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- Écriture féminine, literally "gendered women's writing," is a strain of feminist literary theory that originated in France in the 1970s. Hélène Cixous first uses this term in her essay, "The Laugh of the Medusa", in which she asserts, "Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies. " Elaine Showalter defines it as "the inscription of the feminine body and female difference in language and text. " Écriture féminine places experience before language, and privileges non-linear, cyclical writing that evades "the discourse that regulates the phallocentric system. " Because language is not a neutral medium, the argument can be made that it functions as an instrument of patriarchal expression. Peter Barry writes that “the female writer is seen as suffering the handicap of having to use a medium (prose writing) which is essentially a male instrument fashioned for male purposes”. Ecriture féminine thus exists as an antithesis of masculine writing, or as a means of escape for women. In the words of Rosemarie Tong, “Cixous challenged women to write themselves out of the world men constructed for women. She urged women to put themselves-the unthinkable/unthought-into words. ” Almost everything is yet to be written by women about femininity: about their sexuality, that is, its infinite and mobile complexity; about their eroticization, sudden turn-ons of a certain minuscule-immense area of their bodies; not about destiny, but about the adventure of such and such a drive, about trips, crossings, trudges, abrupt and gradual awakenings, discoveries of a zone at once timorous and soon to be forthright. With regard to phallocentric writing, Tong explains that "male sexuality, which centers on what Cixous called the "big dick", is ultimately boring in its pointedness and singularity. Like male sexuality, masculine writing, which Cixous usually termed phallogocentric writing, is also ultimately boring" and furthermore, that "stamped with the official seal of social approval, masculine writing is too weighted down to move or change". Write, let no one hold you back, let nothing stop you: not man; not the imbecilic capitalist machinery, in which the publishing houses are the crafty, obsequious relayers of imperatives handed down by an economy that works against us and off our backs; not yourself. Smug-faced readers, managing editors, and big bosses don't like the true texts of women- female-sexed texts. That kind scares them. For Cixous, écriture féminine is not only a possibility for female writers; rather, she believes it can be (and has been) employed by male authors such as James Joyce. Some have found this idea difficult to reconcile with Cixous’ definition of écriture féminine (often termed ‘white ink’) because of the many references she makes to the female body (“There is always in her at least a little of that good mother’s milk. She writes in white ink”) when characterizing the essence of écriture féminine and explaining its origin. This notion raises problems for some theorists: "Ecriture féminine, then, is by its nature transgressive, rule-transcending, intoxicated, but it is clear that the notion as put forward by Cixous raises many problems. The realm of the body, for instance, is seen as somehow immune to social and gender condition and able to issue forth a pure essence of the feminine. Such essentialism is difficult to square with feminism which emphasizes femininity as a social construction…" Écriture féminine was especially well developed by French and other European feminists. It is now widely recognized by Anglophone scholars as a sub-category of feminist literary theory. Hélène Cixous, Monique Wittig, Luce Irigaray and Julia Kristeva, were foundational theorists of the movement, and also other writers including Bracha Ettinger and psychoanalytical theory joined this field in the early 1990s. The book Laughing with Medusa (2006) analyses the work of Julia Kristeva, Luce Irigaray, Bracha Ettinger and Hélène Cixous. Collectively these writers are sometimes referred to by Anglophones as "the French feminists," though Mary Klages has pointed out that "poststructuralist theoretical feminists" would be a more accurate term. Madeleine Gagnon is a more recent proponent.
- Ženské psaní neboli écriture féminine je teorie, která vznikla v sedmdesátých letech ve Francii. Je významnou součástí feminismu. Pojednává o postavení ženy ve společnosti, vymezuje nový způsob literárního vyjádření a užití jazyka.
- 陰性書寫（Écriture féminine）是一源自法國的女性主義文學理論。 此名詞首先為西蘇（Hélène Cixous） 於〈梅杜莎的嘲笑〉中所用，她主張女性必須書寫自己。而修華特（Elaine Showalter）進一步定義此為語言及文字中對女性身體及女性差異的刻寫。 陰性書寫將經驗置於語言之前，並提倡非線性、循環性的寫作，以迴避維持陽具中心的系統的論述方式。由於語言並非中立的中介，故有質疑它是表達父權的工具。陰性書寫就能是男性書寫的對立，或讓女性逃出此定局的方式。對於西蘇而言，陰性書寫並非只向女性作家開放，她相信它可以，並曾經被男性作者所使用，如詹姆斯·喬伊斯。不過，由於西蘇論及陰性書寫的本質及起源時，常將與女性身體連上關係，故亦有指男性作者有機會作陰性書寫的想法，難以與她本人對陰性書寫的定義相容。 陰性書寫於法國及其他歐洲女性主義者中發展成熟，現時於英語為母語的學者中，已被承認為女性主義文學理論中的其中一門。西蘇、 Monique Wittig 、伊利格瑞（Luce Irigaray）及克里斯特娃（Julia Kristeva）是此運動的創始者，此外亦包括其他作家，而精神分析學於九十年代初期亦開始加入。而西蘇、 Monique Wittig 、伊利格瑞及克里斯特娃四人有時會被統稱為法國女性主義者，雖然 Mary Klages 指出應稱她們為「後結構理論女性主義者」。
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- Écriture féminine, literally "gendered women's writing," is a strain of feminist literary theory that originated in France in the 1970s. Hélène Cixous first uses this term in her essay, "The Laugh of the Medusa", in which she asserts, "Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies.
- Ženské psaní neboli écriture féminine je teorie, která vznikla v sedmdesátých letech ve Francii. Je významnou součástí feminismu. Pojednává o postavení ženy ve společnosti, vymezuje nový způsob literárního vyjádření a užití jazyka.
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