Investigating the Intersections of Gender, Race, and Class in Feminist Literary Criticism

Abstract

This paper explores the intersections of gender, race, and class within the framework of feminist literary criticism, arguing that the complexities of these interwoven systems of oppression cannot be fully understood without an intersectional approach. Drawing on foundational and contemporary feminist theories, including the work of Kimberlé Crenshaw’s intersectionality theory, bell hooks’ critiques of race and gender, and Judith Butler’s concept of gender performativity, this paper analyzes how race and class complicate feminist literary criticism and enrich our understanding of gender oppression. Through textual analysis of works by authors such as Toni Morrison, Zora Neale Hurston, and ChimamandaNgoziAdichie, the paper investigates how feminist readings of literature, when attuned to race and class, offer a richer, more nuanced perspective on the representations of women. The study finds that intersectional feminist criticism offers crucial insights into the ways literature reflects, critiques, and perpetuates systems of power. The paper concludes by recommending that feminist literary criticism move toward more inclusive, intersectional readings that recognize the diverse experiences of women across different social, racial, and class backgrounds.

Introduction

Feminist literary criticism has traditionally focused on gender and the representation of women in literature, often neglecting the roles of race and class. With the rise of intersectional feminist theory—pioneered by Kimberlé Crenshaw—scholars recognize that gender, race, and class are interconnected systems shaping women's experiences. This paper argues for an intersectional approach to feminist literary criticism that better reflects the complexities faced by marginalized women.

The evolution of feminist literary criticism spans from early gender-focused critiques by figures like Simone de Beauvoir and Virginia Woolf, to later theories emphasizing gender performativity and intersectionality. Intersectionality, which highlights how multiple identities overlap to produce unique forms of oppression, has expanded feminist critique to include race, class, and postcolonial perspectives. Key critiques target mainstream feminism for often ignoring women of color and working-class women.

The paper analyzes works such as Toni Morrison’s Beloved, Zora Neale Hurston’s Their Eyes Were Watching God, and Chimamanda Ngozi Adichie’s Americanah, illustrating how intersectional analysis deepens understanding of gender, race, and class in literature. Findings emphasize that incorporating intersectionality enriches feminist literary criticism and calls for more inclusive canons and transnational feminist approaches.

Conclusion

The study confirms that feminist literary criticism is greatly enriched by an intersectional approach. Gender, race, and class cannot be viewed in isolation when analyzing the representation of women in literature. As demonstrated through the analysis of works by Morrison, Hurston, and Adichie, the intersection of these systems of power shapes women’s lives in ways that must be understood in totality to grasp the complexities of oppression. Going forward, feminist literary criticism should continue to evolve to embrace diverse voices, ensuring that it remains inclusive and attuned to the intersecting dimensions of women’s identities.

References

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Copyright

Copyright © 2025 Dr. Auradkar Sarika Pradiprao. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.