Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce art to politics and are hostile to any form of aesthetic pleasure. Literature after Feminism is the first work to comprehensively rebut such caricatures, while also offering a clear-eyed assessment of the relative merits of various feminist approaches to literature. Spelling out her main arguments clearly and succinctly, Rita Felski explains how feminism has changed the ways people read and think about literature. She organizes her...
Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce...
Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce art to politics and are hostile to any form of aesthetic pleasure. Literature after Feminism is the first work to comprehensively rebut such caricatures, while also offering a clear-eyed assessment of the relative merits of various feminist approaches to literature. Spelling out her main arguments clearly and succinctly, Rita Felski explains how feminism has changed the ways people read and think about literature. She organizes her...
Recent commentators have portrayed feminist critics as grim-faced ideologues who are destroying the study of literature. Feminists, they claim, reduce...
Beyond Feminist Aesthetics has a dual focus. First, Rita Felski gives a critical account of current American and European feminist literary theory, and second, she offers an analysis of contemporary fiction by women, drawing in particular on the genres of the autobiographical confession and the novel of self-discovery, in order to show that this literature raises questions for feminism that cannot be answered in terms of a purely gender based analysis.
Felski argues that the idea of a feminist aesthetic is a nonissue that feminists have needlessly pursued; she suggests, in...
Beyond Feminist Aesthetics has a dual focus. First, Rita Felski gives a critical account of current American and European feminist literary ...
In an innovative and invigorating exploration of the complex relations between women and the modern, Rita Felski challenges conventional male-centered theories of modernity. She also calls into question those feminist perspectives that have either demonized the modern as inherently patriarchal, or else assumed a simple opposition between men's and women's experiences of the modern world.
Combining cultural history with cultural theory, and focusing on the fin de siEcle, Felski examines the gendered meanings of such notions as nostalgia, consumption, feminine writing, the popular...
In an innovative and invigorating exploration of the complex relations between women and the modern, Rita Felski challenges conventional male-cente...
This groundbreaking collection provokes a major reassessment of the significance of tragedy and the tragic in late modernity. A distinguished group of scholars and theorists extends the discussion of tragedy beyond its usual parameters to include film, popular culture, and contemporary politics.
Seven new essays--as well as eight essays originally published in a New Literary History special issue on tragedy--address important, previously neglected areas of tragedy and postcolonial criticism. The new material explores the tragic dimensions of popular culture, the relationship...
This groundbreaking collection provokes a major reassessment of the significance of tragedy and the tragic in late modernity. A distinguished group...
Contemporary theory is full of references to the modern and the postmodern. How useful are these terms? What exactly do they mean? And how is our sense of these terms changing under the pressure of feminist analysis?
In Doing Time, Rita Felski argues that it makes little sense to think of the modern and postmodern as opposing or antithetical terms. Rather, we need a historical perspective that is attuned to cultural and political differences within the same time as well as the leaky boundaries between different times.
Neither the modern nor the postmodern are unified,...
Contemporary theory is full of references to the modern and the postmodern. How useful are these terms? What exactly do they mean? And how is our s...
Contemporary theory is full of references to the modern and the postmodern. How useful are these terms? What exactly do they mean? And how is our sense of these terms changing under the pressure of feminist analysis?
In Doing Time, Rita Felski argues that it makes little sense to think of the modern and postmodern as opposing or antithetical terms. Rather, we need a historical perspective that is attuned to cultural and political differences within the same time as well as the leaky boundaries between different times.
Neither the modern nor the postmodern are...
Contemporary theory is full of references to the modern and the postmodern. How useful are these terms? What exactly do they mean? And how is our s...
Emilie Charmy (1878-1974) charted a remarkable course in the world of French modern art in the first half of the twentieth century. Her earliest works, executed around 1900, explored the legacy of Impressionist and Post-Impressionist painting. An engagement with the avant-garde circle of Fauve painters defined her art in the years leading up to the First World War. In the ensuing interwar period, Charmy found her mature style, characterized by optical realism, an adherence to the traditional genres of portraiture, the nude, landscape, and still life, and a modernist notion of direct,...
Emilie Charmy (1878-1974) charted a remarkable course in the world of French modern art in the first half of the twentieth century. Her earliest wo...
