Researching Joan of Arc in a literary and literary-critical context?
Medieval French (and other) literature,  and its intersections with feminism, post-feminism, and queer theory?
Try the following writers and/or critics as a starting-point:

• Simone de Beauvoir
• Kevin Brownlee
• Judith Butler
• Hélène Cixous
• Joan Ferrante
• Laurie Finke
• Germaine Greer
• Donna Haraway
• Julia Kristeva
• Roberta Krueger
• Peggy McCracken
• Deborah McGrady
• Toril Moi
• Amy Ogden
• Maureen Quilligan
• Miri Rubin
• Joanna Russ
• Eve Kosofsky Sedgwick
• Gayatri Chakravorty Spivak
• Virginia Woolf
• Elizabeth Wright …

Feminism is alive, and kicking, and online … some websites and blogs:

• A Blog Without a Bicycle
• A Feminist Blog
• Alas, a blog
• Bitch Ph.D.
• Blogging Feminism: (Web)Sites of Resistance
• BlogHer
• Blog of Feminist Activism
• breaking out of the boyzone | Ask Metafilter
• Chiennes de garde
• feminist blogs
• Feministe – In defense of the sanctimonious women’s studies set.
• Feministing
• Feminist Majority Foundation
• Feminist Manifesto
• Feminist Philosophers
• feminist reprise :: the blog
• feminist rising.
• Fetch me my axe
• Finally, A Feminism 101 Blog
• I Blame The Patriarchy
• Jezebel: Celebrity, Sex, Fashion for Women. Without Airbrushing.
• Mind the Gap
• No Cookies For Me
• Pandagon
• S&F Online 5.2 (2007): Blogging Feminism
• Shakesville
• Shrub
• The Carnival of Feminists
• The Curvature
• The F-Word: Contemporary UK Feminism – The F-Word
• The Shameless blog – Shameless Magazine – for girls who get it
• Thinking Girl
• Unapologetically Female
• [insert witty title]

Bonus: meta-Joanery (1): Medieval literary predecessors and context
While Joan was of course a real historical person, she was also a celebrity cypher, a curious case of living symbolism – “shaped” into a propaganda figure, most notably in the 1429-31 period – and thus an odd hybrid figure, being as “fictional” as she is “factual” / real / historical. This phenomenon may be seen in the contemporary documents, of all forms and modes of writing. Bearing in mind problems with present “fact” vs. “fiction” distinctions; and contemporary indistinction, play with distinction, and deliberate blurring between histoire as “story,” histoire as “history,” and intermediate or separate fable and mythe.
All that having been said: Herewith some leads for material infusing Joan-the-figure:

• Euphrosine – Bernard de Marseille, Ste Enimie – and assorted other hagiography (see: Ogden)
• Chrétien de Troyes, Erec et Enide
• Le Roman d’Enéas
• Tristan – Béroul, Thomas, Gottfried von Straβburg, the Folies, 13th c. FR prose version, etc. (and female transvestites as “anti-Tristans”)
• Aucassin et Nicolette
• Merlin and Vivian cycles
• Heldris of Cornwall, Le Roman de Silence
• OE Judith (plus earlier Biblical/Torah Deborah, Jael, Judith)
• Boccaccio, De Claris mulieribus – Christine de Pisan, Le Livre de la cité des dames
• The broader context: the “Catalogues of Women” tradition, and its intersection with debates around women: from Hesiod, via the Querelle de la Rose and the Querelle des Femmes, to Olympe de Gouges and thenceforward to politics today.

Second bonus: meta-Joanery (2): sample authors of pertinent 20th-21st c. imaginative fictions
Or, present continuations, refashionings, influences, and infusions of Joan-the-symbol. A good starting-point for investigating, for example: (a) permanent, temporary, and transient transvesticism; (b) gender-neutral, masculine, and feminine warriors (consider also the difference between the 15th c. French and Latin effeminare and the 21st c. English effeminate); (c) the transcendence of gender: be that non-, un-, a-, anti-, ex-, counter-, post-, para-, or meta-.

• Iain M. Banks (Culture cycle)
• Octavia Butler
• Pat Cadigan
• William Gibson
• Lian Hearn
• Ursula K. Le Guin
• Garth Nix
• Tamora Pierce
• Melissa Scott
• Neal Stephenson
• Rosemary Sutcliffe (e.g. her Boudicca, Song for a Dark Queen)
• Buffy the Vampire Slayer