Epilogue

2017 ◽  
Author(s):  
Lynn Dumenil
Keyword(s):  
Black Women ◽  
World War I ◽  
Social Order ◽  
White Women ◽  
New Woman ◽  
Work And Family ◽  
Primary Role ◽  
Economic Equality ◽  
The New Woman ◽  
Post War

The epilogue explores the aftermath of war in the 1920s. Emphasizing the diversity of American women, the epilogue notes the inability of white women to find common cause with black women activists as well as the growing strength of right wing conservative women who challenged reformers and feminists whom they viewed as Bolshevist sympathizers. The Epilogue also explores the continuing debate over the “new woman” as it emerged in the 1920s by examining women in the context of politics, work, and family. The contested new woman offers a clue to the limits to change as a result of World War I. However much some women staked a claim to political, social, and economic equality, they faced deeply rooted ideas about women’s primary role in the home as a talisman of social order. Both continuity and change, with modern and traditional notions of womanhood co-existing uneasily, mark the post-war decade.

New Women, New South

2018 ◽  
Author(s):  
Nathan Cardon
Keyword(s):  
Black Women ◽  
Public Space ◽  
White Women ◽  
New South ◽  
The Other ◽  
Late Nineteenth Century ◽  
Southern Women ◽  
New Women ◽  
The New Woman ◽  
Late Nineteenth

Chapter 3 surveys the role women played at the Atlanta and Nashville fairs. The Cotton States and Tennessee Centennial transformed the gendered nature of public space in the South. Within their controlled and ordered boundaries, southern white women were set free from male chaperones and traditional constraints. At the fairs’ Woman’s Buildings, southern white women embraced the New Woman, while simultaneously celebrating the mythic role played by southern women in the domestic culture of the region. This chapter also explores African American women’s presence at the fairs. Southern black women created a shadow Woman’s Board and invited prominent black female speakers to the expositions. On the other end of the spectrum, black women worked in the fairs’ nurseries and kitchens. The expositions provided an opportunity for black women to speak for themselves, while constraining them in the popular stereotypes of the late nineteenth century.

scholarly journals Fresh Air and Freedom: Rabindranath Tagore’s Portrayal of Women as Agents of Change in Society and Culture

2011 ◽  
Vol 21 (2) ◽  
pp. 10-25
Author(s):  
Bharati Ray
Keyword(s):  
Social Order ◽  
New Woman ◽  
Family Background ◽  
Agents Of Change ◽  
The New Woman ◽  
New Form

This paper proposes to explore Rabindranath Tagore’s vision and views on women as reflected in his writings. After a discussion of the writer’s family background and of his relations with women both in his family and as friends, this essay focuses on Tagore’s perception of the birth of the “new woman”, that is, a woman who challenges convention, and seeks to establish a new form of social order.  

scholarly journals Žena u borbi / Žena u modi: Odjevne prakse u poslijeratnom periodu socijalističke Jugoslavije na primjeru časopisa "Žena u borbi" i "Naša Moda"

2016 ◽  
Vol 11 (1) ◽  
pp. 159
Author(s):  
Ivana Čuljak ◽  
Lea Vene
Keyword(s):  
New Woman ◽  
The Public ◽  
Media Construction ◽  
Popular Magazine ◽  
The New Woman ◽  
Women's Emancipation ◽  
Post War ◽  
Opposite Tendency ◽  
Ideological Construction

The research is based on the reviewing the ideological construction of the concept of saving up in the context of the struggle for women’s emancipation in early socialism of the post-war period. AFŽ (Antifašistička fronta žena – women’s antifascist front) as the main platform of women’s emancipation, promoted the New woman (emancipated, a political and socially aware worker) through direct propaganda in the magazine Žena u borbi (Woman in battle). At the same time, the AFŽ published a very popular magazine called Naša moda (Our fashion). It was a magazine which constructed a completely different media model of women whose interests are tied to fashion and family, emphasizing the role of the woman as housewife, mother and frivolous consumer. This dichotomy is important for the further reading of the public and media construction of modest/economic dressing which was seemingly embodied by the new woman, seeing as there as a simultaneous emergence of an opposite tendency and an alternative everyday practice. Faced with the ideological construction of emancipation, women continue performing the role of housewife who is now forced to rationalize her dressing practices and adapt to new political and economic conditions.

Anticipating the Future in the Present: “New Women” and Other Beings of the Future in Weimar Germany

2009 ◽  
Vol 42 (4) ◽  
pp. 647-673 ◽  
Author(s):  
Rüdiger Graf
Keyword(s):  
World War I ◽  
New Woman ◽  
Temporal Structure ◽  
Paradigm Case ◽  
Younger Women ◽  
New Women ◽  
Weimar Germany ◽  
The Future ◽  
The New Woman ◽  
And Gender

Why another article about the “new woman” in Weimar Germany, which for at least twenty-five years has been a favorite topic of historical scholarship in various disciplines? Earlier studies in history, art history, and German and Gender Studies unmasked the “new woman” as a media construction unrelated to the life-world of women after World War I, and newer studies emphasize the liberating tendencies, especially for younger women in Weimar Germany. Broadening these perspectives, I will argue that the concept of the “new woman” and its specific temporal structure can be seen further as a paradigm case for Weimar political and intellectual debates in general. “New women” were conceptualized as anticipations of the future and thus need to be situated and understood in front of the broader horizon of expectation, in the words of Reinhart Koselleck, of Weimar Germany. Because the realm of politics is constituted by expectations of the future, of what will happen and of what may be done, an analysis of the “new woman” and concurring anticipations of the future can, in turn, elucidate the structure and dynamics of political discourse in Weimar Germany.

scholarly journals Lyda Borelli’s Satanic Rhapsody: The Cinema and the Occult

2006 ◽  
Vol 16 (1) ◽  
pp. 91-115
Author(s):  
Angela Dalle Vacche
Keyword(s):  
World War I ◽  
Performance Art ◽  
New Woman ◽  
World War ◽  
Dance Performance ◽  
The New Woman ◽  
Loie Fuller

Abstract Discussing Nino Oxilia’s film Satanic Rhapsody (Rapsodia Satanica, 1915) starring Lyda Borelli, the author examines the influence of Bergsonism on the perception of cinema right before and during World War I. In particular, she points out the intersection between the film and, among other references, the tradition of the early Italian diva film, the plastic dynamism of Futurist painter Umberto Boccioni, the dance/performance art of Loïe Fuller, and the emerging figure of the New Woman.

Ethnic Differences in Self-Poisoning Across South London

Crisis ◽  
2014 ◽  
Vol 35 (4) ◽  
pp. 268-272
Author(s):  
Sean Cross ◽  
Dinesh Bhugra ◽  
Paul I. Dargan ◽  
David M. Wood ◽  
Shaun L. Greene ◽  
...  
Keyword(s):  
Black Women ◽  
Data Collection ◽  
White Women ◽  
Population Based ◽  
Care Services ◽  
Self Harm ◽  
Managing Risk ◽  
The Uk ◽  
Incident Cases ◽  
Minority Ethnic

Background: Self-poisoning (overdose) is the commonest form of self-harm cases presenting to acute secondary care services in the UK, where there has been limited investigation of self-harm in black and minority ethnic communities. London has the UK’s most ethnically diverse areas but presents challenges in resident-based data collection due to the large number of hospitals. Aims: To investigate the rates and characteristics of self-poisoning presentations in two central London boroughs. Method: All incident cases of self-poisoning presentations of residents of Lambeth and Southwark were identified over a 12-month period through comprehensive acute and mental health trust data collection systems at multiple hospitals. Analysis was done using STATA 12.1. Results: A rate of 121.4/100,000 was recorded across a population of more than half a million residents. Women exceeded men in all measured ethnic groups. Black women presented 1.5 times more than white women. Gender ratios within ethnicities were marked. Among those aged younger than 24 years, black women were almost 7 times more likely to present than black men were. Conclusion: Self-poisoning is the commonest form of self-harm presentation to UK hospitals but population-based rates are rare. These results have implications for formulating and managing risk in clinical services for both minority ethnic women and men.

Gender, Technology and the New Woman

2017 ◽  
Author(s):  
Lena Wånggren
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
New Technologies ◽  
Gender And Sexuality ◽  
Literary Texts ◽  
Late Nineteenth Century ◽  
Gender And Technology ◽  
The New Woman ◽  
Grant Allen

This book examines late nineteenth-century feminism in relation to technologies of the time, marking the crucial role of technology in social and literary struggles for equality. The New Woman, the fin de siècle cultural archetype of early feminism, became the focal figure for key nineteenth-century debates concerning issues such as gender and sexuality, evolution and degeneration, science, empire and modernity. While the New Woman is located in the debates concerning the ‘crisis in gender’ or ‘sexual anarchy’ of the time, the period also saw an upsurge of new technologies of communication, transport and medicine. This book explores the interlinking of gender and technology in writings by overlooked authors such as Grant Allen, Tom Gallon, H. G. Wells, Margaret Todd and Mathias McDonnell Bodkin. As the book demonstrates, literature of the time is inevitably caught up in a technological modernity: technologies such as the typewriter, the bicycle, and medical technologies, through literary texts come to work as freedom machines, as harbingers of female emancipation.

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