Écriture féminine

Écriture féminine as a theory foregrounds the importance of language for the psychic understanding of self. Cixous is searching for what Isidore Isou refers to as the "hidden signifer" in language which expresses the ineffable and what cannot be expressed in structuralist language. It has been suggested by Cixous herself that more free and flowing styles of writing such as stream of consciousness, have a more "feminine" structure and tone than that of more traditional modes of writing. This theory draws on ground theory work in psychoanalysis about the way that humans come to understand their social roles. In doing so, it goes on to expound how women, who may be positioned as 'other' in a masculine symbolic order, can reaffirm their understanding of the world through engaging with their own otherness, both within and outside their own minds, or consciousness.

Cixous

Hélène Cixous first coined écriture féminine in her essay "The Laugh of the Medusa" (1975), where she asserts "woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies" because their sexual pleasure has been repressed and denied expression. Inspired by Cixous' essay, a recent book titled Laughing with Medusa (2006) analyzes the collective work of Julia Kristeva, Luce Irigaray, Bracha Ettinger and Hélène Cixous. These writers are as a whole referred to by Anglophones as "the French feminists," though Mary Klages, Associate Professor in the English Department at the University of Colorado at Boulder, has pointed out that "poststructuralist theoretical feminists" would be a more accurate term. Madeleine Gagnon is a more recent proponent. And since the aforementioned 1975 when Cixous also founded women's studies at Vincennes, she has been as a spokeswoman for the group Psychanalyse et politique and a prolific writer of texts for their publishing house, des femmes. And when asked of her own writing she says, "Je suis là où ça parle" ("I am there where it/id/the female unconscious speaks.")

American feminist critic and writer Elaine Showalter defines this movement as "the inscription of the feminine body and female difference in language and text." Écriture féminine places experience before language, and privileges non-linear, cyclical writing that evades "the discourse that regulates the phallocentric system." Because language is not a neutral medium, it can be said to function as an instrument of patriarchal expression. As Peter Barry writes, "the female writer is seen as suffering the handicap of having to use a medium (prose writing) which is essentially a male instrument fashioned for male purposes". Ecriture féminine thus exists as an antithesis of masculine writing or as a means of escape for women.

In the words of Rosemarie Tong, "Cixous challenged women to write themselves out of the world men constructed for women. She urged women to put themselves-the unthinkable/unthought-into words."

Almost everything is yet to be written by women about femininity: about their sexuality, that is, its infinite and mobile complexity; about their eroticization, sudden turn-ons of a certain minuscule-immense area of their bodies; not about destiny, but about the adventure of such and such a drive, about trips, crossings, trudges, abrupt and gradual awakenings, discoveries of a zone at once timorous and soon to be forthright.

With regard to phallogocentric writing, Tong argues that "male sexuality, which centers on what Cixous called the "big dick", is ultimately boring in its pointedness and singularity. Like male sexuality, masculine writing, which Cixous usually termed phallogocentric writing, is also ultimately boring" and furthermore, that "stamped with the official seal of social approval, masculine writing is too weighted down to move or change".

Write, let no one hold you back, let nothing stop you: not man; not the imbecilic capitalist machinery, in which the publishing houses are the crafty, obsequious relayers of imperatives handed down by an economy that works against us and off our backs; not yourself. Smug-faced readers, managing editors, and big bosses don't like the true texts of women- female-sexed texts. That kind scares them.

For Cixous, écriture féminine is not only a possibility for female writers; rather, she believes it can be (and has been) employed by male authors such as James Joyce or Jean Genet. Some have found this idea difficult to reconcile with Cixous' definition of écriture féminine (often termed 'white ink') because of the many references she makes to the female body ("There is always in her at least a little of that good mother's milk. She writes in white ink".) when characterizing the essence of écriture féminine and explaining its origin. This notion raises problems for some theorists:

"Ecriture féminine, then, is by its nature transgressive, rule-transcending, intoxicated, but it is clear that the notion as put forward by Cixous raises many problems. The realm of the body, for instance, is seen as somehow immune to social and gender condition and able to issue forth a pure essence of the feminine. Such essentialism is difficult to square with feminism which emphasizes femininity as a social construction..."