scholarly journals Cheryl A Wilson. Literature and Dance in Nineteenth-Century Britain: Jane Austen to the New Woman. Cambridge: Cambridge UP, 2009. ISBN: 9780521519090. Price: US$94.00/£50.00

2009 ◽  
pp. 0
Author(s):  
Lynn Voskuil
Keyword(s):  
Nineteenth Century ◽  
Jane Austen ◽  
New Woman ◽  
The New Woman

Gender, Technology and the New Woman

2017 ◽  
Author(s):  
Lena Wånggren
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
New Technologies ◽  
Gender And Sexuality ◽  
Literary Texts ◽  
Late Nineteenth Century ◽  
Gender And Technology ◽  
The New Woman ◽  
Grant Allen

This book examines late nineteenth-century feminism in relation to technologies of the time, marking the crucial role of technology in social and literary struggles for equality. The New Woman, the fin de siècle cultural archetype of early feminism, became the focal figure for key nineteenth-century debates concerning issues such as gender and sexuality, evolution and degeneration, science, empire and modernity. While the New Woman is located in the debates concerning the ‘crisis in gender’ or ‘sexual anarchy’ of the time, the period also saw an upsurge of new technologies of communication, transport and medicine. This book explores the interlinking of gender and technology in writings by overlooked authors such as Grant Allen, Tom Gallon, H. G. Wells, Margaret Todd and Mathias McDonnell Bodkin. As the book demonstrates, literature of the time is inevitably caught up in a technological modernity: technologies such as the typewriter, the bicycle, and medical technologies, through literary texts come to work as freedom machines, as harbingers of female emancipation.

Fallen Corpses and Rising Cities: The Bell Jar and the Making of the New Woman

Novel Shocks ◽  
2018 ◽  
pp. 104-124
Author(s):  
Myka Tucker-Abramson
Keyword(s):  
Nineteenth Century ◽  
Mass Culture ◽  
New Woman ◽  
Double Bind ◽  
The Novel ◽  
Lower East Side ◽  
Female Subjectivity ◽  
East Side ◽  
Industrial City ◽  
The New Woman

Sylvia Plath’s The Bell Jar centers on two shock-fueled transformations: New York’s transformation from the nineteenth-century industrial city of slums, tenements, and factories to a shiny new metropolis and Esther’s transformation from an anxious, sick, and needy tenderfoot into a seemingly independent, liberated, and autonomous subject. Reading Esther’s psychic transformation against its geopolitical and spatial markers of renewal—the slumified lower east side of the Rosenbergs, the newly built glass-sheeted office buildings where the protagonist Esther works, and the newly constructed UN headquarters that hangs in Esther’s hotel window—the chapter challenges dominant readings of the novel, which often forefront how the double bind of consumer mass culture and patriarchal 1950s values trap and confine women. The chapter suggests the novel is less about the entrapment of women than it is about the formation of the woman we assume to be trapped. Specifically, it argues that the novel’s celebrated critique of the repressive, patriarchal state ultimately leads not to a more progressive position, but rather to the formation of a lactified, suburbanized, and entrepreneurial female subjectivity.

scholarly journals Beth Caldwell's Reading Experience

Spectrum ◽  
2020 ◽  
Author(s):  
Shelby Elizabeth Haber
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
Feminist Movement ◽  
Reading Practices ◽  
Reading Habits ◽  
Reading Experience ◽  
Sarah Grand ◽  
The New Woman ◽  
Physical Objects ◽  
Personal Engagement

Near the end of the nineteenth century, Sarah Grand coined the phrase "New Woman," which was influential throughout the first wave of the feminist movement. This paper examines how Sarah Grand's representation of Beth Caldwell's reading habits in her novel The Beth Book acts as a metaphor for the subversive femininity of the New Woman. My project explores the ways in which Grand's feminist ideals are reflected in The Beth Book through the scenes when Beth is reading. I suggest that Beth's atypical engagement with books as textual and physical objects can be equated to social dissent. However, Grand also portrays Beth reading within educational and marital institutions. These experiences lead Beth's engagement with the text to become similar to common nineteenth-century reading practices. I conclude with the argument that Grand represents any personal engagement with a book, even if it is not especially radical, as capable of re-evaluating systemically-enforced interpretations.

Within Sight: Three-Dimensional Perspectives on Women and Banjos in the Late Nineteenth Century

2007 ◽  
Vol 31 (2) ◽  
pp. 131-163
Author(s):  
Lydia Hamessley
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
Negative Impact ◽  
Three Dimensional ◽  
Musical Instruments ◽  
Late Nineteenth Century ◽  
Bourgeois Society ◽  
The New Woman ◽  
Late Nineteenth ◽  
The Way

During the last decades of the nineteenth century, women figured prominently in a marketing campaign by banjo manufacturers who sought to make the banjo a respectable instrument for ladies. Their overarching aim was to "elevate" the banjo's status from its African-American and minstrel-show associations, thereby making the instrument acceptable in white bourgeois society. At the same time, stereoview cards, three-dimensional photographs produced by the millions, were a popular parlor entertainment featuring a variety of contemporary images, including women playing the banjo. Yet, instead of depicting a genteel lady in the parlor playing her beribboned banjo, the stereoviews presented humorous and sometimes risque scenes of banjo-playing women. Further, virtually no stereoviews exist that show the banjo played by a lady in a parlor setting. Through a study of stereoscopic depictions of women in a variety of scenes, I place these unexpected images of women's music-making in a context that explains their significance. In particular I examine the way stereoviews provide insights about the tensions regarding the position and status of women in late-nineteenth- and early-twentieth-century American culture as revealed in the figure of the New Woman. Typical of constructions of this threatening figure, stereographic images picture the New Woman wearing bloomers, riding bicycles, attending college, smoking, neglecting her wifely duties and children, and even indulging in lesbian eroticism. Yet, stereoviews are distinctive in that they also show the New Woman playing the banjo, and I argue that the link between the banjo and the New Woman had a decisive and negative impact on the effectiveness of the banjo elevation project. Through an examination of these three-dimensional views, and drawing on late-nineteenth-century writing and poetry about the banjo, I show how the banjo in the hands of the New Woman became a cautionary cultural icon for middle- and upper-class women, subverting the respectable image of the parlor banjo and the bourgeois women who played it. I place this new evidence in the context of Karen Linn's paradigm describing the banjo elevation project as one that sought to shift the banjo from the realm of sentimental values to official values. The figure of the New Woman does not fit within Linn's dichotomy; rather, she falls outside both sets of values. Often viewed as a third sex herself, in a sense mirroring the gender tensions surrounding the banjo, the New Woman helped to shift the banjo into a third realm, that of revolutionary and perhaps even decadent values. This study enhances what we know about the way musical instruments have been used to reconfigure attitudes toward gender roles in the popular imagination and furthers our understanding of the complex role women have played in the history of the banjo. Moreover, this evidence demonstrates how gender and sexuality can affect the reception of music, and musical instruments, through powerful iconographic images.

Sign in / Sign up

Export Citation Format

Share Document