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By Jane Duran

New paintings on girls thinkers frequently makes the purpose that philosophical conceptual concept is the place we discover it, examples reminiscent of Simone de Beauvoir and the 19th century Black American author Anna Julia Cooper guarantee us that there's abundant room for the advance of philosophy in literary works yet as but there was no unmarried unifying try and hint such tasks between quite a few ladies novelists. This publication articulates philosophical issues within the paintings of 5 renowned 20th century girls writers, together with writers of colour. Duran strains the advance of philosophical issues - ontological, moral and feminist - within the writings of Margaret Drabble, Virginia Woolf, Simone de Beauvoir, Toni Cade Bambara and Elena Poniatowska proposing either a common review of the author's paintings with an emphasis on conventional philosophical questions and an in depth feminist analyzing of the paintings.

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Example text

There is little question that over the past one hundred fifty years enough gender consciousness has been generated that gender alone becomes a worthy category for literary investigation. More difficult then, particularly when matters philosophical are thrown into the mix, is the investigation of two or three categories simultaneously. A substantial argument can be made that a self-conscious feminism affects much of the work written by women throughout the preceding century, but it is another matter to try to be precise about whether that feminism is itself philosophical, or what other points of view expressive of philosophy might be contained in a given work.

This does, of course, express a nascent worldview—by this time a strain has emerged in literature written by women that appears to articulate the notion that women have a different way of seeing. We might go so far as to say that at least some of this is relevant to ontology construction, particularly when it intersects with race and class issues. Gilbert and Gubar note: Ann Petry produces in The Street…a…documentary text representing the battle of the sexes not only as a racial but also as a class struggle.

The cold that descends on Britain is, of course, largely metaphorical; it is the cold of depression, postboom–bust, and a withered empire. At the same time that Britain is drenched in an icy shower, Drabble’s four main characters undergo personal trials that cause them to question reality and the historical narrative that they have consistently been taught. The four central characters, Anthony Keating, Alison Murray, Len Wincobank and Maureen Kirby, each seem to feel their own decline, as well as Britain’s, in a highly personalized, but somewhat detached, way.

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