At first, Feminism starts with the feminist movement which is activated ecumenically in the 1960 's, and it is one of thoughts which has been actively discussed and studied in not only the field of literature but all kinds of field. Therefore, a lot of critics such as Elaine Showalter(1977), Sandra Gilbert and Susan Gubar (1984) analyze many works of various writers from the feminist point of view, and according to the thought of theirs, many writers are accounted as the feminist or the anti-feminist
presents the problem of everyday life in terms of the problematic of ideology. His ontological conception of the nature of individual subjects occurs within this formulation. This problem is most clearly presented in his essay "Ideology and Ideological State Apparatuses." In this essay, “Althusser both describes the reality of everyday life in capitalist society and attempts to provide principles for the investigation of the domain of everyday life as ideology” (285). On a question of literary themes
decolonization" (77). Her aesthetic activism effortlessly endorses what Radha Chakravarty writes “Mahasweta’s current reputation as a writer rests largely on her own self-projection as champion of the tribal cause and decrier of class prejudice” (Chakravarty, Feminism and Contemporary Women Writers 94). Devi herself states in Bitter Soil “[T]he sole purpose of my writing is to expose the many faces of the exploiting agencies . . . My experience keeps me perpetually angry and makes me ruthlessly unforgiving towards
institution of art had been built. Traditionally, uniqueness and originality gave an artwork its value in symbolic and monetary terms, and was a concept preserved through modernist art criticism. In 1936, Walter Benjamin, a cultural theorist wrote an essay entitled The Work of Art in the Are of Mechanical Reproduction, which radically reworked this view, laying charges of elitism at the feet of key figures such as Greenberg. Benjamin claimed that reproduction through printing and other methods could
(Sheets-Johnstone 12). To eliminate body from the process of creativity, writing makes it a problematic to write the body. Gallop observes that the “theorizing is precisely endless, an eternal reading of the “body” as an authorless text, full of tempting, persuasive significance, but lacking a final guarantee of intended meaning (13). Writing and performance are akin to critical discourse and embodiment. Body involves in writing body and forestalling bodies will enhance writing. Body speaks: “its fortunate