Frankenstein, feminism, and literary theory

Abstract

While this is decidedly not the case, Frankenstein has figured more importantly in the development of feminist literary theory than perhaps any other novel, with the possible exception of Charlotte Bronte's Jane Eyre. This essay will discuss the major feminist literary interpretations of the novel, beginning with Ellen Moers's landmark reading in Literary Women I and then move to the more recent approaches taken by critics engaged in post-colonial theory, cultural studies, queer theory, and disability studies. In the process we will explore the provocative claim made by Fred Botting, who noted, "Frankenstein is a product of criticism, not a work of literature."2 Let us begin by describing briefly the three major strands in feminist literary criticism: American, French, and British. American feminist literary critics (represented best perhaps by Sandra Gilbert and Susan Gubar) understand "women's experiences" to be the basis of the differences in women's writings. American feminist critics of the I970S and I980s tended to discuss recurring patterns of themes (i.e., the valorization of the quotidian value of domestic life, human community and relationships) or imagery (i.e., houses, claustrophobia, food and eating disorders, insanity, fetishizing of clothing, body image, etc.) in works by women. Led by the pioneering work of Elaine Showalter, such critics also took pains to rediscover "lost" women writers and to demonstrate the continuities of a women's literary tradition.By contrast, French feminist critics of this period (i.e., Julia Kristeva, Luce Irigaray, and Heit!ne Cixous, among others) were concerned with the way the masculine-dominated system of language produces meanings that tend to objectify or erase women's voices. In such a linguistic situation, women can rebel either through the strategic use of silence or by using l' ecriture feminine, a specifically feminine form of language that is based on female subjectivity