“Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak: Summary and Critique

Introduction: “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak

“Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak was first published in 1988 in the journal Feminist Studies. This essay has become a cornerstone in postcolonial feminist theory, marking a significant contribution to the fields of literature and literary theory. Spivak’s analysis of three women’s texts from different colonial contexts challenges the dominant narratives of imperialism and offers a nuanced perspective on gender, race, and power dynamics within colonial discourse.

Summary of “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak

1. Imperialism‘s Role in British Literature: Spivak argues that nineteenth-century British literature cannot be fully understood without acknowledging that imperialism was central to England’s self-representation. She states, “Imperialism, understood as England’s social mission, was a crucial part of the cultural representation of England to the English” (p. 243).
2. Feminist Criticism and Imperialism: Spivak critiques feminist criticism that isolates the literature of European and Anglo-American female subjects, stating that this perspective can unintentionally reinforce imperialist ideologies. She notes, “A basically isolationist admiration for the literature of the female subject in Europe and Anglo-America establishes the high feminist norm” (p. 244).
3. Reinscription of Literary Texts: Spivak examines how Jean Rhys’s Wide Sargasso Sea reinscribes Charlotte Brontë’s Jane Eyre and offers a deconstruction of the imperialist narrative. She explains, “I read Wide Sargasso Sea as Jane Eyre’s reinscription and Frankenstein as an analysis—even a deconstruction—of a ‘worlding’ such as Jane Eyre’s” (p. 244).
4. Bertha Mason as a Colonial Subject: Spivak discusses the character of Bertha Mason in Jane Eyre, arguing that she represents the colonial subject whose humanity is compromised by the imperialist project. Spivak writes, “Through Bertha Mason, the white Jamaican Creole, Brontë renders the human/animal frontier as acceptably indeterminate” (p. 247).
5. Nineteenth-Century Feminist Individualism: Spivak suggests that nineteenth-century feminist individualism often intertwined with imperialist ideologies, leading to a project of “soul making” that extended beyond mere sexual reproduction. She states, “Nineteenth-century feminist individualism could conceive of a ‘greater’ project than access to the closed circle of the nuclear family” (p. 249).
6. Jean Rhys’s Critique of Imperialism: In Wide Sargasso Sea, Rhys critiques the imperialist underpinnings of Jane Eyre by giving voice to Bertha Mason (renamed Antoinette), highlighting how personal identity is shaped by imperial politics. Spivak notes, “In the figure of Antoinette, Rhys suggests that so intimate a thing as personal and human identity might be determined by the politics of imperialism” (p. 250).
7. Role of Christophine in Wide Sargasso Sea: Spivak discusses the character of Christophine, noting that she offers a critique of Rochester’s actions from a perspective grounded in black cultural practices. Spivak writes, “Christophine alone… challenges him in a face-to-face encounter” (p. 253).
8. Imperialism and Frankenstein: Spivak argues that Mary Shelley’s Frankenstein is not directly shaped by imperialist axiomatics but reflects the problematic relationship between sexual reproduction and social subject production. She states, “Although Frankenstein is ostensibly about the origin and evolution of man in society, it does not deploy the axiomatics of imperialism” (p. 255).
9. Critique of Traditional Feminist Readings: Spivak critiques traditional feminist readings of Jane Eyre and Frankenstein, emphasizing the need to consider these texts within the broader context of imperialism. She argues that feminist readings should not ignore the imperialist dimensions of these works (p. 257).

Literary Terms/Concepts in “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak

Concept/Term	Definition (in the context of the essay)	Example from the Essay
Imperialism	The act of a powerful country dominating a weaker one politically, economically, or culturally.	Spivak argues that 19th-century British literature often reflects and reinforces the ideology of imperialism.
Discursive Field	A system of signs and ideas that shapes how people understand the world.	Spivak uses the term to describe the set of ideas and beliefs surrounding “imperialism as social mission.”
Feminist Individualism	A strand of feminism that emphasizes the importance of individual women achieving equality with men.	Spivak argues that feminist individualism in the context of imperialism excludes the experiences of colonized women.
Caliban	A character from Shakespeare’s “The Tempest” who is enslaved by Prospero.	Spivak uses Caliban as a metaphor for the colonized subject who is denied a voice.
Ariel	A character from Shakespeare’s “The Tempest” who is a spirit enslaved by Prospero.	Spivak uses Ariel as a metaphor for the colonized subject who is seen as potentially educable or assimilable.
Marginalization	The act of pushing someone or something to the fringes of a group or society.	Spivak uses the term to describe Jane Eyre’s initial position within the Reeds’ household.
Counter-Family	A group of people who provide emotional support and a sense of belonging in opposition to a biological family.	Spivak suggests that Jane Eyre forms counter-families with various characters throughout the novel.
Axiomatics	A set of basic assumptions or principles that underlie a system of thought.	Spivak uses the term to describe the assumptions that underpin the ideology of “imperialism as social mission.”
Categorical Imperative	A concept in Kantian ethics that states that we should always act in a way that could become a universal law.	Spivak argues that the “categorical imperative” can be used to justify imperialism by presenting the act of “making the heathen into a human” as a moral duty.
Narcissus	A figure from Greek mythology who fell in love with his own reflection.	Spivak uses the myth of Narcissus to explore the theme of identity in Wide Sargasso Sea.
Hortus Conclusus	A Latin term meaning “enclosed garden,” often used symbolically to represent a place of innocence or isolation.	Spivak sees Antoinette’s encounter with a threatening voice in the “hortus conclusus” as a metaphor for her encounter with the violence of imperialism.
Epistemic Violence	The act of doing violence to someone’s knowledge or understanding of the world.	Spivak argues that imperialism is a form of epistemic violence because it imposes the colonizer’s way of knowing on the colonized.

Contribution of “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak to Literary Theory/Theories

1. Integration of Postcolonial Critique into Feminist Literary Theory: Spivak’s essay bridges feminist literary criticism with postcolonial theory, arguing that feminist readings should not overlook the imperialist context in which many canonical texts were produced. She states, “It seems particularly unfortunate when the emergent perspective of feminist criticism reproduces the axioms of imperialism” (p. 243).
2. Concept of “Worlding” in Literary Analysis: Spivak introduces the idea of “worlding,” which refers to the imperial process of making the “Third World” into a subject of European literary and cultural narratives. She writes, “We would produce a narrative, in literary history, of the ‘worlding’ of what is now called ‘the Third World'” (p. 244).
3. Critique of Feminist Individualism in Imperial Contexts: Spivak critiques the notion of feminist individualism in nineteenth-century literature, showing how it is often intertwined with imperialist ideologies. She emphasizes that feminist individualism “articulates itself in shifting relationship to what is at stake, the ‘native female’ as such is excluded from any share in this emerging norm” (p. 245).
4. Deconstruction of Canonical Texts through a Postcolonial Lens: The essay exemplifies a deconstructive approach to canonical texts like Jane Eyre and Frankenstein, revealing how these works are implicated in the imperial project. Spivak argues, “Through Bertha Mason, the white Jamaican Creole, Brontë renders the human/animal frontier as acceptably indeterminate” (p. 247).
5. Introduction of the Concept of the “Subaltern” in Literary Studies: Spivak’s discussion contributes to the concept of the “subaltern” as a figure who is marginalized in imperialist narratives and whose voice is often suppressed or distorted. She addresses this in her broader work but also touches on it in this essay by considering the position of characters like Bertha Mason and Christophine (p. 253).
6. Intersection of Race, Gender, and Class in Literary Analysis: Spivak’s analysis foregrounds the intersectionality of race, gender, and class, particularly in the context of imperialism, challenging feminist readings that fail to account for these dimensions. She notes, “Imperialism and its territorial and subject-constituting project are a violent deconstruction of these oppositions” (p. 249).
7. Expansion of the Literary Canon to Include Postcolonial Voices: By analyzing Wide Sargasso Sea alongside Jane Eyre, Spivak advocates for the inclusion of postcolonial rewritings of canonical texts in literary studies, thus expanding the scope of the literary canon. She writes, “When Jean Rhys, born on the Caribbean island of Dominica, read Jane Eyre as a child, she was moved by Bertha Mason: ‘I thought I’d try to write her a life'” (p. 249).
8. Challenge to Eurocentric Literary Pedagogy: Spivak critiques the Eurocentric focus of traditional literary pedagogy, calling for a more inclusive approach that acknowledges the imperial context of literary production. She asserts, “A full literary reinscription cannot easily flourish in the imperialist fracture or discontinuity, covered over by an alien legal system masquerading as Law as such” (p. 254).
9. Use of Deconstruction to Uncover Ideological Underpinnings: Spivak employs deconstructive techniques to expose the ideological underpinnings of texts, particularly their complicity in imperialist discourses. She writes, “A deconstructive critical approach would loosen the binding of the book, undo the opposition between verbal text and the bio-graphy of the named subject” (p. 244).

Examples of Critiques Through “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak

Literary Work	Critique Through Spivak’s Lens
Heart of Darkness by Joseph Conrad	Spivak might argue that the novel reinforces imperialist stereotypes of Africans as savage and primitive, while simultaneously critiquing the destructive nature of colonialism.
The Color Purple by Alice Walker	Walker’s novel could be seen as a critique of the ways in which racism and sexism intersect to oppress African American women. Spivak might explore how the novel challenges the prevailing narratives of female subjectivity in the context of imperialism.
Things Fall Apart by Chinua Achebe	Achebe’s novel offers a counter-narrative to the colonial discourse that portrayed African cultures as backward and inferior. Spivak might analyze how the novel challenges the Eurocentric perspective and gives voice to the experiences of colonized peoples.
The Handmaid’s Tale by Margaret Atwood	Atwood’s dystopian novel explores the dangers of authoritarian regimes and the suppression of women’s rights. Spivak might analyze how the novel’s portrayal of a totalitarian state reflects the anxieties and fears of a postcolonial world.

Key areas of focus for Spivak’s critique:

• Representation of colonized peoples: How are colonized peoples portrayed in the text? Are they stereotypes or complex individuals?
• Gender dynamics: How are gender roles and power relations depicted? Are women portrayed as passive victims or as active agents?
• Imperialist ideology: How does the text reinforce or challenge imperialist ideologies? Does it promote the idea of a civilizing mission or criticize the destructive effects of colonialism?
• Counter-narratives: Does the text offer alternative perspectives or counter-narratives to the dominant colonial discourse?

Criticism Against “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak

Suggested Readings: “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak

1. Spivak, Gayatri Chakravorty. “Three Women’s Texts and a Critique of Imperialism.” Critical Inquiry, vol. 12, no. 1, 1985, pp. 243–61. JSTOR, http://www.jstor.org/stable/1343469. Accessed 31 Aug. 2024.
2. Maggio, J. “‘Can the Subaltern Be Heard?’: Political Theory, Translation, Representation, and Gayatri Chakravorty Spivak.” Alternatives: Global, Local, Political, vol. 32, no. 4, 2007, pp. 419–43. JSTOR, http://www.jstor.org/stable/40645229. Accessed 31 Aug. 2024.
3. Danius, Sara, et al. “An Interview with Gayatri Chakravorty Spivak.” Boundary 2, vol. 20, no. 2, 1993, pp. 24–50. JSTOR, https://doi.org/10.2307/303357. Accessed 31 Aug. 2024.
4. David Damrosch, and Gayatri Chakravorty Spivak. “Comparative Literature/World Literature: A Discussion with Gayatri Chakravorty Spivak and David Damrosch.” Comparative Literature Studies, vol. 48, no. 4, 2011, pp. 455–85. JSTOR, https://doi.org/10.5325/complitstudies.48.4.0455۔ Accessed 31 Aug. 2024.

Representative Quotations from “Three Women’s Texts and a Critique of Imperialism” by Gayatri Chakravorty Spivak with Explanation

Quotation	Explanation
“It should not be possible to read nineteenth-century British literature without remembering that imperialism, understood as England’s social mission, was a crucial part of the cultural representation of England to the English.” (p. 243)	Spivak emphasizes that imperialism is integral to understanding the cultural and literary productions of nineteenth-century England. This statement sets the foundation for her argument that literature from this period cannot be separated from its imperial context.
“A basically isolationist admiration for the literature of the female subject in Europe and Anglo-America establishes the high feminist norm.” (p. 244)	Spivak critiques the narrow focus of feminist criticism that centers on European and Anglo-American texts, arguing that this approach perpetuates imperialist attitudes by ignoring non-Western voices.
“The role of literature in the production of cultural representation should not be ignored.” (p. 243)	This quotation highlights Spivak’s argument that literature plays a significant role in shaping and perpetuating cultural ideologies, including imperialism.
“I read Wide Sargasso Sea as Jane Eyre’s reinscription and Frankenstein as an analysis—even a deconstruction—of a ‘worlding’ such as Jane Eyre’s.” (p. 244)	Spivak discusses how Jean Rhys’s Wide Sargasso Sea and Mary Shelley’s Frankenstein offer critical perspectives on the imperialist themes present in Jane Eyre, contributing to the deconstruction of these narratives.
“Through Bertha Mason, the white Jamaican Creole, Brontë renders the human/animal frontier as acceptably indeterminate.” (p. 247)	Spivak explores the character of Bertha Mason in Jane Eyre as a representation of the colonial subject, whose humanity is blurred by imperialist discourse.
“Imperialism and its territorial and subject-constituting project are a violent deconstruction of these oppositions.” (p. 249)	This quotation underscores Spivak’s argument that imperialism violently disrupts traditional binary oppositions (e.g., self/other, human/animal) through its subject-constituting practices.
“In the figure of Antoinette, Rhys suggests that so intimate a thing as personal and human identity might be determined by the politics of imperialism.” (p. 250)	Spivak explains how Jean Rhys’s Wide Sargasso Sea portrays the impact of imperialism on personal identity, particularly through the character of Antoinette/Bertha.
“No perspective critical of imperialism can turn the Other into a self, because the project of imperialism has always already historically refracted what might have been the absolutely Other into a domesticated Other that consolidates the imperialist self.” (p. 254)	Spivak argues that attempts to critique imperialism must acknowledge that the process of “othering” is intrinsic to imperialism and cannot be fully undone.
“A full literary reinscription cannot easily flourish in the imperialist fracture or discontinuity, covered over by an alien legal system masquerading as Law as such.” (p. 254)	Spivak critiques the challenges faced by postcolonial rewritings of canonical texts, suggesting that these works must navigate the fractures created by imperialism.
“To reopen the fracture without succumbing to a nostalgia for lost origins, the literary critic must turn to the archives of imperialist governance.” (p. 255)	Spivak suggests that to fully understand the impact of imperialism on literature, critics must engage with historical records of imperial governance rather than relying solely on literary texts.