메뉴펼치기
-
1
-
2
-
3
-
4
-
5
-
6
-
7
-
8
-
9
-
10
-
11
-
12
해당 자료는 4페이지 까지만 미리보기를 제공합니다.
4페이지 이후부터 다운로드 후 확인할 수 있습니다.
4페이지 이후부터 다운로드 후 확인할 수 있습니다.
목차
1. INTRODUCTION
1-1. Feminism in Literature
1-2. Feminism in Literature
2. METHOD FOR ANALYSIS
3. COMPARISON OF LITERATURE AND FILM
3-1. Ahead of the 1950s
3-2. In the 1950s
3-3. In the 1960s
3-4. In the 1970s
3-5. Since the 1980s
4. QUESTIONS FOR ANALYSIS
5. VISUAL PLEASURE AND NARRATIVE CINEMA
6. CONCLUSION
6-1. Feminism in Literature
6-2. Feminism in Film
1-1. Feminism in Literature
1-2. Feminism in Literature
2. METHOD FOR ANALYSIS
3. COMPARISON OF LITERATURE AND FILM
3-1. Ahead of the 1950s
3-2. In the 1950s
3-3. In the 1960s
3-4. In the 1970s
3-5. Since the 1980s
4. QUESTIONS FOR ANALYSIS
5. VISUAL PLEASURE AND NARRATIVE CINEMA
6. CONCLUSION
6-1. Feminism in Literature
6-2. Feminism in Film
본문내용
Feminism in Literature
To the onlooker, feminist theory and practice appear to be a diffuse, loosely connected body of criticism that is more divided than unified, housing more internal disagreements than unity among its adherents than are found in perhaps any other approach to literary analysis. Because it claims no ultimate spokesperson but many different voices, there is not one but a variety of feminist theories. Behind all these seemingly contradictory voices and theories, however, is a set of principles that unites this criticism.
Although feminist critics’ ideas concerning the directions of their criticism vary, feminists possess a collective identity: They are women (and some men) who are struggling to discover who they are, how they arrived at their present situation and where they are going. In their search, they value differing opinions, thereby giving significance to the personal rather than a group of people or a codified and authoritative collection of texts. Their search, they assert, is political, for their aim is to change the world in which they live, a world that they maintain must be changed if all individuals, all cultures, all subcultures, and both sexes are to be valued as creative, rational people who can all contribute to their societies and their world. Such a revisionist, revolutionary, and ideological stance seeks to understand the place of women in society and to analyze all aspects that affect women as writers and their writings in what feminists believe is a male-dominated world. In this masculine world, the feminists declare that it is man who defines what it means to be human, not woman. Because a woman is not a man, she has become the other the not-male. Man is the subject, the one who defines meaning; woman is the object, having her existence defined and determined by the male. The man is therefore the significant figure in the male/female relationship and the woman is subordinate.
Such female insignificance did not first appear in the twentieth century, declare feminists such as Jane Tompkins. Long before the existence of our present-day, male-dominated world, most societies have been governed by males.
To the onlooker, feminist theory and practice appear to be a diffuse, loosely connected body of criticism that is more divided than unified, housing more internal disagreements than unity among its adherents than are found in perhaps any other approach to literary analysis. Because it claims no ultimate spokesperson but many different voices, there is not one but a variety of feminist theories. Behind all these seemingly contradictory voices and theories, however, is a set of principles that unites this criticism.
Although feminist critics’ ideas concerning the directions of their criticism vary, feminists possess a collective identity: They are women (and some men) who are struggling to discover who they are, how they arrived at their present situation and where they are going. In their search, they value differing opinions, thereby giving significance to the personal rather than a group of people or a codified and authoritative collection of texts. Their search, they assert, is political, for their aim is to change the world in which they live, a world that they maintain must be changed if all individuals, all cultures, all subcultures, and both sexes are to be valued as creative, rational people who can all contribute to their societies and their world. Such a revisionist, revolutionary, and ideological stance seeks to understand the place of women in society and to analyze all aspects that affect women as writers and their writings in what feminists believe is a male-dominated world. In this masculine world, the feminists declare that it is man who defines what it means to be human, not woman. Because a woman is not a man, she has become the other the not-male. Man is the subject, the one who defines meaning; woman is the object, having her existence defined and determined by the male. The man is therefore the significant figure in the male/female relationship and the woman is subordinate.
Such female insignificance did not first appear in the twentieth century, declare feminists such as Jane Tompkins. Long before the existence of our present-day, male-dominated world, most societies have been governed by males.
추천자료
- 가격2,000원
- 페이지수12페이지
- 등록일2010.03.10
- 저작시기2007.5
- 파일형식기타(rtf)
- 자료번호#589319
본 자료는 최근 2주간 다운받은 회원이 없습니다.
소개글