Psychoanalytic Feminist Analysis

A brief introduction to Psychoanalytic Feminism

Feminism has a background of two centuries struggle for the recognition of women’s cultural, social and political roles and rights in the west. Considering different points of view, the movement becomes a great part of cultural discourses, interrelated with politics for social, legal, cultural freedom and equality and it contains a variety of subcategories and borders (12, Chris). Although different experts have analyzed feministic thoughts, few writers actually concern the quiddity of feminism. Overall, what feminist critics look for is to make a distance from men' bias (28, Chris). One of the first attempts to write for women’s right is A vindication of the rights of a woman by Marry Wollstonecraft

He goes straight to a ‘dark room’ filled with a ‘septic smell’ where he refuges every time he feels that ‘ancestral fever’. The darkness can be a resemblance of the unconscious itself with all those antique miscellaneous items (old memories) inside it. Then the reader gets to know two women he keeps in his house: Fakhr-o-Nesa, a slim, pale, cold-hearted woman that is Ehtejab’s cousin and wife at the same time and Fakhri, a fleshy spirited young maidservant with wild black eyes. When the prince comes back by midnight, they drift in so that they show their attendance and affection toward him. In response, he knocks the floor with his feet and scares them away. “Fakhri remained inside the kitchen, but she left there to the prince’s room when she became worried about him. But as the prince started to knock the floor with his feet, she ran away to her room, sitting in front of a mirror, noticing the lowest noises so that she can hear him stepping down the stairs while calling her name.” (8, Golshiri) .In the first parts of the book, the narrator introduces these two women as two separate characters. Little by little, he describes Fakhr-o-Nesa’s acts as though he is uncertain of her existence. “Wearing the same white dress which was waved by wrinkles down to her breasts, Fakhr-o-Nesa was standing beside the carriage, looking through her glasses, or not!” (10, Golshiri). Further, these two women are shown as one and the

Fakhr-o-Nesa covers her beautiful eyes with glasses as if there is a border between her and the prince. She is noble and delicate, covered with a lacing white dress. In addition, her name, which suggests glory and pride, has an aristocratic connotation. While probing the family antiques, Fakhr-o-Nesa strikes a crystal glass slowly with her white delicate fingers, which reflects the sound of their successions through Ehtejab’s ears (13, Golshiri). She is a bridge to prince’s predecessors, keys the family clocks, reads their diaries and scolds the prince with a poignant tone for not following their ancestors. There is a sense of tension between the couple as if the prince does not let himself to have sexual desires for her and whenever they intend to make love it has to be in the darkness. Her one single role in the prince’s life is to wear makeups, have supper beside him and wait for him in her bed at