Modernism, whether seen as a period designation, a manifestation of
formal experimentation, or an aspect of modernity, has since its
inception been marked, consciously or unconsciously, by gender. The
dates 1890-1940, typically accepted as encompassing the modernist
period, coincide with the first wave of feminism and its
educational, suffragist, socialist, and professional agendas.
Feminist activism and ideology of the period, as well as reactions
against them, made gender a field of contention, sometimes labelled
the "sex wars." The long shadow left by the Oscar Wilde trials, and
the flourishing of gay and lesbian cultures, particularly in the
urban centres of modernism in the teens and twenties, also queered
normative notions of masculinity and femininity. In response to
global consumer culture, diverse images of the modern girl emerged,
also putting conventional notions of gender to the test. The Harlem
Renaissance had its own gendered politics and expressions, as did
modernism's venturing into and emergence from colonial situations
around the globe. The discussion of gender in modernism arose in
the 1970s, along with the second wave of feminism and the
introduction of feminist theory and criticism to the academy. It
challenged the ways that the modernist canon, and the experimental
forms associated with modernism, had been fashioned as normatively
male. Early on, various approaches to the exploration of gender
were available, including the gendering of style available in
French Feminist theory, psychoanalytic approaches, materialist
feminism, and gyno-critical attention to women writers. Raising
questions of gender concerning modernist texts had become an
expectation by the 1990s. Debates about the adequacy of gender as
the central concern of feminist theory have led to the useful
concept of intersectionality, which heeds the ways that other
social categories, such as race, class, sexuality, dis/ability, and
global/colonial location, intersect with gender in creating the
standpoint of an individual. Equally valuable are challenges to
binary divisions encouraged by gendered oppositions, and the study
of ways that gender is produced by culture or performed.
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