English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

In this paper, I argue that Doris Lessing's novel  The Golden Notebook  (1962) draws from and extends the feminist critical approaches of Virginia Woolf's  Three Guineas  (1938). Where previous critics like T.S. Eliot described the purpose of criticism as the establishment of absolute objectivity through the comparison of “facts” with “opinions,” Woolf and Lessing develop a counter-approach to criticism that I call “collage as feminist critical practice”: a critical approach grounded in subjective embodiment, juxtaposition, and endless, non-hierarchical particularity. Through her protagonist Anna Wulf and the narrative form of  The Golden Notebook  itself ,  Lessing adapts Woolf's critical methods and feminist insights about juxtaposed, embodied differences to realize material contingency as its own kind of critical and ethical “truth.”

feminist modernist studies

Revolutionizing criticism: collage as feminist critical practice in Doris Lessing's  The Golden Notebook  (1962) and Virginia Woolf's  Three Guineas  (1938)