By Professor Elizabeth A. Flynn
False impression and denigration of postmodern feminism are common. Elizabeth Flynn’s Feminism past Modernism involves its safety in a cogent and astute demeanour by way of first distinguishing among postmodern and antimodern feminisms after which reclaiming postmodern feminism by means of reconfiguring its courting to modernism. Too usually postmodern feminism is unfairly pointed out instead of modernism and linked to subjectivism and relativism. Flynn addresses those difficulties through provisionally defining postmodern feminism as problematizing and critiquing modernism with no at once opposing it. Flynn additionally means that feminist traditions that reject modernism, resembling radical and cultural feminisms, are antimodern instead of postmodern. In this interdisciplinary examine, Flynn defines feminist traditions greatly, situating her discussions in the contexts of literary reports and rhetoric and composition whereas concurrently exploring the afflicted dating among those fields. Departing from permitted definitions of modernism, Flynn distinguishes among aesthetic modernism and Enlightenment modernism and makes use of the paintings of John Locke, Sigmund Freud, Charlotte Perkins Gilman, Michel Foucault, Donna Haraway, and others as benchmarks for ancient placement. furthermore, rereadings of works via Virginia Woolf, Adrienne wealthy, Alice Walker, Louise Rosenblatt, and others show the advanced ways that they reply to modernist pressures and developments. From this context, Flynn’s Feminism past Modernism reconfigures feminist traditions by way of defining postmodern feminism as a critique of modernism instead of as an antimodern opponent.
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Additional info for Feminism Beyond Modernism (Studies in Rhetorics and Feminisms)
Sample text
Those roles have considerable tenacity, though, and are relatively unchanging over time and space. Constructing gender roles as binary opposites as radical feminists tend to do can have powerful therapeutic and transformative effects. Consciousness raising whereby women get together and share their experiences with others arises out of radical feminism. Such talk becomes a way of dealing with the frustrations that result from being a member of an oppressed group and of gaining a feeling of empowerment in the face of feelings of powerlessness.
Coleridge tells us in Biographia Literaria that he was so taken by the associationist psychology of David Hartley, which derived from the work of Locke, that he named his son after him (121). He also tells us in Biographia Literaria, however, that he came to repudiate Hartley’s position as “mechanical” (74). Coleridge is also critical of Descartes’s dualism. He finds that Descartes was the first philosopher to introduce the idea that the mind and the body are heterogeneous, the mind being associated with intelligence, the body with matter (88).
The broad movements I provisionally name, modern, antimodern, and postmodern feminisms, bear some resemblance to the movements outlined in French feminist Kristeva’s “Women’s Time,” first published in 1979. 24 “Women’s Time” makes evident that there are parallels between the traditions of the French women’s movement and the Anglo-American women’s movement and that neither is monolithic. Kristeva sees that the first generation of feminists, in struggling for equality, aspired to gain a place in linear time as the time of project and history.