Abstract

In response to the discussion between William W. Morgan and Annette Kolodny in the Summer 1976 issue of Critical Inquiry I would like to address the issue of separating judgments based on feminism as an ideology from purely aesthetic judgments. Peripherally this included the issue of "prescriptive criticism," so labeled by Cheri Register in Feminist Literary Criticism: Explorations in Theory.1 In the same book, as Kolodny points out,2 I called for criticism that exists in the "prophetic mode." Kolodny indicates reservations about both concepts without fully exploring the issue. I would like to explain my statement here and to explore further the issue of feminism and aesthetics. When I called for criticism in the prophetic mode, I did not intend to promote an idea of the critic as ideological prophet. Rather, as I explain in the context from which the term is taken,3 I am speaking of the engaged scholar who is concerned to influence the future by her/his work today. S/he chooses her/his work with an eye to encourage political and social changes. Obviously, for a feminist this translates into a concern for a future in which women will be free from many of the restrictions that have held them down in the past. Much feminist criticism is thus corrective criticism designed to redress the imbalance in current literary curricula, and more generally to reintroduce "the feminine" into the public culture. · 1. Cheri Register, "American Feminist Literary Criticism: A Bibliographical Introduction ," Feminist Literary Criticism: Explorations in Theory, ed. Josephine Donovan pp. 11-24.· 2. Annette Kolodny, "The Feminist as Literary Critic," Critical Inquiry 2 : 828.· 3. Josephine Donovan, "Critical Re-Vision," Feminist Literary Criticism, p. 81, n. 2. Josephine Donovan, currently working on a literary biography of Sarah Orne Jewett, has written "Feminist Style Criticism," "Sexual Politics in the Short Stories of Sylvia Plath," and has edited Feminist Literary Criticism: Explorations in Theory. Although the occasion for this response was the exchange between Annette Kolodny and William W. Morgan , the questions raised by Ms. Donovan have some bearing on other topics discussed in Critical Inquiry—e.g., the nature of accepted canons in the arts . In addition the question of how we may interpret literary works from the past that contain currently unacceptable representations of women has implications as well for how we respond to "objectionable" representations of ethnic and religious groups and even of social classes. The editors expect to see these issues explored further in the future