Feminist Criticism and Psychoanalytic Criticism in Literature

The focus of feminist criticism on women's oppression and patriarchy

Feminist criticism is concerned with "...the ways in which literature (and other cultural productions) reinforce or undermine the economic, political, social, and psychological oppression of women" (Tyson). This school of theory looks at how aspects of our culture are inherently patriarchal (male dominated) and "...this critique strives to expose the explicit and implicit misogyny in male writing about women" (Richter 1346). This misogyny, Tyson reminds us, can extend into diverse areas of our culture: "Perhaps the most chilling example...is found in the world of modern medicine, where drugs prescribed for both sexes often have been tested on male subjects only" (83).

Feminist criticism is also concerned with less obvious forms of marginalization such as the exclusion of women writers from the traditional literary canon: "...unless the critical or historical point of view is feminist, there is a tendency to under-represent the contribution of women writers.

Though a number of different approaches exist in feminist criticism, there exist some areas of commonality. This list is excerpted from Tyson:

Women are oppressed by patriarchy economically, politically, socially, and psychologically; patriarchal ideology is the primary means by which they are kept so

In every domain where patriarchy reigns, woman is other: she is marginalized, defined only by her difference from male norms and values

All of western (Anglo-European) civilization is deeply rooted in patriarchal ideology, for example, in the biblical portrayal of Eve as the origin of sin and death in the world

While biology determines our sex (male or female), culture determines our gender (masculine or feminine)

All feminist activity, including feminist theory and literary criticism, has as its ultimate goal to change the world by prompting gender equality

Gender issues play a part in every aspect of human production and experience, including the production and experience of literature, whether we are consciously aware of these issues or not.

How is the relationship between men and women portrayed?

What are the power relationships between men and women (or characters assuming male/female roles)?

How are male and female roles defined?

What constitutes masculinity and femininity?

How do characters embody these traits?

Do characters take on traits from opposite genders? How so? How does this change others’ reactions to them?

What does the work reveal about the operations (economically, politically, socially, or psychologically) of patriarchy?

What does the work imply about the possibilities of sisterhood as a mode of resisting patriarchy?

Common areas of feminist criticism including the oppression of women by patriarchy

What does the work say about women's creativity?

What does the history of the work's reception by the public and by the critics tell us about the operation of patriarchy?

What role the work plays in terms of women's literary history and literary tradition? (Tyson).

Psychoanalytic criticism builds on Freudian and Jungian theories of psychology. Some of the key components of Freud’s theory include

Based on his clinical work with patients, Freud asserted that people's behavior is affected by their unconscious: "...the notion that human beings are motivated, even driven, by desires, fears, needs, and conflicts of which they are unaware..." (Tyson 14-15). Freud believed that our unconscious was influenced by childhood events. Freud organized these events into developmental stages involving relationships with parents and drives of desire and pleasure where children focus "...on different parts of the body...starting with the mouth...shifting to the oral, anal, and phallic phases..." (Richter 1015). These stages reflect base levels of desire, but they also involve fear of loss (loss of genitals, loss of affection from parents, loss of life) and repression: "...the expunging from consciousness of these unhappy psychological events" (Tyson 15).

Freud maintained that our desires and our unconscious conflicts give rise to three areas of the mind that wrestle for dominance as we grow from infancy, to childhood, to adulthood:

Id - "...the location of the drives" or libido

Ego - "...one of the major defenses against the power of the drives..." and home of the defenses listed above

Superego - the area of the unconscious that houses Judgment (of self and others) and "...which begins to form during childhood as a result of the Oedipus complex" (Richter 1015-1016)

Essentially, the Oedipus complex involves children's need for their parents and the conflict that arises as children mature and realize they are not the absolute focus of their mother's attention: "the Oedipus complex begins in a late phase of infantile sexuality, between the child's third and sixth year, and it takes a different form in males than it does in females" (Richter 1016). Freud argued that both boys and girls wish to possess their mothers, but as they grow older "...they begin to sense that their claim to exclusive attention is thwarted by the mother's attention to the father...". Children, Freud maintained, connect this conflict of attention to the intimate relations between mother and father, relations from which the children are excluded. Freud believed that "the result is a murderous rage against the father...and a desire to possess the mother.

How feminist criticism exposes misogyny in literature and culture

So what does all of this psychological business have to do with literature and the study of literature? Put simply, some critics believe that we can "...read psychoanalytically...to see which concepts are operating in the text in such a way as to enrich our understanding of the work and, if we plan to write a paper about it, to yield a meaningful, coherent psychoanalytic interpretation" (Tyson 29). Tyson provides some insightful and applicable questions to help guide our understanding of psychoanalytic criticism.

How do the operations of repression structure or inform the work?

Are there any Oedipal dynamics - or any other family dynamics - at work here?

How can characters' behavior, narrative events, and/or images be explained in terms of psychoanalytic concepts of any kind (for example, fear or fascination with death, sexuality - which includes love and romance as well as sexual behavior - as a primary indicator of psychological identity or the operations of ego-id-superego)?

What does the work suggest about the psychological being of its author?

What might a given interpretation of a literary work suggest about the psychological motives of the reader?

Are there prominent words in the piece that could have different or hidden meanings? Could there be a subconscious reason for the author using these "problem words"?

Jungian criticism attempts to explore the connection between literature and what Carl Jung (a student of Freud) called the “collective unconscious” of the human race: "...racial memory, through which the spirit of the whole human species manifests itself" (Richter 504). Jungian criticism, which is closely related to Freudian theory because of its connection to psychoanalysis, assumes that all stories and symbols are based on mythic models from mankind’s past. Based on these commonalities, Jung developed archetypal myths: "...a quaternion composing a whole, the unified self of which people are in search" (Richter 505). These archetypes are the Shadow, the Anima, the Animus, and the Spirit: "...beneath...[the Shadow] is the Anima, the feminine side of the male Self, and the Animus, the corresponding masculine side of the female Self" (Richter 505). In literary analysis, a Jungian critic would look for archetypes (also see the discussion of Northrop Frye in the Structuralism section) in creative works: "Jungian criticism is generally involved with a search for the embodiment of these symbols within particular works of art." (Richter 505). When dealing with this sort of criticism, it is often useful to keep a handbook of mythology and a dictionary of symbols on hand.

What connections can we make between elements of the text and the archetypes? (Mask, Shadow, Anima, Animus)

How do the characters in the text mirror the archetypal figures? (Great Mother or nurturing Mother, Whore, destroying Crone, Lover, Destroying Angel)

How does the text mirror the archetypal narrative patterns? (Quest, Night-Sea-Journey)

How symbolic is the imagery in the work?

How does the protagonist reflect the hero of myth?

Does the “hero” embark on a journey in either a physical or spiritual sense?

Is there a journey to an underworld or land of the dead?

What trials or ordeals does the protagonist face? What is the reward for overcoming them?