Femininity Versus Androgyny in The Laugh of the Medusa and A Room of Ones Own :: A Room of Ones Own Essays

Femininity Versus Androgyny in The Laugh of the Medusa and A Room of One's Own      Ã‚  Ã‚   There is much debate in feminist circles over the "best" way to liberate women through writing. Some argue that a female writer should, in an effort to recapture her stolen identity, attack her oppressive influences and embrace her femininity, simultaneously fostering dimorphic literary, linguistic, and social arenas. Others contend that the feminization of writing pigeonholes women into an artistic slave morality, a mindset that expends creative energy on battle and not production, and inefficiently overturns stereotypes and foments positive social change; rather, one should lose gender self-consciousness and write androgynously.    Hà ©là ¨ne Cixous and Virginia Woolf, in "The Laugh of the Medusa" and "A Room of One's Own," respectively, epitomize these opposing ideologies, highlighting different historical sources for women's literary persecution, theorizing divergent plans for women's progress, and stylistically mirroring their ideas. Ultimately, the primary difference is in each philosophy's time frame and belief over how much influence writing has to "empower," to borrow a current feminist buzzword. For Cixous, women's writing goes hand in hand with women's liberation: "Writing is precisely the very possibility of change, the space that can serve as a springboard for subversive thought, the precursory movement of a transformation of social and cultural structures" (311). Woolf, however, sees women's writing as emblematic of and dependent on women's progress in general; only with "a room of her own and five hundred a year," through widespread social change, will her fictional Mary Carmichael "be a poet" (9 4).    One of Cixous's main intents is "to break up, to destroy" (309). This destruction of injustice colors her entire perspective; much of her essay is devoted to reaction, to toppling the tyranny of men. Men's writing, she argues, "is a locus where the repression of women has been perpetuated, over and over, more or less consciously, and...has grossly exaggerated all the signs of sexual opposition" (311). Cixous compares women's self-image to that of disenfranchised blacks: "They can be taught that their territory is black: because you are Africa, you are black. Your continent is dark. Dark is dangerous...And so we have internalized this horror of the dark" (310). Through these cultural judgments, men "have made for women an antinarcissism!...They have constructed the infamous logic of antilove" (310). She connects this antilove most strongly with self-loathing for the body: "We've been turned away from our bodies, shamefully taught to ignore them, to strike them with that stupid sexual modesty" (315).