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''Écriture féminine'' — translates from the French as "feminine writing," though it is often translated as "women's writing."〔Baldick, Chris. ''Oxford Concise Dictionary of Literary Terms''. OUP, 1990. 65.〕 The theory, which unpacks the relationship between the cultural and psychological inscription of the female body and female difference in language and text,〔Showalter, Elaine. Critical Inquiry, Vol. 8, No. 2, Writing and Sexual Difference, (Winter, 1981), pp. 179-205. Published by: The University of Chicago Press. http://www.jstor.org/stable/1343159〕 is a strain of feminist literary theory that originated in France in the early 1970s through the work of theorists including Hélène Cixous, Monique Wittig, Luce Irigaray,〔Irigaray, Luce, ''Speculum of the Other Woman'', Cornell University Press, 1985〕 Chantal Chawaf,〔Cesbron, Georges, " Ecritures au féminin. Propositions de lecture pour quatre livres de femmes" in Degré Second, juillet 1980: 95-119〕〔Mistacco, Vicki, "Chantal Chawaf," in Les femmes et la tradition litteraire - Anthologie du Moyen Âge à nos jours; Seconde partie: XIXe-XXIe siècles, Yale Press, 2006, 327-343〕 Catherine Clément, and Julia Kristeva〔Kristeva, Julia ''Revolution in Poetic Language'', Columbia University Press, 1984〕〔Griselda Pollock, "To Inscribe in the Feminine: A Kristevan Impossibility? Or Femininity, Melancholy and Sublimation." ''Parallax, n. 8'', (4(3) ), 1998. 81-117.〕 and has subsequently been extended by writers such as psychoanalytic theorist Bracha Ettinger,〔Ettinger, Bracha, ''Matrix . Halal(a) - Lapsus. Notes on Painting, 1985-1992''. MOMA, Oxford, 1993. (ISBN 0-905836-81-2). Reprinted in: ''Artworking 1985-1999''. Edited by Piet Coessens. Ghent-Amsterdam: Ludion / Brussels: Palais des Beaux-Arts, 2000. (ISBN 90-5544-283-6)〕〔Ettinger, Bracha, ''The Matrixial Borderspace'' (essays 1994-1999), Minnesota University Press, 2006〕 who emerged in this field in the early 1990s.〔Pollock, Griselda, "Does Art Think?", in: ''Art and Thought'' Blackwell, 2003〕 Écriture féminine as a theory foregrounds the importance of language for the psychic understanding of self. The theory draws on the foundational work in psychoanalysis about the way that humans come to understand their social roles. In doing so, it goes on to expound how women, who may be positioned as 'other' in a masculine symbolic order, can reaffirm their understanding of the world through engaging with their own outsiderness.〔"Murfin, Ross C." http://www.ux1.eiu.edu/~rlbeebe/what_is_feminist_criticism.pdf〕 ==Cixous== Hélène Cixous first coined ''écriture féminine'' in her essay, "The Laugh of the Medusa" (1975), where she asserts "woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies" because their sexual pleasure has been repressed and denied expression. Inspired by Cixous' essay, a recent book titled ''Laughing with Medusa'' (2006) analyzes the collective work of Julia Kristeva, Luce Irigaray, Bracha Ettinger and Hélène Cixous.〔Zajko, Vanda and Leonard, Miriam, ''Laughing with Medusa''. Oxford University Press, 2006〕 These writers are as a whole referred to by Anglophones as "the French feminists," though Mary Klages, Associate Professor in the English Department at the University of Colorado at Boulder, has pointed out that "poststructuralist theoretical feminists" would be a more accurate term.〔 Madeleine Gagnon is a more recent proponent. And since the aforementioned 1975 when Cixous also founded women's studies at Vincennes, she has been as a spokeswoman for the group ''Psychanalyse et politique'' and a prolific writer of texts for their publishing house, ''des femmes''. And when asked of her own writing she says, "''Je suis là où ça parle''" ("I am there where it/id/the female unconscious speaks.") 〔Jones, Ann Rosalind. Feminist Studies, Vol. 7, No. 2 (Summer, 1981), pp. 247-263. Published by: Feminist Studies, Inc. http://www.jstor.org/stable/3177523〕 American feminist critic and writer Elaine Showalter defines this movement as "the inscription of the feminine body and female difference in language and text."〔Showalter, Elaine. "Feminist Criticism in the Wilderness." ''The New Feminist Criticism: essays on women, literature, and theory''. Elaine Showalter, ed. London: Virago, 1986. 249.〕 ''Écriture féminine'' places experience before language, and privileges non-linear, cyclical writing that evades "the discourse that regulates the phallocentric system."〔Cixous, Hélène. "The Laugh of the Medusa." ''New French Feminisms''. Elaine Marks and Isabelle de Courtivron, eds. New York: Schocken, 1981. 253.〕 Because language is not a neutral medium, it can be said to function as an instrument of patriarchal expression. As Peter Barry writes, “the female writer is seen as suffering the handicap of having to use a medium (prose writing) which is essentially a male instrument fashioned for male purposes”.〔Barry, Peter. ''Beginning Theory : An Introduction to Literary and Cultural Theory''. New York: Manchester UP, 2002. 126.〕 ''Ecriture féminine'' thus exists as an antithesis of masculine writing or as a means of escape for women.〔However, the phallogocentric argument has been criticised by W. A. Borody as misrepresenting the history of philosophies of ‘’indeterminateness’’ in Western culture. Borody claims that the "black and white" view that the masculine = determinateness and the feminine = indeterminateness contains a degree of cultural and historical validity, but not when it is deployed to self-replicate a form of gender-othering it originally sought to overcome. See Wayne A. Borody (1998) pp. 3, 5 "(Figuring the Phallogocentric Argument with Respect to the Classical Greek Philosophical Tradition )." ''Nebula: A Netzine of the Arts and Science'', Vol. 13 (pp. 1-27).〕 In the words of Rosemarie Tong, “Cixous challenged women to write themselves out of the world men constructed for women. She urged women to put themselves-the unthinkable/unthought-into words.”〔Tong, Rosemarie Putnam. Feminist Thought : A More Comprehensive Introduction. New York: Westview P, 2008.276.〕
With regard to phallogocentric writing, Tong argues that "male sexuality, which centers on what Cixous called the "big dick", is ultimately boring in its pointedness and singularity. Like male sexuality, masculine writing, which Cixous usually termed phallogocentric writing, is also ultimately boring" and furthermore, that "stamped with the official seal of social approval, masculine writing is too weighted down to move or change".〔
For Cixous, ''écriture féminine'' is not only a possibility for female writers; rather, she believes it can be (and has been) employed by male authors such as James Joyce or Jean Genet.〔J. Childers/G. Hentzi eds., ''The Columbia Dictionary of Modern Literary and Cultural Criticism'' (1995) p. 93〕 Some have found this idea difficult to reconcile with Cixous’ definition of ''écriture féminine'' (often termed ‘white ink’) because of the many references she makes to the female body (“There is always in her at least a little of that good mother’s milk. She writes in white ink”.〔Klages, Mary. "Helene Cixous: 'The Laugh of the Medusa.〕) when characterizing the essence of écriture féminine and explaining its origin. This notion raises problems for some theorists:
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