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New Woman

Published online by Cambridge University Press:  18 September 2023

Riya Das Open the ORCID record for Riya Das [Opens in a new window]
Riya Das*
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Prairie View A&M University, Texas, United States
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Extract

The ideal of the British New Woman, variously representing feminist, activist, fashion reformer, and writer, has been the subject of renewed critical interest since the late twentieth century. Although symptomatic of its situation in the fin de siècle, which “names those things that were never quite assimilated into the high-Victorian moment,” since the 1980s the New Woman has transcended its polemical Victorian conceptualization to represent “prequels to modernism as well as sequels to Victorianism.” As Sally Ledger has argued, the New Woman, despite being largely a “discursive phenomenon,” was nonetheless historically significant and central to late Victorian literary culture.

Type
Keywords Redux
Information
Victorian Literature and Culture , Volume 51 , Issue 3 , Fall 2023 , pp. 463 - 466
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Copyright
Copyright © The Author(s), 2023. Published by Cambridge University Press

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References

Notes

1. Potolsky, Matthew, “Fin de Siècle,” Victorian Literature and Culture 46, nos. 3–4 (2018): 697CrossRefGoogle Scholar.

2. Mangum, Teresa, Married, Middlebrow, and Militant: Sarah Grand and the New Woman Novel (Ann Arbor: University of Michigan Press, 1998), 5CrossRefGoogle Scholar.

3. Ledger, Sally, The New Woman: Fiction and Feminism at the Fin de Siècle (Manchester: Manchester University Press, 1997), 1–2Google Scholar.

4. Mangum, Married, Middlebrow, and Militant, 6 –7.

5. Collins, Tracy J. R., “Athletic Fashion, Punch, and the Creation of the New Woman,” Victorian Periodicals Review 43, no. 3 (2010): 313CrossRefGoogle ScholarPubMed.

6. Hilary Fawcett, “Romance, Glamour and the Exotic: Femininity and Fashion in Britain in the 1900s,” in New Woman Hybridities: Femininity, Feminism and International Consumer Culture, 1880–1930, edited by Ann Heilmann and Margaret Beetham, 147 (London: Routledge, 2004); see also Ledger, The New Woman, 124.

7. Anne McClintock, “Olive (Emilie Albertina) Schreiner,” in British Writers. Supplement 2: Kingsley Amis to J. R. R. Tolkien, edited by George Stade (New York: Charles Scribner's Sons, 1992), https://dept.english.wisc.edu/amcclintock/schreiner.htm.

8. See Ledger, The New Woman, 122–23; and Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siècle (New York: Viking, 1990), 170.

9. See Jusová, Iveta, The New Woman and the Empire (Columbus: Ohio State University Press, 2005), 14 –15, 18Google Scholar; and Richardson, Angelique, Love and Eugenics in the Late Nineteenth Century: Rational Reproduction and the New Woman (Oxford: Oxford University Press, 2003), 215CrossRefGoogle Scholar.

10. Heilmann, Ann, “Revolting Men? Sexual Fears and Fantasies in Writings by Old Men, 1880–1910,” Critical Survey 15, no. 3 (2003): 56CrossRefGoogle Scholar; see also Kistler, Jordan, “Rethinking the New Woman in Dracula,” Gothic Studies 20, nos. 1–2 (2018): 245CrossRefGoogle Scholar; and Gray, Jessica, “Typewriter Girls in Turn-of-the-Century Fiction: Feminism, Labor and Modernity,” English Literature in Transition, 1880 –1920 58, no. 4 (2015): 486 –87Google Scholar.

11. Stoker, Bram, Dracula (Oxford: Oxford University Press, 2011), 218, 316CrossRefGoogle Scholar.

12. Dixon, Ella Hepworth, The Story of a Modern Woman (London: Methuen, 1894), 172Google Scholar.