You are pithy and historical as the Roman Forum.
I open my lunch on a hill of black cypress.
Your flatted bones and acanthine hair are littered

In their old anarchy to the horizon-line.

I would take more than a lightning-stroke
To create such a rain
197. Theatre Is the forum where plays are performed.
198. 'The Beauty A book by Naomi Wolf about the stereotypes of beauty and motherhood published at the beginning of the 1990s.
Myth'
199. "The Bridge Written by Donna Kate Rushin in The Black Back-Ups (1993), makes self-education a primary theme. With great
Poem" with passion and frustration the speaker outlines her sheer exhaustion with explaining, translating, mediating,
"gender on the legitimizing, and connecting people across difference. [Aaneraud]
agenda"
200. "The With this phrase, Elaine Showalter suggests how she connects domestic confinement and oppression with
domestication "madness." [Goodman]
of insanity"
201. "The female Elaine Showalter has used this phrase to refer to both the female experience of domestic confinement and to the
malady" identification of mental and emotional disturbances in women which could be called "female disorders." [Goodman]
PREGUNTA DE EXAMEN
202. "The Lady of A poem by Tennyson published in 1832, much revised for the 1842 Poems. The Lady was one of the several
Shalott" enchanted or imprisoned maidens to capture the Victorian imagination, and was the subject of many illustrations,
including the notable ones by Waterhouse, Millais, Rossetti and Holman Hunt. The lovely victim of an evil curse, she
is bound to stick to her enchanted weaving task night and day, without looking out of the window, a window that
shows her the outside world to which she cannot access directly. When Sir Lancelot rides past on his way to
Camelot, the mysterious lady's self-discipline snaps and she resigns herself to her doom. [Drabble]
203. 'The Madwoman Sandra Gilbert and Susan Gubar are the authors of this key work in angloamerican feminist literary criticism where
in the Attic: The they expose their theories about the relationship between madness and authorship in nineteenth century women
Woman Writer writers.
and the
Nineteeth-
Century Literary
Imagination
204. "The New In this short story published by Virginia Woolf in 1927, insecure and depending on her image Mabel Waring redefines
Dress" herself by means of creativity. The stream of consciousness narrative shows Mabel's fear of not belonging to a society
with that has limited the freedom of the individual, particularly of women, especially due to financial considerations. She
"gender decides not to depend on people any longer letting her true self appear, making her dress the vehicle to leave an
on the uncomfortable social environment. Dreams of romance will never have a conflict with reality again and the protagonist
agenda" transforms herself by means of a good book as a way to combat a male-dominated reality and leave her apprehension for
that the idea that surface appearance is emblematic of women's social status.
Language works in the manner of poetry. The reader is not interested in the progress of Mabel's actions but in the
progress of her thought and the language in which she expresses them, being "it" the key word in the whole story. "It"
mostly represents the protagonist's search for self-identity. [Goodman]
205. "The In Jackie Kay's "The Telling Part" (The Adoption Papers, 1991) identity is at a crossroads of nation, race, gender,
Telling sexuality, and class. Voiced in Glasgwegian, different typefaces distinguish the child from the adoptive mother with no
Part" with father impinge.
"gender She stated in an interview: "I consider myself a Scottish writer, in the sense that I am, and I consider myself a black
on the writer, in the sense that I am a woman writer, in the sense that I am." [Severin]
agenda"
206. "The Juliet Mitchell points out that there is not a female writing or a woman's voice but the hysteric's voice who speaks
woman's "masculinely" in a phallocentric world talking about feminine experience. [Goodman]
masculine
language"
207. "The A short story written by Charlotte A Perkins Gilman, and published in May 1892 in the New England Magazine. It is the
Yellow first person narration of a young mother isolated in a country colonial mansion, under the supervision of a nurse.
Wallpaper" Supervised and compelled by the authority of her physician husband John, she is largely confined to a room with paper of
a "smouldering unclean yellow," in which she discerns sinister patterns and, eventually, the movements of imprisoned
women.
208. Third-wave It started approximately in 1980, and lasted up to the early 1990s. It included renewed campaigning for women's greater
feminism influence on politics. This movement suggests the idea that the goals of second wave feminism have been achieved
and/or that his older form of feminism is now outmoded because it is overly focused on women's victimized status. It often
positions itself in antagonism to more established feminist projects and displays doubts about the concept of women as a
broad social grouping, arguing that this category is unhelpful. Sometimes it refers to recent feminist thinkers who are
attuned to differences between women and are dubious about collective political action. [Drabble, Beasley]
209. Third-wave Often called "post-feminists", they argue that the 1960s and 1970s women's movement and those which continue to
Liberal adhere to its agenda are inclined to overestimate social obstacles and are disinclined to admit women's own responsibility
feminists for their lives and status. They are sometimes described as "anti-feminists" and contend that women must take individual
responsibility and not hide behind a group status as "victims." They still assume and advocate the equality of men and
women, but their explanation for women's inequality resides more in individuals, and in particular in individual women
than in social discrimination. [Beasley]
210. Toni Name of the author of the novel 'The Bluest Eye'.
Morrison
211. Toni Morrison, the 1993 Nobel Laureate in Literature, is the central figure in putting fiction by and about African American
Morrison women at the forefront of the late-twentieth-century literary canon. Whereas the legacy of slavery had effaced a usable
and The tradition and critical stereotypes at times restricted such writers' range, Morrison's fiction serves as a model for
Bluest Eye reconstructing a culturally empowering past. She joins the great American tradition of self-invention: her own example
and her editorial work have figured importantly in the careers of other writers, such as Toni Bambara and Gayl Jones.
Her first novel, The Bluest Eye (1970), is uncommonly mature for its confident use of a variety of narrative voices.
Throughout her career, Morrison has been dedicated to constructing a practical cultural identity of both a race and a
gender whose self-images have been obscured or denied by dominating forces, and in The Bluest Eye she already
shows that narrative strategy is an important element in such construction. It is a girl's need to be loved that generates
the novel's action, inserted in a plot that involves displacement and alienated affections (and, eventually, incestuous
rape). It is the family's inability to produce a style of existence in which love can be born and thrive that leads to such a
devastating fate for Morrison's protagonist. Pecola Breedlove -the protagonist- escapes her sense of ugliness into
madness, convinced that she has magically been given blue eyes. These, she believes, will reverse the bleak
circumstances of her life, making her pretty and thus valued by others. Morrison's vision is not merely limited to the black
community, though Pecola clearly represents the social, economic, and political position of African-Americans. More
universally, though, Pecola might be seen as the innocent set upon by the world. [Norton, Carmean]
212. Top Girls Written by Caryl Churchill in 1982, faces the idea of a bourgeois feminism versus a social feminism and demonstrates
with "gender the price women have to pay for the right to act like men. It proves that in Thatcherite England the distribution of jobs
on the depending on sex issues does not work any longer. However, when a woman has obtained a powerful position, she
agenda" can be oppressed not only by a man but also by another woman. Marléne represents the individual success of
capitalism while Joyce symbolizes the Marxist idea of communitarian fight. The play concludes that personal matters
must never exclude social ones, at the same time that denounces the restrictions of the political context. There was
still a long way in Thatcherite England to find how a woman can have a successful professional career without having
to choose between social and personal concerns. [Zozaya]
213. Topics and Madness, domesticity, silence/the right to be heard through literary creation, motherhood, submission to patriarchal
symbols structures, political activism, male manipulation, independence through creativity, fractured identities, marriage with
"with gender healing purposes, irrationality, social position, death, desolation, frustration, the dichotomy of sad life vs joyous art,
on the art=poetry and nature, the imagery of a cage bird, threatening brotherhood, the suffering isolated woman writer, or the
agenda" search for identity are among the many topics and symbols in women's writing.
214. The Tradition It is explicitly political; it self-consciously and insistently occupies the public sphere. It originates in the writings of the
of the Female female preachers who embraced seventeenth-century Quaker theology and a belief in a divine inner light that
Poet authorized them to speak in public in Quaker meetings. However didactic much of this poetry seems today, it
inaugurated a tradition of explicitly feminist poetry that insisted in the equality of women and men and on the right of
women to speak publicly about good government and children education.
The female poet's writing responds to specific political events; argues for wide-ranging social and political reform; or
attempts to initiate a social revolution, what Mary Wollstonecraft in a Vindication of the Rights of Woman (1792) called
a revolution in female manners, a redefinition of gender that will ensure equal rights for women. [Mellor]
215. Transnational Is a contemporary paradigm. The name highlights the difference between international and transnational conceptions
Feminism of feminism, and favours the latter. As a feminist approach, it can be said that transnational feminism is generally
attentive to intersections among nationhood, race, gender, sexuality and economic exploitation on a world scale, in the
context of emergent global capitalism.
Transnational feminists inquire in to the social, political and economic conditions comprising imperialism; their
connections to colonialism and nationalism; the role of gender, the state, race, class, and sexuality in the organization
of resistance to hegemonies in the making and unmaking of nation and nation-state.
Transnational feminist practice is attentive to feminism as both a liberatory formation and one with longstanding ties to
colonialism, racism and imperialism. As such, it resists utopic ideas about "global sisterhood" while simultaneously
working to lay the groundwork for more productive and equitable social relations among women across borders and
cultural contexts.
Black and transnational feminisms often register black/ethnic minorities/Third World identities in class terms.
216. Trans politics Showing a similar path to Queer Theory, increasingly critiquing and rejecting notions of fixed identity, represents the
specific avowal of gender and sexual ambiguity (the avowal of a positioning as, for example, neither a man nor
woman). Queer theorists, in particular, dismiss any assertions that gender and sexuality are inevitably joined, and tend
to ignore or reject gender. [Beasley]
217. Trifles "with Written by the American author Susan Glaspell at the end of the American suffragette movement and first produced in
gender in the 1916, represents the absent invisible silenced woman who recovers her presence and her voice in front of the
agenda" audience thanks to the other characters. It is a murder mystery of detective fiction that explores gender relationships,
miscommunication between men and women, power between the sexes, and the nature of truth. While the men bluster
and tramp around the farmhouse searching for clues, the women discover bits of evidence in the ''trifles'' of a farmer's
wife—her baking, cleaning and sewing. Because the men virtually ignore the women's world, they remain blind to the
truth before their eyes. Men and women are good people who do not seem to speak the same language or to value
work, emotions and words in quite the same way. In this play Glaspell highlights the relationship between gender and
deduction. [Ozieblo, enotes]
218. Virginia Name of the author of the short story "The New Dress".
Woolf
219. Virginia Identify the author of this extract and its title: "I have enjoyed myself", she said to Mr. Dalloway, whom she met on the
Woolf, 'The stairs.
New Dress' "Lies, lies, lies!" she said to herself, going downstairs, and "Right in the saucer!" she said to herself as she thanked
Mrs Barnet for helping her and wrapped herself, round and round and round, in the Chinese cloak she had worn these
twenty years.
220. Windows, In women's fiction, they separate public and private spheres, real and imaginary spaces where they are allowed to enter
doors and and to exit. Cracked mirrors often represent fractured identities or horror of recognition. In "The Lady of Shalott" the
mirrors mirror shows her the outside world to which she can't have access. In "The Yellow Wallpaper" the narrator of the story
sees herself reflected in a symbolic mirror because the figures she sees moving behind the wallpaper are all versions
of herself, of other trapped women. [Goodman]
221. "Women- Initially arose out of a reworking of Marx's concern with the positive political possibilities associated with the marginal
centred" class category, the working class.
standpoint
theories
222. "Women's Also known as the Women's Movement, _____, or Women's Lib, the term refers to a series of campaigns for reforms
Liberation" on issues such as reproductive rights, domestic violence, maternity leave, equal pay, voting rights, sexual harassment,
and sexual violence. On the whole, it means the liberation of women from inequalities and subservient status in relation
to men, and from attitudes causing these. Unlike Gay Liberation thinkers, these feminists perceived sexuality as
intimately tied to normative power. [Encarta, Beasley]
223. Women's Literature concerning women. Some of it conveys feminist ideas and affects readers in a "consciousness raising" style.
Literature Most contemporary authors have been influenced to some degree by the "feminist literary critical revolution".
[Goodman]
224. Women's They show a concern with the representation, rights and status of women. A course of study examining the historical,
Studies economic, and cultural roles and achievements of women. Gender is sometimes associated with attempts to excise the
radical critique of Women's Studies and with prescriptive demands that they must be accompanied by a matched
emphasis on men. [Goodman, Encarta, Beasley]
225. Womyn Non-standard spelling of "women" adopted by some feminists in order to avoid the word ending -men. [Encarta]
226. Writer/reader A relationship between author and reader can be established in the way that a text and its context bridge the gap
relationship between one person, an author, and other people, who come to the text at different times, in different cultural contexts
and for different reasons.
227. Writer reader As an example, in Pygmalion the political and social views of G. B. Shaw are expressed through the mouths of his
relationship characters. Also, the female perspective of Jane Eyre brings readers inside Jane's world and encourages them to see
things from Jane's point of view. She offers an insight into the class and gender divisions of the previous era and the
continuing inequalities of society. [Goodman]
228. Writing as In previous centuries writing as a form of work required some prerequisites (access to formal education, time to read
work and write, and connections to the male literary establishment for publication). Many women could not write because
another form of work occupied most of their time and energy―domestic work. In a patriarchal structure, they depended
economically on men. Writing as a form of work was clearly influenced by gender and social constructions. As most
middle- and upper-class women spent the majority of their time in the home, their frame of reference was the domestic,
private world even though fiction. It is true that many of them had written secretly but publishing under male pen names,
or anonymously, or not publishing at all.
Women were socially influenced and culturally trained to be domestic and make themselves appear attractive
according to the male norms of feminine beauty. Many sacrificed their creative self for domestic harmony. [Goodman]
229. The yellow The story chronicles the female character's descend into madness, and may be read as a simple ghost story or as a
wallpaper feminist text.
Perkins Gilman wrote ____________ after a severe nervous breakdown. A specialist in mental diseases advised her to
have two hours' intellectual life a day but she cast his advice to the winds and went to work again as she was so near
the border line of utter mental ruin. Perkins Gilman stated that the little book saved one woman from a similar fate. She
also added that it was not intended to drive people crazy, but to save people from being driven crazy, and it worked
[Drabble, Norton]