The present study examines some of the most popular debates on feminist literary theories and feminine aesthetics, which were held in German area in the 70s. Distinct peculiarities of these debates, held by Silvia Bovenschen (On the question: is there feminine aesthetics? („Über die Frage: gibt es eine ’weibliche’ Ästhetik?”, 1976) and Elisabeth Lenk (A woman who duplicates herself (Die sebst sich verdoppelnde Frau, 1976)) are positivist interpretations of femininity and, at the same time, they express concern for asserting a autonomous feminine forms of expression, different (and independent) from the male one. Positivist interpretation mainly aimed „feminist” femininity that defies hierarchies and roles characteristics for patriarchal(ist) thinking and especially the imprisonment of the creative woman („a person of art”) in androcentrist canon.