THE DESCENT OF WOMEN TO THE POWER OF DOMESTICITY

Is the virtue of domesticity a way for women to access civic power or is it a slippery slope to dependence and female subservience? Here I look at a number of philosophical responses to domesticity and trace a historical path from Aristotle to the 19th century Cult of Domesticity. Central to the Cult was the idea that women’s power was better used in the home, keeping everybody safe, alive, and virtuous. While this attitude seems to us very conservative, I want to argue that it has its roots in the republican thought of eighteenth-century France. I will show how the status of women before the French Revolutions did not allow even for power exercised in the home, and how the advent of republican ideals in France offered women non-negligible power despite their not having a right to vote.

Frances Elizabeth Caroline Willard

Chapter 4 narrates the life and public reform of Frances Willard. A female public speaker and writer, Willard took on the cult of domesticity and the strict gender roles enforced in the American Industrial Age. Facing gender inequality, Willard fought for women’s rights and social reform, serving as the president of the Women’s Christian Temperance Union. In addition to describing Willard’s life, this chapter examines the use of her public platform and the authority of her public rhetoric to influence the lives of women seeking equal opportunities. Analyzing her narrative of cultural reform in her two books, How to Win: A Book for Girls and Woman in the Pulpit, this chapter explores the rhetorical tactics Willard used to effectively argue for equality and egalitarianism for women in church and society.

Space as a Resource in the Politics of Consumer Identity

Consumers can pursue a wide range of market-mediated identities in contemporary culture. However, some consumer identities are more valued than others, creating a form of cultural inequality. The present research considers consumers' deliberate efforts to assert greater cultural value for their identities, a phenomenon termed a "politicized consumer identity project." Specifically, this research focuses on consumers' intentional use of space, a resource that is ubiquitous in social life but has, nonetheless, received limited theoretical attention regarding this type of identity project. This ethnography uses mixed methods to study a sample of women embedded in the new cult of domesticity, an ethos that induces participants to use various spaces as a way of claiming greater value for feminine consumer identities that are often demeaned by others. The results reveal a system of spatial practices that consumers employ to contest this cultural devaluation across a broad range of sites in their lives, from their homes to commercial and public venues. We conceptualize these practices as spatial affirmation, repurposing, and incursion, showing their ideological and material interdependencies. This research advances understanding of the ties among consumer identities, space, and cultural politics.

Mutiny in the House: Domestic Rebellion in Fausta Cialente’s Natalia

The cult of domesticity positions women into a state of subservience while reinforcing gendered roles. The ideology was propagated in post-Unification Italy by Catholic doctrine as well as Fascist propaganda and practices that consigned women to the roles of wives and mothers. The physical site of the cult of domesticity was the home where traditional values were honored and upheld. In Fausta Cialente’s novel Natalia—originally published in 1930 and censored by the Fascist regime, then reissued in 1982—the home becomes a site of rebellion and resistance, which challenges ideology that limits female autonomy. In Natalia, a verdant house in the country is the scene of illicit sexual activity between the female protagonist and a young woman, and an ancestral home becomes the threatening locus of the protagonist’s marriage, as well as the setting of her failed attempt at motherhood. Throughout the text, the explicit connection between physical space—the home—and female autonomy, acts as a critique of female oppression and pervasive societal expectations.

Home Security: Drug Rehabilitation Centres, the Devil and Domesticity in Guatemala City

Pentecostal drug rehabilitation centres in Guatemala City are informal responses to drug use, with these all-male institutions attempting to save drug users from what some Christians call ‘the devil’. Of ethnographic interest is that the mothers, sisters and wives not only pay for the capture and captivity of their loved ones but also volunteer their labour to support these centres. This article, in response, assesses not only the Christian impulse to domesticate sinners but also the extent to which a cult of domesticity organises Guatemala's war on drugs.

The Failed Campaign Against Prostitution

Protestants criticized prostitution because it threatened the family and ultimately civil society, and the Watch and Ward Society devised a campaign to shut down Boston’s red-light districts. These Protestant elites espoused traditional gender roles and Victorian sexual mores and endorsed the “cult of domesticity.” In the late nineteenth century, a number of reform organizations turned their attention to the “social evil,” as it was popularly called. The Watch and Ward Society’s quest to reduce prostitution placed it squarely within the larger international anti-prostitution movement. Moral reformers resisted all forms of policy that officially sanctioned or tacitly tolerated prostitution, instead arguing for its abolition. Their attempt to suppress commercialized sex eventually collapsed because of the lack of public support.

Learning Greek: The Woman Artist as Autodidact in May Sinclair’s Mary Olivier: A Life

May Sinclair’s reimagining of the late-Victorian poet in Mary Olivier: A Life examines the obstacles facing the artist-heroine in her quest for intellectual freedom, self-definition and artistic autonomy at the turn of the century. Very much constrained by her life at home by her mother, who defends the ideals of the cult of domesticity, Sinclair’s artist-heroine spends the majority of the novel trying to escape the oppressive forces of Victorian society, and Mary specifically challenges many of the period’s patriarchal standards concerning women’s right to an education as well as masculinist definitions of appropriate forms of female creativity. One of the main influences guiding Mary towards her artistic fulfilment is her desire for knowledge, and Sinclair questions the boundaries of acceptable female education in Victorian England by focusing specifically on Mary’s interest in Greek studies—a traditionally masculine subject. Crucially, this essay examines Sinclair’s presentation of Mary’s autodidactism and explores how education influences not only the development of the woman artist, but how it impacts her own understanding of her creative potential as Mary’s theories about language and the translation process shape her burgeoning Imagist style at the turn of the twentieth century.