Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0020
K. Malone
Drawing upon Margaret Beetham’s influential formulation of the periodical as a space imbued with both ‘open’ and ‘closed’ qualities (1989), in this essay Katherine Malone examines the often-competing models of women’s work that emerge from the interplay of those features in the penny weekly magazine the Leisure Hour (1852–1905) in the 1850s. The ‘closed’ trait of the magazine’s consistent fidelity to the evangelical rhetoric of self-improvement facilitated the ‘open’ sounding of more progressive notes within its pages. As Malone explains, ‘individual articles about women’s work and education could be read by different types of readers and interpreted in a variety of ways without forcing the magazine to take a clear editorial position within divisive debates’ (p. 320). By contrasting this content with the treatment of women’s work in the magazine’s dedicated women’s column, Malone demonstrates how the conflicting rhetoric presented within this ‘closed’ women’s space introduced tensions between it and the magazine’s implied editorial agenda, leading to a paradoxical tapering of the Leisure Hour’s support for progressive women’s issues more generally.
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Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0035
Molly C. Youngkin
Molly Youngkin’s essay investigates the heterosexism of a fin de siècle feminist newspaper, the Women’s Penny Paper (1894–99, later retitled the Women’s Herald and the Woman’s Signal), highlighting its treatment of three controversies: the Oscar Wilde trials, the death of poet Amy Levy, and the emergence of Sappho as a model of lesbian new womanhood. When the paper did address these controversies it ‘reshaped narratives about this [same-sex] desire to fit its own heterosexist agenda,’ responded in a disapproving way, or avoided a discussion of sexuality entirely (p. 543). The overall effect of this editorial bias was to pursue an ‘overarching agenda of advocating for heterosexual women’ and to reinforce social purity debates about ‘the effects of men’s sexual practices on heterosexual women and their families’ (p. 544). These feminist papers thus constructed the ‘other’ in ways that upheld restrictive conventions of race and sexuality while claiming to be vehicles of progressive thought.
{"title":"The Response of the Late Victorian Feminist Press to Same-Sex Desire Controversies","authors":"Molly C. Youngkin","doi":"10.3366/edinburgh/9781474433907.003.0035","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474433907.003.0035","url":null,"abstract":"Molly Youngkin’s essay investigates the heterosexism of a fin de siècle feminist newspaper, the Women’s Penny Paper (1894–99, later retitled the Women’s Herald and the Woman’s Signal), highlighting its treatment of three controversies: the Oscar Wilde trials, the death of poet Amy Levy, and the emergence of Sappho as a model of lesbian new womanhood. When the paper did address these controversies it ‘reshaped narratives about this [same-sex] desire to fit its own heterosexist agenda,’ responded in a disapproving way, or avoided a discussion of sexuality entirely (p. 543). The overall effect of this editorial bias was to pursue an ‘overarching agenda of advocating for heterosexual women’ and to reinforce social purity debates about ‘the effects of men’s sexual practices on heterosexual women and their families’ (p. 544). These feminist papers thus constructed the ‘other’ in ways that upheld restrictive conventions of race and sexuality while claiming to be vehicles of progressive thought.","PeriodicalId":174109,"journal":{"name":"Women, Periodicals and Print Culture in Britain, 1830s-1900s","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114705580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0003
Kathryn Ledbetter
In this chapter, Kathryn Ledbetter considers some of the ‘invisible’ figures that were at the heart of domestic magazines. If, as Beetham notes, domestic magazines often elided the presence of the servant in the middle-class home, Ledbetter’s essay addresses this lacuna head on. Although a topic ripe for satire by the likes of Punch, ‘women’s periodicals and household manuals rarely made light of the responsibilities involved in proper service’ (33). Part of being a successful middle-class woman, these publications maintained, was the effective regulation of servants, who without such monitoring might succumb to immorality and poor working habits. Indeed, Ledbetter notes that a ‘common response in women’s periodicals was that bad mistresses made bad servants’ (34). Yet what did servants make of such discussions of their lives in these magazines or in the servants’ magazines that more directly targeted them?
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Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0033
Ceylan Kosker
In this essay, Ceylan Kosker explores how Lady Mary Montgomerie Currie (1843‒1905) used her poetry publications in the Lady’s Realm, ‘On the Marmora’ (1896) and ‘A Deserted Village’ (1897), to address the Hamidian Massacres, which took place in the Ottoman Empire, 1894‒96. As an aristocrat and wife of a British ambassador, Currie had to be careful in her treatment of political subject matter. Thus, she not only adopted a pseudonym, Violet Fane, but also published her political poems in a women’s magazine rather than in a mixed-gender monthly or quarterly magazine. She employed a number of strategies that aimed to hint at the topicality of her subject matter, yet she also obscured her political aims by aestheticising images of violence (in tandem with accompanying illustrations) and by emphasising her own public identity. Publishing political poetry in the Lady’s Realm thus ‘allowed her to express the haunting quality of the trauma she suffered from witnessing the Armenian atrocities without damaging her reputation as a literary celebrity’ (p. 526).
{"title":"In Time of Disturbance: Political Dissonance and Subversion in Violet Fane’s Contributions to the Lady’s Realm","authors":"Ceylan Kosker","doi":"10.3366/edinburgh/9781474433907.003.0033","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474433907.003.0033","url":null,"abstract":"In this essay, Ceylan Kosker explores how Lady Mary Montgomerie Currie (1843‒1905) used her poetry publications in the Lady’s Realm, ‘On the Marmora’ (1896) and ‘A Deserted Village’ (1897), to address the Hamidian Massacres, which took place in the Ottoman Empire, 1894‒96. As an aristocrat and wife of a British ambassador, Currie had to be careful in her treatment of political subject matter. Thus, she not only adopted a pseudonym, Violet Fane, but also published her political poems in a women’s magazine rather than in a mixed-gender monthly or quarterly magazine. She employed a number of strategies that aimed to hint at the topicality of her subject matter, yet she also obscured her political aims by aestheticising images of violence (in tandem with accompanying illustrations) and by emphasising her own public identity. Publishing political poetry in the Lady’s Realm thus ‘allowed her to express the haunting quality of the trauma she suffered from witnessing the Armenian atrocities without damaging her reputation as a literary celebrity’ (p. 526).","PeriodicalId":174109,"journal":{"name":"Women, Periodicals and Print Culture in Britain, 1830s-1900s","volume":"231 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123259967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0029
Linda K. Hughes
In this essay, Linda K. Hughes casts light on Amy Levy’s (1861–89) dexterous placement of her poetry in carefully selected newspapers throughout the 1880s. Levy is perhaps best known for her novels and three published volumes of poetry, as well as for her associations with various intellectual and political coteries in fin de siècle London; however, she was, in fact, ‘entrepreneurial’ in her dealings with the daily and weekly newspapers she published in throughout the 1880s, often ‘submitting in a verse medium that had already found favor with the editors’ (p. 459). The significance of media publishing contexts for Levy’s career has been underplayed in scholarship of the author, yet, as Hughes cautions, to obscure this dimension of her authorship is ‘to miss a crucial dimension of her work, even to distort her achievement and her engagement with the publishing world’ (p. 456). What emerges from this account is an entirely new perspective on Levy as a savvy and strategic newspaper poet, with a perspicacious understanding of poetry’s relationship with ‘audience, placement, and opportunity in the Victorian press’ (p.457).
{"title":"Reading Poet Amy Levy through Victorian Newspapers","authors":"Linda K. Hughes","doi":"10.3366/edinburgh/9781474433907.003.0029","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474433907.003.0029","url":null,"abstract":"In this essay, Linda K. Hughes casts light on Amy Levy’s (1861–89) dexterous placement of her poetry in carefully selected newspapers throughout the 1880s. Levy is perhaps best known for her novels and three published volumes of poetry, as well as for her associations with various intellectual and political coteries in fin de siècle London; however, she was, in fact, ‘entrepreneurial’ in her dealings with the daily and weekly newspapers she published in throughout the 1880s, often ‘submitting in a verse medium that had already found favor with the editors’ (p. 459). The significance of media publishing contexts for Levy’s career has been underplayed in scholarship of the author, yet, as Hughes cautions, to obscure this dimension of her authorship is ‘to miss a crucial dimension of her work, even to distort her achievement and her engagement with the publishing world’ (p. 456). What emerges from this account is an entirely new perspective on Levy as a savvy and strategic newspaper poet, with a perspicacious understanding of poetry’s relationship with ‘audience, placement, and opportunity in the Victorian press’ (p.457).","PeriodicalId":174109,"journal":{"name":"Women, Periodicals and Print Culture in Britain, 1830s-1900s","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114082107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0014
C. Boman
Family magazines such as the Leisure Hour (1852–1905) and All the Year Round (1859–95) featured articles on the rise of new visual media technologies, linking them to domestic consumption and a rapidly shifting urban environment. In this essay, Charlotte Boman focuses specifically on the stereoscope, which became popular after being introduced to the public at the Great Exhibition (1851). Photography was a frequent topic of discussion in the mid-Victorian periodical press and played a key role in constructing the relationship between middle-class domesticity and the urban environment, demonstrating the ‘reciprocity between graphic and verbal culture and the resulting erosion of the private-public dichotomy’ (p. 216). Because women were so closely associated with privacy and domestic life, urban photography had the effect of unsettling conventional gender relations and destabilising the divide between public and private space.
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Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0019
Joanne Shattock
In this essay, Joanne Shattock discusses Margaret Oliphant’s mid-century work at Blackwood’s Edinburgh Magazine alongside the work of two lesser-known journalists: Mary Howitt (1799–1888) and Eliza Meteyard (1816–79). All three contributed copy to ‘mainstream publications on a range of subjects far beyond those often assumed to be the preserve of women journalists in the period,’ with each woman also making her own distinctive contribution to Victorian journalism: Howitt as an editor, Meteyard as a pioneering figure in the nascent field of investigative journalism, and Oliphant as one of the most prolific reviewers of the period (p. 303). Shattock’s analysis of their careers demonstrates the productive and individuated ways in which female journalists carved out a space for their work and their voices in the masculine sphere of journalism.
{"title":"Women Journalists and Periodical Spaces","authors":"Joanne Shattock","doi":"10.3366/edinburgh/9781474433907.003.0019","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474433907.003.0019","url":null,"abstract":"In this essay, Joanne Shattock discusses Margaret Oliphant’s mid-century work at Blackwood’s Edinburgh Magazine alongside the work of two lesser-known journalists: Mary Howitt (1799–1888) and Eliza Meteyard (1816–79). All three contributed copy to ‘mainstream publications on a range of subjects far beyond those often assumed to be the preserve of women journalists in the period,’ with each woman also making her own distinctive contribution to Victorian journalism: Howitt as an editor, Meteyard as a pioneering figure in the nascent field of investigative journalism, and Oliphant as one of the most prolific reviewers of the period (p. 303). Shattock’s analysis of their careers demonstrates the productive and individuated ways in which female journalists carved out a space for their work and their voices in the masculine sphere of journalism.","PeriodicalId":174109,"journal":{"name":"Women, Periodicals and Print Culture in Britain, 1830s-1900s","volume":"162 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127426667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0025
Lindsy Lawrence
Drawing upon digital bibliographic resources and databases including The Periodical Poetry Index, Lindsy Lawrence presents a compelling corrective to the received opinion that women poets rarely featured in the homosocial space of Blackwood’s during the ‘Romantic Victorian’ period. In addition to demonstrating that multiple women poets contributed a considerable volume of verse to Blackwood’s, many of which were signed, Lawrence also shows that these contributors were canny professionals. Analysis of the correspondence between the poets and their editor, William Blackwood, sheds light on their business acumen, as well as their sharp understanding of the machinations of the literary marketplace. As Lawrence explains, for these poets, negotiating ‘a space within the pages of Blackwood’s Edinburgh Magazine granted them the kind of cultural access important to the furthering of their work and careers’ (p.400).
{"title":"‘Afford[ing] me a Place’: Recovering Women Poets in Blackwood’s Edinburgh Magazine, 1827–1835","authors":"Lindsy Lawrence","doi":"10.3366/edinburgh/9781474433907.003.0025","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474433907.003.0025","url":null,"abstract":"Drawing upon digital bibliographic resources and databases including The Periodical Poetry Index, Lindsy Lawrence presents a compelling corrective to the received opinion that women poets rarely featured in the homosocial space of Blackwood’s during the ‘Romantic Victorian’ period. In addition to demonstrating that multiple women poets contributed a considerable volume of verse to Blackwood’s, many of which were signed, Lawrence also shows that these contributors were canny professionals. Analysis of the correspondence between the poets and their editor, William Blackwood, sheds light on their business acumen, as well as their sharp understanding of the machinations of the literary marketplace. As Lawrence explains, for these poets, negotiating ‘a space within the pages of Blackwood’s Edinburgh Magazine granted them the kind of cultural access important to the furthering of their work and careers’ (p.400).","PeriodicalId":174109,"journal":{"name":"Women, Periodicals and Print Culture in Britain, 1830s-1900s","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127840157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0026
A. Easley
In this essay, Alexis Easley points to the significance of the marginal space of the ‘facts and scraps’ column for women writers and readers alike. As a precursor to the women’s columns and the dedicated women’s press that proliferated in the final decades of the century, the ‘facts and scraps’ columns of cheap Sunday newspapers are here shown to have ‘provided opportunities for women to publish poetry aimed at a mass-market reading audience’ (p.413). The exposure provided in this context, as well as through the practice of poems being reprinted in other newspapers, was a double-edged sword for women writers in professional terms: on the one hand, this practice ‘did not make writing newspaper poetry a lucrative enterprise’ while on the other, it ‘provided a means for women poets to establish recognisable public identities in the popular press–a visibility that sometimes led to book publication’ (p.414). The example of Eliza Cook (1812–89), a contributor to the ‘facts and scraps’ column of the Weekly Dispatch (1795–1961), shows ‘how women writers could capitalise upon opportunities that arose with the formation of new publishing media in order to establish themselves in a male-dominated literary marketplace’ (p.414).
{"title":"Constructing the Mass-Market Woman Reader and Writer: Eliza Cook and the Weekly Dispatch, 1836–1850","authors":"A. Easley","doi":"10.3366/edinburgh/9781474433907.003.0026","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474433907.003.0026","url":null,"abstract":"In this essay, Alexis Easley points to the significance of the marginal space of the ‘facts and scraps’ column for women writers and readers alike. As a precursor to the women’s columns and the dedicated women’s press that proliferated in the final decades of the century, the ‘facts and scraps’ columns of cheap Sunday newspapers are here shown to have ‘provided opportunities for women to publish poetry aimed at a mass-market reading audience’ (p.413). The exposure provided in this context, as well as through the practice of poems being reprinted in other newspapers, was a double-edged sword for women writers in professional terms: on the one hand, this practice ‘did not make writing newspaper poetry a lucrative enterprise’ while on the other, it ‘provided a means for women poets to establish recognisable public identities in the popular press–a visibility that sometimes led to book publication’ (p.414). The example of Eliza Cook (1812–89), a contributor to the ‘facts and scraps’ column of the Weekly Dispatch (1795–1961), shows ‘how women writers could capitalise upon opportunities that arose with the formation of new publishing media in order to establish themselves in a male-dominated literary marketplace’ (p.414).","PeriodicalId":174109,"journal":{"name":"Women, Periodicals and Print Culture in Britain, 1830s-1900s","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117254764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-01DOI: 10.3366/edinburgh/9781474433907.003.0034
C. Bressey
Caroline Bressey’s essay explores how ‘racial prejudice excluded black women from new spaces of expression created by white women’ in the British press (p. 528). It was not until 1900, with the founding of the Pan-African, that there was a British periodical explicitly dedicated to publishing the contributions of black journalists. Thus, the history of black women’s journalism in Britain prior to the turn of the century is largely unknown. This lack of scholarship makes it necessary to take a ‘transatlantic comparative approach’ when surveying an emerging field of inquiry (p. 528). In the United States, there was more explicit discussion of black women’s contributions to the periodical press, as highlighted in I. Garland Penn’s 1891 book, The Afro-American Press and Its Editors. This volume not only highlighted the unequal, sometimes hostile environment in which black journalists worked but also provided a key for discovering the names and achievements of a wide range of women writers, including Victoria Earle and Ida B. Wells. These writers spoke out on key political issues, including racism and sexism, contributing to journals as diverse as Our Women and Children (1888–90) and the more radical Free Speech (1892).
Caroline Bressey的文章探讨了英国新闻界“种族偏见如何将黑人女性排除在白人女性创造的新的表达空间之外”(第528页)。直到1900年《泛非报》(Pan-African)成立后，英国才有了一份明确致力于发表黑人记者贡献的期刊。因此，在世纪之交之前，英国黑人女性新闻业的历史在很大程度上是未知的。由于缺乏学术研究，在调查一个新兴的研究领域时，有必要采取“跨大西洋比较方法”(第528页)。在美国，黑人女性对期刊媒体的贡献有更明确的讨论，正如I. Garland Penn 1891年出版的《美国黑人媒体及其编辑》(the african - american press and Its Editors)所强调的那样。这本书不仅突出了黑人记者工作的不平等、有时充满敌意的环境，而且为发现包括维多利亚·厄尔和艾达·b·威尔斯在内的众多女作家的名字和成就提供了一把钥匙。这些作家在包括种族主义和性别歧视在内的关键政治问题上直言不讳，为各种各样的杂志发表文章，如《我们的妇女和儿童》(1888-90)和更激进的《言论自由》(1892)。
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