Theories: Marxist, Ecocritical, Feminist and Queer Criticism
Hello, I am Emisha Ravani, writing this blog to dealing with the theories like Marxism, Ecocriticism, Feminism, Queer Criticism. Which is given by Barad sir for the chapter of critical theories.
Marxism :
Marxism, a body of doctrine developed by Karl Marx and, to a lesser extent, by Friedrich in the mid-19th century. It originally consisted of three related ideas: a philosophical anthropology, a theory of history, and an economic and political program. There is also Marxism as it has been understood and practiced by the various socialist movements, particularly before 1914. Then there is Soviet Marxism as worked out by Vladimir Lenin and modified by Joseph stalin, which under the name of Marxism-Leninism became the doctrine of the communist parties set up after the Russian revolution(1917). Offshoots of this included Marxism as interpreted by the anti-Stalinist Leon Trotsky and his followers, Mao’s Chinese variant of Marxism-Leninism, and various Marxisms in the developing world. There were also the post-World War II nondogmatic Marxisms that have modified Marx’s thought with borrowings from modern philosophies, principally from those of Edmund Husserl and Martin Heidegger but also from Sigmund Freud and others.
What Marxist critics do:
1. They make a division between the 'overt' (manifest or surface) and 'covert' (latent or hidden) content of a literary work (much as psychoanalytic critics do) and then relate the covert subject matter of the literary work to basic Marxist themes, such as class struggle, or the progression of society through various historical stages, such as, the transition from feudalism to industrial capitalism. Thus, the conflicts in King Lear might be read as being 'really' about the conflict of class interest between the rising class (the bourgeoisie) and the falling class (the feudal overlords).
2. Another method used by Marxist critics is to relate the context of a work to the social-class status of the author. In such cases an assumption is made (which again is similar to those made by psychoanalytic critics) that the author is unaware of precisely what he or she is saying or revealing in the text.
3. A third Marxist method is to explain the nature of a whole literary genre in terms of the social period which 'produced' it. For instance, The Rise of the Novel, by Ian Watt, relates the growth of the novel in the eighteenth century to the expansion of the middle classes during that period. The novel 'speaks' for this social class, just as, for instance, Tragedy 'speaks for' the monarchy and the nobility, and the Ballad 'speaks for' for the rural and semi-urban 'working class'.
4. A fourth Marxist practice is to relate the literary work to the social assumptions of the time in which it is 'consumed', a strategy which is used particularly in the later variant of Marxist criticism known as cultural materialism .
5. A fifth Marxist practice is the 'politicisation of literary form', that is, the claim that literary forms are themselves determined by political circumstance. For instance, in the view of some critics, literary realism carries with it an implicit validation of conservative social structures: for others, the formal and metrical intricacies of the sonnet and the iambic pentameter are a counterpart of social stability, decorum, and order.
Ecocriticism :
Ecocriticism is the study of literature and environment from an interdisciplinary point of view where all sciences come together to analyze the environment and brainstorm possible solutions for the correction of the contemporary environmental situation. Ecocriticism was officially heralded by the publication of two seminal works, both published in the mid-1990s: The Ecocriticism reader , edited by Cheryll Glotfelty and Harold Frome , and The Environmental Imagination, by Lawrence Buell.
Ecocriticism investigates the relation between humans and the natural world in literature. It deals with how environmental issues, cultural issues concerning the environment and attitudes towards nature are presented and analyzed. One of the main goals in ecocriticism is to study how individuals in society behave and react in relation to nature and ecological aspects. This form of criticism has gained a lot of attention during recent years due to higher social emphasis on environmental destruction and increased technology. It is hence a fresh way of analyzing and interpreting literary texts, which brings new dimensions to the field of literary and theoretical studies. Ecocriticism is an intentionally broad approach that is known by a number of other designations, including “green (cultural) studies”, “ecopoetics”, and “environmental literary criticism.”
Western thought has often held a more or less utilitarian attitude to nature —nature is for serving human needs. However, after the eighteenth century, there emerged many voices that demanded a revaluation of the relationship between man and environment, and man’s view of nature. a Norwegian philosopher, developed the notion of “Deep Ecology” which emphasizes the basic interconnectedness of all life forms and natural features, and presents a symbiotic and holistic world-view rather than an anthropocentric one.
What ecocritics do:
1. They re-read major literary works from an ecocentric perspective, with particular attention to the representation of the natural world.
2. They extend the applicability of a range of ecocentric concepts, using them of things other than the natural world -concepts such as growth and energy,
balance and imbalance, symbiosis and mutuality, and sustainable or unsustainable uses of energy and resources.
3. They give special canonical emphasis to writers who foreground nature as a major part of their subject matter, such as the American transcendentalists, the British Romantics, the poetry of John Clare, the work of Thomas Hardy and the Georgian poets of the early twentieth century.
4. They extend the range of literary-critical practice by placing a new emphasis on relevant 'factual' writing, especially reflective topographical material such as essays, travel writing, memoirs, and regional literature.
5. They turn away from the 'social constructivism' and 'linguistic determinism' of dominant literary theories (with their emphasis on the linguistic and social constructedness of the external world) and instead emphasise ecocentric values of meticulous observation, collective ethical responsibility, and the claims of the world beyond ourselves.
Feminism:
Feminist literary criticism (also known as feminist criticism) is the literary analysis that arises from the viewpoint of feminian, feminist theory, and/or feminist politics. Feminist literary criticism helps us look at literature in a different light. It applies the philosophies and perspectives of feminism to the literature we read. There are many different kinds of feminist literary theory. Some theorists examine the language and symbols that are used and how that language and use of symbols is “gendered.” Others remind us that men and women write differently and analyze at how the gender of the author affects how literature is written. Many feminist critics look at how the characters, especially the female characters, are portrayed and ask us to consider how the portrayal of female characters “reinforces or undermines sexual stereotypes” (Lynn). Feminist literary theory also suggests that the gender of the reader often affects our response to a text. For example, feminist critics may claim that certain male writers address their readers as if they were all men and exclude the female reader. Like feminism itself, feminist literary theory asks us to consider the relationships between men and women and their relative roles in society. Much feminist literary theory reminds us that the relationship between men and women in society is often unequal and reflects a particular patriarchal ideology. Those unequal relationships may appear in a variety of ways in the production of literature and within literary texts. Feminist theorists invite us to pay particular attention to the patterns of thought, behavior, values, and power in those relationships. Feminist literary critics remind us that literary values, conventions, and even the production of literature, have themselves been historically shaped by men. They invite us to consider writings by women, both new and forgotten, and also ask us to consider viewing familiar literature through a feminist perspective. We apply it by closely examining the portrayal of the characters, both female and male, the language of the text, the attitude of the author, and the relationship between the characters. We also consider the comments the author seems to be making about society as a whole.
“. . . feminist criticism is a heterogeneous grouping of scholars, writers, linguistics, philosophers, scientists, anthropologists, psychologists, educators, and peoples from all professions and walks of life who believe that women and men are equal. As a social movement, feminist criticism highlights the various ways women, in particular, have been oppressed, suppressed, and repressed. It asks new questions of old texts. It develops and uncovers a female tradition in writing. It analyzes women writers and their works from female perspectives” -Copeland
What feminist critics do :
1. Rethink the canon, aiming at the rediscovery of texts written by women.
2. Revalue women's experience.
3. Examine representations of women in literature by men and women.
4. Challenge representations of women as 'Other', as 'lack', as part of 'nature'.
5. Examine power relations which obtain in texts and in life, with a view to breaking them down, seeing reading as a political act, and showing the extent of patriarchy.
6. Recognise the role of language in making what is social and constructed seem transparent and 'natural'.
7. Raise the question of whether men and women are 'essentially' different because of biology, or are socially constructed as different.
8. Explore the question of whether there is a female language, an ecriture feminine, and whether this is also available to men.
9. 'Re-read' psychoanalysis to further explore the issue of female and male identity.
10. Question the popular notion of the death of the author, asking whether there are only 'subject positions ... constructed in discourse', or whether, on the contrary, the experience (e.g. of a black or lesbian writer) is central.
11. Make clear the ideological base of supposedly 'neutral' or 'mainstream' literary interpretations.
Queer Theory:
Queer theory represents a departure both from previous scholarship about gender and sexuality and how identity politics tend to work. Learn about queer theory and its rich history. Queer theory is a field of study that examines the nature of sexuality- and gender-based normativity and how society defines and polices the concepts of heterosexuality, homosexuality, and gender and sexual identities.
As a branch of gender and sexuality studies, queer theory aims to deconstruct what is acceptable or “normal.” Queer theory opens new avenues of thought to define concepts considered central to identity and identity politics.
Queer theory has immediate implications on how LGBTQ scholars consider questions of gender and sexual orientation. It represents a subversion of how many people assume identity politics should work—in other words, that inborn, benign differences between people entitle everyone to equal rights. Queer theory doesn’t deny that people deserve equal rights but rather that the basis of those rights should not be due to any kind of innate or unchangeable identity.
While queer theory, therefore, has a bearing on contemporary political issues like transgender rights, theorists also stress that there’s room to “queer” many areas of study and political interaction that on face value are not immediately relevant to gender or sexuality.
To “queer” politics means dispensing with assumptions about characterization and division and instead focusing on the power structures responsible for division and hierarchy. The queering of society as a whole imagines a future in which people’s identities are fluid and not subject to oppressive binaries.
What lesbian/gay critics do:
1. Identify and establish a canon of 'classic' lesbian/gay writers whose work constitutes a distinct tradition. These are, in the main, twentieth-century writers, such as (for lesbian writers in Britain) Virginia Woolf, Vita Sackville-West, Dorothy Richardson, Rosamund Lehmann, and Radclyffe Hall.
2. Identify lesbian/gay episodes in mainstream work and discuss them as such (for example, the relationship between Jane and Helen in Jane Eyre), rather than reading same-sex pairings in non-specific ways, for instance, as symbolising two aspects of the same character (Zimmerman).
3. Set up an extended, metaphorical sense of 'lesbian/gay' so that it connotes a moment of crossing a boundary, or blurring a set of categories. All such 'liminal' moments mirror the moment of self-identification as lesbian or gay, which is necessarily an act of conscious resistance to established norms and boundaries.
4. Expose the 'homophobia' of mainstream literature and criticism, as seen in ignoring or denigrating the homosexual aspects of the work of major canonical figures, for example, by omitting overtly homosexual love lyrics from selections or discussions of the poetry of W. H. Auden (Mark Lilly).
5. Foreground homosexual aspects of mainstream literature which have previously been glossed over, for example the strongly homo-erotic tenderness seen in a good deal of First World War poetry.
6. Foreground literary genres, previously neglected, which significantly influenced ideals of masculinity or femininity, such as the nineteenth-century adventure stories with a British 'Empire' setting (for example those by Rudyard Kipling and Rider Haggard) discussed by Joseph Bristow in Empire Boys (Routledge, 1991).
