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The Voice of a Feminist: Rhetorical Analysis Essay
hooks' approach depends on the claim that sexism is a particular formof oppression that can be distinguished from other forms, e.g., racismand homophobia, even though it is currently (and virtually always)interlocked with other forms of oppression. Feminism's objective is toend sexism, though because of its relation to other forms ofoppression, this will require efforts to end other forms of oppressionas well. For example, feminists who themselves remain racists will notbe able to fully appreciate the broad impact of sexism on the lives ofwomen of color. Furthermore because sexist institutions are also,e.g., racist, classist and homophobic, dismantling sexist institutionswill require that we dismantle the other forms of dominationintertwined with them (Heldke and O'Connor 2004). Following hooks'lead, we might characterize feminism schematically (allowing theschema to be filled in differently by different accounts) as the viewthat women are subject to sexist oppression and that this iswrong. This move shifts the burden of our inquiry from acharacterization of what feminism is to a characterization of whatsexism, or sexist oppression is.
The Voice of a Feminist: Rhetorical Analysis
In a provocative essay exposing a methodological faultline between classical and contextual narratologies, Sommer () argues that while a top-down imposition of narrative categories of the kind practiced by classical narratologists may be valid for projects attempting to describe all narrative possibilities, this approach is invalid for fields such as “postcolonial or intercultural narratologies” that are concerned with “specific features of specific texts embedded in specific cultural and historical contexts” (70). These contextual projects, Sommer claims, must therefore work inductively to build an inclusive corpus of texts from which to theorize. While of course no narrative poetics is entirely separable from individual instances, feminist narratology has been approached in both ways: some feminist narratologists work to develop fully universalist theories, whereas others argue for a more culturally specific poetics that describes the contours of particular bodies of texts. While the former group is more likely to favor deductive methodologies and the latter inductive ones, the more central difference concerns the extent to which it is possible to develop any narrative poetics that could account for all texts.