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feminist movement evolution in 20th century america
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Linda M. Scott’s chapter from her book ¬Fresh Lipstick: Redressing Fashion and Feminism, Reading the Popular Image as well as Kathryn Kish Sklar’s article Hull House in the 1890’s: A community of Women Reformers cover the main theme of the New Woman as Club Woman and Social Reformer. Found in both articles is the way in which the New Women emerged in society. Scott’s chapter examines how the publicity and social construction of the Gibson Girl played an influential role on the daily lives of the women who viewed her, while Sklar’s article explores how Hull House played as a tool to socially and economically integrate women into society.
To begin, Scott’s article Reading the Popular Image argues that there are many ways and factors that can affect the meaning of an image of a New Woman. One argument that Scott presents is the importance of context to fully understand the picture so to not jump to conclusions. Scott uses the example of editorial context in the Life magazine to point out that the pictures, while on the surface may have a negative connotation attached to it, turns out to be quite positive and supportive. Scott also notes that new technologies emerged around 1890 allowed new “thoughts and significations” through pictures. She finishes her chapter by examining how the Gibson girl affected women individually as well as groups of women.
To elaborate, Scott argues that as a picture interpreter, we must make a distinction between the “ideal and the real,” to understand the true meaning of an image. She argues how the Gibson Girl and the American Girl were two idealised visions of modern beauty and femininity which made women to try to be like them. These two girls became markers of their decade, ...
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...mer. I believe that both articles shed a positive light on the emergence of the New Woman in all areas of society; including socially, economically and publicly. Though Scott’s chapter, readers can see how women were influenced by publicities and how they took those messages and brought them into their own daily lives. Through Sklar’s article, readers can see how women, even as early as 1890 could play a pivotal role in the community and having their choice of their role in society.
Works Cited
Scott, Linda M. “Reading the Popular Image.” In Fresh Lipstick: Redressing Fashion and Feminism. New York: Palgrave MacMillan, 2005.
Sklar, Kathryn Kish. “Hull House in the 1890’s: A Community of Women Reformers.” In Women and Power in American History, 3rd edition, edited by Kathryn Kish Skylar and Thomas Dublin, 184- 195. New Jersey: Prentice Hall, 2009.
Brown, Victoria Bissel, ed. Introduction. Twenty Years at Hull-House. 1910. By Jane Addams. Boston: Bedford/St. Martins, 1999. 1-38.
Mina clearly demonstrates her awareness and knowledge of the New Woman movement; whereby she exhibits her familiarity of the debate by referring to the term “New Woman” twice in her journal entries. Grant Allen’s “purity school” New Woman consisted of female characters that expressed particular interest in social problems while still maintaining their propriety. This sense of knowledge is exhibited when Mina attempts to reassure the oversensitive Lucy as they stopped for a “severe tea” (Stoker 141): “I believe we should have shocked the ‘New Woman’ with our appetites. Men are more tolerant, bless them!” (Stoker 141). The New Woman was a common subject of controversy in journalism and fiction (Senf 34). Mina’s preliminary reference merely characterized her as a well-informed young woman of the 1890s. Mina remains neutral and simply suggests her familiarization with the New Woman’s assertion on greater freedom and physical activity. Bicycle riding, badminton playing and bloomer wearing women may have shocked certain conservative people of the 1890s, but they were not enough to worry Stoker’s heroine (Senf 34). Nor was it a shock to her that the New Woman was often characterized as a professional woman who was capable of financially supporting herself. After all, Mina easily fell under this category of the New Woman; her career was not an archetypal Victorian housewife. She was often “overwhelmed with work […] [because] the life of an assistant schoolmistress [was] sometimes trying” (Stoker 83). Mina is able to support herself and by using her note-taking talents she is also able to support her husband too, outside of her domestic role. This notion was revolutionary at the time. Gail Cunningham notes that while independence and in...
Society continually places restrictive standards on the female gender not only fifty years ago, but in today’s society as well. While many women have overcome many unfair prejudices and oppressions in the last fifty or so years, late nineteenth and early twentieth century women were forced to deal with a less understanding culture. In its various formulations, patriarchy posits men's traits and/or intentions as the cause of women's oppression. This way of thinking diverts attention from theorizing the social relations that place women in a disadvantageous position in every sphere of life and channels it towards men as the cause of women's oppression (Gimenez). Different people had many ways of voicing their opinions concerning gender inequalities amound women, including expressing their voices and opinions through their literature. By writing stories such as Daisy Miller and The Yellow Wallpaper, Charlotte Perkins Gilman and Henry James let readers understand and develop their own ideas on such a serious topic that took a major toll in American History. In this essay, I am going to compare Gilman’s “The Yellow Wallpaper” to James’ “Daisy Miller” as portraits of American women in peril and also the men that had a great influence.
Rosen, Ruth. The World Split Open: How the Modern Women's Movement Changed America. New York: Viking Penguin, 2000. 196.
The image has a huge effect in society. A celebrity’s image can characterize, shape and circulate societal myths in Hollywood. Marilyn Monroe was an American actress, singer, and model. People think her figure and beauty make her become a popular icon and sex symbol in the 1950s. When people talk about the name of Marilyn Monroe, a blonde beautiful sexy female's image will appear in people's minds. What has the beauty standard shown us through Marilyn Monroe in the mid-20th century? Besides the beauty what other things did she need in order for her to be famous at that time? Marilyn Monroe's status as a sex symbol has influenced many artists since her time, even though the beauty standard has been different since then. If we look at the celebrities today, we can find many imitators of Marilyn Monroe: Madonna, Britney Spears, Lindsay Lohan, and even Lady Gaga. They do this not only because of marketing and media needs, but also because people today still “worship” the image Monroe created. A half-century has passed since Marilyn Monroe's death, so why is she still relevant today? As time has passed, Marilyn Monroe's image is becoming even more meaningful and valuable. Think about the image she has created, the main point I want to study is: how does a woman who passed away at thirty-six years old, after starring in only a handful of movies, has such on the impact on women, especially young women, in the 21st century? To find the answer of how she has an impact on young women today will also show how some of the young celebrities today became successful.
In an excerpt from Janell Hobson’s “Venus in the Dark: Blackness and Beauty in Popular Culture” Hobson argues that the “image of black women’s bodies in culture are distorted in a way resembling the morphing of a person’s figure in a carnival mirror,” a term she coins as “un-mirroring.” She continues this metaphor by saying black women artists must “fight against this process by challenging dominant culture’s representation of black women’s bodies as being grotesque and changing the discourse to being one of beauty.” One may argue that black women are too diverse to be represented by one image, rather that they should fight to be regarded as individuals devoid of stereotypes and negative historical connotations. Stereotypes, which are too broad to be accurate, have negatively affected the image of the black female body in culture. To change the trajectory of this idea in the future, the discussion must be aimed towards persuading society that stereotypes are superficial judgments, and that black women should be regarded as a diverse group of individuals, not individual elements of a stereotype.
In the generation leading up to the emergence of the flapper, the popular style for women was that of the “Gibson Girl”. Based on the depictions of women by...
Matthews, Glenna. "Gibson, Althea." American Women's History: A Student Companion. Dec. 1 2000: n.p. SIRS Issues Researcher. Web. 16 Apr. 2014.
The dawn of the 20th century changed the perspective of the nation and introduced many different ideas and concepts. At the turn of the century, a new and influential ideal known as the “Gibson Girl” arose. The “Gibson Girl” image, created by the American illustrator Charles Gibson, represented the perfect female archetype of the era. In the first decade of the 1900s, the Gibson Girl, exuding confidence and poise, proved increasingly popular, and acted as an icon that women everywhere attempted to imitate. She eventually developed from an illustration into a reality as many girls applied the ideal to themselves. The Gibson Girl contrasted greatly with the common farm girl who, unlike the Gibson Girl, worked for a living. At first glance, one might perceive that the farm girl led a much more difficult life than the Gibson Girl. However, upon consideration, the Gibson Girl’s life proved just as demanding, if not more, than that of the farm girl, and illustrated upper-class society’s unrelenting superficiality and focus on perfection.
Wolf, Naomi. The Beauty Myth. How Images of Beauty are Used Against Women. New York: William Morrow, 1991.
Baker, Paula. “The Domestication of Politics: Women and American Political Society, 1780-1920.” American Historical Review 89, no. 3 (1984): 620-647.
The late nineteenth century was a critical time in reshaping the rights of women. Commonly this era is considered to be the beginning of what is know to western feminists as “first-wave feminism.” First-wave feminism predominately fought for legal rights such as suffrage, and property rights. A major hallmark of first-wave feminism is the concept of the “New Woman.” The phrase New Woman described educated, independent, career oriented women who stood in response to the idea of the “Cult of Domesticity,” that is the idea that women are meant to be domestic and submissive (Stevens 27). Though the concept of the New Woman was empowering to many, some women did not want to give up their roles as housewives. These women felt there was a great dignity in the lifestyle of the housewife, and that raising children was not a job to scoff at. Mary Freeman's short story “The Revolt of 'Mother',” tells the story of such a domestic woman, Sarah, who has no interest in leaving her position as mother, but still wishes to have her voice heard in the private sphere of her home. Freeman's “Revolt of Mother,” illustrates an alternative means of resistance for women who rejected the oppression of patriarchy without a withdrawal from the domestic lifestyle.
Schneider, Dorothy. American Women in the Progressive Era 1900-1920. New York: Facts on File, 1993.
Jane Addams and her colleague, Ellen Gates Starr, founded the most successful settlement house in the United States otherwise known as the Hull-House (“Settlement” 1). It was located in a city overrun by poverty, filth and gangsters, and it could not have come at a better time (Lundblad 663). The main purpose of settlement houses was to ease the transition into the American culture and labor force, and The Hull-House offered its residents an opportunity to help the community, was a safe haven for the city, and led the way through social reform for women and children.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.