Female Aesthetic = Flight Into Androgyny.*
by
Zeus-Boy
07/10/2008, 4:33 PM #
During the height of the Suffrage Movement prominent female icons like Elizabeth Gaskell, Florence Nightingale, George Eliot, George Sand, Elizabeth Barrett Browning, Christina Rossetti, Beatrice Potter and a host of others withheld their support. The mood could perhaps best be summed up by Potter who said, "at the root of my anti-feminism lay the fact that I had never myself suffered disabilities assumed to arise from my sex." Some went so far as to argue that they were 'trained' by men, and preferred the company of men.
Harriet Taylor, a more militant feminist than Gaskell, say, attacked her notion that women should fight for others and not themselves. Taylor wrote a pamphlet in 1851 entitled "The Enfanchisement of Women", where she lambasted the work of many of the writers mentioned above. In her words, "the literary class of women, especially in England, are ostentatious in disdaining the desire for equality or citizenship, and proclaiming their complete satisfaction with the place which society assigns to them."
This was mostly a 19th Century antipathy, a class-based one to boot. Solidarity arising from militant feminism didn't translate in any kind of meaningful way for writers; in fact they tended to detach themselves from the fanaticism of activists like Christabel and Emmeline Pankhurst, and Elizabeth Robins. They thought of them as bullies and neurotics, who wanted their devotees to rise up, embrace unbridled risk and renounce everything for the cause. Even Virginia Woolf represented suffragists as incomplete, marginal and borderline people, who 'sought in the process and violence of the movement the passion that was lacking in their own private lives.' Besides, there was a vast class divide separating the activists from their privileged critics, as depicted by Woolf in her novel, Night and Day.
It seemed the Twentieth Century brought some respite and unity to the hostile ranks of feminists. The writer class at least reaped some kind of benefit in that they were now able to articulate what Elaine Showalter called 'The Female Aesthetic', which is the application of "feminist ideology to language as well as to literature, to words and sentences as well as to perceptions and values." But here's the crux: Just as this break-through was taking place, the First World War broke out, and it had the effect of turning women writers inwards to renounce the demands and needs of the self at the same time as they shunned the "violence of ego" that is war. The writing of this period is 'openly and insistently feminine' but it still retreats to a room of its own. It seceded from life altogether. So, at the very moment that 'The Female Aesthetic' pointed the way towards self-realization it became just another form of self-annihilation for women writers: Heroines were now victims once more, and much of the literature deals with betrayal, suicide, martyrdom and self-immolation. This leads [inevitably] to what Showalter identifies as the 'Flight into Androgyny', a way for women to further suppress their femininity.
OK. My question is this. I've noticed that much of Showalter's argument in A Literature Of Their Own takes place against the backdrop of war. It rages uncontrollably in the background and it contextualizes the movement in ways that undermine [mostly, I imagine] the propriety of asking and demanding for equality in the first place -- 'can't you see we're too busy fucking killing each other to be concerned about your damn wimmin issues'. In the same way, I suspect the feminist platform [which was a sub- and far from united category] of Hilliary's Primary campaign collapsed in upon itself, led to self-annihilation, a sense of victimhood, betrayal and ultimately failure. And I'm not just talking about the more radical elements of the apropos discussions that took place here, which may or may not reflect women's concerns and issues at large. The question: Did the war loom over the entire debate, even if it was only a tacit presence in the background? Did it actually undermine the cause? Did the cause succumb and renounce its own propriety because of the war? And is war always a legitimate reason for women to suspend their rights and struggles? And if there is such a thing as a feminine archetype, should this figure always, automatically, and as a given oppose war first? In short, is war man's way of keeping woman in her place?
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* Most of this post is derived from my reading of Showalter's book.