Many farsighted women writers in nineteenth-century America made thoughtful and sustained use of newspapers and magazines to effect social and political change. “The Only Efficient Instrument”: American Women Writers and the Periodical, 1837-1916 examines these pioneering efforts and demonstrates that American women had a vital presence in the political and intellectual communities of their day.
Women writers and editors of diverse social backgrounds and ethnicities realized very early that the periodical was a powerful tool for education and social reform—it was the only efficient instrument to make themselves and their ideas better known. This collection of critical essays explores American women's engagement with the periodical press and shows their threefold use of the periodical: for social and political advocacy; for the critique of gender roles and social expectations; and for refashioning the periodical as a more inclusive genre that both articulated and obscured such distinctions as class, race, and gender.
Including essays on familiar figures such as Margaret Fuller, Harriet Beecher Stowe, Kate Chopin, and Charlotte Perkins Gilman, “The Only Efficient Instrument” also focuses on writings from lesser-known authors, including Native American Zitkala-Sä, Mexican American María Cristina Mena, African American Frances Ellen Watkins Harper, and the Lowell factory workers. Covering nearly eighty years of publishing history, from the press censure of the outspoken Angelina Grimké in 1837 to the last issue of Gilman's Forerunner in 1916, this fascinating collection breaks new ground in the study of the women's rights movement in America.
The American literary canon has been the subject of debate and change for at least a decade. As women writers and writers of color are being rediscovered and acclaimed, the question of whether they are worthy of inclusion remains open.
The (Other) American Traditions brings together for the first time in one place, essays on individual writers and traditions that begin to ask the harder questions. How do we talk about these writers once we get beyond the historical issues? How is their work related to their male counterparts? How is it similar: how is it different? Are differences related to gender or race or class? How has the selection of books in the literary canon (Melville, Hawthorne, Emerson, and James) led to a definition of the American tradition that was calculated to exclude women? Do we need a new critical vocabulary to discuss these works? Should we stop talking about a tradition and begin to talk about many traditions? How did black American women writers develop strategies for speaking out when they were doubly in jeopardy of being ignored as blacks and as women? The volume offers irrefutable proof that the writers, the critics who work on their texts, all these questions, and the expansion of the canon matter very much indeed.
Contributors: Nina Baym, Deborah Carlin, Joanne Dobson, Josephine Donovan, Judith Fetterley, Frances Smith Foster, Susan K. Harris, Karla F.C. Holloway, Paul Lauter, Diane Lichtenstein, Carla L. Peterson, Carol J. Singley, Jane Tompkins, Joyce W. Warren and Sandra A. Zagarell.
Our Lady of Victorian Feminism is about three nineteenth-century women, Protestants by background and feminists by conviction, who are curiously and crucially linked by their extensive use of the Madonna in arguments designed to empower women.
In the field of Victorian studies, few scholars have looked beyond the customary identification of the Christian Madonna with the Victorian feminine ideal—the domestic Madonna or the Angel in the House. Kimberly VanEsveld Adams shows, however, that these three Victorian writers made extensive use of the Madonna in feminist arguments. They were able to see this figure in new ways, freely appropriating the images of independent, powerful, and wise Virgin Mothers.
In addition to contributions in the fields of literary criticism, art history, and religious studies, Our Lady of Victorian Feminism places a needed emphasis on the connections between the intellectuals and the activists of the nineteenth-century women's movement. It also draws attention to an often neglected strain of feminist thought, essentialist feminism, which proclaimed sexual equality as well as difference, enabling the three writers to make one of their most radical arguments, that women and men are made in the image of the Virgin Mother and the Son, the two faces of the divine.
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