ANYONE EXAMINING THE HISTORY of critical studies in the English-speaking world during the past half-century would quickly recognize the significant influence feminism has had in revising opinions of both male and female writers. However, looking back at the 1960s and 1970s in 2010 one might concede that “feminism” is but one of many new critical lenses through which the work of novelists have been examined. Hence, I think it would be permissible in most studies such as this one to include “Feminist Criticism” as a subheading under “New Theoretical Approaches.” But in the case of Austen, the importance of feminist critics in revising the way we look at her fiction has been so significant, and the number of feminist critiques so extensive, I believe it is valuable to highlight the influence feminists have had on Austen studies before proceeding to review the work of those practicing other new critical methodologies, or those who remain wedded to more traditional approaches.

Since the nineteenth century, feminists seem to have had a love-hate relationship with Austen. As early as 1848 Charlotte Brontë was complaining that she wrote without passion. Julia Kavanagh, who detected a hint of the feminist outlook in Austen's satire, still objected to her as being something of a cold fish. So perhaps it is not surprising that the new wave of feminists who burst onto the scene in the 1960s would have the same mixed reactions to Austen's work.