Yoga for the New Woman and the New Man: The Role of Pierre Bernard and Blanche DeVries in the Creation of Modern Postural Yoga

2013 ◽  
Vol 23 (1) ◽  
pp. 101-136 ◽  
Author(s):  
Joseph Laycock

AbstractPierre Bernard and his wife, Blanche DeVries, were among the earliest proponents of postural yoga in America. In 1924, they created the Clarkstown Country Club, where yoga was taught to affluent and influential clientele. The network created through this endeavor not only popularized yoga in the West but also advanced the reinvention of yoga as a science of health and well-being rather than as a religious practice.This article suggests that the pair's success in marketing yoga coincided with a shift in gender roles underway at the turn of the century. Economic and cultural changes led to the rise of a “New Woman” who was not only more financially independent but also more socially and sexually autonomous. At the same time, a crisis of masculinity led to the rise of the “New Man” as men sought out new cultural forms through which to restore their sense of manhood. Bernard's success depended largely on his ability to capitalize on the perceived “otherness” of yoga, presenting it as a resource for Americans seeking to construct new forms of gender identity. Bernard borrowed from the physical culture movement and presented yoga as an antidote to the emasculating effects of modern society. DeVries taught a combination of yoga and sensual Orientalist dances that offered women a form of sexual autonomy and embodied empowerment. By utilizing these strategies, Bernard and DeVries helped lay important foundations for modern postural yoga and its associations with athleticism, physical beauty, and sexuality.

2020 ◽  
Author(s):  
Johanna Wybrands

Around 1900 there was a generation of female authors who saw themselves as such, even without forming closer groups and combined this self-image with new beginnings and innovation. By analysing generationality as a characteristic of female narration Johanna Wybrands examines to what extent this constellation is also effective on a narrative level. Using well-founded, context-oriented text analyses, the author shows that much-read authors at the turn of the century such as Hedwig Dohm, Gabriele Reuter and Helene Böhlau, with their now often forgotten works, made an important contribution to the interplay between generation and gender, to narrative ways of becoming female subjects and to the prehistory of the New Woman of the 1920s.


Author(s):  
Olga A. Dronova

The work of the Austrian writer of the 1920s – early 1930s, Mela Hartwig, was rediscovered by the reader in the early 2000s after a long period of oblivion. Interest in Hartwig’s prose is caused by the connection of the problems of her work with contemporary discussions about the nature of female subjectivity. The article analyzes the novels of Mela Hartwig “The Woman is nothing” and “Am I a redundant human being?”, reflecting the identity crisis of her heroines. The reverse pole of the erasing of the personality in these novels is the multiplicity of “Self”, various behavior models that have a character of play or imitation. Reproducing traditional stereotypes about male and female nature, Hartwig at the same time demonstrates their exhaustion. In the context of the German and Austrian culture of the 1920s – the time when the image of an independent “new woman” dominated the mass media, cinema, and literature – Hartwig’s work acted as the antithesis of both the traditional and the new view of women, because both the “new woman” and the “femme fatale” of the turn of the century appear in her novels as masks that do not reflect the true identity of her heroine.


Fascism ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 149-176
Author(s):  
Mihai Stelian Rusu

Building on the basic premise that the attempt to create a New Man was one of fascism’s master-ideas, this article focuses on the feminine underside of this program of political anthropogenesis. The article centers on the image of the New Woman and the politics of womanhood within the Romanian Legionary movement. It argues that the Legion’s trademark rhetoric of martial heroism and martyrdom led to an essential tension between a virile model of womanhood (patterned upon the masculine ideal type of the martyr-hero) and a more conservative domestic model. A third, reconciliatory hybrid model, which mixed features borrowed from the two antagonistic types of Legionary womanhood was eventually developed to defuse this tension.


2021 ◽  
pp. 65-78
Author(s):  
William A. Donohue
Keyword(s):  
New Man ◽  

Books Abroad ◽  
1976 ◽  
Vol 50 (3) ◽  
pp. 589
Author(s):  
Martha Paley Francescato
Keyword(s):  
New Man ◽  

Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 61-68
Author(s):  
María Jesús Lorenzo Modia ◽  
María Begoña Lasa Álvarez

This article presents a preliminary approach to the study of the images of the New Woman in the publications "The Irish Times" and "The Weekly Irish Times" at the turn of the twentieth century. From the theoretical framework of women’s studies the concept of New Woman is analysed in relation to that of New Journalism, which arose at the same time. Additionally, the aetiology and features of the two publications, plus the criteria for corpus selection, are described, and the corpus texts are compared to similar English publications of the period. The complex political situation in Ireland at the turn of the century is also considered. The role of women and the various perceptions of them are analysed, both in the sections of letters to the Editor and in essays. The roles of women in "The Irish Times" and "The Weekly Irish Times" are also compared to those depicted in journals and newspapers addressed to a female readership. The study concludes with excerpts of the two publications in question and the analysis of the contradictory opinions on the lives and roles of women in the nineteenth-century fin de siècle.


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