135032 PS Literaturtheorie (PS): Feminist literary theory (2022W)
Prüfungsimmanente Lehrveranstaltung
Labels
Es findet ein begleitendes Tutorium statt.
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
- Anmeldung von Do 01.09.2022 00:01 bis Sa 24.09.2022 23:59
- Abmeldung bis Mo 31.10.2022 23:59
Details
max. 30 Teilnehmer*innen
Sprache: Englisch
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
This course will be held in presence only (situation permitting)
- Montag 03.10. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 10.10. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 17.10. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 24.10. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 31.10. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 14.11. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 21.11. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 28.11. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 05.12. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 12.12. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 09.01. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 16.01. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 23.01. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
- Montag 30.01. 15:00 - 16:30 Seminarraum 2 Sensengasse 3a 1.OG
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
Art der Leistungskontrolle und erlaubte Hilfsmittel
-participation and homework- 4 short response essays on weekly topics, app. 500 words each (20%)
-leading discussion (10%)
-participation in class discussion (10%)
-seminar paper, 3500 words (50%), due end of March 2023
Expected attendance: maximum 3 absences allowed
-leading discussion (10%)
-participation in class discussion (10%)
-seminar paper, 3500 words (50%), due end of March 2023
Expected attendance: maximum 3 absences allowed
Mindestanforderungen und Beurteilungsmaßstab
Minimum requirements:
-participation and homework- 4 short response essays on weekly topics, app. 500 words each (30%)
-leading discussion (20%)
-seminar paper, 3500 words (50%) awarded at least 50 points, due end of March 2023
Expected attendance: maximum 3 absences allowed. You must be present in the first unit, otherwise you lose your place in the course.Assessment criteria for written work:1) Contents (the ability to read a text closely and identify, analyse and understand the specificities of the literary discourse; the detection of the central points; clear formulation, structure and organization of the argument, supported with evidence from primary and secondary sources; the ability to read a text closely and interpret both form, content and context; the ability to reflect critically on the relations between primary and secondary texts, instead of just citing secondary texts as a source of authority and interpretation; correctness of methodology; originality; creativity 60%
2) Format (esp. layout, formatting, and citation practice): 20%
3) Language (particularly scholarly terminology and correct use of technical terms; clear and understandable language; correct spelling, grammar, and sentence composition; style): 20%
In all three areas at least 50% of the points must be achieved in order to obtain credit. The mark breakdown is as follows:(1) 90-100 %
(2) 80-89 %
(3) 65-79 %
(4) 50-64 %
(5) 49 -0 %
-participation and homework- 4 short response essays on weekly topics, app. 500 words each (30%)
-leading discussion (20%)
-seminar paper, 3500 words (50%) awarded at least 50 points, due end of March 2023
Expected attendance: maximum 3 absences allowed. You must be present in the first unit, otherwise you lose your place in the course.Assessment criteria for written work:1) Contents (the ability to read a text closely and identify, analyse and understand the specificities of the literary discourse; the detection of the central points; clear formulation, structure and organization of the argument, supported with evidence from primary and secondary sources; the ability to read a text closely and interpret both form, content and context; the ability to reflect critically on the relations between primary and secondary texts, instead of just citing secondary texts as a source of authority and interpretation; correctness of methodology; originality; creativity 60%
2) Format (esp. layout, formatting, and citation practice): 20%
3) Language (particularly scholarly terminology and correct use of technical terms; clear and understandable language; correct spelling, grammar, and sentence composition; style): 20%
In all three areas at least 50% of the points must be achieved in order to obtain credit. The mark breakdown is as follows:(1) 90-100 %
(2) 80-89 %
(3) 65-79 %
(4) 50-64 %
(5) 49 -0 %
Prüfungsstoff
-defining feminist writing
-the representations of women in literature
-women and authorship
-history and genealogy of women’s writing
-women writers and the canon
-feminist criticism of male writing
-feminist criticism of women's writing
-genre and feminism
-feminism and language
- écriture feminine and feminist aesthetics
-feminism and psychoanalysis
-the representations of women in literature
-women and authorship
-history and genealogy of women’s writing
-women writers and the canon
-feminist criticism of male writing
-feminist criticism of women's writing
-genre and feminism
-feminism and language
- écriture feminine and feminist aesthetics
-feminism and psychoanalysis
Literatur
All texts will be available on Moodle.
Primary Literature:Virginia Woolf, A Room of One’s Own (1929)
Simone de Beauvoir, The Second Sex (1949)
Mary Ellmann, Thinking about Women (1968)
Kate Millett, Sexual Politics (1969)
Elaine Showalter, A Literature of Their Own (1977)
Elaine Showalter, “Feminist Criticism in the Wilderness”, Critical Inquiry 8.2 (1981):179-205.
Elaine Showalter, “Towards a Feminist Poetics”, in Women Writing and Writing about Women, ed. Mary Jacobus (1979)
Dale Spender, Mothers of the Novel: 100 Good Women Writers before Jane Austen (1986)
Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth Century Literary Imagination (1979)
Helene Cixous, “The Laugh of the Medusa” (trans. Paula and Keith Cohen) Signs 1.4 (1976), pp. 875-893
Elisabeth Bronfen, Over Her Dead Body : Death, Femininity and the Aesthetic (1992)
Barbara Smith, “Toward a Black Feminist Criticism”, Conditions Two 1.2 (1977)
Chikwenye Okonjo Ogunyemi, “Womanism: The Dynamics of the Contemporary Black Female Novel in English”, Signs 11. 1 (1985), pp. 63-80Secondary Literature:
Peter Barry, “Feminist Criticism” in Beginning Theory (1995)
Primary Literature:Virginia Woolf, A Room of One’s Own (1929)
Simone de Beauvoir, The Second Sex (1949)
Mary Ellmann, Thinking about Women (1968)
Kate Millett, Sexual Politics (1969)
Elaine Showalter, A Literature of Their Own (1977)
Elaine Showalter, “Feminist Criticism in the Wilderness”, Critical Inquiry 8.2 (1981):179-205.
Elaine Showalter, “Towards a Feminist Poetics”, in Women Writing and Writing about Women, ed. Mary Jacobus (1979)
Dale Spender, Mothers of the Novel: 100 Good Women Writers before Jane Austen (1986)
Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth Century Literary Imagination (1979)
Helene Cixous, “The Laugh of the Medusa” (trans. Paula and Keith Cohen) Signs 1.4 (1976), pp. 875-893
Elisabeth Bronfen, Over Her Dead Body : Death, Femininity and the Aesthetic (1992)
Barbara Smith, “Toward a Black Feminist Criticism”, Conditions Two 1.2 (1977)
Chikwenye Okonjo Ogunyemi, “Womanism: The Dynamics of the Contemporary Black Female Novel in English”, Signs 11. 1 (1985), pp. 63-80Secondary Literature:
Peter Barry, “Feminist Criticism” in Beginning Theory (1995)
Zuordnung im Vorlesungsverzeichnis
BA M3
Letzte Änderung: Do 04.07.2024 00:13
The women’s movement has always been crucially concerned with books and literature. Since the late 1960s, feminism has revolutionized literary and cultural studies to the extent that since the 1990s we speak of a “gender turn” in the humanities and social sciences. Feminist literary theory should therefore be seen not only as concerned with literature and confined to the comparative literature classroom, but a cultural theory with an impact on thinking about sexual difference, gender power and gendered structures in society. By focusing on gender as an analytical category, feminist literary criticism has radically changed thinking about literature and questions such as, What is meaning? What is an author? What is to read? What is to write? What is the subject who writes, reads or acts? How do texts relate to the circumstances in which they are produced?This introductory course will give an overview of the history and practice of feminist literary studies, focusing on key canonical texts from the British, American, French and German tradition, but also including examples from the Anglophone African feminist tradition. It will cover feminist literary theory, history and criticism and show a variety of approaches as they developed over time. Issues to be discussed include the definitions of feminist writing, representations of women in literature, authorship, history and genealogy of women’s writing, the canon, criticism, genres, language, écriture feminine, feminist aesthetics, feminism and poststructuralism, feminism and psychoanalysis, and intersectional feminist approaches (gender in relation to race, class, sexuality, etc.).
Aims:
• identify, analyse and understand the key aspects, contexts and the practice of feminist literary studies, including theory, history and criticism
• apply close reading skills and critical thinking to a variety of literary texts
• reflect critically on the relations between primary texts and relevant secondary texts
• discriminate between ideas and justify personal positions
• produce well-structured, relevant arguments with an appropriate intellectual framework