Post- world War II, Victorian Female, and Romantic Period Female Literature Comparison of Language

Perspective
In the West, the second wave of feminism prompted a general revelation of women's historical contributions, and various academic sub-disciplines, such as women's history and women's writing, developed in response to the belief that women's lives and contributions have been underrepresented as areas of scholarly interest. Much of this early period of feminist literary scholarship was given over to the rediscovery and reclamation of texts written by women. Studies like Dale Spender's Mothers of the Novel (1986) and Jane Spencer's The Rise of the Woman Novelist (1986) were ground-breaking in their insistence that women have always been writing. Commensurate with this growth in scholarly interest, various presses began the task of reissuing long-out-of-print texts. Virago Press began to publish its large list of 19th and early-20th-century novels in 1975, and became one of the first commercial presses to join in the project of reclamation. In the 1980s Pandora Press, responsible for publishing Spender's study, issued a companion line of 18th-century novels by written by women.^[9] More recently, Broadview Press continues to issue 18th- and 19th-century novels, many hitherto out of print, and the University of Kentucky has a series of republications of early women's novels. There has been commensurate growth in the area of biographical dictionaries of women writers due to a perception, according to one editor, that "[m]ost of our women are not represented in the 'standard' reference books in the field."^[10]
Elaine V. Bellin's book, Redeeming Eve: Women Writers of the English Renaissance, mentions the lack of female representation in renaissance literature, as well explores the idea of missing evidence of female writers of that period.^[11] The widespread interest in women's writing developed alongside, and was influenced by, a general reassessment and expansion of the literary canon. Interest in post-colonial literature, gay and lesbian literature, writing by people of color, working people's writing, and the cultural productions of other historically marginalized groups has resulted in a whole-scale expansion of what is considered "literature," and genres hitherto not regarded as "literary," (such as children's writing, journals, letters, and travel writing, among many others)^[12] are now the subjects of scholarly interest. Most genres and sub-genres has undergone a similar analysis, so that one now sees work on the "female gothic"^[13] or women's science fiction
Every female writer picking up her pen or opening her laptop today to write—whether her métier be fact or fiction—builds upon a powerful legacy of struggle for recognition and respect. The storied catalog of women writers, from Virginia Woolf’s A Room of One’s Own to Janet Mock’s Redefining Realness, bears witness to a simple desire to tell a story despite societal odds.
The women listed below aren’t just writers—they’re powerful boundary breakers who helped pave the way for today’s writers. Consider this: Each woman below not only had to face society’s expectations of her as a woman, a person of color, a member of the LGBTQIA+ community, or all, but also as a screenwriter, novelist, poet, or science fiction writer. Whether a century ago or a year ago, these women persisted—and today, as writers, we stand on their shoulders.
Modern and post-modern works often use inner dialogue and stream-of-conscious narrative that was not evident in the works of the past. Bronte’s “Wuthering Heights” is told from the perspectives of Lockwood and Nelly, who provides narration for other characters to tell their stories (L.C. English, n.d.). Anne Carson’s “The Glass Essay” is written from her personal perspective with inner dialogue and reflection characteristic to modernism and post-modernism.