The Laugh Of The Medusa

Feminist social theory ought to challenge the ideals of Classical social theory embodied by the work of authors, such Marx, Durkheim, Weber and Simmel. Such traditional values tend to exclude women from their social analysis of the modern world, as women were considered non social agents. In support of this, Durkheim claim that men were product of society, whereas women belonged to nature, (Harrington: 2005, p.236). Thus, feminist social theory embrace post-enlightenment principles, focusing on values associated to “difference”,”particularism” and “specificity” (Harrington: 2005, p. 233). In order to do so, Feminist social theory has been feed by feminist theories which have similar concern about the study of social world, as both

Louise Halfe’s “Body Politics” challenges the qualities and behaviour of the idealized feminine woman by contrasting the stereotypical “city woman” with a more masculine “real woman.” The poem’s speaker describes her mother’s opinion of what it means to be a real woman, which is seen through “Mama said.” Throughout the poem, the speaker uses vivid imagery to create a stark contrast between the idealized feminine “city woman” and a “real woman” who does not conform to the feminine gender norm. To begin with, the title of the poem itself can be viewed as an obvious critique of the feminine ideal. By definition a body politic is a group of people “considered as a collective unit” (Merriam-Webster). This is significant because in Butler’s theory, she emphasizes that a person’s gender can vary depending on a given situation, and therefore women cannot be grouped together and defined exclusively by their feminine qualities. Instead, she argues that women should be viewed as individuals capable of possessing both masculine and feminine behaviour. This belief relates directly to the poem’s title, as Halfe is clearly making a statement on the manner in which patriarchal societies expect women to conform to a singular feminine ideal. Moreover, it illustrates how women’s bodies become a political site for the masculinist culture to impose feminine gender on. With consideration to the title’s reference to a homogeneous group of women, it is interesting that stanzas two through four all

Feminism as it pertains to France needs a more in-depth description. Feminist theory in France appeared as a revolutionary movement that would jam the theoretical machinery of republican discourse, exposing its limits and disrupting its smooth functioning (Duchen 7). The republic showed inherent flaws in its philosophy when it promised universal suffrage to all and delivered suffrage for all males, considering its wives, mothers, and daughters as non-citizens. French Feminists faced an uphill battle with the strong patriarchal institutions upheld in the government, as well as in the church and home. Therefore, French feminism was a radical political movement often fought against by the status quo that sought "the end of a political relationship of the sexes characterized by masculine dominance and female subordinance," (Moses 7).

The feminist movement of the 1960’s focused solely on the improvement and well- being of women. The idea of Feminism is a critical theory as it is an analytical examination of social conditions and what tools could be utilized to proactively improve these conditions. Overcoming the consistent barriers women had to endure during this era remains prevalent and continues to have psychological effects. In order to strengthen one’s mindset regarding feminism, we must first refer back and understand the intellectual history of the women’s movement and examine areas of how counseling can assist with overcoming these impediments. The Feminist philosophy is the philosophical dimension of intellectual feminism. Many philosophers understand their intellectual history and the history of the women's movement in terms of three "waves."

In this poem Cisneros displays a common stereotype of women in a satirical way that is easy to identify with, and in a sense empowers women rather than degrading them. In doing this, she keeps her cultural heritage by using both English, and her own native language, Spanish to define her views. She maintains this sort of style throughout her poems and pursues gender issues and cultural identity with ferocious vitality and purpose.

In the essay, “Bad Feminist,” by english professor and novelist, Roxane Gay, examines the “myth” of “essential feminism,”which means that there are right and wrong ways to being a feminist. Through her own personal experiences as a feminist, she argues the expectations, and labeling due to cultural stereotypes for not living up to feminist ideals. She claims that there is no certain way to being a feminist. Throughout her essay, Roxanne does an astonishing job at appealing to her audience with strong, emotional context by going into detail with her own thoughts are about feminism. Also, her references such as, popular magazines,

As a result, “Becomers” do not benefit from a postmodern society, where the collective indicates submission to legal structures. “Becoming” bodies exist to be constantly reanalyzed in order to subvert the dominant standards and laws. It may be that “Becomers” are not in search of “identity”, this belief in contemporary culture, but rather attempt to escape from it. In lieu of this concept, this essay will focus on how Preciado in Testo Junkie and Clarice Lispector in “The Hour of the Star,” deploy gender-poetics and gender politics to imply that the body, specifically the marginalized body, acts as an archive—a warehouse permeated with political and cultural significance. I argue, the archive, in turn, constructs the body’s position in society of constantly having to be in performance. As will be further discussed using Preciado and Spector’s texts, we use bodies to produce a text, not to represent a text, but to specifically culturally and politically textualize a

With the release of this document, women began to make political demands to become more relevant in French society. Few males supported this upbringing, but women created petitions informing the public of their complaints. There was a petition that said women were to be called, “the third estate of the third estate.” Soon after, sixty women’s clubs were established but banned after four years by an all-male legislative body.

The physical body has been seen as many things both positive and negative. It can be thought of as the temple which houses the soul or can be seen as entrapping, like a cage of flesh. More often it seems that the body, especially women’s bodies, are looked at in more complicated ways than the bodies of men. As I grew up, it began to feel more and more like my body, and the bodies of other women, did not actually belong to us like we believed. Through my Women’s Studies class I have gained more knowledge on the body as a political object. In this essay I will examine six different articles with the similar theme of women’s bodies, the expression of those bodies and how by using feminism as a political standpoint they gain power and ownership of their bodies.

Before the rise of the feminist movement in the late 19th century, women were denied social power and the ability to self-express which led women to desire a voice of their own. Since then, feminism has been widely perceived and controversial which provoked feminists to emphasize women’s needs by confronting the social oppression of women and analyze how their feeling of self-doubt results in response to the constant power struggle between the two sexes. Not only did women protest for more rights, but men also sought equal rights, thereby strengthening the feminist movement further. In Donald Hall’s book Literary and Cultural Theory, he explores the various lenses of feminism by discussing how patriarchy affects the social, economic, and psychological

Judith Butler’s essay, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory” calls for a new way to view sex and gender. Butler argues that “gender identity is a performative accomplishment compelled by social sanction and taboo”. In this case, gender is not constituted by what one is, but rather what one does; the performative acts constitute gender. In other words, gender is not the starting place; it is an identity repeatedly constructed throughout time. Butler is trying to show us a feminist perspective of sex and gender. She attempts to follow Beauvoir’s path in a fight against society norms.

For her article in the 1976 publication of the Journal of Women in Culture and Society, Helen Cixous writes, “Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies—for the same reasons, by the same law, with the same fatal goal. Women must put herself into text—as into the world and into history—by her own movement” (Cixous 875). Kathy Acker does just this in her novel, Blood and Guts in High School. Unlike her male contemporaries, Acker took the risk of writing her own body into her text. As a woman who wrote from inside her skin and mind, she maintained an acute awareness that the metaphor of the body politic begins as a gendered experience.

The following text comes from Simone de Beauvoir called “The Second Sex,” which discusses the ideas of the feminist

The goal of this paper is to describe and analyze gender inequality, focusing on the history of feminist ideas. I will start with a basic overview of the entire feminist movement, and will then analyze feminism more specifically. In this analysis I will focus on the different types of feminism. Most notably of these types will be the main groups that consist of socialist feminists, liberal feminists, and radical feminists. I will describe the goals and ideals of these groups along with describing how a functionalist and conflict theorist looks at gender.

Lastly, “femininity” refers to behavioural activities or interests that are assigned to the female sex, such as cleaning and cooking (Beauvoir, 617). Although many critics have read her text and become confused due to her stylistic choice to fuse her voice with the voices of famous men, it can be said that the text ultimately leads the reader to begin to question what society sees as a woman (Zerilli, 1-2). Despite Beauvoir’s The Second Sex appearing to recognize the oppression of women throughout the world without giving an actual solution, I will argue that Beauvoir’s evaluation of each “natural” aspect of female oppression allows readers to recognize that the only thing holding themselves back as a woman is society’s unnatural definition of their body, relation to men, and personal freedoms. Of course, when it comes to one's freedom, it is difficult to obtain when your body feels like a