By Ann L. Ardis, Leslie W. Lewis
In Women's event of Modernity, 1875–1945, literary students operating with quite a few interdisciplinary methodologies circulate female phenomena from the margins of the examine of modernity to its middle. reading such cultural practices as promoting and purchasing, political and social activism, city box paintings and rural exertions, radical discourses on female sexuality, and literary and creative experimentation, this quantity contributes to the wealthy vein of present feminist scholarship at the "gender of modernism" and demanding situations the belief that modernism rose clearly or unavoidably to the leading edge of the cultural panorama on the flip of the 20 th century.During this era, "women's event" was once a rallying cry for feminists, a unifying reason that allowed ladies to interact to influence social switch and make claims for women's rights by way of their entry to the general public world—as electorate, paid employees, political activists, and artists commenting on existence within the smooth global. Women's adventure, notwithstanding, additionally proved to be a resource of serious divisiveness between girls, for claims approximately its universality fast unraveled to bare the classism, racism, and Eurocentrism of varied feminist actions and organizations.Complementing fresh makes an attempt to historicize literary modernism by way of offering extra thorough analyses of its fabric construction, the essays during this quantity research either literary and non-literary writings of Jane Addams, Djuna Barnes, Toru Dutt, Radclyffe corridor, H.D., Pauline Hopkins, Emma Dunham Kelley, Amy Levy, Alice Meynell, Bram Stoker, Ida B. Wells, Rebecca West, and others as discursive occasions that form our perception of the historic actual. rather than focusing solely or perhaps centrally on modernism and literature, those essays handle a extensive array of textual fabrics, from political pamphlets to gynecology textbooks, as they examine women's responses to the increase of commodity capitalism, middle-class women's front into the hard work strength, the welfare state's invasion of the working-class domestic, and the intensified eroticization of racial and sophistication differences.Contributors contain: Ann L. Ardis, college of Delaware; Katherine L. Biers, collage of Chicago; Clair greenback, Wheaton collage; Lucy Burke, collage of Manchester; Carolyn Burdett, collage of North London; James Davis, Nassau neighborhood collage; Rita Felski, college of Virginia; Deborah Garfield, UCLA; Barbara eco-friendly, college of Notre Dame; Piya Pal-Lapinski, Bowling eco-friendly nation college; Leslie W. Lewis, collage of Saint Rose; Carla L. Peterson, collage of Maryland; Francesca Sawaya, college of Oklahoma; Talia Schaffer, Queens university, CUNY; Alpana Sharma, Wright nation collage; Lynn Thiesmeyer, Keio college; Ana Parejo Vadillo, Birkbeck collage, collage of London; and Julian Yates, college of Delaware.
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I would like to suggest that Meynell herself was codifying the critical standards she sensed might be required to revive her own reputation. In her customarily oblique style, she wrote about herself by writing about women of the past. When Meynell insists on sensitivity to different cultures’ gender roles and rhetorical customs, surely she wishes the same attention to be given to herself—particularly since she wrote many of these essays in the 1920s, when she could perceive that her own career, her own standards, and her own style, already seemed outmoded.
John Lucas, “From Realism to Radicalism: Sylvia Townsend Warner, Patrick Hamilton and Henry Green in the 1920s,” in Outside Modernism, ed. Hapgood and Paxton, 203–24. 5. Regarding Meynell’s identification with the Angel in the House, see Schaffer, “Tethered Angel” and Forgotten Female Aesthetes. 6. One influential exponent of this theory was W. L. Courtney, The Feminine Note in Fiction (London: Chapman & Hall, 1904). 7. In The Uses of Obscurity: The Fiction of Early Modernism (London: Routledge & Kegan Paul, 1981), Allon White argues persuasively that modernist writers employed obscurity to defend themselves against “symptomatic readings”: readers’ propensity to interpret the text as evidence of the writer’s neuroses.
26. Barbara Green, Spectacular Confessions: Autobiography, Performative Activism, and the Sites of Suffrage 1905–1938 (New York: St. Martin’s Press, 1997). 27. Woolf’s essays appear in The Common Reader: Second Series (London: Hogarth Press, 1935) and The Captain’s Death Bed, and Other Essays (New York: Harcourt, Brace, 1990). 28. Woolf, Diary of Virginia Woolf, 3: 251. 29. Woolf, “Hearts of Controversy,” Times Literary Supplement, October 26, 1917, 515. 30. Woolf, A Room of One’s Own (1929; San Diego: Harcourt Brace Jovanovich, 1989), 76–77.
