Écriture féminine
Encyclopedia
Écriture féminine, literally "women's writing," more closely, the inscription of the female body and female difference in language and text, is a strain of feminist literary theory that originated in France
in the early 1970s and included foundational theorists such as Hélène Cixous
, Monique Wittig
, Luce Irigaray
, Chantal Chawaf
, and Julia Kristeva
, and also other writers like psychoanalytical theorist Bracha Ettinger, who joined this field in the early 1990s. Generally, French feminists tended to focus their attention on language, analyzing the ways in which meaning is produced. They concluded that language as we commonly think of it is a decidedly male realm, which therefore only represents a world from the male point of view.
Nonetheless, the French women's movement developed in much the same way as the feminist movements elsewhere in Europe or in the United States: French women participated in consciousness-raising groups; demonstrated in the streets on the 8th of March
; fought hard for women's right to choose whether to have children; raised the issue of violence against women; and struggled to change public opinion on issues concerning women and women's rights. The fact that the very first meeting of a handful of would-be feminist activists in 1970 only managed to launch an acrimonious theoretical debate, would seem to mark the situation as typically 'French' in its apparent insistence on the primacy of theory over politics.
Hélène Cixous
first coined écriture féminine in her essay, "The Laugh of the Medusa" (1975), where she asserts "Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies" because their sexual pleasure has been repressed and denied expression. Inspired by Cixous' essay, a recent book titled Laughing with Medusa (2006) analyzes the collective work of Julia Kristeva, Luce Irigaray, Bracha Ettinger and Hélène Cixous. These writers are as a whole referred to by Anglophones as "the French feminists," though Mary Klages, Associate Professor in the English Department at the University of Colorado at Boulder, has pointed out that "poststructuralist theoretical feminists" would be a more accurate term. Madeleine Gagnon is a more recent proponent. And since the aforementioned 1975 when Cixous also founded women's studies at Vincennes, she has been as a spokeswoman for the group Psychanalyse et politique and a prolific writer of texts for their publishing house, des femmes. And when asked of her own writing she says, "Je suis la où ça parle" ("I am there where it/id/the female unconscious speaks.")
American feminist critic and writer Elaine Showalter
defines this movement as "the inscription of the feminine body and female difference in language and text." Écriture féminine places experience before language, and privileges non-linear, cyclical writing that evades "the discourse that regulates the phallocentric
system." Because language is not a neutral medium, the argument can be made that it functions as an instrument of patriarchal expression. Peter Barry writes that “the female writer is seen as suffering the handicap of having to use a medium (prose writing) which is essentially a male instrument fashioned for male purposes”. Ecriture féminine thus exists as an antithesis of masculine writing, or as a means of escape for women,although the phallogocentric argument itself has been criticised by W. A. Borody as misrepresenting the history of philosophies of ‘’indeterminateness’’ in Western culture. Borody claims that the‘black and white’’view that the masculine=determinateness and the feminine=indeterminateness contains a degree of cultural and historical validity, but not when it is deployed to self-replicate a similar form of gender-othering it originally sought to overcome. In the words of Rosemarie Tong, “Cixous challenged women to write themselves out of the world men constructed for women. She urged women to put themselves-the unthinkable/unthought-into words.”
With regard to phallocentric writing, Tong explains that "male sexuality, which centers on what Cixous called the "big dick", is ultimately boring in its pointedness and singularity. Like male sexuality, masculine writing, which Cixous usually termed phallogocentric writing, is also ultimately boring" and furthermore, that "stamped with the official seal of social approval, masculine writing is too weighted down to move or change".
For Cixous, écriture féminine is not only a possibility for female writers; rather, she believes it can be (and has been) employed by male authors such as James Joyce
. Some have found this idea difficult to reconcile with Cixous’ definition of écriture féminine (often termed ‘white ink’) because of the many references she makes to the female body (“There is always in her at least a little of that good mother’s milk. She writes in white ink”) when characterizing the essence of écriture féminine and explaining its origin. This notion raises problems for some theorists:
For Luce Irigaray, women's sexual pleasure jouissance
cannot be expressed by the dominant, ordered, "logical," masculine language because according to Kristeva, feminine language is derived from the pre-oedipal period of fusion between mother and child. Associated with the maternal, feminine language is not only a threat to culture, which is patriarchal, but also a medium through which women may be creative in new ways. Irigaray expressed this connection between women's sexuality and women's language through the following analogy: women's jouissance
is more multiple than men's unitary, phallic pleasure because
Irigaray and Cixous also go on to emphasize that women, historically limited to being sexual objects for men (virgins or prostitutes, wives or mothers), have been prevented from expressing their sexuality in itself or for themselves. If they can do this, and if they can speak about it in the new languages it calls for, they will establish a point of view (a site of difference) from which phallogocentric concepts and controls can be seen through and taken apart, not only in theory, but also in practice.
Feminism in France
Feminism in France has its origins in the French Revolution. A few famous figures emerged during the 1871 Paris Commune, including Louise Michel, Russian-born Elisabeth Dmitrieff, Nathalie Lemel, and Renée Vivien .-French Revolution:...
in the early 1970s and included foundational theorists such as Hélène Cixous
Hélène Cixous
Hélène Cixous is a professor, French feminist writer, poet, playwright, philosopher, literary critic and rhetorician. She holds honorary degrees from Queen's University and the University of Alberta in Canada; University College Dublin in Ireland; the University of York and University College...
, Monique Wittig
Monique Wittig
Monique Wittig was a French author and feminist theorist who wrote about overcoming socially enforced gender roles and who coined the phrase "heterosexual contract". She published her first novel, L'Opoponax, in 1964...
, Luce Irigaray
Luce Irigaray
Luce Irigaray is a Belgian feminist, philosopher, linguist, psychoanalyst, sociologist and cultural theorist. She is best known for her works Speculum of the Other Woman and This Sex Which Is Not One .-Biography:...
, Chantal Chawaf
Chantal Chawaf
Chantal Chawaf is a French writer.She was born in Paris, during the World War II. During her childhood, she studied art at l'Ecole du Louvre and literature. She travelled and lived for some years in Europe, in the Middle East and North America...
, and Julia Kristeva
Julia Kristeva
Julia Kristeva is a Bulgarian-French philosopher, literary critic, psychoanalyst, sociologist, feminist, and, most recently, novelist, who has lived in France since the mid-1960s. She is now a Professor at the University Paris Diderot...
, and also other writers like psychoanalytical theorist Bracha Ettinger, who joined this field in the early 1990s. Generally, French feminists tended to focus their attention on language, analyzing the ways in which meaning is produced. They concluded that language as we commonly think of it is a decidedly male realm, which therefore only represents a world from the male point of view.
Nonetheless, the French women's movement developed in much the same way as the feminist movements elsewhere in Europe or in the United States: French women participated in consciousness-raising groups; demonstrated in the streets on the 8th of March
International Women's Day
International Women's Day , originally called International Working Women’s Day, is marked on March 8 every year. In different regions the focus of the celebrations ranges from general celebration of respect, appreciation and love towards women to a celebration for women's economic, political and...
; fought hard for women's right to choose whether to have children; raised the issue of violence against women; and struggled to change public opinion on issues concerning women and women's rights. The fact that the very first meeting of a handful of would-be feminist activists in 1970 only managed to launch an acrimonious theoretical debate, would seem to mark the situation as typically 'French' in its apparent insistence on the primacy of theory over politics.
Hélène Cixous
Hélène Cixous
Hélène Cixous is a professor, French feminist writer, poet, playwright, philosopher, literary critic and rhetorician. She holds honorary degrees from Queen's University and the University of Alberta in Canada; University College Dublin in Ireland; the University of York and University College...
first coined écriture féminine in her essay, "The Laugh of the Medusa" (1975), where she asserts "Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies" because their sexual pleasure has been repressed and denied expression. Inspired by Cixous' essay, a recent book titled Laughing with Medusa (2006) analyzes the collective work of Julia Kristeva, Luce Irigaray, Bracha Ettinger and Hélène Cixous. These writers are as a whole referred to by Anglophones as "the French feminists," though Mary Klages, Associate Professor in the English Department at the University of Colorado at Boulder, has pointed out that "poststructuralist theoretical feminists" would be a more accurate term. Madeleine Gagnon is a more recent proponent. And since the aforementioned 1975 when Cixous also founded women's studies at Vincennes, she has been as a spokeswoman for the group Psychanalyse et politique and a prolific writer of texts for their publishing house, des femmes. And when asked of her own writing she says, "Je suis la où ça parle" ("I am there where it/id/the female unconscious speaks.")
American feminist critic and writer Elaine Showalter
Elaine Showalter
Elaine Showalter is an American literary critic, feminist, and writer on cultural and social issues. She is one of the founders of feminist literary criticism in United States academia, developing the concept and practice of gynocritics.She is well known and respected in both academic and popular...
defines this movement as "the inscription of the feminine body and female difference in language and text." Écriture féminine places experience before language, and privileges non-linear, cyclical writing that evades "the discourse that regulates the phallocentric
Phallogocentrism
In critical theory and deconstruction, phallogocentrism or phallocentrism is a neologism coined by Jacques Derrida to refer to the privileging of the masculine in the construction of meaning....
system." Because language is not a neutral medium, the argument can be made that it functions as an instrument of patriarchal expression. Peter Barry writes that “the female writer is seen as suffering the handicap of having to use a medium (prose writing) which is essentially a male instrument fashioned for male purposes”. Ecriture féminine thus exists as an antithesis of masculine writing, or as a means of escape for women,although the phallogocentric argument itself has been criticised by W. A. Borody as misrepresenting the history of philosophies of ‘’indeterminateness’’ in Western culture. Borody claims that the‘black and white’’view that the masculine=determinateness and the feminine=indeterminateness contains a degree of cultural and historical validity, but not when it is deployed to self-replicate a similar form of gender-othering it originally sought to overcome. In the words of Rosemarie Tong, “Cixous challenged women to write themselves out of the world men constructed for women. She urged women to put themselves-the unthinkable/unthought-into words.”
Almost everything is yet to be written by women about femininity: about their sexuality, that is, its infinite and mobile complexity; about their eroticization, sudden turn-ons of a certain minuscule-immense area of their bodies; not about destiny, but about the adventure of such and such a drive, about trips, crossings, trudges, abrupt and gradual awakenings, discoveries of a zone at once timorous and soon to be forthright.
With regard to phallocentric writing, Tong explains that "male sexuality, which centers on what Cixous called the "big dick", is ultimately boring in its pointedness and singularity. Like male sexuality, masculine writing, which Cixous usually termed phallogocentric writing, is also ultimately boring" and furthermore, that "stamped with the official seal of social approval, masculine writing is too weighted down to move or change".
Write, let no one hold you back, let nothing stop you: not man; not the imbecilic capitalist machinery, in which the publishing houses are the crafty, obsequious relayers of imperatives handed down by an economy that works against us and off our backs; not yourself. Smug-faced readers, managing editors, and big bosses don't like the true texts of women- female-sexed texts. That kind scares them.
For Cixous, écriture féminine is not only a possibility for female writers; rather, she believes it can be (and has been) employed by male authors such as James Joyce
James Joyce
James Augustine Aloysius Joyce was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century...
. Some have found this idea difficult to reconcile with Cixous’ definition of écriture féminine (often termed ‘white ink’) because of the many references she makes to the female body (“There is always in her at least a little of that good mother’s milk. She writes in white ink”) when characterizing the essence of écriture féminine and explaining its origin. This notion raises problems for some theorists:
"Ecriture féminine, then, is by its nature transgressive, rule-transcending, intoxicated, but it is clear that the notion as put forward by Cixous raises many problems. The realm of the body, for instance, is seen as somehow immune to social and gender condition and able to issue forth a pure essence of the feminine. Such essentialism is difficult to square with feminism which emphasizes femininity as a social construction…"
For Luce Irigaray, women's sexual pleasure jouissance
Jouissance
The term jouissance, in French, denotes "pleasure" or "enjoyment." The term has a sexual connotation lacking in the English word "enjoyment", and is therefore left untranslated in English editions of the works of Jacques Lacan. In his Seminar "The Ethics of Psychoanalysis" Lacan develops his...
cannot be expressed by the dominant, ordered, "logical," masculine language because according to Kristeva, feminine language is derived from the pre-oedipal period of fusion between mother and child. Associated with the maternal, feminine language is not only a threat to culture, which is patriarchal, but also a medium through which women may be creative in new ways. Irigaray expressed this connection between women's sexuality and women's language through the following analogy: women's jouissance
Jouissance
The term jouissance, in French, denotes "pleasure" or "enjoyment." The term has a sexual connotation lacking in the English word "enjoyment", and is therefore left untranslated in English editions of the works of Jacques Lacan. In his Seminar "The Ethics of Psychoanalysis" Lacan develops his...
is more multiple than men's unitary, phallic pleasure because
"woman has sex organs just about everywhere...feminine language is more diffusive than its 'masculine counterpart'. That is undoubtedly the reason...her language...goes off in all directions and...he is unable to discern the coherence."
Irigaray and Cixous also go on to emphasize that women, historically limited to being sexual objects for men (virgins or prostitutes, wives or mothers), have been prevented from expressing their sexuality in itself or for themselves. If they can do this, and if they can speak about it in the new languages it calls for, they will establish a point of view (a site of difference) from which phallogocentric concepts and controls can be seen through and taken apart, not only in theory, but also in practice.
External links
- "The Laugh of the Medusa" Resource Page
- Writing the Body: Toward an Understanding of l'Écriture féminine
- Strategies of Difference and Opposition Hélène Cixous' writing strategy of écriture féminine.