The late-Victorian debate on marriage, motherhood and women's rights reflects the impact the women's movement had on the formation and transformation of public opinion. This comprehensive anthology contextualizes key feminist texts and ideas.
First published in 2004. This five volume set collects together a series of writings on the role of women in the late-Victorian Era. Volume 2 places the controversy on marriage and motherhood in the context of the New Woman debate. While the three debates were linked, each had its own dynamic and saw shifting alliances and antagonisms. The marriage debate pitted the three different groups and their opposing interests against each other: the Old (traditionalist) Woman defended the ideals of marriage, while the progressive man advocated 'free Iove', and the New Woman emphasized female independence within and outside marriage.
First published in 2004. This five volume set collects together a series of writings on the role of women in the late-Victorian Era. Volume 1 includes texts on the concept of the 'New Woman', a social phenomenon around 1894, a woman with a college education, professional aspirations and feminist convictions.
First published in 2004. This five volume set collects together a series of writings on the role of women in the late-Victorian Era. New Woman fiction left its mark on fin-de-siecle British culture, transforming the literary landscape well beyond the turn of the century; it also had a considerable impact on the formation of popular as well as political thought. The next two volumes (3 and 4) make available a selection of narrative texts which were widely debated at the time.
In the years between the world wars, Manhattan's Fourteenth Street-Union Square district became a center for commercial, cultural, and political activities, and hence a sensitive barometer of the dramatic social changes of the period. It was here that four urban realist painters--Kenneth Hayes Miller, Reginald Marsh, Raphael Soyer, and Isabel Bishop--placed their images of modern "new women." Bargain stores, cheap movie theaters, pinball arcades, and radical political organizations were the backdrop for the women shoppers, office and store workers, and consumers of mass culture portrayed by these artists. Ellen Wiley Todd deftly interprets the painters' complex images as they were refracted through the gender ideology of the period. This is a work of skillful interdisciplinary scholarship, combining recent insights from feminist art history, gender studies, and social and cultural theory. Drawing on a range of visual and verbal representations as well as biographical and critical texts, Todd balances the historical context surrounding the painters with nuanced analyses of how each artist's image of womanhood contributed to the continual redefining of the "new woman's" relationships to men, family, work, feminism, and sexuality.
In this pathbreaking book, a well-known feminist and sociologist--who is also the Founding Editor of Gender & Society--challenges our most basic assumptions about gender. Judith Lorber views gender as wholly a product of socialization subject to human agency, organization, and interpretation. In her new paradigm, gender is an institution comparable to the economy, the family, and religion in its significance and consequences. Drawing on many schools of feminist scholarship and on research from anthropology, history, sociology, social psychology, sociolinguistics, and cultural studies, Lorber explores different paradoxes of gender: --why we speak of only two "opposite sexes" when there is such a variety of sexual behaviors and relationships; --why transvestites, transsexuals, and hermaphrodites do not affect the conceptualization of two genders and two sexes in Western societies; --why most of our cultural images of women are the way men see them and not the way women see themselves; --why all women in modern society are expected to have children and be the primary caretaker; --why domestic work is almost always the sole responsibility of wives, even when they earn more than half the family income; --why there are so few women in positions of authority, when women can be found in substantial numbers in many occupations and professions; --why women have not benefited from major social revolutions. Lorber argues that the whole point of the gender system today is to maintain structured gender inequality--to produce a subordinate class (women) that can be exploited as workers, sexual partners, childbearers, and emotional nurturers. Calling into question the inevitability and necessity of gender, she envisions a society structured for equality, where no gender, racial ethnic, or social class group is allowed to monopolize economic, educational, and cultural resources or the positions of power.