Gender At Work In Victorian Culture

Martin A. Danahay's lucidly argued and accessibly written volume offers a solid introduction to important issues surrounding the definition and division of labor in British society and culture. 'Work,' Danahay argues, was a term rife with ideological contradictions for Victorian males during a period when it was considered synonymous with masculinity. Male writers and artists in particular found their labors troubled by class and gender ideologies that idealized 'man's work' as sweaty, muscled labor and tended to feminize intellectual and artistic pursuits. Though many romanticized working-class labor, the fissured representation of the masculine body occasioned by the distinction between manual labor and 'brain work' made it impossible for them to overcome the Victorian class hierarchy of labor. Through cultural studies analyses of the novels of Dickens and Gissing; the nonfiction prose of Carlyle, Ruskin and Morris; the poetry of Thomas Hood; paintings by Richard Redgrave, William Bell Scott, and Ford Madox Brown; and contemporary photographs, including many from the Munby Collection, Danahay examines the ideological contradictions in Victorian representations of men at work. His book will be a valuable resource for scholars and students of English literature, history, and gender studies.

`What a pleasure to see this pathbreaking research in print! Karl Ittmann's analysis of Bradford pushes forward our knowledge of the quiet revolution in social habits which took place in the late nineteenth century. In particular, his ability to link the decline of marital fertility with the reorganisation of work and gender roles is exemplary. This book should be of interest to all specialists in Victorian social history.' - David Levine, The Ontario Institute for Studies in Education, Toronto Work, Gender and Family in Victorian England examines the impact of the Industrial Revolution upon the family and questions the extent to which ordinary working men and women shared the 'Victorian values' and prosperity of their middle-class countrymen. The book focuses on the industrial town of Bradford, West Yorkshire, in the second half of the nineteenth century and traces how men and women and their families adapted to the new life brought by the rise of the mill and the city.

Using historical evidence as well as personal accounts, Tracy C. Davis examines the reality of conditions for `ordinary' actresses, their working environments, employment patterns and the reasons why acting continued to be such a popular, though insecure, profession. Firmly grounded in Marxist and feminist theory she looks at representations of women on stage, and the meanings associated with and generated by them.

The late Victorian period brought a radical change in cultural attitudes toward middle-class women and work. Anxiety over the growing disproportion between women and men in the population, combined with an awakening desire among young women for personal and financial freedom, led progressive thinkers to advocate for increased employment opportunities. The major stumbling block was the persistent conviction that middle-class women - "ladies" - could not work without relinquishing their social status. Through media reports, public lectures, and fictional portrayals of working women, From Spinster to Career Woman traces advocates' efforts to alter cultural perceptions of women, work, class, and the ideals of womanhood. Focusing on the archetypal figures of the hospital nurse and the typewriter, Arlene Young analyzes the strategies used to transform a job perceived as menial into a respected profession and to represent office work as progressive employment for educated women. This book goes beyond a standard examination of historical, social, and political realities, delving into the intense human elements of a cultural shift and the hopes and fears of young women seeking independence. Providing new insights into the Victorian period, From Spinster to Career Woman captures the voices of ordinary women caught up in the frustrations and excitements of a new era.

In this collection of interdisciplinary essays, experts from Britain and the United States in the fields of nineteenth-century literature, and social and cultural history explore new directions in the field of Victorian life writing. Chapters examine a varied yet interrelated range of genres, from the biography and autobiography, to the relatively neglected diary, collective biography, and obituary. Reflecting the rich research being conducted in this area, the contributors link life writing to the formation of gendered and class-based identities; the politics of the Victorian family; and the broader professional, political, colonial, and literary structures in which social and kinship relations were implicated. A wide variety of Victorian works are considered, from the diary of the Radical Samuel Bamford, to the diary of the homosexual George Ives; from autobiographies of professional men to collective biographies of eminent women. Embracing figures as diverse as Gandhi, Wilde, and Bradlaugh, the collection explores the way in which narratives contested one another in a society that devoted an abundance of cultural energy to writing about, and reading of, lives.

In Victorian England, virtually all women were taught to sew, but this essentially domestic virtue took on a different aspect for the professional seamstress of the day. This study considers the way this powerful image of working-class suffering was used by social reformers in art and literature.

Women's work has proved to be an important and lively subject of debate for historians. An earlier focus on the pay, conditions and occupational opportunities of predominantly blue-collar working-class women has now been joined by an interest in other social groups (white-collar workers, clerical workers and professionals) as well as in the cultural practices of the work place, reflecting in part the recent 'cultural turn' in historical methodology. Although the term 'culture' is debated and contested, this volume reflects this diversity, addressing a variety of interpretations. The individual essays address such issues as how women have created occupational and professional identities, negotiated masculine working practices (cultural, legal and institutional) and created their own 'feminine' environments. They also examine the integration of paid work with domestic responsibilities, the concept of 'career' for women, and the construction and representation of women's work within the wider cultural landscape.' By focusing on the experiences of British women between c.1850 and 1950, the collection vividly demonstrates that the association of 'work' with paid labour is problematic and that the categories of 'work', 'leisure' and 'consumption' must be viewed as overlapping and inter-linked rather than as separate entities. Furthermore, it highlights the ways in which the concept of gender operated as an organising principle in the construction and negotiation of identities and practices in British society.

This book brings new perspectives to the study of sensation fiction in the Victorian period. It examines Mary Elizabeth Braddon, Ellen Wood, and Florence Marryat's magazines alongside their fiction to explore the self-conscious and complex ways they used sensation to re-work contemporary notions of female agency.