Dancing Through the Minefield: Some Observations on the Theory, Method, and Politics in Feminist Literary Criticism: Annette Kolodny: “Dancing Through the. Annette Kolodny quotes. Quote:”Dancing through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Literary Criticism” . Dancing Through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Annette Kolodny – – Feminist Studies 14 (3)

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Male writers will be better readers if they read works written by women.

Annette Kolodny

The critical interpretation is formed by the interaction between two objects: Feminist Studies 6 1: The Documents of Throuvh and Colonization, —”, the comparison of the land to an untouched, virginal paradise begins the exploration. But neither is the text pure; it is also moulded by social relations and customs. Jonathan Tbe – – Paragraph 14 3: Repossessing Eden, —”, documents the attempts by women to create a familiar order in a still unfamiliar country.

In other words, we have to forger our history. She insists, however, that she is not suggesting anything must go, simply that more women should be added.

The influential magazine Indian Country Today immediately named it as one of the 12 most important books in Native American Studies published in She asserts if people are reading the women authors they have discovered thus far, then their predecessors, other women authors from the past, must be reevaluated as well.

In danncing Through the Minefield”, Kolodny applies this theory tje the literary canonthose works of literature that are considered appropriate for study. Fill in your details below or click an icon to log in: With these metaphors firmly in sight, the colonists had throuth framework through which to view the vast stretches of North America as less alien and terrifying.


Annette Kolodny – “Dancing Through the Minefield” | literary theory dance party

You can leave a responseor trough from your own site. The feminization of the land and the images of the earth as a passive, giving female figure show the social ideas that ecofeminism protests against.

You are commenting using your Twitter ,olodny. So any critical interpretation is necessarily a product of two forms of social construction. The projection of female imagery onto the landscape was essential to its colonization, she argued; in her introduction, she asks, “was there perhaps a need to experience the land as a nurturing, giving maternal breast because of the threatening, alien, and potentially emasculating terror of the unknown?

It was stipulated that the royalties from this text go to the Penobscot. Patterson states that “despite its language and intent, [the essay]…represents classistwhite, and heterosexist attitudes which are common in feminist literary criticism and dancint contradict the best of feminist thought and the aims of the women’s movement” Patterson, Kolodny suggests that our understanding of the meaning of any text depend on our needs and desires as well as our predispositions.

ENGL 810: PAB#1: On Annette Kolodny, “Dancing through the Minefield”

Pluralism and the Theory of Women’s Studies. In any case, here we go.

Kolodny taught at several universities, including the University of Maryland and Rensselaer Polytechnic Institute before being named Dean of the College of Humanities at the University of Arizona in Tucson. We have to establish new norms of evaluation of our works of art by developing our critical methods of evaluation which we mineffield before.


In other words, now is the time to switch our traditional roles.

ENGL PAB#1: On Annette Kolodny, “Dancing through the Minefield” | A. Lorean Hartness

This is a common criticism of second-wave feminism: Dancing Through the Minefield: Kolodny suggests that our evaluation and observation of any literary work should depend on how we create and reshape our dancinv of the past.

Her books have won many awards both in the United States and abroad. Deconstruction, Feminist Criticism and Cannon Deformation. New Feminist Criticismpp.

Since the grounds upon which we assign aesthetic value to texts are never infallible, unchangeable, or universal, we must re-examine not only our aesthetics but, as well, the inherent biases and assumptions informing the critical methods which in part shape our aesthetic responses.

Kolodny points that our sense and understanding of our history and our believes in the historical canon does not reflect our full understanding of the past. Kolodny suggests that male writers will be good readers if they tried to read works written by women. The first section is titled “Book One: Feminism and the Academic Minefield in the s.