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By comparing fictional representations with "real" New Women in late-Victorian Britain, Sally Ledger makes a major contribution to an understanding of the "Woman Question" at the end of the century. Chapters on imperialism, socialism, sexual decadence, and metropolitan life situate the "revolting daughters" of the Victorian age in a broader cultural context than previous studies.
The New Woman was the symbol of the shifting categories of gender and sexuality and epitomised the spirit of the fin de siècle . This informative monograph offers an interdisciplinary approach to the growing field of New Woman studies by exploring the relationship between first-wave feminist literature, the nineteenth-century women's movement and female consumer culture. The book expertly places the debate about femininity, feminism and fiction in its cultural and socio-historical context, examining New Woman fiction as a genre whose emerging theoretical discourse prefigured concepts central to second-wave feminist theory.
Contains three early examples of the genre of New Woman writing, each portraying women in ways wholly different to those which had gone before. This title includes "Kith and Kin" (1881), "Miss Brown" and "The Wing of Azrael".
Recent years have seen a rennaissance of scholarly interest in the fin-de-siécle fiction of the New Woman. New Woman Strategies offers a new approach to the subject by focusing on the discursive strategies and revisionist aesthetics of the genre in the writings of three of its key exponents: Sarah Grand (1854-1943), Olive Schreiner (1855-1920) and Mona Caird (1854-1932). The study explores how each writer drew on, mimicked, feminized and ultimately transformed traditional literary and cultural tropes and paradigms: feminity, allegory and mythology.
Many female Victorian-era heroines find themselves expressing a form of loneliness directly connected to their lack of agency. Loneliness is defined by a lack, and it is this that is prevalent to these characters’ discussion of the social structures that define their lives. As there is no way to easily discuss a lack of agency without stating that there is something missing from the root agency, loneliness is an expression of missing components. This work analyses this “lack” found in loneliness as a trope to discuss a social lack. Many novels are crucial to this discussion, and this book focuses on Charlotte Brontë’s Villette (1853), Anne Brontë’s Tenant of Wildfell Hall (1848), George Eliot’s The Mill on the Floss (1860), Thomas Hardy’s Tess of the d’Urbervilles (1892), Florence Marryat’s The Blood of the Vampire (1897) and Ella Hepworth Dixon’s The Story of a Modern Woman (1894) to trace the evolution of the double use of lack in the nineteenth-century novel.
Ella Hepworth Dixon’s The Story of a Modern Woman originally appeared in serial form in the women’s weekly The Lady’s Pictorial. Like Hepworth Dixon herself, the novel’s heroine Mary Erle is a woman writer struggling to make her living as a journalist in the 1880s. Forced by her father’s sudden death to support herself, Mary Erle turns to writing three-penny-a-line fiction, works that (as her editor insists) must have a ball in the first volume, a picnic and a parting in the second, and an opportune death in the third. This Broadview edition’s rich selection of historical documents helps contextualize The Story of a Modern Woman in relation to contemporary debates about the “New Woman.”
Divorce is a conspicuous character trait of modernity, commonly portrayed in texts and on screen, with its moral and social rationalisation firmly rooted in Enlightenment and Romantic thought. The aim of this volume is to bring into focus this contemporary cultural fascination by assembling the variety of academic responses it has started to create. Bringing together the reflections of scholars from the UK and North America who have worked in this domain, this study offers for the first time a genuinely wide-ranging account of the depiction of divorce across the northern hemisphere in a number of media (fiction, journalism, film and television). It reaches historically from the intellectual and legal aftermath of the Enlightenment right up to the present day. As such, the collection shows both the roots of this apparently contemporary phenomenon in nineteenth-century literary practice and the very particular ways in which divorce characterises the different narrative media of modernity.
First published in 1897, The Beth Book – Being a Study from the Life of Elizabeth Caldwell Maclure, a Woman of Genius, is a semi-autobiographical novel offering a portrait of the artist as a young woman. Grand’s compelling story recounts in vivid detail the childhood of her young heroine, Beth, a spirited and intelligent girl who challenges the limitations of provincial life in Ireland and Yorkshire. Without the benefit of formal education, Beth must make her own way through adolescence, contending with a violent mother and an alcoholic father. With little money to go round, Beth often goes without so that her brothers might be raised as gentlemen, thus giving her an early introduction to sexual inequality. Even in girlhood Beth challenges gender expectations, dressing as a boy and poaching rabbits for the family dinner table. Like Grand herself, Beth makes an early marriage to escape her unhappy childhood, becoming the wife of philandering doctor, Daniel Maclure. Disillusion soon turns to defiance, as Beth recreates herself as a woman of genius, with her rousing refrain of “I shall succeed!” After escaping to a room of her own, Beth becomes a New Woman, setting a high standard both for herself and for other women. Grand’s extraordinary recall of childhood emotions, avoiding Victorian sentimentality, makes The Beth Book a convincing and captivating chronicle of female adolescence. The coming of age and sexual awakening of Beth broadens into a consideration of wider social issues, such as marital violence, vivisection, and the sexual double standard. The Beth Book deserves to be seen as a classic of the Victorian age. This new edition, the first for almost twenty years, includes: A critical introduction by Jenny Bourne Taylor Explanatory footnotes Bibliography Contemporary reviews A selection of other writings by and about Sarah Grand
In Medical Women and Victorian Fiction, Kristine Swenson explores the cultural intersections of fiction, feminism, and medicine during the second half of the nineteenth century in Britain and her colonies by looking at the complex and reciprocal relationship between women and medicine in Victorian culture. Her examination centers around two distinct though related figures: the Nightingale nurse and the New Woman doctor. The medical women in the fiction of Elizabeth Gaskell (Ruth), Wilkie Collins (The Woman in White), Dr. Margaret Todd (Mona McLean, Medical Student), Hilda Gregg (Peace with Honour), and others are analyzed in relation to nonfictional discussions of nurses and women doctors in medical publications, nursing tracts, feminist histories, and newspapers. Victorian anxieties over sexuality, disease, and moral corruption came together most persistently around the figure of a prostitute. However, Swenson takes as her focus for this volume an opposing figure, the medical woman, whom Victorians deployed to combat these social ills. As symbols of traditional female morality informed and transformed by the new social and medical sciences, representations of medical women influenced public debate surrounding women's education and employment, the Contagious Diseases Acts, and the health of the empire. At the same time, the presence of these educated, independent women, who received payment for performing tasks traditionally assigned to domestic women or servants, inevitably altered the meaning of womanhood and the positions of other women in Victorian culture. Swenson challenges more conventional histories of the rise of the actual nurse and the woman doctor by treating as equally important the development of cultural representations of these figures.
This book was first published in 1999. This collection of essays by leading scholars from Britain, the USA and Canada opens up the limited landscape of Victorian novels by focusing attention on some of the women writers popular in their own time but forgotten or neglected by literary history. Spanning the entire Victorian period, this study investigates particularly the role and treatment of 'the woman question' in the second half of the century. There are discussions of marriage, matriarchy and divorce, satire, suffragette writing, writing for children, and links between literature and art. Moving from Margaret Oliphant and Charlotte Mary Yonge to Mary Ward, Marie Corelli, 'Ouida' and E. Nesbit, this book illuminates the complex cultural and literary roles, and the engaging contributions, of Victorian women writers.