‘Beauty isn't all a matter of looking glamorous’: attitudes to glamour and beauty in 1950s women's magazines

This article analyses representations of glamour in two British magazines during the 1950s: Home and Country and Woman's Outlook, the publications of the National Federation of Women's Institutes (NFWI) and the Women's Co-operative Guild (WCG) respectively. Both publications shared many traits with best-selling women's magazines of the period but they also had certain distinctive characteristics, such as a relative lack of advertising for beauty products, which make them particularly interesting subjects for a study of glamour. Through its exploration of the diverse and even contradictory attitudes towards glamour evidenced in these publications, the article contributes to continuing feminist debates about women and beauty as well as offering fresh insights into the NFWI and WCG. Its findings demonstrate heterogeneous understandings of femininity, thus challenge the stereotypes of 1950s womanhood that continue to abound, and add another case study to the growing body of revisionist literature on women in the post-1945 period.     

Women as Active Citizens: Glasgow and Edinburgh c.1918–1939

This article examines evidence of active political engagement by women in Edinburgh and Glasgow in the inter-war years of the twentieth century. While discussing the wider context of women's political activities in this period, in terms of party politics and the range of women's organisations in existence, it focuses in particular on Women Citizens’ Associations, Societies for Equal Citizenship and Co-operative Women's Guild branches. Comparing interventions by such women's organisations in the two cities around the selected themes of political representation, housing, ‘moral and social hygiene’, and contraception, the article demonstrates that women's organisations participated in public debates and campaigns to advance what they perceived as women's interests. Temporary alliances around issues such as the regulation of prostitution and provision of contraceptive advice brought together a range of women's organisations, but class differences in perspectives became increasingly apparent in this period, particularly in Glasgow. The issues addressed by women's organisations covered the spectrum of ‘equal rights’ and ‘welfare feminism’, although they did not necessarily identify as feminist. Common to all organisations, however, was a commitment to active citizenship, with women becoming a recognised part of local political networks in this period, although they remained poorly represented in parliament.     

The gendered geography of the english co-operative movement at the turn of the nineteenth century

Abstract

This article examines the gender politics of the English Cooperative Movement between 1880 and 1920 from the perspective of geographic space. It shows which sections of the country were most likely to exclude women from participating in the government of co-operative enterprises and offers explanations for their exclusion. Using numerical data compiled by the Women's Co-operative Guild to illustrate its points, the article finds that male co-operators in the north-west were more likely than those in the south to deny women access to management committees and national offices. It argues that men in the north-west countered women's demands for public roles with an increased insistence on domesticity for wives, and it attributes the more generous attitudes of male co-operators in the south to their need to attract women to their struggling stores as shoppers. In the north-west, Co-operation was prosperous and well established; men there had no need to curry the favor of working-class housewives to guarantee the success of their establishments     

The hazards of localism: a reply to John K. Walton

This article takes the position that national leaders and national events have a local impact and therefore that social phenomena are more than the products of local conditions. It maintains that a national working-class culture existed a century ago and that a national consensus about appropriate gender roles did as well. It contends that historical evidence must be evaluated in accordance with the perspectives of the people of the past in order to achieve an imaginative understanding of the past. In the case of the Co-operative movement, a failure to attend to the voice of its women's Guild results in historians dismissing the importance of the campaigns for open membership and for bringing Co-operation within reach of the poor. In particular, it minimizes the gender prejudice women in the movement confronted, even in the weaving districts where some historians have argued that gender roles were flexible.     

The Archive Function

As Joan Wallach Scott warns in The Fantasy of Feminist History, the danger of depositing one's personal papers in an archive is that one's papers then become open to misinterpretation. In this article, Scott's fears are enacted in relation to another feminist theorist's archival collection, that of prominent Canadian scholar Barbara Godard who died before she could complete the process of donating her papers to the Clara Thomas Archives and Special Collections at York University. Drawing on personal memories and eclectic textual traces, this article attempts to recover Godard's theory of the archive—a theory she never fully articulated in her lifetime, despite dedicating much of her time and energy to collecting and preserving her own words and the words and papers of her students and collaborators.     

‘Sugar,Sugar’: questioning the sexual division of labour on Jamaica's sugar plantations in Sistren's The Case of Miss Iris Armstrong and Sweet Sugar Rage

Through an analysis of Sistren Theatre Collective's play The Case of Miss Iris Armstrong and the Collective's documentary film Sweet Sugar Rage, this article looks at the way the sexual division of labour on Jamaica's sugar plantations during the 1980s was based on the following gendered myths: women's labour capacity is lower than their male counterparts; and men are the breadwinners for their families. The article also critiques the sexism in the Jamaican union movement which did not support female workers and actively kept women's wages lower than men's on the plantations.     

Woman's hour at the women's library

This article, written by a BBC Producer, describes a Woman's Hour Radio Four programme that was broadcast from the new Women's Library, London Guildhall University, on Thursday 31 January 2002 to celebrate the Library's opening.     

‘It wasn't like that at all’: memory,identity and legacy in Jessie Kenney's The Flame and The Flood

ABSTRACT

This article uses Jessie Kenney's unpublished and fragmentary autobiography The Flame and the Flood to show how suffragettes reacted to, and tried to re-write, the emerging historical narratives on militant suffrage. As June Purvis and Sandra Stanley Holton have shown, Sylvia Pankhurst's The Suffragette Movement became the dominant frame through which the suffragette movement was understood. Yet Krista Cowman's revealing study of Mary Gawthorpe also demonstrates that many suffragettes were distressed at the way this narrative became cemented in popular and academic understandings of the movement. Developing this understanding by showing how suffragettes resisted Pankhurst's account to offer an alternative account of suffrage history, this article offers new insights into suffrage life-writing in the later twentieth century. It conceptualises The Flame and the Flood not as a monologue focused on Kenney's own experience, but as a dialogue with existing cultural narratives, and demonstrates the interaction between collective and individual identity in suffrage autobiography.     

Battle of Femininity: romantic heroines and modern sexuality in the interwar middlebrow women's novel

Focusing on Rosamond Lehmann's The Weather in the Streets, Rose Macaulay's Dangerous Ages and E. H. Young's William, this article examines the representation of young romantic heroines in the context of emergent discourses on women's sexuality, marriage and motherhood. It is argued that these heroines, ambivalent and tentative in their quest for sexual modernity, represent the middlebrow's moral stance that reflects the paradoxical attitude of the interwar era towards modern women. A juxtaposition of these texts reveals a battle of varying versions of femininity, while a fine balance is mediated between the progressive and conservative ends of the middlebrow spectrum of values.     

Vitalism's after-burn: The sense of Ana Mendieta

This article considers the influential work of Ana Mendieta. Focusing on her siluetas series, Muñoz describes Mendieta's art as performing a modality of brownness that leaves resonant indentions on the world, what he calls vital materialist after-burns. Mendieta's after-burns are read alongside the poet's of Négritude and their investment in a critical élan vital that speaks to the historical precariousness of dispossessed people. The artist's work is explained as a meditation on a critical brownness that is theorized as the sharing out of the unshareable, the invaluable and the incalculable.?Mendieta's intervention is ultimately described as the work of offering a brown sense of the world in which singularities flow into a politically enabling common.     

The mothers' international: The Women's Co-operative Guild and feminist pacifism

The Women's Co-operative Guild (now the Co-operative Women's Guild), founded in 1983 as an auxilliary of the English Consumer Co-operative Movement, became a strong feminist representative of married working-class women. Its ‘social’ feminism stressed women's maternal, domestic role, deriving from it a series of values seen as lacking in male-dominated public life. Politics was to be transformed by means of women's active involvement, including but extending past their acquisition and use of the vote. The ‘female’ values were nurturant and cooperative; internationally, they focussed on international organization and peace. The Consumer Co-operative Movement provided a reformist ideology supportive of women's activism and pacifism, but the Movement itself as an organization was increasingly hostile to the Guild's feminism both within and outside the Movement. Although relatively uninfluential, the Guild thus embodies a tradition of feminist pacifism that is active and increasingly influential today.     

The Liquefaction of Desire: Music,Water and Femininity in Victorian Aestheticism

This article reconsiders Victorian images of mermaids and sirens through a detailed examination of two images: Frederic Leighton's Lieder ohne Worte (1861, oil on canvas, Tate Britain) and Edward Burne-Jones's The Depths of the Sea (1886, oil on canvas, private collection). It demonstrates that the themes of water, music and femininity were entwined in the Victorian imagination, by setting these two paintings within the context of Victorian artistic, literary and cultural production. It shows that musical images were prevalent in the emerging Aesthetic movement. Musical subjects freed artists and audiences from the conventions of narrative interpretation, and allowed them instead to concentrate on exploring mood and colour.

Pictures of mermaids add a further twist to the Aesthetic preoccupation with music. This article reveals that mermaids made explicit the underlying connection between musical performance and sensuality. It also suggests that the idiosyncratic depiction of the mermaid by Burne-Jones and the ambiguous sexuality of Leighton's figures could be read as symptomatic of changing conceptions of desire. It argues that these images embodied the shift from ardour to libido. In other words, love was no longer described as burning and fixed, but as fluid and shifting. This transformation in the way desire was theorised was most urgently presented in Freud's Three Essays on Sexuality (1905). However, this article suggests that the same ideas were being made visible in Aesthetic art and writing from the mid-nineteenth century.     

Netta syrett's lesbian heroine

This article discusses Judgment Withheld (1934) in which Netta Syrett makes it clear that the most likeable character, Mimi Landsfeld, is a lesbian. This was unusual, other writers being too afraid of prosecution to depict lesbianism sympathetically, particularly after Radclyffe Hall's The Well of Loneliness was banned in 1928. The article also shows how Syrett combined her established reputation as a writer of popular fiction with offering her middlebrow readers varied and controversial portrayals of sexual relationships, including homosexuality. The article concludes with comments on Syrett's personal life, thereby placing her novels in context.     

Technocrats and Tortured Bodies: Simone de Beauvoir's Les Belles Images

Through an analysis of Simone de Beauvoir's final novel Les Belles Images (1966), this article examines how a 1960s French technocratic class dealt with individual and collective traumas, particularly how they placed their faith in an undying hope in the future while simultaneously ignoring the horrors of wartime violence. The article contends that Beauvoir's novel is a story of not remembering—or, more specifically, attempting to forget—Algeria and all the conflict signified to the average French citizen, including decolonization, torture, racial difference and political tumult. Analysis rests on the novel's representation of its protagonist Laurence, who had been shaken to the core after reading a newspaper article about a (likely Algerian) woman tortured to death, ultimately causing a nervous breakdown that forever altered her interactions with her family and fellow technocrats. Gender and nationality also figure centrally in this examination of the broader role that images—not only belles images—played in the construction of French national identity at this historical moment.     

Nicki-aesthetics: the camp performance of Nicki Minaj

In this essay, the author contends that Nicki Minaj practices what he terms nicki-aesthetics, a form of black performance art that employs an extravagant theatricality and a vivid, intensely hued style. Nicki-aesthetics shares qualities with the sensibility of camp, as outlined in Susan Sontag's 1964 article “Notes on ‘Camp,’” yet challenges camp's assumed association with white gay men as well as its reduction of women to objects (rather than subjects) within the camp universe. Nicki-aesthetics realigns blackness and camp as mutually constitutive (rather than oppositional) forms, while reconfiguring camp as a black female-centered practice. In addition, Nicki Minaj demonstrates her dexterity at performing nicki-aesthetics in an offbeat interview on Elle magazine's website while deploying avatars to play multiple roles. In doing so, nicki-aesthetics' quirky blend of artifice and alterity ultimately rebukes hip-hop's obsession with authenticity.     

‘Call Us Ms.’: Viva and arguments for Kenyan women's respectable citizenship 1975–80

Drawing on Viva, the first women's magazine published in East Africa, this article articulates the ways educated Kenyan women actively inserted themselves into public debates and constructions of the new nation. It argues that Viva authors and editors employed rhetorics of nationalism and development to advocate for Kenyan women's right to equal citizenship. They wanted participation in the possibilities, power, and self-reliance that postcolonial nationalism promised its citizens and mobilized images of a productive, modern woman to make their case. Viva's producers appropriated the momentum of 1970s development rhetoric and international women's liberation to show that Kenyan women were already fulfilling mandates to develop themselves and their fellow Kenyans through education, wage labor, consumer habits, and moral respectability. Viva reveals the ambitions, strategies, and desires of Kenya's educated women, not only for themselves but also for their nation and their rural ‘sisters’.     

Putting Dad in the Picture: fatherhood in the popular women's magazines of 1950s Australia

This article explores the shifting meaning of fatherhood within the popular women's magazines of 1950s Australia. Breadwinning fatherhood reigned throughout the decade, and magazines such as Women's Weekly and Woman's Day keenly emphasised the care of children as a mother's domain. Even in these manuals of idealised motherhood, though, this division was not inviolate. As the 1950s went on, letters, articles and advertisements make it clear that fathers—just as the breadwinner was legitimated by economic boom—were increasingly expected to do more than simply earn the bread, although these expectations fell some way short of a gender revolution.     

Christabel Pankhurst and the Smethwick Election: right-wing feminism,the Great War and the ideology of consumption

This article examines the roots of Christabel Pankhurst's Women's Party in the Women's Social and Political Union's adoption of right-wing feminism during the Great War. It explores the blending of radical-right and imperialist ideology with a feminist agenda that combined a demand for women's rights with an anti-Bolshevik economic policy based on the power of female consumers. This blending of feminism and nationalism won Christabel the ‘coupon’ endorsement of the Lloyd George coalition and became the ideological platform for her parliamentary campaign in the Smethwick election. Although Christabel lost the election by 775 votes, it is contended that the Women's Party platform offers clues to the attraction of right-wing ideology to some notable figures in the women's movement.     

Boarding School Fictions: schoolgirls' own communities of learning

This article explores the fictional world of the schoolgirl annual in the interwar period and the significance of the imagined girls'-only spaces for their intended readership. The article takes the year 1929, the year of Virginia Woolf's A Room of One's Own, and focuses on two annuals designed for the 12–15 market: School Friend and Schoolgirls' Own. The annual compendium of stories, a very British invention, drew on characters whose adventures were followed in the weekly schoolgirl comics and was published at Christmas, a time when there was little personal space available as families gathered together. The imaginary world of boarding schools such as Cliff House or Morcove offered readers an escape from the hierarchy of family life and expectations of girls' participation in the home. Using the background of Woolf's feminist polemic and a framework informed by the theoretical framing of space by feminist geographer Linda McDowell, the article teases out the meaning of the multilayered nature of stories created by men with no experience of single-sex girls' school, writing as women.     

The Artist is Present: performing the icon

This article considers the work of performance artist Marina Abramovi?, focusing on the use of reperformance, the practice of hiring others to recreate historical performance works, in her 2010 retrospective at New York's Museum of Modern Art, The Artist is Present. Brawner utilizes Abramovi?'s artistic work with iconography and icon making and draws on her own experience as one of the retrospective's reperformers to highlight both the affective work that went into the creation of the show as well as its function as a religiously inflected meditation of celebrity and art stardom. The artist's work is explored through sources including New York Times art critic Holland Carter's turn of phrase “diva hokum,” a pejorative here reclaimed to mean the process of one's own icon making, a control of image and message that becomes integral to the structure of the work, and a balancing act between the performance and its afterlife.