Begmurodov Jasurbek. 10 mavzu savollariga javoblar

Begmurodov Jasurbek.

10 mavzu savollariga javoblar.

When feminist literary criticism began to emerge in the late sixties and early seventies, bursting into prominence with the publication of such provocative and influential texts as Kate Millett's Sexual Politics (1971), Germaine Greer's The Female Eunuch (1970) and Eva Figes' Patriarchal Attitudes (1970), these pioneering polemics gave surprisingly little attention to women's writing. Paradoxically, in spite of their vigorous attacks on the academic literary establishment, they shared one of its most striking characteristics: they were, as Mary Eagleton has pointed out in the previous chapter, almost solely concerned with men. At that period only a handful of women writers made it on to university English courses. Jane Austen and George Eliot had been placed by Leavis within the great tradition, and were allowed canonical status. Emily Brontë's Wuthering Heights was judged to be a classic, though her sisters, Charlotte and Anne, had their writing dismissed as melodramatic, sentimental and lacking in form. Virginia Woolf was thought overly genteel, far too ladylike to be taken seriously, part of effete Bloomsbury, and even those who praised her, like David Daiches, agreed her art was ‘limited’ (Daiches, 1971: 561). Mary Shelley's Frankenstein, now it seems on virtually every university's first-year English course, was simply not regarded as literature. In Leavis' famous divide between ‘mass civilisation’ and ‘minority culture’, Frankenstein was undoubtedly, like so much women's writing, on the wrong side.

Feminist literature is fiction, nonfiction, drama, or poetry, which supports the feminist goals of defining, establishing, and defending equal civil, political, economic, and social rights for women. It often identifies women's roles as unequal to those of men – particularly as regarding status, privilege, and power – and generally portrays the consequences to women, men, families, communities, and societies as undesirable

These novels are from the first wave of feminism, roughly the 1860s to the 1940s. Some are explicitly political, making plot points of social inequalities. Others are more subtle, poking fun at society’s norms or simply describing life from a female point of view at a time when that was still a radical act. Although most of these authors didn’t know or use the word feminist, we can look back at their work and use it to understand how feminism became a stronger movement. 

Everyone has a personal definition of feminism; for the this series, I’m broadly defining feminism as the belief in gender equality. Stay tuned for Feminist Fiction: the Second Wave!

The Awakening, Kate Chopin, 1899
Chopin’s central character, Edna, is an unhappy wife, mother and Presbyterian struggling to find joy in the Louisiana Creole high society life of New Orleans in the late 19th century. Although the storyline isn't as revolutionary in 2015 as when it was published in 1899, Edna Pontellier's agony remains relatable to modern readers. Dialogue aside, Chopin's writing is fresh and readable. This novella is a touchstone of feminist writing and American Southern storytelling whose ending is both obvious and gut-wrenching.

The Complete Claudine, Colette, 1900-03
Colette began her long writing career with the mischievous and autobiographical Claudine, whose four novellas are collected here. The first, Claudine at School, is by far the most fun: Claudine is the cool girl, seducing her teachers of both sexes, stealing love letters, generally making trouble. Over the next three books she grows up, juggles lesbian affairs with her marriage, and ages. Colette’s frank homosexuality was scandalous when these were published in 1900-03; with the passage of time now they’re more of an amusing historical window.