scholarly journals RINGL + PIT: (UN)FIGURING THE NEW WOMAN

2021 ◽  
Author(s):  
Stephanie Danielle Bender
Keyword(s):  
Gender Roles ◽  
Identity Formation ◽  
New Woman ◽  
Female Type ◽  
Heterosexual Male ◽  
Traditional Gender Roles ◽  
The New Woman

The photography of Ellen Auerbach and Grete Stern of the studio ringl + pit consistently shirks established formulae of advertising. The emphases on traditional gender roles and an exaggerated femininity in conventional Weimar advertisements reaffirm heterosexual male desire, and attempt to combat the development of the modern female ‘type’ into the independent and androgynous männliche Frau, or masculine woman. The disparity between media-constructed Weimar-era femininity and the actual ways in which Germans at this time understood their own selves as women and individuals is evidenced by Auerbach and Stern’s advertisements, which challenge such objectifying and sexualizing imagery by suggestive figures in the absence of real bodies, formed from the very goods being sold.This article examines how ringl + pit’s advertisements for artificial silk and other new commercially-available goods use substitution techniques to suggest a desire to create one’s own self, while acknowledging the power of the commodity in identity formation. Stern and Auerbach’s photographs work as a reflection of their own understanding of the power of the commodity whose uncanny beauty is revealed through intense focus and surprising reconfigurations. Their intense focus on materiality and their revisioning of such materials suggest connotations beyond the material being photographed. Ringl + pit’s advertisements become semi-blank receptacles that allow numerous modern women, and even non-binary and queer individuals, to see themselves represented as possible consumers for such products, and thus be in control their own identities and images.

scholarly journals Female Authority And The Representation of Womanhood In H. Rider Haggard’s Ayesha

2020 ◽  
Vol 7 (4) ◽  
pp. 322-332
Author(s):  
Shokhan Rasool Ahmed
Keyword(s):  
Gender Roles ◽  
English Department ◽  
The Novel ◽  
Femme Fatale ◽  
African Culture ◽  
Postgraduate Students ◽  
Traditional Gender Roles ◽  
Sequential Structure ◽  
History Of ◽  
The New Woman

Haggard’s Ayesha is the continuation of the Victorian dream novel She. H. Rider Haggard's She, subtitled A History of Adventure, is figured to be among top rated books at any point distributed: it had sold exactly 83 million duplicates by 1965. Ayesha (really articulated 'Assha'), subtitled The Return of She, who takes after She in the book, is an amazing and puzzling white sovereign who administers the African Amahagger individuals. Ayesha has enchantment controls and is undying, which makes She a dream experience book. Despite the fact that She and Ayesha were distributed almost twenty years separated, H. Rider Haggard stated that Ayesha was a decision to a two-section book, not a continuation. There is likewise a "prequel," She and Allan (1921). In the two books, an imaginary manager shows an original copy portrayal by Ludwig Horace Holly. In Haggard’s She, considering that some parts of the novel are so comfortable, readers might feel compelled into thinking that they are going through Haggard’s tour in Africa. Fortunately, in any event, when the plot eases back to a nearly gastropod pace, the way Haggard's depicts the African culture and scene conveys the reader along. Ayesha, known as She-Who-Must-Be-Obeyed, first showed up in sequential structure from 1896 to 1897 in the novel She. Ayesha is one of the marvelous, kick-ass lady characters in Victorian writing who represents the misogynist construction of femininity and embodies the femme fatale. This paper is principally concerned about the representation of feminine power and the representation of womanhood in Haggard’s Ayesha. Some questions will be investigated here. Can one consider Ayesha as a “conclusion” or a “sequel” to She since the whole novel replicates the same thematic and structural maneuvers of She? Does Haggard revive Ayesha, the “new woman”, in The Return of She respond to the threat to traditional gender roles? The findings of this study will be beneficial for the researchers, and all the undergraduate and postgraduate students of English department. 

CASTLE, COFFIN, STOMACH: DRACULA AND THE BANALITY OF THE OCCULT

2001 ◽  
Vol 29 (2) ◽  
pp. 469-485 ◽  
Author(s):  
Philip Holden
Keyword(s):  
Gender Roles ◽  
New Woman ◽  
Bram Stoker ◽  
Recent Criticism ◽  
The Novel ◽  
Frequent Use ◽  
History Of ◽  
The New Woman

Fools, Fools! What devil or what witch was ever so great as Attila, whose blood is in these veins?— Bram Stoker, Dracula (1897)Art is completion; not merely a history of endeavour.— Stoker, Personal Reminiscences (1906)“HE CAN, WHEN ONCE HE FIND HIS WAY,” says Van Helsing of Dracula, “come out from anything or into anything, no matter how close it be bound” (211; ch. 18). Recent criticism has claimed similar powers for Stoker’s text, and its relationship to late-Victorian social formations. A wide territory has been staked out. Moving beyond earlier universalizing Freudian readings, Carol Senf sees the anxiety the novel expresses about gender roles as indicative of Stoker’s difficulty in accepting the rise of the New Woman. Talia Schaffer and Christopher Craft read the homosocial relations in the novel in the light of sexological discourses of inversion and the emergence of the homosexual as a “type of life” (Foucault 43); Stephen Arata, noting Stoker’s frequent use of racial metaphors, has seen the text as expressive of a “reverse colonization” in which “the spectacle of the primitive and the atavistic” (“Occidental Tourist” 624) is brought back to a town house near Piccadilly Circus, the hub of the empire.

scholarly journals Deux figures féminines hors normes de la fin du XIXe siècle – Raoule de Rachilde et Selma de Benedictson

Nordlit ◽  
2012 ◽  
Vol 15 (2) ◽  
pp. 13
Author(s):  
Cecilia Carlander
Keyword(s):  
Gender Roles ◽  
Young Women ◽  
New Woman ◽  
Female Characters ◽  
Female Protagonists ◽  
Male Characters ◽  
The New Woman ◽  
Xixe Siecle ◽  
Xixe Siècle

A year after the French success scandal that Rachilde had with her decadent novel Monsieur Vénus, a novel by the Swedish writer Victoria Benedictsson, Money [Pengar], is published in Sweden in 1885. The two novels focus on young women having to find their identities within society's new possibilities, as well as the new gender roles; developed by the new society. In their relations with both conventional and non-conventional male characters, the two female characters transgress society's former established and given norms. In this article, the aim is to present how two female protagonists, the French Raoule and the Swedish Selma, are given different background conditions and qualities that finally can contribute to picture and explain their outstanding independence. Moreover, the new gender roles and their impact on the two female characters are discussed within themes and terms such as the "new woman", androgynity, sexuality and other explicite ingredients and symbols often discussed in a decadent context. Through the comparisons, this article shows how the two female portraits express the decadent transgressivity, in several aspects similarly, with individual voices, despite their two separate literary milieux.

Gender, Technology and the New Woman

2017 ◽  
Author(s):  
Lena Wånggren
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
New Technologies ◽  
Gender And Sexuality ◽  
Literary Texts ◽  
Late Nineteenth Century ◽  
Gender And Technology ◽  
The New Woman ◽  
Grant Allen

This book examines late nineteenth-century feminism in relation to technologies of the time, marking the crucial role of technology in social and literary struggles for equality. The New Woman, the fin de siècle cultural archetype of early feminism, became the focal figure for key nineteenth-century debates concerning issues such as gender and sexuality, evolution and degeneration, science, empire and modernity. While the New Woman is located in the debates concerning the ‘crisis in gender’ or ‘sexual anarchy’ of the time, the period also saw an upsurge of new technologies of communication, transport and medicine. This book explores the interlinking of gender and technology in writings by overlooked authors such as Grant Allen, Tom Gallon, H. G. Wells, Margaret Todd and Mathias McDonnell Bodkin. As the book demonstrates, literature of the time is inevitably caught up in a technological modernity: technologies such as the typewriter, the bicycle, and medical technologies, through literary texts come to work as freedom machines, as harbingers of female emancipation.

Profaning Jewish Mores in Chochana Boukhobza's Un été à Jérusalem

2018 ◽  
Vol 57 (1) ◽  
pp. 81-91
Author(s):  
Nancy M. Arenberg
Keyword(s):  
Gender Roles ◽  
Complex Problem ◽  
Religious Practices ◽  
Her Family ◽  
Traditional Gender Roles ◽  
The City ◽  
Traditional Roles

As a transnational Israeli writer, Chochana Boukhobza delves into the complex problem of crossing borders in Un été à Jérusalem (1986), a text which focuses on the unnamed protagonist's trip from Paris to visit her family during the summer months in Jerusalem. Although the narrator had resided in Israel previously, she is forced to grapple with her ‘Otherness’ in Jerusalem, especially as a Jew originally from Tunisia. The narrator's crisis of exile is defined by her sense of disconnection to her family, the city, Israeli politics, and women's traditional roles. In this essay, particular emphasis will be placed on the protagonist's penchant for profaning Jewish cultural and religious practices, which is articulated through a series of corporeal transgressions. To launch this revolt against the patriarchal structure of the nation in Israel, the narrator rejects the submissive role assigned to Jewish-Tunisian women, and, in so doing, dismantles traditional gender roles.

Material World: Gender and the Bible in Evangelical Purity Culture

2018 ◽  
Author(s):  
Sara Moslener
Keyword(s):  
United States ◽  
Young People ◽  
Gender Roles ◽  
The United States ◽  
Modern Life ◽  
Material World ◽  
Avant Garde ◽  
Teenage Girls ◽  
Traditional Gender Roles ◽  
The Bible

For evangelical adolescents living in the United States, the material world of commerce and sexuality is fraught with danger. Contemporary movements urge young people to embrace sexual purity and abstinence before marriage and eschew the secular pressures of modern life. And yet, the sacred text that is used to authorize these teachings betrays evangelicals’ long-standing ability to embrace the material world for spiritual purposes. Bibles marketed to teenage girls, including those produced by and for sexual purity campaigns, make use of prevailing trends in bible marketing. By packaging the message of sexual purity and traditional gender roles into a sleek modern day apparatus, American evangelicals present female sexual restraint as the avant-garde of contemporary, evangelical orthodoxy.

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