“In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan: Summary and Critique

Introduction: “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan

“In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan first appeared in TDR (1988-) in Vol. 33, No. 3 (Autumn, 1989), spanning pages 58-71, and was published by The MIT Press. This seminal work critically examines the evolving methodologies of feminist theatre and performance criticism through the lenses of materialist feminism, postmodernism, and poststructuralism. Dolan navigates the ideological conflicts between traditional liberal feminism, radical feminism, and the materialist critique, highlighting how poststructuralist perspectives challenge fixed notions of identity and representation. By dissecting the intersections of theory and practice, she advocates for a politically charged critique of representation as a producer of meaning rather than a mere mirror of societal norms. Her argument reshapes the discourse, offering tools to dismantle patriarchal structures within theatre and promoting innovative feminist strategies in performance. This article holds lasting importance in literary and performance theory by forging a bridge between feminist praxis and the broader theoretical critiques of culture and representation.

Summary of “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan

• Historical Context and Challenges in Feminist Criticism:
  • In the late 1970s and early 1980s, feminist theatre criticism was torn between aesthetics and political ideology. Critics sought to support women’s artistic production while grappling with gender representation and comparison to undefined aesthetic standards (Dolan, 1989, p. 58).
  • Early feminist criticism aimed to address women’s historical invisibility in theatre, often relying on sociological analysis (p. 58).
• Impact of French Theory:
  • The introduction of French feminist theory, through figures like Hélène Cixous and Julia Kristeva, reshaped feminist criticism by emphasizing female textuality and challenging patriarchal structures (p. 59).
  • This shift introduced a new vocabulary to American feminist criticism, aligning it with poststructuralist tools like deconstruction (p. 59).
• Materialist Feminism and Representation:
  • British materialism further influenced feminist criticism by analyzing representation as a producer of meaning, moving away from the mimetic view of theatre (p. 59).
  • Materialist feminists argued that representation perpetuates ideological systems, emphasizing spectator interpretation based on gender, race, class, and sexuality (p. 60).
• Theoretical Divides in Feminism:
  • Dolan identifies three main approaches in feminist theatre criticism:
    1. Liberal feminism emphasizing traditional play criticism.
    2. Radical feminism using mimesis to validate women’s identities.
    3. Materialist feminism employing poststructuralist and Marxist critiques to analyze ideological representations (p. 60).
  • Conflicts arose, particularly at forums like the Women and Theatre Program (WTP), between these ideological camps, highlighting tensions in feminist methodologies (p. 61).
• Poststructuralism and Identity Politics:
  • Poststructuralism challenges fixed notions of identity, proposing that subjectivity is fluid and shaped by competing discourses (p. 60).
  • Radical feminists often resisted this, defending the idea of a coherent female identity (p. 61).
  • Materialist feminism, however, positions identity as a site of struggle and transformation, rejecting essentialist views (p. 61).
• Feminist Postmodern Performance:
  • Postmodern performance styles, characterized by narrative disruption and fragmented identities, align with materialist feminist analysis (p. 62).
  • These approaches aim to critique traditional realism and generate new representations that interrogate cultural norms (p. 62).
• Defense of Theory:
  • Dolan defends poststructuralist feminist theory against accusations of elitism, emphasizing its ability to reveal the ideological underpinnings of representation (p. 65).
  • She acknowledges critiques from radical feminists and activists, such as Barbara Christian, who argue that theory risks silencing marginalized voices (p. 65).
• Examples of Theory in Practice:
  • Dolan highlights performances by artists like Anna Deavere Smith and Kate Bornstein to illustrate feminist postmodernism in action. These works destabilize traditional narratives and provoke spectators to question assumptions about identity and representation (pp. 66-68).
• Commitment to Political Change:
  • Feminist postmodernism remains committed to uncovering and challenging ideological constructs, fostering historical and cultural revision for social change (p. 69).
  • Dolan advocates for a continually shifting, self-reflective theoretical stance, enabling theorists to engage with multiple perspectives and contradictions (p. 70).

Theoretical Terms/Concepts in “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan

Theoretical Term/Concept	Definition/Explanation	Context in Dolan’s Argument
Materialist Feminism	Analyzes representation as a producer of cultural meaning rather than a mirror of societal norms.	Focuses on how representations perpetuate ideological systems, challenging traditional realism and advocating for a critique of gendered, racial, and classed discourses (p. 59).
Poststructuralism	A theoretical approach that deconstructs fixed meanings, viewing identity and representation as fluid.	Questions essentialist notions of identity and emphasizes the role of discourse in shaping subjectivity. Dolan aligns this with feminist performance criticism (pp. 60-61).
Deconstruction	A method of analysis that reveals the instability of meaning within texts and representations.	Employed to critique traditional realism and “authorial intent,” suggesting that meaning is historically and culturally contingent (p. 61).
The Death of the Author	A concept by Roland Barthes positing that authorial intent is irrelevant in interpreting texts.	Challenges the primacy of the playwright and locates meaning in the reception of performance by the audience, emphasizing the spectator’s active role (p. 61).
Postmodernism	A style characterized by narrative fragmentation, decentered subjects, and a break from realist conventions.	Provides a framework for feminist performance strategies that critique conventional modes of representation and provoke new cultural understandings (p. 62).
Identity Politics	A framework that defines subjectivity through positions within race, class, gender, or sexuality.	Critiqued by poststructuralist feminists for its static view of identity, while radical feminists defend its role in validating women’s experiences (p. 61).
Representation	The process through which cultural meanings are produced and circulated.	Analyzed as an active site where ideological meanings are created, rather than as a passive reflection of reality (p. 59).
Écriture Féminine	A concept advocating for a “feminine” writing style rooted in female corporeality and experience.	Inspired by French feminists like Cixous, Dolan considers its potential application in feminist theatre and performance (p. 59).
Mimesis	The imitation or reflection of reality in art and literature.	Critiqued as a patriarchal framework that perpetuates traditional gender norms. Materialist feminists advocate for antimimetic strategies (p. 60).
Hermeneutics	The theory and methodology of interpretation, especially of texts.	Explored in the shift of responsibility for meaning-making from the author and actor to the audience, reshaping theatrical paradigms (p. 61).
Spectatorship	The role and perspective of the audience in interpreting performance.	Redefined by poststructuralist and postmodern theories as an active, participatory process in the construction of meaning (p. 61).
Intersectionality	An analytical framework considering overlapping systems of oppression, such as race, gender, and class.	Implied in Dolan’s emphasis on the differentiated reception of cultural signs by diverse audiences (p. 59).
Critique of Realism	Challenges realism’s claim to reflect universal truth and its reliance on unified characters.	Postmodern and materialist feminist analyses argue that realism enforces ideological norms and limits representation of diverse subjectivities (p. 62).
Cultural Studies	An interdisciplinary field examining cultural practices and their relationship to power structures.	Integrated into feminist performance criticism to analyze theatre as an ideological apparatus (p. 59).
Theoretical Backlash	Resistance to poststructuralist and materialist feminist critiques from radical feminists and activists.	Reflects tensions within feminism over theory’s perceived elitism and its implications for political activism (p. 65).

Contribution of “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan to Literary Theory/Theories

• Materialist Feminist Criticism:
  • Dolan redefines feminist criticism by shifting from sociological approaches that treat theatre as a mirror to analyzing representation as an ideological producer of cultural meanings (Dolan, 1989, p. 59).
  • Highlights the importance of intersectionality in interpreting representation, emphasizing the diverse perspectives of spectators based on race, class, gender, and sexuality (p. 59).
• Poststructuralist Feminism:
  • Integrates poststructuralist principles into feminist criticism, deconstructing fixed notions of identity and prioritizing the fluidity and contestation of subjectivity (p. 60).
  • Contributes to debates about the “death of the author,” arguing for the decentralization of authorial intent and a focus on audience reception in meaning-making (p. 61).
• Postmodern Performance Theory:
  • Advocates for postmodern strategies in theatre, such as fragmented narratives and decentered subjects, to challenge traditional realism and enable feminist critique (p. 62).
  • Argues that postmodernist styles create opportunities for new representations that disrupt patriarchal norms and provoke critical engagement from audiences (p. 62).
• Critique of Realism in Theatre and Literature:
  • Dolan critiques traditional realism as an ideological tool that reinforces conservative gender roles and advocates for antimimetic forms that expose and subvert these structures (p. 60).
  • Emphasizes the political potential of experimental forms in destabilizing fixed meanings and enabling feminist interventions (p. 62).
• Intersection of Cultural Studies and Feminism:
  • Integrates cultural studies into feminist performance theory, analyzing theatre as an active ideological apparatus rather than a passive cultural artifact (p. 59).
  • Encourages the application of Marxist critiques to unpack how theatre perpetuates social arrangements and hierarchies (p. 60).
• Identity Politics and Representation:
  • Contributes to debates on identity politics, critiquing essentialist views of identity while proposing identity as a fluid, contested site of struggle shaped by discursive and historical forces (p. 61).
  • Engages with the challenges of representing diverse subjectivities in feminist theatre and the tensions between radical and materialist feminist approaches (p. 61).
• Feminist Theory and Spectatorship:
  • Redefines the role of spectatorship in theatre, positioning the audience as active participants in the production of meaning (p. 61).
  • Connects this redefinition to poststructuralist critiques, challenging traditional hierarchies of playwright, director, and actor (p. 61).
• Defense of Theory in Feminism:
  • Dolan defends the use of poststructuralist theory in feminist discourse, countering critiques that it is elitist or apolitical by emphasizing its role in exposing power structures and enabling social critique (p. 65).
  • Highlights the productive tension between feminist theory and activism, advocating for a nuanced engagement with postmodern and poststructuralist critiques (p. 65).

Examples of Critiques Through “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan

Literary Work	Relevant Concept from Dolan	Application of the Concept in Critique
Sophocles’ Antigone	Critique of Realism and Mimesis	Critiques the mimetic approach of classical theatre as patriarchal, highlighting how Antigone reinforces fixed gender roles and power structures (Dolan, 1989, p. 60).
William Shakespeare’s Hamlet	Death of the Author and Representation	Challenges the dominance of Shakespeare’s intent, emphasizing audience interpretation of Ophelia’s representation as a marginalized, gendered subject (p. 61).
Caryl Churchill’s Top Girls	Postmodern Performance and Feminist Poststructuralism	Analyzes the fragmented narrative structure and decentered subjectivities in Top Girls, showing how it disrupts traditional patriarchal narratives and gendered identity (p. 62).
Marsha Norman’s ‘night, Mother	Identity Politics and Representation	Evaluates the portrayal of female subjectivity and mental health, critiquing essentialist identity politics while exploring complex intersections of gender and autonomy (p. 61).

Criticism Against “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan

• Elitism in Theoretical Language:
  • Critics argue that the use of poststructuralist and postmodern jargon makes the work inaccessible to a wider audience, particularly activists and practitioners outside academic circles (Dolan, 1989, p. 65).
• Marginalization of Radical Feminist Identity Politics:
  • Dolan’s embrace of poststructuralist critiques is seen by some as dismissive of radical feminism’s focus on coherent identity and lived experience as a foundation for feminist solidarity (p. 61).
• Detachment from Practical Theatre-Making:
  • Theoretical frameworks discussed in the work are criticized for being overly abstract, with limited practical application for theatre practitioners aiming to create politically effective works (p. 66).
• Overemphasis on Postmodernism:
  • Some critiques suggest that Dolan’s preference for postmodern performance styles, such as fragmented narratives and decentered subjects, risks alienating audiences unfamiliar with or resistant to these styles (p. 62).
• Neglect of Marginalized Voices:
  • While Dolan integrates intersectionality into her critique, some argue that her reliance on Eurocentric theories (e.g., Derrida, Lacan) overlooks the contributions of non-Western or marginalized feminist thinkers (p. 65).
• Potential Undermining of Feminist Activism:
  • By challenging essentialist notions of identity, Dolan’s alignment with poststructuralism is accused of weakening feminist activism’s historical reliance on shared experiences of oppression (p. 61).
• Focus on Theory over Sociology:
  • The work is critiqued for moving away from sociological analyses of theatre as a reflection of societal conditions, which some view as critical for feminist performance criticism (p. 59).

Representative Quotations from “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan with Explanation

Quotation	Explanation
“Feminist theatre and performance criticism has arrived at the end of the decade with its contours shaped roughly by three different analytical methods.”	Highlights the diversity in feminist criticism—liberal, radical, and materialist approaches—each engaging differently with ideology, identity, and representation.
“The heralded ‘death of the author’ displaces the playwright’s primacy and locates the responsibility for producing meaning in the hermeneutic sphere.”	Reflects poststructuralism’s shift from authorial intent to audience interpretation, emphasizing the participatory nature of meaning-making in performance.
“Representation is a site for the production of cultural meanings that perpetuate conservative gender roles.”	Suggests that representations in theatre are not passive reflections but active reinforcements of social and ideological norms, calling for critical deconstruction of these portrayals.
“Poststructuralism questions the liberal humanist notion that men or women are free individuals capable of mastering the universe.”	Undermines essentialist and universalist ideas of individual autonomy by exploring the roles of discourse and ideology in shaping subjectivity.
“The feminist project is unflaggingly political, as it studies not simply the superficial structure of performance, but its effect on the culture.”	Frames feminist criticism as a deeply political endeavor focused on dismantling oppressive structures in cultural and performative contexts.
“Postmodernist performance style breaks with realist narrative strategies, heralds the death of unified characters, and decenters the subject.”	Discusses how postmodern aesthetics challenge traditional narratives and characters, aligning with feminist goals of disrupting patriarchal structures in theatre.
“Materialist feminist performance criticism uses poststructuralism to deconstruct both traditional, male-identified realism and woman-identified ritual.”	Acknowledges how materialist feminism critiques not only male-dominated forms but also essentialist feminist practices, promoting fluid and intersectional representations.
“The assertion of identity is not the goal… but a point of departure for a multivalent, shifting ground of subjectivity.”	Supports a dynamic understanding of identity, rejecting fixed or totalizing notions and emphasizing the fluidity of gender, race, and class intersections.
“Feminist postmodernism does not play indulgently with meaninglessness or plurality… it is committed to sifting through the referents of material reality.”	Differentiates feminist postmodernism from apolitical postmodernism, emphasizing its commitment to creating meaning and addressing real-world issues.
“Critics writing for feminist presses usually chose to validate what they saw; those writing in academic venues generally took a sociological approach.”	Describes the tension between validating feminist artistic production and critically engaging with its ideological implications, a challenge that shaped early feminist performance criticism.

Suggested Readings: “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory” by Jill Dolan

1. Dolan, Jill. “In Defense of the Discourse: Materialist Feminism, Postmodernism, Poststructuralism… And Theory.” TDR (1988-), vol. 33, no. 3, 1989, pp. 58–71. JSTOR, https://doi.org/10.2307/1145987. Accessed 22 Dec. 2024.
2. Giroux, Henry A. “Rethinking the Boundaries of Educational Discourse: Modernism, Postmodernism, and Feminism.” College Literature, vol. 17, no. 2/3, 1990, pp. 1–50. JSTOR, http://www.jstor.org/stable/25111851. Accessed 22 Dec. 2024.
3. Mcevoy, John G. “Modernism, Postmodernism and the Historiography of Science.” Historical Studies in the Physical and Biological Sciences, vol. 37, no. 2, 2007, pp. 383–408. JSTOR, https://doi.org/10.1525/hsps.2007.37.2.383. Accessed 22 Dec. 2024.
4. Jay, Gregory S. “Values and Deconstructions: Derrida, Saussure, Marx.” Cultural Critique, no. 8, 1987, pp. 153–96. JSTOR, https://doi.org/10.2307/1354215. Accessed 22 Dec. 2024.