Women In Journalism At The Fin De Si Cle

As the nineteenth-century drew to a close, women became more numerous and prominent in British journalism. This book offers a fascinating introduction to the work lives of twelve such journalists, and each essay examines the career, writing and strategic choices of women battling against the odds to secure recognition in a male-dominated society.

Especially in recent years, late nineteenth-century novels, short stories, and essays have attracted considerable scholarly interest. Research into texts by and about the New Woman has played a major role in shaping a critical understanding of fin-de-si©·cle literature, New Journalism, gender politics, activism, work, and education. Serious academic work has, in particular, focused on changing gender roles and women's participation in the public sphere and urban spaces. This new title in the History of Feminism series, co-published by Routledge and Edition Synapse, is a four-volume collection of primary materials which builds on this existing scholarship. It brings together a wide range of fiction and non-fiction texts first published between the 1800s and the early twentieth century to present different aspects of what it meant to be a female journalist at the turn of the nineteenth century. Making readily available such materialśwhich are currently very difficult for scholars, researchers, and students across the globe to locate and usé Female Journalists of the Fin de Si©·cle is a veritable treasure-trove. The gathered works are reproduced in facsimile, giving users a strong sense of immediacy to the texts and permitting citation to the original pagination. The collection is also supplemented by a detailed and comprehensive introduction, newly written by the editor, which contextualizes the material in terms of fin-de-si©·cle publishing, journalism, and authorship. And with a detailed appendix providing data on the magazines, newspapers, and periodicals in which the articles and stories of the period were originally published, the collection is destined to be welcomed as a vital reference and research resource.

As the nineteenth-century drew to a close, women became more numerous and prominent in British journalism. This book offers a fascinating introduction to the work lives of twelve such journalists, and each essay examines the career, writing and strategic choices of women battling against the odds to secure recognition in a male-dominated society.

In fin-de-siècle France, politics were in an uproar, and gender roles blurred as never before. Into this maelstrom stepped the "new women," a group of primarily urban, middle-class French women who became the objects of intense public scrutiny. Some remained single, some entered nontraditional marriages, and some took up the professions of medicine and law, journalism and teaching. All of them challenged traditional notions of womanhood by living unconventional lives and doing supposedly "masculine" work outside the home. Mary Louise Roberts examines a constellation of famous new women active in journalism and the theater, including Marguerite Durand, founder of the women's newspaper La Fronde; the journalists Séverine and Gyp; and the actress Sarah Bernhardt. Roberts demonstrates how the tolerance for playacting in both these arenas allowed new women to stage acts that profoundly disrupted accepted gender roles. The existence of La Fronde itself was such an act, because it demonstrated that women could write just as well about the same subjects as men—even about the volatile Dreyfus Affair. When female reporters for La Fronde put on disguises to get a scoop or wrote under a pseudonym, and when actresses played men on stage, they demonstrated that gender identities were not fixed or natural, but inherently unstable. Thanks to the adventures of new women like these, conventional domestic femininity was exposed as a choice, not a destiny. Lively, sophisticated, and persuasive, Disruptive Acts will be a major work not just for historians, but also for scholars of cultural studies, gender studies, and the theater.

Concentrating on a period of significant social and political change and exploring both canonical and newly rediscovered texts, this book critically assess the changing culture of the late-Victorian period as represented by a range of women writers through a range of essays by leading academics in the field and cutting-edge work by newer scholars.

After a century of civil strife in Rome and Italy, the poet Virgil wrote "The Aeneid" to honor the emperor Augustus by praising Aeneas, Augustus's legendary ancestor. As a patriotic epic imitating Homer, "The Aeneid" also set out to provide Rome with a literature equal to that of Greece. It tells of Aeneas, survivor of the sack of Troy, and of his seven-year journey: to Carthage, where he fell tragically in love with Queen Dido; to the underworld, in the company of the Sibyl of Cumae; and, finally, to Italy, where he founded Rome. It is a story of defeat and exile, and of love and war. Virgil's "Aeneid" is as eternal as Rome itself, a sweeping epic of arms and heroism--the searching portrait of a man caught between love and duty, human feeling, and the force of fate. Filled with drama, passion, and the universal pathos that only a masterpiece can express. "The Aeneid" is a book for all the time and all people. This version of "The Aeneid" is the classic translation by John Dryden.

The late nineteenth-century fin de siècle has proved an enduringly fascinating moment in literary and cultural history. It is associated with the emergence of intriguing figures - such as the 'new woman' and 'uranian'; with contradictory impulses - of decadence and decay on the one hand, and of experiment and renewal, on the other; as well as with unprecedented intercultural exchange, especially between Britain and France. The 22 newly-commissioned essays collected here re-examine some of the key concepts taken to define the fin de siècle, while also introducing hitherto overlooked cultural phenomena into the frame, such as the importance of humanitarianism. The impact of recent research in material culture is explored, particularly how the history of the book and the history of performance culture is changing our understanding of this period. A wide range of cultural activities is discussed?from participation in avant-garde theatre to interior decoration and from the writing of poetry to political and religious activism. Together, the essays provide new scholarly insights into British fin de siècle and enrich our understanding of this complex period, while paying particular attention to the importance of regionalism.

This book examines the construction of adolescent girlhood across a range of genres in the closing decades of the nineteenth century. It argues that there was a preoccupation with defining, characterising and naming adolescent girlhood at the fin de siècle. These ‘daughters of today’, ‘juvenile spinsters’ and ‘modern girls’, as the press variously termed them, occupying a borderland between childhood and womanhood, were seen to be inextricably connected to late nineteenth-century modernity: they were the products of changes taking place in education and employment and of the challenge to traditional conceptions of femininity presented by the Woman Question. The author argues that the shifting nature of the modern adolescent girl made her a malleable cultural figure, and a meeting point for many of the prevalent debates associated with fin-de-siècle society. By juxtaposing diverse material, from children’s books and girls’ magazines to New Woman novels and psychological studies, the author contextualises adolescent girlhood as a distinct but complex cultural category at the end of the nineteenth century.