“The tender mother”: The social construction of motherhood and the lady's magazine

My aim in this essay is to explore the politics of one of the seemingly least political forms of literature, the woman's magazine. Specifically, I will analyze the ideological content of the Lady's Magazine, one of the most popular and profitable of British monthly miscellanies in the late eighteenth and early nineteenth‐centuries.¹ In this essay I will explore the role the Lady's Magazine played in the development of the idea of the “tender mother,” a concept which was key in the formation of the cult of domesticity and in the development of the ideology of “woman's sphere” as a realm distinct and separate from the man's world of work.²An underlying assumption informing this essay is that the concept of motherhood was (and still is) culturally constituted,³ and that literature, including popular literature found in magazines, has played an important role in this process.⁴ In the Lady's Magazine's portrayal of motherhood we can see one of the means by which the ideology of motherhood, in particular, the concept of the tender mother, was created, legitimated, and perpetuated.⁵     

Marx's third class: Capitalist landed property and capitalist development

This article consists of a detailed discussion of Marx's theorisation of a landed class in the capitalist mode of production. It is argued that Marx does not consider landlords as feudal leftovers but does indeed succeed in providing a sophisticated theory of capitalist landed property as an independent class, which conforms in all major respects with his theorisation of capital and wage‐labour. Moreover, the role of landed property in the process of capitalist development of relative surplus‐value extraction is analysed. It is argued that it is possible to speak of different forms of capitalist relations according to whether landed property or capital provides the leading force behind the development process. Capitalist development is then shown to be the outcome of a class struggle between landed property, capital and wage‐labour. This process is briefly illustrated with reference to England in the 1840s and Latin America in the 1960s.     

The adventure of capital with nature: from the metabolic rift to the value theory of nature

This paper suggests that the concept of metabolic rift situated in ‘the labor theory of value’ is not an adequate theoretical tool to historically explore capitalist development as a socio-ecological process and socio-historical domination of ecology. It situates the concept of nature in Marx’s critique of political economy and the concept of the metabolic rift in relation to his theory of value. Then, it explores two distinctive historical approaches to the relationship between ecology and capitalist development within the world-historical studies, i.e. the world-ecology perspective and the uneven ecological exchange perspective, in relation to their theoretical and epistemological premises. How they operationalize or recast Marx’s theory of value in understanding this relationship opens a realm to rethink the value theory in relation to nature and the socio-ecological nature of capitalist relations of production. Based on this, it proposes to reconsider the value theory as a value theory of nature in order to recognize the historical specificity of socio-ecological relations, and their historical transformation and alienation, as an integral constituent of the historical narrative of capitalist development.     

Gunder frank in retreat?

World Accumulation, 1492–1789, by Andre Gunder Frank. New York: Monthly Review Press, 1978. Pp. 303, index. £3.95, paper.

In this review article, Andre Gunder Frank's latest book, World Accumulation, is given extended critical treatment. It is argued that, in generalising his earlier arguments (which were formulated with respect to Chile and Brazil) across space and time, and in responding to a decade of criticism of his work, Frank has moved closer to the position of one of his best‐known critics, Laclau. Frank is taken to task for his ‘world market abstractionism’ and it is posited that the incorporation model which he espouses does not transcend the limits of petty‐bourgeois theory and downgrades the class struggle between bourgeoisie and proletariat. The article falls into two parts. In the first, issues relating to Frank's historical framework are taken up—basically with regard to (i) Frank's ‘cycles of accumulation’ and (ii) Frank's interpretation of the second serfdom in eastern Europe; and in the second certain theoretical issues, around the theme of'wage‐labour’, are discussed. Both Frank's historical framework and his theoretical formulations are shown to be seriously defective.     

Mary Wollstonecraft and Jane Austen: 'Rape' and 'Love' as (Feminist) Social Realism and Romance

Mary Wollstonecraft's argument for female reason in the Vindication of the Rights of Woman (1792) remains an iconic text for thinking through the his-torical struggle between claims to 'equality' and 'difference' for women. Wollstonecraft herslf embodies the antinomy within European Enlightenment thought exposed by simply being female . Jane Austen's writing career, following on from Wollstonecraft's death, offers a quite distinct mode of writing reason for women in her narrative work. While Wollstonecraft's narratives and theoretical arguments can be shown to raise as textual symptoms the deep struggle between female-embodied subjectivity and Enlightenment reason, Austen sublimates her own magnificent claims to reason in writing itself. Wollstonecraft's novels subsume narrative form to analytical content, dramatizing the sufferings of the female subject of Enlightenment 'patriarchy'. Both her principal characters, Mary and Maria, are as good as dead by the end of their narrative struggles, and these narratives founder on their own analysis of autonomous, rational female subjectivity as 'impossible'. Wollstonecraft projected a historical desire to repudiate the humiliations of femininity under Enlightenment patriarchy. Her work engendered a history of feminist reasoning to answer its painful questions. Austen's work, by contrast, seems to have floated effortlessly to the pinnacle of narrative literary achievement, while remaining uncompromisingly feminocentric. Austen's novels have a tendency to resist feminist theorizing or to fit the paradigms of feminist argument only indirectly. Tauchert explores this apparent polarity between Wollstonecraft and Austen as contrasting origins for distinctive modes of female reason in writing. Wollstonecraft's tortuous textual displays of female reason in writing offer a familiar mode of thinking about the historical and personal enlightenment of women, sustained in a tradition of feminist materialist analysis; Austen's pure narrative offers a hitherto more opaque alternative.     

Modernization,under development,uneven development: Prospects for a theory of third world formations

Taken as a whole, the two books considered in this review article ‐ David Lehmann, ed., Development Theory: Four Critical Studies, Frank Cass: 1979, £9.50, £4.95 (paperback) and John G. Taylor, From Modernisation to Modes of Production: A Critique of the Sociologies of Development and Underdevelopment, Macmillan: 1979, £12.00, £4.95 (paperback) ‐ give a concise but comprehensive picture of the complex debates and the various theoretical impasses of today's ‘Third World’ studies. The four essays edited by David Lehmann are a critical review of both the old orthodoxies (development economics and modernisation theories) and the newer ones (neo‐Marxist theory of underdevelopment); whereas John Taylor's work is an ambitious attempt to go beyond the neo‐Marxist paradigm by laying the foundations of a mode‐of‐production approach to the study of third‐world formations.

Since I believe that the most lively and interesting debates in this field today focus on the various shortcomings of the neo‐Marxist approach, and on attempts within Marxism itself to overcome them, this review will pay particular attention to Henry Bernstein's article “Sociology of underdevelopment vs. Sociology of development?” and to Taylor's book.     

Haunted by the Lady Novelist: Metafictional Anxieties about Women's Writing from Northanger Abbey to The Carrie Diaries

This paper argues that the development of the identity of the professional woman writer as a ‘lady novelist’ in the mid-eighteenth century has had a lasting and detrimental impact on the status of women's writing that lingers through to the present, particularly in the critical discourse surrounding chick lit. The first part of this paper discusses the figure of the lady novelist and traces her centrality to criticisms of women's writing from the eighteenth century through to the twenty-first. The second part of this paper then examines the haunting presence of the lady novelist in the metafictional works of seven representative women writers: Jane Austen's Northanger Abbey (1818), Elizabeth Barrett Browning's Aurora Leigh (1856), Louisa May Alcott's Little Women (1868), L. M. Montgomery's Anne of Green Gables (1908), Betty Smith's A Tree Grows in Brooklyn (1943), Fay Weldon's The Life and Loves of a She-Devil (1983), and Candace Bushnell's The Carrie Diaries (2010). By drawing a through-line that connects these texts, I argue for a renewed understanding of the ways in which Western women writers from the eighteenth century to the present are unified by a pervasive anxiety about being a ‘lady novelist’.     

Telling the past – doing the truth: Toni Morrison's beloved

Abstract

This essay challenges the concept of historical truth by arguing that history is only true within its own parameters.One of the main interests of history is to organize (evaluate) events that were important in shaping the world as it presents itself today. What history neglects to describe are the forces and interests that structure that hierarchical system that history applies when writing its text, i.e.history. Taking Toni Morrison's Beloved as an example of writing the past that sets itself apart from writing history, the essays follows a narrative that is doing the truth by giving voice to the repressed fears of a white and black world that do(es) not dare investigate the parameters of existence.     

Sally Ledger: an appreciation

This appreciation of Sally Ledger, formerly Hildred Carlile Professor of English at Royal Holloway, University of London, who died in January 2009, is written by a colleague and fellow board member of Women’s History Review. It focuses upon her professional career as a Victorianist and literary gender specialist who made a major contribution to international scholarship on Victorian to fin‐de‐siècle culture, women’s writing, literary gender studies, and Dickens studies.     

Agrarian doctrines of development: Part I

Doctrines of development are understood through a distinction between intentional development and the immanent process of capitalist development. Agrarian doctrine consists of proposals, usually associated with official policy, to undertake agrarian schemes of development based on small‐farm, household production. The intention is to compensate for mass unemployment, urban poverty and the threat of rural emigration. This article gives a historical account of two cases of agrarian doctrine. The first, that of nineteenth‐century Quebec following self‐government in 1848, illustrates the intention of land colonisation schemes to prevent emigration from French Canadian territory to the United States. In the second case, that of twentieth‐century Kenya, schemes of household production were developed in the face of the emergence of mass unemployment; their promotion, especially after political independence in 1963, accompanied the development of indigenous capitalism. The social trusteeship of development is the key to understanding agrarian doctrine. The article concludes by showing why agrarian doctrine underlies the ‘decentralised despotism ‘ at the heart of Mahmood Mamdani's recent book, Citizen and Subject, and is an integral part of the historical roots of contemporary advocacy of decentralised rural development.     

From a mimetic to a holographic paradigm in fiction: Toward a definition of feminist writing

This paper outlines a theory of fiction by examining the shift from the basically mimetic nineteenth century to be essentially non‐mimetic twentieth century. It further argues that the contemporary novel, as herein interpreted, constitutes a bona fide expression of feminist writing.

The paper contends thatthe transformation undergone by the novel as it moved from the nineteenth century to the twentieth century bears witness to the wide ranging transformation affecting the western world today. A number of inter‐related shifts have occurred ostensibly leading the western mind into a radically new world view, or new paradigm. Indeed, our culture is steadily moving from the absolutes of traditional physics to the relativity of the new physics and quantum theory; from a “logocentric”¹ to a “deconstructive”² universe; from a fragmentary (basically static and non‐creative) to a holistic (essentially dynamic and creative) realm; from representation to holography. Inasmuch as “representation” relates to “mimesis”, this paper ultimately redefines its aim by proposing to explore a shift from a mimetic to a holographic paradigm in fiction.

The notion of the holograph is therefore essential to the paper. As herein interpreted, holography not only challenges representation, but it also devalues the linear view of time (which is central to western culture) by focusing on the “now” and thereby delving into the depths of reality — the realm of the underlying, creative forces which the western world is presently releasing. It is precisely the release of long‐repressed forces that is drastically transforming western culture. This sheds new light on the problematics of western alienation which can now be reassessed in terms of “alienation from the creative source”.

In the final analysis, the paper contends that the emerging forces are essentially feminine. This posits an ultimate, all‐encompassing shift which may be said to be leading us from a male‐oriented to a holistically‐oriented culture: a culture that celebrates the essential oneness and fundamental dynamics of Life. Since the twentieth century novel has superbly explored and expressed the emergence of these forces, the paper regards it as the epitome of feminist writing. This writing is to be viewed as practice in the sense that it expresses the very process of change it has helped foster and in which it participates: the process of integration of the creative depths of being.     

A picture in black and white: modernism,postmodernism and the scene of ‘race’

‘Writing, in its noblest function’, says He´le`ne Cixous, ‘is the attempt to unerase, to unearth, to find the primitive picture again, ours, the one that frightens us.’ Cixous' hopes for the possibilities of writing are the starting point for a very new and startling piece of Australian writing, Kathleen Mary Fallon's ‘how violence made a real mother-of-a-mother of me’, writing that possibly gets closer to the ‘heart of the matter’ of contemporary Australian black-and-white relations than any other white-signed literary text. What might Fallon's writing attempt to ‘unerase’, to ‘unearth’? What is the primitive picture, according to Fallon, that so frightens us? Here, I want to explore the questions Fallon's writing asks, and to explore more generally what ‘writing’ and ‘reading’ might mean in the contemporary Australian context, and I do this in terms that might seem at first to be surprisingly anachronistic. I read this very contemporary, some would say postmodern, example of Australian writing in terms of a paradigm that is described by the field of critical studies of literary modernism. This is a paradigm that emphasises what feminist critic Marianne DeKoven calls the ‘irreducible ambiguity’ of some texts, their ‘radical undecidability’, their ‘impossible dialectic’. I am seeking to recuperate this paradigm and the critical impulses that it generates for a project whose objectives are far from those of literary modernism with their alleged origins in a white European and, for some, a masculinist aesthetic of the late teens and 1920s. I am interested in revisiting modernism, not only as a kind of writing practice but as a critical practice, and therefore as a reading practice, one that has possibilities for reading ‘black’ and ‘white’ in Australia now: for reading what might be called the ‘impossible dialectic’ of relations between whites and Indigenes. How might we read Australian writing now, in particular its efforts to ‘unerase’, to ‘unearth’, that picture that, I argue, frightens ‘us’, as white Australians: the picture in black and white, the original scene, the scene of invasion and dispossession, the scene in which the words ‘terra nullius’ were first uttered, the scene that continues to structure our perceptions of the Indigenous ‘other’ and of our white selves into the present?     

African peasantries: A theoretical framework∗

The paper seeks to contribute to a framework for the investigation of the specific historical conditions and contemporary manifestations of the agrarian question in sub‐Saharan Africa. The latter is distinguished, inter alia, by the timing and modes of incorporation of African social formations in the international economy, and by the forms of intervention of the colonial and post‐colonial states in the absence of features classically associated with the agrarian question elsewhere, such as large landed property, the political power of landlords, and the formation of an agrarian bourgeoisie. The forms and degrees of subsumption of peasant simple commodity production in the circuit of capital, a process in which the state plays a central role, are seen as moving towards a situation in which peasant producers are constituted as ‘wage‐labour equivalents’.     

Tracing two generations in twentieth century Indian women's education through analysis of literary sources: selected writings by Padmini Sengupta

ABSTRACT

This article uses literary sources written by Padmini Sengupta, 1906–1988 (daughter of Kamala Satthinadhan, 1880–1950, educator, writer, and editor of the Indian Ladies’ Magazine) to map two generations of women in India from reformist backgrounds and their education and writing. Padmini's biography of her mother, The Portrait of an Indian Woman, 1956, is analyzed at length. Here, Sengupta offers at once a memoir of her own growing years and a biographical portrait of her mother Kamala Satthianadhan. Supplementing this analysis is an examination of how women's education is represented in Sengupta's novel Red Hibiscus, 1962. Padmini wrote many works of a non-fictional and biographical nature. In analyzing her writing, we also understand better how Indian women writers representing their own educational trajectories in the print and public sphere shortly after Indian independence lay the groundwork for the later development of women's history and Women's Studies in India.     

‘A Little Tragedy of Two Races and Two Traditions’: gender and nationality in the historical fiction of Hilda Vaughan

This article discusses the representation of gender and nationality in the historical fiction of Hilda Vaughan, a Welsh woman writing in English during the early twentieth century. It offers a detailed discussion of her second novel, Here are Lovers (1926), but also makes reference to other texts. These texts are located within the historical context of the interwar period when nationality was a key issue for both feminist campaigners and emerging Welsh nationalist politics. The article draws upon the theoretical work of Williams and Foucault and argues that Vaughan's fiction offers a particularly sustained exploration of the gendering and classing of national identity.     

Life (Hi)story writing: The relationship between talk and text

This paper is based on my experience of life (hi)story work with Aboriginal women. It will focus mainly on the development of a collaborative methodology between Patsy Cohen and myself and the process of creating the text Ingelba and the Five Black Matriarchs ¹.

Life (hi)story writing lies uneasily on the boundary between biography and autobiography and as such challenges many of our assumptions about telling and writing a life. It has traditionally been regarded as ‘an extensive record of a life told to and recorded by another who then edits and writes the life as though it were autobiography‘². More recently feminist researchers have redefined this process to emphasise its collaborative nature ‘in life history, two stories together produce one. A speaker and a listener ask, respond, present and edit a life‘³. Such a definition focuses our attention on the relationship, the inevitable power relations involved in the processes of the production of knowledge, the interface between talk and text and the need for alternative models to conventional biography and autobiography. Both the process and the text produced by this method are potentially deconstructive of conventional autobiography and biography. They are not simply deconstructive, however, as new narratives and new forms can be created out of this process which enable us to re‐evaluate the telling of all our lives.     

Exit from agriculture: a step forward or a step backward for the rural poor?

World Development Report 2008: Agriculture for Development recommends that rural smallholders unable to compete in higher value production should exit agriculture. For the old and new landless, the way forward is wage labour in agriculture, in rural off farm work, or in urban areas. Disjunctively, the Report also proposes ‘farm-financed social welfare’ as a safety net when urban workers are ejected back to countryside at times of ‘urban shock’. My essay contrasts the Report's narrative about felicitous trajectories away from and back to the farm with the historical and contemporary experience of Asia's rural poor.     

‘This Spider Web of Woman's Life’: Private Space and Community Life in Peter Abelard

This essay explores such complex and ambiguous presentation of convent life in Helen Waddell's novel Peter Abelard (1933), considering Heloise's fear of women's communities as expression of concerns central to women's writing published in Britain during the 1920s and 1930s. Waddell uses Peter Abelard to intervene in these contemporary debates about private and public spaces. The dislike which her Heloise expresses for women's communities may, given the text's feminist ideology, seem surprising, but, as discussed, similar anxieties are voiced in texts by several of Waddell's contemporaries, and the novel is shaped by this tension between private, autonomous individual and shared public space. Peter Abelard is read in relation to selected journalism of Vera Brittain and Winifred Holtby (late 1920s), Virginia Woolf's A Room of One's Own (1928) and Dorothy Sayers' Gaudy Night (1935).     

Reflective Interplay Between Self and Other: Textual/Sexual Space and the Cultural Meanings of AIDS in Hervé Guibert's To the Friend Who Did Not Save My Life

The article considers how the temporal distance has affected the cultural meanings of AIDS from the 1980s to the first decade of the twenty‐first century. It investigates the literary forms of the AIDS novel/autobiography, focusing on Hervé Guibert's novel To the Friend Who Did Not Save My Life (orig. A l'ami qui ne m'a pas sauvé la vie). Hervé Guibert (1955–1991) was France's leading AIDS novelist and photographer; he wrote a series of autobiographical novels following his own diagnosis in the late 1980s. Through a reading of the novel, the article shows how the connection between time and space (reflected through the concept of queer space) undermines the conventional narrator‐author relationship and extends the limits of normative autobiographical/fictional writing. The analysis also focuses thematically on the mental and physical social spaces available for sexually non‐normative victims of the AIDS epidemic. The article explores the role played by representations of queer spaces in the process of resisting the norms of both sexuality and textuality. In so doing, I argue that new reparative meanings and interpretations of this once highly “stigmatized sexual past” can be found, in relation both to the discussion of queer theories and to public reconsiderations of the cultural memories of the AIDS era.     

‘A sort of Rathmines version of a Dior design’: Maeve Brennan,Self-Fashioning and the Uses of Style

This article explores the politics of style in the writing of Maeve Brennan. Brennan's concern with style, subjectivity and power is strikingly visible in her short stories and ‘Talk of the Town’ essays for the New Yorker. While in some of her short stories published in the New Yorker in the 1950s, Brennan seems to offer an extended critique of dandyism, elsewhere in her writing self-fashioning takes on an altogether more positive value and is steeped in the political as well as literary commitments of her work. The article argues that Brennan's interest in the politics of style, both personally and in her writing, is informed by the different strategies she deployed as an Irish woman writer establishing her place amongst a New York literary elite in the mid twentieth century.