‘We must give them an education,large, liberal and comprehensive’. Catherine Vale Whitwell: teacher,artist, author,feminist and Owenite communitarian

This article was provoked by the author’s conviction that its subject was a great deal more significant than a marginalised woman on the fringes of Owenism, the reformist movement promoted by Robert Owen during the early nineteenth century. It examines the life of Catherine Whitwell, formally identified in studies of Owen and in histories of education as teacher cum artist in the school at New Lanark, Owen’s factory community in Scotland, and also one of several women writers on astronomy. Otherwise little was known of her activities or the contexts in which they occurred. There are many gaps in the record and her footprint is often illusive, but much new information in widely dispersed archives, periodicals, digitised newspapers and secondary sources helps cast further light on her background, a career embracing work as proprietor of girls’ schools, author of works on astronomy and mathematics, promoter of sciences for women, advocate of women’s education, artist and communitarian. The context of Whitwell’s work is reviewed with reference to recent relevant literature and followed by a case study explaining her association with Owen, speculating on her role in visualising his plans for communities of co-operation designed to relieve distress and create greater equality, then describing her teaching career both at New Lanark and later at Orbiston, the first British Owenite community near Glasgow. The study concludes with a brief review of her post-Owen work running girls’ schools and an assessment of her role in the development of education and disseminating knowledge, particularly for young middle class women and working class children in the first half of the nineteenth century.     

Women's employment and industrial organisation: commercial lace embroidery in early nineteenth-century Ireland and England

Abstract

The early nineteenth century saw expanding work opportunities for women in commercial lace embroidery in Britain. This article traces the connection between the development of commercial lace embroidery in several locations – Nottingham, Essex and Limerick. Despite the fame of the Irish industry, it has received almost no academic attention. The differing structures of the Irish and English industries are examined. Aspects of lace manufacture highlight the increasing emphasis on cleanliness and the respectability of women's work in the nineteenth century. The authors suggest that to appreciate fully the impact of the Industrial Revolution on women's employment opportunities, we must look to the periphery of the national economy, as well as the centre.     

Frances Wright: The other woman of early American feminism

This paper focuses on Frances Wright, the first woman to lecture publicly in the U.S. to “promiscuous” audiences, those audiences composed of both sexes united in a public place. Despite her achievement, Wright has been ignored in historical analyses of nineteenth‐century feminist rhetoric, I argue that historians have avoided Wright because she differs radically from those feminists who directly succeed her. As the Other Woman of the women's movement, Wright practiced a rhetoric imbued with the ideals of the Enlightenment and Owenite socialism. She publicly interrogated the cult of domesticity and demanded equal rights for women at a time when gender anxiety was Intense. Wright caused a furor and provided a negative example for later nineteenth‐century feminists, most of whom developed “womanly” strategies of accommodation. I conclude that it is precisely because of her otherness that Wright is important, historically significant because she was marginalized and silenced within the feminist movement.     

Pomeroy v. Pomeroy: beauty,modernity, and the female entrepreneur in fin-de-siècle London

As a fictional personality trading as ‘Mrs Pomeroy’, Jeannette Scalé dominated London's elite beauty market through the late nineteenth century. By 1906, her control over the expansive commercial empire had collapsed, as new company owners publicly accused her of pecuniary ambitions unbefitting her sex. This article charts Scalé's extraordinary transformation into London's leading complexion specialist, exploring the gender conventions regulating both the beauty business and middle-class female enterprise at the fin de siècle. An investigation of the ‘Mrs Pomeroy’ character reveals businesswomen's changing opportunities in England's ‘modernizing’ retail market, opportunities engendered through new systems of advertising, growing anonymity in the expanding urban scene, and novel forms of self-representation that did not necessarily impinge upon businesswomen's respectability.     

“So distant and wild a scene”: language,domesticity and difference in Hannah Kilham's writing from West Africa, 1822-1832

Abstract

Hannah Kilham (1774-1832), a Sheffield Quaker, was involved in philanthropic, educational and missionary work with women in Britain, Ireland and West Africa in the early nineteenth century. In this article the author focuses upon Hannah Kilham's. engagement in the religious and domestic education of African girls and women in the 1820s and 1830s. Through representations of African women as in need of her ‘civilising influence’, Kilham was able to construct a powerful role for herself, and for other white middle-class British women, in the colonial/missionary enterprise. The article explores the significance of notions of gender, domesticity and the Protestant family to the construction of ideas about Africa's ‘difference’ and, through this, British national identity.     

‘a miserable sham’: Flora Annie Steel's short fictions and the question of Indian women's reform

The article examines a few short stories of Flora Annie Steel, a Scottish memsahib who spent a number of decades in the late nineteenth century in India with her husband, a British colonial official. Steel's short stories are interesting because they were produced at a time when most Anglo-Indian fictions (especially those authored by memsahibs) focused exclusively on station romances, and they explore with some seriousness and sense of complexity, issues related to the impact of Imperial reformatory intervention in the lives of Indian women. Her female contemporaries wrote fictions that more often than not completely ignored the existence of Indians, and even famous male writers like Kipling stereotypically reduced Indian women either to sexually licentious or completely passive, voiceless entities. Steel, in her stories, examines questions of gender, sexuality and reform in the context of Indian women's lives in ways that often seem to go beyond such racial stereotypes. The stories have been examined within the context of the different political and social formations of the specific regions – Punjab or Bengal – in which they are based, since women's reform had very different trajectories in these regions. The remarkableness of Steel's stories, however, lies in their attempting to look at the reform question from the Indian women's perspectives. What cannot be ignored are the ways in which these stories attempt to go beyond the prevalent Anglo-Indian modes of stereotyping or completely erasing Indian women and register their voices in examining questions related to their reform. This is not to say that racial and Imperial hierarchies are entirely abandoned in her writings. In fact the omniscient narrator in these fictions often narrates in ways that sustain and strengthen such hierarchies. However, there are moments when the diegetic narrative mode gives way to an ironically nuanced narrative voice and to ambivalences that seem to gesture at complex questioning of the bases of Imperial authority and its ostensibly benevolent intervention in the lives of Indian women. It is these moments that make the stories worth exploring.     

Gertrude Tuckwell and the British Labour Movement, 1891–1921: a study in motives and influences

This article adopts a biographical approach to examine the politicization of a woman activist, Gertrude Tuckwell (1861–1951), in the British labour movement at the end of the nineteenth and beginning of the twentieth centuries. In particular, it focuses on the influence of Tuckwell's radical background and argues that her loyalty and sense of duty towards her family shaped and directed the nature of her social and political work. With emphasis on the years between 1891, when she began to work for the Women's Trade Union League, and 1921, when this organization was transferred to the General Council of the Trades Union Congress, it is argued that these characteristics have contributed to her neglect within British labour history, which has tended to foreground those women whose leadership roles have been easier to define.     

‘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.     

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.     

New woman meets Shakespeare woman: the struggle over the figure of Portia in England in the late nineteenth and early twentieth centuries

Abstract

Approaching the material from the perspective of cultural history, this essay explores the ways in which England, in the late nineteenth and early twentieth centuries, witnessed considerable debate about the character of Portia from Shakespeare'sThe Merchant of Venice. Feminists seized upon her appearance as a lawyer to argue for Shakespeare's advocacy on behalf of women's emancipation. Anti-feminists stressed the character's acquiescence to male control of her affections and her estate. Thus for many readers and viewers of the play concern about the status of the New Woman, civic maternalism, married women's property rights, and women in the professions, overrode their interest in the play as a text about Christians and Jews.     

From 'Political' to 'Human' Economy: The Visions of Harriet Martineau and Frances Wright

The marginalization or exclusion of women from economic theory has a long and distinguished pedigree. Michele A. Pujol, in her groundbreaking study Feminism and Anti-Feminism in Early Economic Thought (1998), wryly observes that whilst Adam Smith devotes an entire page to the question of women's economic activity in his Wealth of Nations , women 'are nowhere mentioned in Ricardo's Principles of Political Economy and Taxation and in Malthus's Principles of Political Economy ' (Pujol 1992:17-23). In similar fashion Groenewegen, in Feminism and Political Economy in Victorian England (1994), notes that 'there have been few women contributors to … economic literature' (Groenewegen 1994:16). Indeed, as far as the first half of the nineteenth century is concerned, only two women - Jane Marcet and Harriet Martineau - seem to have written on political economy. Both wrote as expositors and popularizers of existing theoretical knowledge, content to repeat rather than challenge established orthodoxies, and as a result neither has commanded much more than a footnote in the history of economic thought. Martineau enjoys somewhat more of an enhanced reputation in the field of literary studies but even here attention tends to focus on A Manchester Strike at the expense of her other economic fictions. The present discussion, then, attempts to expand the field of vision with regard to Martineau by examining four of her economic tales: The Rioters (1827), The Turn-Out (1829), The Hill and the Valley (1832) and A Manchester Strike (1832). The first two of these were written prior to Martineau's 'conversion' to political economy, whilst the latter two appeared as part of Illustrations of Political Economy (a series of twenty-three tales published in twenty-five monthly parts between 1832 and 1843). As a way of exploring the disjuncture between economic theory and narrative events within these tales, the narratives themselves are read as implicit commentaries on (as well as 'illustrations'of) aspects of political economy, thereby allowing Martineau to emerge as a much more complex and problematic writer than is usually acknowledged. Also under examination here are the economic ideas of Frances Wright, another early nineteenth-century woman writer, particularly her critique of the existing economic order (which sharply differentiates her from Martineau) and her proposals for a new 'feminine' economy. The intention is to show that women writers on economics were not confined to the role of 'dutiful intellectual daughter, repeating … the words of her intellectual fathers' (David 1987:35)--to borrow Deirdre David's characterization of Martineau in Intellectual Women and Victorian Patriarchy --but were capable of articulating a thoroughgoing critique of existing theoretical models.     

Virile womanhood: Olive Schreiner's narratives of a master race

Olive Schreiner's enormously successful novels, as well as her feminist tract Woman and Labor (1911), enact conflicts between ideologies of motherhood and the desire for female independence in the late nineteenth and early twentieth centuries. As a white woman from Southern Africa, Schreiner feels affinities with both colonial rulers and colonized people of South Africa; her writing uses myths of transcultural motherhood to mediate between these opposed political positions. The allegorical endings of Schreiner's narratives are at odds with the complexities of gender and sexuality imagined in her powerful prose.     

The ‘Great Offender’: feminists and the campaign for women's ordination

Few scholars have investigated the relationship between feminism and religion in the aftermath of suffrage. This article explores how feminist organizations and individual feminists supported campaigns for women's ordination within the Anglican Church and their concern for gender equality within British churches more broadly during the forties and fifties. Focusing in particular on the 1944 ordination of the first female priest within the Anglican Communion (The Bishop of Hong Kong Ronald O. Hall ordained Chinese Deaconess Florence Li Tim Oi) and the institution of female chaplain's assistant positions in 1942, it argues that a full understanding of mid twentieth-century feminism requires consideration of the struggle for women's representation in their churches. The forties and fifties have often been portrayed by historians as the nadir of twentieth-century feminism, yet feminists continued their work for women's rights and religious identity and issues could be motivating factors for their activism. Feminists were neither anti-religious nor militantly secular and this article seeks to foster work which explores the connection between religion and women's political and social activism since the nineteenth century.     

Ironies of Emancipation: Changing Configurations of ‘Women's Work’ in the ‘Mission of Sisterhood’ to Indian Women

On her arrival in Travancore in 1819 Mrs Mault, as wife of the new missionary, immediately set about establishing a school for convert girls and a ‘lace industry’ to employ convert women. Her actions reflect that pattern of activism and organization historians of gender and imperialism have identified as the ‘mission of domesticity’ conducted by European and North American Christian missionary women to their non-Christian ‘sisters’ in the colonial empires being established by their respective nation-states throughout the nineteenth century. Mrs Mault was herself among the first generation of missionary women to pioneer this specifically female branch of colonizing endeavour, designed to ‘emancipate’ Indian women in terms of the norms of metropolitan ideologies of femininity and womanhood.Drawing on a case study of the London Missionary Society's activities in South Travancore, South India during the nineteenth and early twentieth centuries, I argue that this ‘mission of domesticity’ was not a straightforward transfer of conventions of marriage and motherhood to the colonial context. On the contrary, the project was from the start caught in a complex and contradictory web of agency and discourse which ‘remade’ not only convert women but missionary women as well. Central to this process of refiguring femininity on the imperial fulcrum were changes to the meanings of ‘work’ in relation to both ‘home’ and womanhood, articulated through a religious idiom and framework of action. The consequences of these processes, the article argues, were somewhat contrary. On the one hand, the Indian Christian woman is reconstructed as a wife, mother and worker, while on the other, the missionary women are bifurcated: the missionary wife increasingly viewed as an amateur appendage to her husband, firmly secured in the domestic sphere, while the single woman attains a new status as a professional worker.     

Voices from the feminine margin: Izumi Shikibu and the nuns of Kumano and Seiganji

Kara Walker's 2005 multimedia creation, Song of the South, marks an important transitional moment in Walker's critical artistic practice, described in this essay as a ‘performative turn’. A close study of the work reveals Walker's increasing attentiveness to engage with the viewer's presence as well as incorporating her own personal and collective experiences as an African-American woman with even greater intimacy than in her previous projects. These elements, combined with Walker's use of filmic interventions and her own body as both a represented image and live performer, result in the production of a richly layered and provocative work of art. Song of the South reflects Walker's continued ability to exacerbate the stinging wounds of history while challenging us to address the trauma of the past as manifested in today's societal ills.     

Field-faring women: the resistance of women who worked in the fields of nineteenth-century England

In nineteenth-century England, women worked on farms at many different tasks. They frequently did laborious, repetitive work in the fields. In the 1860s this labour was defined as unfeminine by the middle class. The women who did it were described as unsexed and immoral. Working-class radicals took up and adopted this imagery in order to demand a male breadwinning wage when they fought their employers. However, the women also directly challenged their employers' authority and were frequently at odds with the development of that new male working-class respectability which stressed women's role as wives and mothers. This paper looks at the resistances of the field women and the response to their action by the radical, mainstream and feminist press of the second half of the nineteenth century. It highlights the complex relationship between class and gender.     

The many lives and deaths of Sofia Kovalevskaia: approaches to women's role in scholarship and culture in grmany at the turn of the twentieth century

This article examines the ways in which the scientific work, life, and death of Sofia Kovalevskaia, the first female professor of mathematics in modern Europe, were represented in approaches to women's role in scholarship and culture in Germany at the turn of the twentieth century. Kovalevskaia's greatest scholarly successes and early death coincided with the period of most intense debate on women's admission to higher education in Germany, and her example came to be extensively discussed by supporters and opponents alike. The various ways in which the story of the woman mathematician was portrayed were symptomatic of what was at stake in the question of women's entry to university in the German Empire.     

Lost Horizons: Rereading and Reclaiming Victorian Women Writers

"The girls of today cannot see themselves in Miss Yonge and that is their chief demand from literature" -Edith Sichel, Monthly Review, May 1901 The depths to which the reputation of popular conservative Victorian novelist, Charlotte Yonge, had sunk by the end of the nineteenth century are reflected in Oscar Wilde's reaction to being told a condemned man was reading one of Yonge's novels: "My heart was turned by the eyes of the doomed man, but if he reads The Heir of Redclyffe it's perhaps as well to let the law take its course" (Ellman 202).