 The latter perspective characterizes those scholars who defend the idea that experiences of female embodiment can be manifest in distinctive expressive styles that yet accommodate difference. The most elaborate theoretical framework supporting this approach is provided by work loosely described as “French feminisms.” Hélène Cixous famously proposed the notion of écriture féminine, positing that the expression of women’s lived experience might be impressed in women’s literary production in linguistic styles that offer alternatives to standard objective description and linear temporal development (Cixous 1975/1981). Although they proceed from varying theoretical foundations, including different interpretations of psychoanalytic theory, Luce Irigaray’s notion of writing the body and Julia Kristeva’s positing of modes of semiotic expression that escape patriarchal symbolic discourse, propose parallel methods to distinguish creativity distinct from androcentric styles (Irigaray 1974 [1985]). They need not characterize the writing only of women, however; Kristeva’s theory of the semiotic posits that poetic language taps expressive pre-symbolic resources flowing from infantile experiences in the mother-child dyad (Kristeva 1984). With or without the psychoanalytic frameworks employed by their originators, such ideas have proven fruitful resources for feminist scholars working in a variety of philosophical traditions. For example, Jane Duran has examined the fiction of writers as different as the British novelist Margaret Drabble and the African-American writer Toni Cade Bambara to disclose how expressing embodied experience shares certain traits that are manifest quite differently when inflected by race, social position, and cultural legacy (Duran 2007).