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Most critics and scholars have long assumed that the women's
movement was almost exclusively a white middle-class women's
affair. This book counters the prevailing view by putting the
spotlight on some remarkable women from other backgrounds, such as
African Americans Pauline Hopkins and Amy Jacques Garvey, Mexican
American Maria Cristena Mena, and Chinese American Sui Sin Far.
Also examined are the work of more obvious New Women, such as
Charlotte Perkins Gilman.
Since the 1970s, the literary and cultural politics of the
turn-of-the-century New Woman have received increasing academic
attention. Whether she is seen as the emblem of sexual anarchy, an
agent of mediation between mass market and modernist cultures, or
as a symptom of the consolidation of nineteenth and early
twentieth-century political liberation movements, the New Woman
represents a site of cultural and socio-political contestation and
acts as a marker of modernity. This book explores the diversity of
meanings ascribed to the New Woman in the context of cultural
debates conducted within and across a wide range of national
frameworks including the UK, Canada, North America, Europe, and
Japan. The key concept of 'hybridities' is used to elucidate the
national and ethnic multiplicity of the 'modern woman' as well as
to locate this figure both within international consumer culture
and within feminist writing. The book is structured around four key
themes. 'Hybridities' examines the instabilities of New Woman
identities and discourses in relation to both national/ethnic
contexts and the textual parameters of New Woman writings. 'Through
the (Periodical) Looking Glass' is concerned with the periodical
press and its production and circulation of New Woman images.
'Feminist Counter Cultures?' interrogates feminist efforts to
influence and shape this process by mimicking or subverting
dominant models of representation and by establishing alternative
spaces for the articulation of New Woman subjectivities. 'Race and
the New Woman' inspects white New Women's investment in hegemonic
racial discourses, looking at the way in which black and
non-Western women inserted liberationist discourses into the New
Woman debate. This book will be essential reading for advanced
students and researchers of American Studies, Women's Studies, and
Women's History.
Medical Advice for Women is a new five-volume collection from
Routledge and Edition Synapse covering professional, scientific,
and medical opinion, in addition to the popular guides aimed at the
female reader, between the years 1830-1915. Medical literature from
this period provides a fascinating insight into the interrelations
between social proscriptions, often validated by appeals to
religious authority, and medical prescriptions. The narrative
contained within this largely chronological collection is not
necessarily a progressive one from quackery to medical and
scientific enlightenment; the situation was more nuanced than
selective quotation from sensational examples has implied in the
past. This collection, edited and with a new introduction by Ruth
Robbins, illuminates the complexity and shifting grounds of opinion
in the nineteenth and early twentieth centuries by bringing back
into print a broad selection of texts offering medical advice to
women, and will be of interest to all scholars and students working
in gender and cultural studies, and particularly to historians and
sociologists of medicine.
Contents: Introduction Part One: Hybridities 1. Bertha Thomas: The New Women and Ango-Welsh Hybridity Kirsti Bohata 2. A Hungarian New Woman Writer and a Hybrid Autobiographical Subjact: Margit Kaffka's 'Lyrical Notes of a Year' Nóra Séllei Part Two: Through the (Periodical) Looking Glass 3. Writing Women's History: 'The Sex' Debates of 1889 Laurel Brake 4. The American New Women and her influence on the Daughters of the Empire of British Columbia in the Daily Press (1880-1895) Françoise Le Jeune 5. Locating the Flapper in Rural Irish Society: The Irish Provincial Press and the Modern Woman in the 1920s Louise Ryan 6. Subverting the Flapper: The Unlikely Alliance of Irish Popular and Ecclesiastical Press in the 1920s Maryann Gialanella Valiulis 7. Riding the Tiger: Ambivalent Images of the New Woman in the Popular Press of the Weimar Republic Ingrid Sharp Part Three: Communities of Women 8. Romance, Glamour and the Exotic: Feminity and Fashion in Britain in the 1900s Hilary Fawcett 9. Charged with Ambiguity: The Image of the New Women in American Cartoons Angelika Köhler 10. The day of the Girl: Nell Brinkley and the New Woman Trina Robbins 11. 'The Woman of the Twentieth Century': The Feminist Vision and its Reception in the Hungarian Press 1904-1914 Judit Acsády 12. The New Woman in Japan: Radicalism and Ambivalence toward Love and Sex Kazue Muta Part Four: Race and the New Woman 13. 'Natural' Divisions/National Divisions: Whiteness and the American New Woman in the General Federation of Women's Clubs Jill Bergman 14. The Birth of National Hygiene and Efficiency: Women and Eugenics in Britain and America 1865-1915 Angelique Richardson
The Victorian debate on marriage, motherhood and women's rights to
an independent life reflects the impact the women's movement had on
the formation and transformation of public opinion. The marriage
debate was also about the New Woman, the "fin-de-siecle"
representation of the feminist. This anthology contextualizes key
feminist texts and ideas by connecting them to the public response
they received. The first volume focuses on Mona Caird's "The
Morality of Marriage" and the widespread controversy it provoked.
The second volume widens the debate between feminists,
traditionalists and anti-feminists by linking the public discourse
on marriage and divorce to the controversy of the New Woman, a
debate initiated and sustained by Sarah Grand's writings. The third
and fourth volumes are concerned with New Woman fiction, providing
selected reading from feminist and anti-feminist works, and
reproducing the media debate on morality in literature. The fiction
is taken from the writings of: Emma Brooke, Mona Caird, Gertrude
Dix, Lady Florence Dixie, Emma Hepworth Dixon and George Egerton.
George Moore (1852-1933) was one of the most influential and
versatile writers and journalists of the turn of the century. This
five-volume, reset critical edition addresses scholarly interest in
Moore, making available his generally neglected short story
collections.
George Moore (1852-1933) was one of the most influential and
versatile writers and journalists of the turn of the century. This
five-volume, reset critical edition addresses scholarly interest in
Moore, making available his generally neglected short story
collections.
George Moore (1852-1933) was one of the most influential and
versatile writers and journalists of the turn of the century. This
five-volume, reset critical edition addresses scholarly interest in
Moore, making available his generally neglected short story
collections.
George Moore (1852-1933) was one of the most influential and
versatile writers and journalists of the turn of the century. This
five-volume, reset critical edition addresses scholarly interest in
Moore, making available his generally neglected short story
collections.
George Moore (1852-1933) was one of the most influential and
versatile writers and journalists of the turn of the century. This
five-volume, reset critical edition addresses scholarly interest in
Moore, making available his generally neglected short story
collections.
George Moore (1852-1933) was one of the most influential and
versatile writers and journalists of the turn of the century. This
five-volume, reset critical edition addresses scholarly interest in
Moore, making available his generally neglected short story
collections.
Sarah Grand was one of the most prominent New Women of the 1890s and a notable social purity feminist and suffragist. This collection offers important insights into the full range of her journalistic output and lesser-known fictional writings. It also makes available biographical and autobiographical material, and previously unpublished manuscript sources. The first volume reproduces Grand's articles and the contemporary critical reception of her work. The letters in volume two, written mostly in the 1920s and 1930s, shed light on Grand's genesis as a writer and her interaction with 1890s artistic and feminist circles. The third and fourth volumes contain a selection of short stories from three collections published at and after the turn of the century. These comment on some of the explosive issues of that time: feminism, decadence, eugenics, class, race and war. They also reflect Grand's exploration of the interplay between gender and genre.
Senior colonial officer from 1813 to 1859, Inspector General James
Barry was a pioneering medical reformer who after his death in 1865
became the object of intense speculation when rumours arose about
his sex. This cultural history of Barry's afterlives in Victorian
to contemporary (neo-Victorian) life-writing ('biographilia')
examines the textual and performative strategies of biography,
biofiction and biodrama of the last one and a half centuries. In
exploring the varied reconstructions and re-imaginations of the
historical personality across time, the book illustrates (not least
with its cover image) that the 'real' James Barry does not exist,
any more than does the 'faithful' biographical, biofictional or
biodramatic rendering of a life in a generically 'stable' and
discrete form. What Barry represents and how he is represented
invariably pinpoints the imaginative, the speculative and the
performative: reflections and refractions in the looking glass of
genre. Just as 'James Miranda Barry', as a subject of cultural
inquiry, comes into being and remains in view in the act of
crossing gender, so neo-Victorian life-writing constitutes itself
through similar acts of boundary transgression. Transgender thus
finds its most typical expression in transgenre.
This field-defining book offers an interpretation of the recent
figurations of neo-Victorianism published over the last ten years.
Using a range of critical and cultural viewpoints, it highlights
the problematic nature of this 'new' genre and its relationship to
re-interpretative critical perspectives on the nineteenth century.
This field-defining book offers an interpretation of the recent
figurations of neo-Victorianism published over the last ten years.
Using a range of critical and cultural viewpoints, it highlights
the problematic nature of this 'new' genre and its relationship to
re-interpretative critical perspectives on the nineteenth century.
Senior colonial officer from 1813 to 1859, Inspector General James
Barry was a pioneering medical reformer who after his death in 1865
became the object of intense speculation when rumours arose about
his sex. This cultural history of Barry's afterlives in Victorian
to contemporary (neo-Victorian) life-writing ('biographilia')
examines the textual and performative strategies of biography,
biofiction and biodrama of the last one and a half centuries. In
exploring the varied reconstructions and re-imaginations of the
historical personality across time, the book illustrates (not least
with its cover image) that the 'real' James Barry does not exist,
any more than does the 'faithful' biographical, biofictional or
biodramatic rendering of a life in a generically 'stable' and
discrete form. What Barry represents and how he is represented
invariably pinpoints the imaginative, the speculative and the
performative: reflections and refractions in the looking glass of
genre. Just as 'James Miranda Barry', as a subject of cultural
inquiry, comes into being and remains in view in the act of
crossing gender, so neo-Victorian life-writing constitutes itself
through similar acts of boundary transgression. Transgender thus
finds its most typical expression in transgenre.
This book offers a new approach to fin-de-siecle and New Woman
criticism, focusing on three key exponents of New Woman fiction:
Sarah Grand, Olive Schreiner and Mona Caird. Heilmann pays close
attention to the gaps, shifts, inconsistencies and performative
acts by which each writer positioned herself ideologically and
textually. She highlights the fluidity of these positions through
time, and in relation to different modes of publication and target
audiences. All three writers defined political activism as an
expression of female creativity, and distanced themselves to
varying degrees from existing artistic movements catering for a
mainly male-dominated market. Heilmann shows how they drew on,
mimicked, feminised and ultimately transformed traditional literary
and cultural tropes and paradigms - femininity (Grand), allegory
(Schreiner) and mythology (Caird) - to create a generation of New
Women who imploded the patriarchal cultural and aesthetic framework
in order to construct female creativity as the 'mother' principle
of artistic genius.
"Nearly every major figure of his era," writes his biographer
Adrian Frazier, "worked with Moore, tangled with Moore, took his
impression from, or left it on, George Moore." The Anglo-Irish
novelist George Moore (1852-1933) espoused multiple identities. An
agent provocateur whether as an art critic, novelist, short fiction
writer or memoirist, always probing and provocative, often
deliberately controversial, the personality at the core of this
book invented himself as he reinvented his contemporary world.
Moore's key role-as observer-participant and as satirist-within
many literary and aesthetic movements at the end of the Victorian
period and into the twentieth century owed considerably to the
structures and manners of collaboration that he embraced. This book
throws into relief the multiple ways in which Moore's work can
serve as a counterbalance to established understandings of late
nineteenth and early twentieth-century literary aesthetics both
through innovative scholarly readings of Moore's work and through
illustrative case studies of Moore's collaborative practice by
making available, for the first time, two manuscript plays he
co-authored with Pearl Craigie (John Oliver Hobbes) in 1894. It is
this collaborative practice in conjunction with his cosmopolitan
outlook that turned Moore into a key player in the fin-de-siecle
formation of an international aesthetic community. This book
explores the full range of Moore's collaborations and cultural
encounters: from 1870s Paris art exhibitions to turn-of-the-century
Dublin and London; from gossip to the culture of the barmaid; from
the worship of Balzac to the fraught engagement with Yeats; from
music to Celtic cultural translation. Moore's reputation as a
collaborator with the most significant artistic individuals of his
time in Britain, Ireland and France in particular, but also in
Europe more widely, provides a rich exposition of modes of exchange
and influence in the period, and a unique and distinctive
perspective on Moore himself.
Nearly every major figure of his era, writes his biographer Adrian
Frazier, worked with Moore, tangled with Moore, took his impression
from, or left it on, George Moore. The Anglo-Irish novelist George
Moore (1852 1933) espoused multiple identities. An agent
provocateur whether as an art critic, novelist, short fiction
writer or memoirist, always probing and provocative, often
deliberately controversial, the personality at the core of this
book invented himself as he reinvented his contemporary world.
Moore s key role3/4as observer-participant and as satirist3/4within
many literary and aesthetic movements at the end of the Victorian
period and into the twentieth century owed considerably to the
structures and manners of collaboration that he embraced. This book
throws into relief the multiple ways in which Moore s work can
serve as a counterbalance to established understandings of late
nineteenth and early twentieth-century literary aesthetics both
through innovative scholarly readings of Moore s work and through
illustrative case studies of Moore s collaborative practice by
making available, for the first time, two manuscript plays he
co-authored with Pearl Craigie (John Oliver Hobbes) in 1894 and
1904 through 1906. It is this collaborative practice in conjunction
with his cosmopolitan outlook that turned Moore into a key player
in the fin-de-siecle formation of an international aesthetic
community. This book explores the full range of Moore s
collaborations and cultural encounters: from 1870s Paris art
exhibitions to turn-of-the-century Dublin and London; from gossip
to the culture of the barmaid; from the worship of Balzac to the
fraught engagement with Yeats; from music to Celtic cultural
translation. Moore s reputation as a collaborator with the most
significant artistic individuals of his time in Britain, Ireland
and France in particular, but also in Europe more widely, provides
a rich exposition of modes of exchange and influence in the period,
and a unique and distinctive perspective on Moore himself."
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