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By Deborah Cameron

The Feminist Critique of Language offers a wide-ranging collection of writings on language, gender, and feminist idea. It serves either as a advisor to the present debates and instructions and as a digest of the historical past of twentieth-century feminist rules approximately language. This edition includes extracts from Felly Nkweto Simmonds, Trinh T. Minh-ha, Luce Irigaray, Sara turbines, Margaret Doyle, Debbie Cameron, Susan Ehrlich, Ruth King, Kate Clark, Sally McConnell-Ginet, Deborah Tannen, Aki Uchida, Jennifer Coates and Kira corridor.

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During this period the child is angrily conscious of the capricious comings and goings, which he is helpless to control, of persons on whom he relies for physical care and emotional comfort. The perception of the image in the mirror as both self and other, as the same and different, the projection of an ideal form of the self through a spatial relation acts as the basis for the acquisition of subjec­ tivity, and is, as well, the crude form, self and other for all intersubjective relations. Although the child may learn words quite early, during the first year and a half of life, the mastery of language succe"eds the mirror stage and is the true point at which subjectivity is attained.

Institution of the family. Since women have spoken and learned speech up to and through adolescence they continue to speak among themselves, and to their men in the domestic situation. It is a taboo which seems, in modern society, made to be broken by the demands of women themselves. When women are freed from constant reproduction, when they are educated equally with men in childhood, when they join the labour force at his side, when wealth gives them leisure, when they are necessary and instrumental in effecting profound social change through revolution - at these points women will protest and break down the taboo.

Then about the year 1000 we find a certain court lady, the Lady Murasaki, writing a very long and beautiful novel in Japan. But in England in the sixteenth century, when the dramatists and poets were most active, the women were dumb. Elizabethan literature is exclusively masculine. Then, at the end of the eighteenth century and in the beginning of the nineteenth, we find women again writing this time in England with extraordinary frequency and success. Law and custom were of course largely responsible for these strange intermissions of silence and speech.

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