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Feminist literary criticism can be traced back to medieval times, with some arguing that Geoffrey Chaucer's Wife of Bath could be an example of early feminist literary critics. [2] Additionally, the period considered First wave feminism also contributed extensively to literature and women's presence within it.
Feminist literary criticism is literary criticism informed by feminist theories or politics. Its history has been varied, from classic works of female authors such as George Eliot, Virginia Woolf, [71] and Margaret Fuller to recent theoretical work in women's studies and gender studies by "third-wave" authors.
Scholars of feminist rhetoric add the stories of women into the history of rhetoric who have been previously overlooked or relegated to second-class status, combine issues in feminism and rhetorical theory, and produce rhetorical criticism from feminist perspectives with the ultimate goal of elevating historically marginalized voices.
Further criticisms of écriture féminine include what some claim is an essentialist view of the body and the consequential reliance on a feminism of 'difference' which, according to Diana Holmes, for instance, tends to "demonize masculinity as the repository of all that (at least from a post-'68, broadly Left perspective) is negative."
In this way feminist ideas are regularly found in the structure of children's literature. Feminist criticism of children's literature is therefore expected, since it is a type of feminist literature. [10] Feminist children's literature has played a critical role for the feminist movement, especially in the past half
Feminist art criticism is a smaller subgroup in the larger realm of feminist theory, because feminist theory seeks to explore the themes of discrimination, sexual objectification, oppression, patriarchy, and stereotyping, feminist art criticism attempts similar exploration.
Perrault's French fairy tales, for example, were collected more than a century before the Grimms' and provide a more complex view of womanhood. But as the most popular, and the most riffed-on, the Grimms' are worth analyzing, especially because today's women writers are directly confronting the stifling brand of femininity
Feminist critics also focus on the role of the female artist in Austen's fiction. For example, Claudia Johnson views Emma as a powerful heroine, an artist who controls her home, her marriage choice, her community and her money. Emma composes stories for people's lives and thereby represents the figure of the female artist. [103]