Suchergebnisse

Die feministische Theoretikerin Marilyn French stellt in diesem Buch die provokative These auf, daß die Männer Krieg gegen die Frauen führen. Einen Krieg, den sie vor 10 000 Jahren begannen und der die AblÓsung des Matriarchats durch das Patriarchat brachte, einen Krieg, den die Männer verstärkt führen seit der Frauenrechtsbewegung im 19. Jahrhundert und der feministischen Bewegung unserer Tage. Die Autorin sieht unsere Kultur als einen verschleierten Unterdrückungsapparat gegen das Selbstestimmungsrecht der Frauen.

Challenges the assumptions of civilizations that are manifested in the way sex & power are conceived. The false assumptions that men (human) & women (nature) were different species, & that the father was the primary parent bolstered patriarchy & the mind-body split, as well as served to deify domination. It is argued that female superiority is based in biology & nature while male power is a creation of mere words sustained by male solidarity. Philosophy's ignorance of everyday realities has led to men being seen as the incarnation of power. Women, in contrast, are relegated to assuming the "responsible" roles. To build a more sane & moral world, it is advocated that the concept of "human" must be redefined, & domination must be recognized as a malicious action. 26 References. M. Greenberg

Literary art that is identifiably feminist approaches reality from a feminist perspective and endorses female experience. A feminist perspective demystifies patriarchal assumptions about the nature of human beings, their relation to nature, and the relation of physical and moral qualities to each other. To endorse female experience, the artist must defy or stretch traditional literary conventions, which often means offending or alienating readers. Traditional literary conventions are rooted in philosophical assumptions several thousand years old and still widely current. A third principle of feminist art—which not all feminists subscribe to—is accessibility. When feminist art is difficult, the reason usually lies not in purposeful obfuscation, but in the poverty of our language of feeling, and the difficulty of rendering feeling.