By A. Heilmann
The hot girl used to be the logo of the moving different types of gender and sexuality and epitomised the spirit of the fin de siècle . This informative monograph bargains an interdisciplinary method of the transforming into box of latest girl stories by means of exploring the connection among first-wave feminist literature, the nineteenth-century women's stream and feminine client tradition. The booklet expertly locations the controversy approximately femininity, feminism and fiction in its cultural and socio-historical context, analyzing New girl fiction as a style whose rising theoretical discourse prefigured techniques significant to second-wave feminist conception.
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Additional info for New Woman Fiction: Women Writing First-Wave Feminism
Sample text
The narrator implies that her demise is ultimately her own fault, and that her life could have been very different, had she only refused to play ‘the rôle of victim’ (TOTM, 355–7). The diametrically opposed fates of the two main characters suggest very clearly that to be a sweet girl was as exasperating to onlookers as it was harmful to herself, and that the New Woman had an incomparably better time of it, to say nothing of her better chances of survival. 26 The strategy of contrasting a weak Old Girl with a dynamic New Woman was a recipe for disaster.
TG, 72). Anti-feminists, who had based their careers and social standing on being part of the procession, had a stake in defending its ceremonial. In their novels anti-feminist women used two different plot structures to discredit the New Woman: they contrasted the ugly feminist with the ‘fair young English girl’,25 and featured heroines temporarily infected by New Woman ideas but ultimately rescued by good Old Men. Unregenerate New Women were always severely punished for their transgressive behaviour.
W. T. Stead, ‘The Novel of the Modern Woman’ (1894)1 It is only lately that woman has really begun to turn herself inside out, as it were, and to put herself into her books . . No man, were he the greatest genius alive, could write them, and in them the true spirit of feminism dwells. Hugh E. M. Stutfield, ‘The Psychology of Feminism’ (1897)2 As the novel heroine of the New Woman we have already been made extremely familiar with her. . She has only to strike a vibrating ‘key-note’ on her seductive lyre, and behold [tyrant man] lies grovelling at her feet!
