Marilyn Booth
- Published in print:
- 2001
- Published Online:
- March 2012
- ISBN:
- 9780520224193
- eISBN:
- 9780520925212
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520224193.003.0004
- Subject:
- History, Middle East History
Constructing exemplarity and community, “Famous Women” biographies inscribed both precedents and potential lives for editors and readers, echoes of, or templates for, these women's unwritten ...
More
Constructing exemplarity and community, “Famous Women” biographies inscribed both precedents and potential lives for editors and readers, echoes of, or templates for, these women's unwritten autobiographies. Not that Arabic language autobiography was an unwritten genre. Pre-nineteenth-century men had tackled the writing of the self. As time went on—and with “Famous Women” ensconced in women's journals—Egyptian feminists wrote autobiographies, as did entertainers. Women's magazines—and biographies therein—assume and construct an active, female reader. This chapter unpacks discourse on girls' education as biography displayed it, in conjunction with the textual construction of the female reader. It then asks what biography said about gendered (and generation-specific) norms of public behavior as a symbolic field in which social, economic, and political agendas were contested—and which shaped polemics on education. The chapter explores how public politics as a sphere of female action and ambition shaped life narratives, whether biographies and other material in the women's press articulated a feminist politics, and the messages that the many lives of female rulers conveyed.Less
Constructing exemplarity and community, “Famous Women” biographies inscribed both precedents and potential lives for editors and readers, echoes of, or templates for, these women's unwritten autobiographies. Not that Arabic language autobiography was an unwritten genre. Pre-nineteenth-century men had tackled the writing of the self. As time went on—and with “Famous Women” ensconced in women's journals—Egyptian feminists wrote autobiographies, as did entertainers. Women's magazines—and biographies therein—assume and construct an active, female reader. This chapter unpacks discourse on girls' education as biography displayed it, in conjunction with the textual construction of the female reader. It then asks what biography said about gendered (and generation-specific) norms of public behavior as a symbolic field in which social, economic, and political agendas were contested—and which shaped polemics on education. The chapter explores how public politics as a sphere of female action and ambition shaped life narratives, whether biographies and other material in the women's press articulated a feminist politics, and the messages that the many lives of female rulers conveyed.
Janet Galligani Casey
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195338959
- eISBN:
- 9780199867103
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338959.003.0003
- Subject:
- Literature, Women's Literature, American, 20th Century Literature
This chapter reads closely the thirty-year run of The Farmer’s Wife, the single national periodical marketed to farm women in the modernist period, addressing its cultural placement in reference both ...
More
This chapter reads closely the thirty-year run of The Farmer’s Wife, the single national periodical marketed to farm women in the modernist period, addressing its cultural placement in reference both to other agrarian periodicals and to mainstream women’s magazines. The first section evaluates the overlapping but also competing ideologies of agrarianism and domesticity within TFW, especially in its attempt to shape a modern farm woman through advertising, features, and editorial content. The second section considers the magazine’s agrarian-themed fiction, addressing how the force of narrative momentum helped to contain an increasingly fractured set of attitudes about both farming and women within a reassuringly upbeat rhetorical trajectory.Less
This chapter reads closely the thirty-year run of The Farmer’s Wife, the single national periodical marketed to farm women in the modernist period, addressing its cultural placement in reference both to other agrarian periodicals and to mainstream women’s magazines. The first section evaluates the overlapping but also competing ideologies of agrarianism and domesticity within TFW, especially in its attempt to shape a modern farm woman through advertising, features, and editorial content. The second section considers the magazine’s agrarian-themed fiction, addressing how the force of narrative momentum helped to contain an increasingly fractured set of attitudes about both farming and women within a reassuringly upbeat rhetorical trajectory.
Joseph McAleer
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198204558
- eISBN:
- 9780191676345
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198204558.003.0010
- Subject:
- History, British and Irish Modern History, Cultural History
For Alan Boon's linking of his firm with Woman's Weekly and other popular magazines represents a turning point in the development of Mills & Boon, the romantic novel, and editorial policy. From their ...
More
For Alan Boon's linking of his firm with Woman's Weekly and other popular magazines represents a turning point in the development of Mills & Boon, the romantic novel, and editorial policy. From their offices in Fleet Street or as far north as Dundee, the editors of women's magazines became Mills & Boon's unofficial outside readers, an extension of the firm's editorial department. The women's weekly magazines in Britain emerged from the war with an enhanced readership and circulation. Because the magazine editors understood Mills & Boon's dependence, they did not hesitate to demand changes and dictate policy. But the relationship between Mills & Boon and the women's magazines, though mutually beneficial, was never easy. To his credit, Boon defended his authors vigorously, and often two versions of a novel were published: the serial form for the magazine, and the original manuscript for the library market. Although reader reaction to Burchell's novel was negative, Mills & Boon none the less published it, as it was a good story, respecting the author's craft.Less
For Alan Boon's linking of his firm with Woman's Weekly and other popular magazines represents a turning point in the development of Mills & Boon, the romantic novel, and editorial policy. From their offices in Fleet Street or as far north as Dundee, the editors of women's magazines became Mills & Boon's unofficial outside readers, an extension of the firm's editorial department. The women's weekly magazines in Britain emerged from the war with an enhanced readership and circulation. Because the magazine editors understood Mills & Boon's dependence, they did not hesitate to demand changes and dictate policy. But the relationship between Mills & Boon and the women's magazines, though mutually beneficial, was never easy. To his credit, Boon defended his authors vigorously, and often two versions of a novel were published: the serial form for the magazine, and the original manuscript for the library market. Although reader reaction to Burchell's novel was negative, Mills & Boon none the less published it, as it was a good story, respecting the author's craft.
Marilyn Booth
- Published in print:
- 2001
- Published Online:
- March 2012
- ISBN:
- 9780520224193
- eISBN:
- 9780520925212
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520224193.003.0002
- Subject:
- History, Middle East History
Qadriyya Husayn, Turkish princess in Egypt, wrote about Egyptian queens and early Muslim women. She carried on the work of Zaynab Fawwāz and, like her, privileged some features of the tabaqāt ...
More
Qadriyya Husayn, Turkish princess in Egypt, wrote about Egyptian queens and early Muslim women. She carried on the work of Zaynab Fawwāz and, like her, privileged some features of the tabaqāt tradition and muted others. These shifts emerged also in biographies of “Famous Women”—of Fawwāz, Husayn, and hundreds of others—that appeared in periodicals in Egypt targeted largely at women as subject and audience, and edited primarily by women. For, from its emergence in 1892, “the women's press” celebrated famous women, borrowing texts from Fawwāz and Husayn, and writing many others. We have already watched Labība Hāshim editing life stories taken from Scattered Pearls on the Generations of the Mistresses of Seclusion, expanding the range of biographical subjects. This chapter introduces that range and describes the magazines themselves by scrutinizing the politics of address of the earliest ones. It sets the emergence of women's magazines and the siting of “Famous Women” therein into Egypt's shifting political scene.Less
Qadriyya Husayn, Turkish princess in Egypt, wrote about Egyptian queens and early Muslim women. She carried on the work of Zaynab Fawwāz and, like her, privileged some features of the tabaqāt tradition and muted others. These shifts emerged also in biographies of “Famous Women”—of Fawwāz, Husayn, and hundreds of others—that appeared in periodicals in Egypt targeted largely at women as subject and audience, and edited primarily by women. For, from its emergence in 1892, “the women's press” celebrated famous women, borrowing texts from Fawwāz and Husayn, and writing many others. We have already watched Labība Hāshim editing life stories taken from Scattered Pearls on the Generations of the Mistresses of Seclusion, expanding the range of biographical subjects. This chapter introduces that range and describes the magazines themselves by scrutinizing the politics of address of the earliest ones. It sets the emergence of women's magazines and the siting of “Famous Women” therein into Egypt's shifting political scene.
Brooke Erin Duffy
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037962
- eISBN:
- 9780252095221
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037962.003.0002
- Subject:
- Society and Culture, Media Studies
This chapter traces the history of women's magazines that spans 300 years. Drawing upon four decades of scholarship on women's magazines, it examines the defining properties of the genre, and ...
More
This chapter traces the history of women's magazines that spans 300 years. Drawing upon four decades of scholarship on women's magazines, it examines the defining properties of the genre, and particularly the consideration that these periodicals are created exclusively for and targeted to female audiences. It also discusses the ways in which editors-in-chief create and maintain the identity of their publications while establishing the magazine as an intimate imagined space, and how consumerism and citizenship became intertwined in women's magazines. The chapter shows that the history of women's magazines has been defined by the creation of imagined communities of interest, the increasing specialization of titles, and the symbiosis of the magazine and advertising industries.Less
This chapter traces the history of women's magazines that spans 300 years. Drawing upon four decades of scholarship on women's magazines, it examines the defining properties of the genre, and particularly the consideration that these periodicals are created exclusively for and targeted to female audiences. It also discusses the ways in which editors-in-chief create and maintain the identity of their publications while establishing the magazine as an intimate imagined space, and how consumerism and citizenship became intertwined in women's magazines. The chapter shows that the history of women's magazines has been defined by the creation of imagined communities of interest, the increasing specialization of titles, and the symbiosis of the magazine and advertising industries.
Jennie Batchelor
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474419659
- eISBN:
- 9781474445061
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474419659.003.0025
- Subject:
- Literature, Women's Literature
Despite the much-documented rise of periodical studies, no major study of the late eighteenth-century women’s magazine exists. Those who have devoted specific attention to the form, either as an ...
More
Despite the much-documented rise of periodical studies, no major study of the late eighteenth-century women’s magazine exists. Those who have devoted specific attention to the form, either as an epilogue to studies of the essay periodical or as a prelude to the Victorian women’s magazine, commonly misrepresent it. In this chapter, Jennie Batchelor interrogates these oversights and distortions and offers a reassessment the women’s magazine in relation to the periodical genres in whose company the magazine is often considered a poor relation. The chapter proceeds with an extended consideration of one of the women’s magazine’s earliest and most influential examples – the Lady’s Magazine (1770–1832) in relation to earlier ladies’ magazines and periodical forerunners such as Charlotte Lennox’s Lady’s Museum (1760–1). Revealing the multiple ways in which the magazine demonstrated its commitment to women’s education, Batchelor challenges accounts that have seen eighteenth-century women’s magazines as the beginning of the end for their female readers and that have erroneously associated the genre with a uniformly and oppressively conservative gender ideology.Less
Despite the much-documented rise of periodical studies, no major study of the late eighteenth-century women’s magazine exists. Those who have devoted specific attention to the form, either as an epilogue to studies of the essay periodical or as a prelude to the Victorian women’s magazine, commonly misrepresent it. In this chapter, Jennie Batchelor interrogates these oversights and distortions and offers a reassessment the women’s magazine in relation to the periodical genres in whose company the magazine is often considered a poor relation. The chapter proceeds with an extended consideration of one of the women’s magazine’s earliest and most influential examples – the Lady’s Magazine (1770–1832) in relation to earlier ladies’ magazines and periodical forerunners such as Charlotte Lennox’s Lady’s Museum (1760–1). Revealing the multiple ways in which the magazine demonstrated its commitment to women’s education, Batchelor challenges accounts that have seen eighteenth-century women’s magazines as the beginning of the end for their female readers and that have erroneously associated the genre with a uniformly and oppressively conservative gender ideology.
Jaime Harker
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812308
- eISBN:
- 9781496812346
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812308.003.0014
- Subject:
- Literature, American, 20th Century Literature
This chapter considers the symbiotic relationship between William Faulkner’s writing and women’s domestic fiction, particularly in his novels The Wild Palms and The Mansion. During the interwar ...
More
This chapter considers the symbiotic relationship between William Faulkner’s writing and women’s domestic fiction, particularly in his novels The Wild Palms and The Mansion. During the interwar period, women’s magazines published a wide range of fiction, both serialized novels and short stories, and the literary influence of women’s magazines continued in the postwar period, when Faulkner published two short pieces in Harper’s Bazaar and Mademoiselle. This chapter argues that Faulkner was aware of this market, targeted it as a publication venue, and shaped his fiction based on the conventions of middlebrow domestic fiction. This argument broadens recent investigation of Faulkner’s catholic engagement with print culture to include a women’s reading and writing community consistently overlooked by literary critics.Less
This chapter considers the symbiotic relationship between William Faulkner’s writing and women’s domestic fiction, particularly in his novels The Wild Palms and The Mansion. During the interwar period, women’s magazines published a wide range of fiction, both serialized novels and short stories, and the literary influence of women’s magazines continued in the postwar period, when Faulkner published two short pieces in Harper’s Bazaar and Mademoiselle. This chapter argues that Faulkner was aware of this market, targeted it as a publication venue, and shaped his fiction based on the conventions of middlebrow domestic fiction. This argument broadens recent investigation of Faulkner’s catholic engagement with print culture to include a women’s reading and writing community consistently overlooked by literary critics.
Marilyn Booth
- Published in print:
- 2001
- Published Online:
- March 2012
- ISBN:
- 9780520224193
- eISBN:
- 9780520925212
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520224193.003.0007
- Subject:
- History, Middle East History
Since the late nineteenth century, readers and listeners in Egypt had enjoyed many satirical-colloquial periodicals, and some had featured caricatures of politicians. But the illustrated weekly of ...
More
Since the late nineteenth century, readers and listeners in Egypt had enjoyed many satirical-colloquial periodicals, and some had featured caricatures of politicians. But the illustrated weekly of news and entertainment was just emerging, soon to be joined by magazines that specialized in theater, radio, and film. That women were important as magazine consumers is attested by The Bride's focus and longevity. And that “Famous Women” continued to be important to this type of magazine was signaled by their inclusion as part of the periodical's mission. But now it was “portraits” rather than “biographies” that were prominent. As The Bride featured portraits, it also offered biographies, and this chapter's epigraph from its profile of the Begum of Bhopal confirms that it offered names familiar to the readers of women's magazines. It is worth recalling, too, the emergence of a curious genre in the 1920s that bridged “autobiography” and “fiction” more deliberately, perhaps, than do most autobiographies, at least until recently.Less
Since the late nineteenth century, readers and listeners in Egypt had enjoyed many satirical-colloquial periodicals, and some had featured caricatures of politicians. But the illustrated weekly of news and entertainment was just emerging, soon to be joined by magazines that specialized in theater, radio, and film. That women were important as magazine consumers is attested by The Bride's focus and longevity. And that “Famous Women” continued to be important to this type of magazine was signaled by their inclusion as part of the periodical's mission. But now it was “portraits” rather than “biographies” that were prominent. As The Bride featured portraits, it also offered biographies, and this chapter's epigraph from its profile of the Begum of Bhopal confirms that it offered names familiar to the readers of women's magazines. It is worth recalling, too, the emergence of a curious genre in the 1920s that bridged “autobiography” and “fiction” more deliberately, perhaps, than do most autobiographies, at least until recently.
Luke Ferretter
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748625093
- eISBN:
- 9780748671694
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625093.003.0002
- Subject:
- Literature, American, 20th Century Literature
This chapter examines the influences that shaped Plath as a fiction writer. There are five sections, each of which examines one of the major such influences. These are: (1) Virginia Woolf (2) The New ...
More
This chapter examines the influences that shaped Plath as a fiction writer. There are five sections, each of which examines one of the major such influences. These are: (1) Virginia Woolf (2) The New Yorker. Previous critics have examined Salinger's influence on Plath. Here I add a discussion of the women writers for the New Yorker that influenced Plath most – Jean Stafford, Sylvia Townsend Warner and Mavis Gallant. The latter's Green Water, Green Sky is a particularly significant precursor of The Bell Jar. (3) Women's magazine fiction of the 1950s (4) Women's madness narratives, such as Mary Jane Ward's The Snake Pit. (5) Ted Hughes, who wrote numerous plot sketches for Plath to write up into stories. The mutual influence of Plath's and Hughes' stories, particularly in the genre of fable, is also discussed.Less
This chapter examines the influences that shaped Plath as a fiction writer. There are five sections, each of which examines one of the major such influences. These are: (1) Virginia Woolf (2) The New Yorker. Previous critics have examined Salinger's influence on Plath. Here I add a discussion of the women writers for the New Yorker that influenced Plath most – Jean Stafford, Sylvia Townsend Warner and Mavis Gallant. The latter's Green Water, Green Sky is a particularly significant precursor of The Bell Jar. (3) Women's magazine fiction of the 1950s (4) Women's madness narratives, such as Mary Jane Ward's The Snake Pit. (5) Ted Hughes, who wrote numerous plot sketches for Plath to write up into stories. The mutual influence of Plath's and Hughes' stories, particularly in the genre of fable, is also discussed.
Luke Ferretter
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748625093
- eISBN:
- 9780748671694
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625093.003.0006
- Subject:
- Literature, American, 20th Century Literature
This chapter discusses the portrayals of women's lives in Plath's short stories. The first section deals with her women's magazine stories, published and unpublished. It argues for their political ...
More
This chapter discusses the portrayals of women's lives in Plath's short stories. The first section deals with her women's magazine stories, published and unpublished. It argues for their political complexity, their environmental vision, their complex gender politics, and Plath's conflicted relationship to the genre. Next, the chapter examines Plath's series of stories about the home, in which she simultaneously values and criticises contemporary attitudes towards women. The chapter then discusses the complex nature of feminine identity, particularly as mediated through contemporary beauty adverts, in stories such as ‘Platinum Summer’. It concludes with a discussion of the role of violence in Plath's fiction, especially in ‘Sunday at the Mintons’ and ‘The Fifty-Ninth Bear’.Less
This chapter discusses the portrayals of women's lives in Plath's short stories. The first section deals with her women's magazine stories, published and unpublished. It argues for their political complexity, their environmental vision, their complex gender politics, and Plath's conflicted relationship to the genre. Next, the chapter examines Plath's series of stories about the home, in which she simultaneously values and criticises contemporary attitudes towards women. The chapter then discusses the complex nature of feminine identity, particularly as mediated through contemporary beauty adverts, in stories such as ‘Platinum Summer’. It concludes with a discussion of the role of violence in Plath's fiction, especially in ‘Sunday at the Mintons’ and ‘The Fifty-Ninth Bear’.
Natalie Bradbury
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474412537
- eISBN:
- 9781474445054
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474412537.003.0033
- Subject:
- Literature, Women's Literature
WOMAN’S OUTLOOK was first published in 1919 as a magazine for the women of the co-operative movement. Despite extensive scholarship on the Women’s Co-operative Guild (WCG), both within the ...
More
WOMAN’S OUTLOOK was first published in 1919 as a magazine for the women of the co-operative movement. Despite extensive scholarship on the Women’s Co-operative Guild (WCG), both within the organisation and in relation to the British women’s movement, this publication has received only limited attention. This chapter examines Woman’s Outlook as part of the interwar co-operative women’s movement, arguing that it functioned at a variety of levels to bring women together into a co-operative community. Woman’s Outlook represented a group of women who were not captured in other publications, and who shared particular concerns as working class women committed to co-operative ideas and trading. While it promoted the co-operative movement more widely, within the movement it served as a means of sharing information with and from its readers on effective home management (thereby responding to women’s immediate lives and needs) and aimed to extend women’s interests beyond the home. In these ways, it proved both educational and aspirational, expanding women’s horizons at a time when opportunities for women were changing, by showing what other women had and could achieve. The most sustained analysis of Woman’s Outlook to date is Rachel Ritchie’s study of Woman’s Outlook and Home and Country, the magazine produced by the Women’s Institute (WI). While Ritchie focuses on the 1950s, the goal here is to revisit Woman’s Outlook and its place in informing and educating a community of co-operative women from its inception in the interwar years.Less
WOMAN’S OUTLOOK was first published in 1919 as a magazine for the women of the co-operative movement. Despite extensive scholarship on the Women’s Co-operative Guild (WCG), both within the organisation and in relation to the British women’s movement, this publication has received only limited attention. This chapter examines Woman’s Outlook as part of the interwar co-operative women’s movement, arguing that it functioned at a variety of levels to bring women together into a co-operative community. Woman’s Outlook represented a group of women who were not captured in other publications, and who shared particular concerns as working class women committed to co-operative ideas and trading. While it promoted the co-operative movement more widely, within the movement it served as a means of sharing information with and from its readers on effective home management (thereby responding to women’s immediate lives and needs) and aimed to extend women’s interests beyond the home. In these ways, it proved both educational and aspirational, expanding women’s horizons at a time when opportunities for women were changing, by showing what other women had and could achieve. The most sustained analysis of Woman’s Outlook to date is Rachel Ritchie’s study of Woman’s Outlook and Home and Country, the magazine produced by the Women’s Institute (WI). While Ritchie focuses on the 1950s, the goal here is to revisit Woman’s Outlook and its place in informing and educating a community of co-operative women from its inception in the interwar years.
Bonnie J. Dow
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038563
- eISBN:
- 9780252096488
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038563.003.0004
- Subject:
- Society and Culture, Media Studies
This chapter focuses on the March 18, 1970, sit-in at Ladies' Home Journal (LHJ), a crucial episode in feminist media activism that had dramatic internal and external consequences for women's ...
More
This chapter focuses on the March 18, 1970, sit-in at Ladies' Home Journal (LHJ), a crucial episode in feminist media activism that had dramatic internal and external consequences for women's liberation. Conceived as a radical action by a small group of women incensed at the demeaning portrayal of women in a publication that touted itself as “the magazine women believe in,” the LHJ protest was an unpredictable success, precipitating significant changes in editorial and employment practices at women's magazines. That outcome was the product of several factors, including the emphases of the print and broadcast coverage of the LHJ events as well as the action's timing among a wave of protests and discrimination complaints launched in 1970 by women employees of major media institutions. Equally important was the recognition of the magazine's editors—and those of their sister publications—that incorporating and commodifying women's liberation was more profitable than resisting it, processes that would soon escalate across all forms of mass media.Less
This chapter focuses on the March 18, 1970, sit-in at Ladies' Home Journal (LHJ), a crucial episode in feminist media activism that had dramatic internal and external consequences for women's liberation. Conceived as a radical action by a small group of women incensed at the demeaning portrayal of women in a publication that touted itself as “the magazine women believe in,” the LHJ protest was an unpredictable success, precipitating significant changes in editorial and employment practices at women's magazines. That outcome was the product of several factors, including the emphases of the print and broadcast coverage of the LHJ events as well as the action's timing among a wave of protests and discrimination complaints launched in 1970 by women employees of major media institutions. Equally important was the recognition of the magazine's editors—and those of their sister publications—that incorporating and commodifying women's liberation was more profitable than resisting it, processes that would soon escalate across all forms of mass media.
Laurel Kendall
- Published in print:
- 1996
- Published Online:
- May 2012
- ISBN:
- 9780520201989
- eISBN:
- 9780520916784
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520201989.003.0004
- Subject:
- Anthropology, Asian Cultural Anthropology
This chapter examines the changes in courtship practices in Korea in the twentieth century, exploring the means and circumstance through which Koreans have redefined the process of getting married. ...
More
This chapter examines the changes in courtship practices in Korea in the twentieth century, exploring the means and circumstance through which Koreans have redefined the process of getting married. It traces the evolution of the feminine ideal based on analysis of women's magazines, which the author considered an influential source of discourses about weddings. The chapter also discusses “beautiful bride” and “beloved wife,” emergent notions constructed through and around courtship practices in an emergent political economy.Less
This chapter examines the changes in courtship practices in Korea in the twentieth century, exploring the means and circumstance through which Koreans have redefined the process of getting married. It traces the evolution of the feminine ideal based on analysis of women's magazines, which the author considered an influential source of discourses about weddings. The chapter also discusses “beautiful bride” and “beloved wife,” emergent notions constructed through and around courtship practices in an emergent political economy.
Catherine Clay, Maria DiCenzo, Barbara Green, and Fiona Hackney (eds)
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474412537
- eISBN:
- 9781474445054
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474412537.001.0001
- Subject:
- Literature, Women's Literature
This book recovers and explores a neglected archive of British women’s periodicals and dispels the myths of the supposed demise of feminism and the interwar decades as a retreat to ‘home and duty’ ...
More
This book recovers and explores a neglected archive of British women’s periodicals and dispels the myths of the supposed demise of feminism and the interwar decades as a retreat to ‘home and duty’ for women in this period. The 1920s and 1930s gave rise to a plurality of new challenges and opportunities for women as consumers, workers, and citizens, as well as wives and mothers. In the process, women produced magazines and periodicals ranging in forms and appeal from highbrow to popular, private circulation to mass-market, and radical to reactionary. Revealing the diversity of genres addressed to women readers, from domestic magazines, pulps and women’s pages to literary reviews and feminist periodicals, chapters in this volume demonstrate the central role of women’s print media in defining women’s interests, activities and identities in the period, and in reshaping public discourses of gender. The book is organised in five parts exploring women’s magazines in relation to culture, modernism, and the arts; fashion and modern life; domesticity and the home; feminist agendas for change; and women’s organisations and communities of interest. By restoring to view and analysing the print media which served as the vehicles for debates about the arts, modern life, politics, economics and women’s roles in all these spheres, this collection makes a major contribution to revisionist scholarship on the interwar period.Less
This book recovers and explores a neglected archive of British women’s periodicals and dispels the myths of the supposed demise of feminism and the interwar decades as a retreat to ‘home and duty’ for women in this period. The 1920s and 1930s gave rise to a plurality of new challenges and opportunities for women as consumers, workers, and citizens, as well as wives and mothers. In the process, women produced magazines and periodicals ranging in forms and appeal from highbrow to popular, private circulation to mass-market, and radical to reactionary. Revealing the diversity of genres addressed to women readers, from domestic magazines, pulps and women’s pages to literary reviews and feminist periodicals, chapters in this volume demonstrate the central role of women’s print media in defining women’s interests, activities and identities in the period, and in reshaping public discourses of gender. The book is organised in five parts exploring women’s magazines in relation to culture, modernism, and the arts; fashion and modern life; domesticity and the home; feminist agendas for change; and women’s organisations and communities of interest. By restoring to view and analysing the print media which served as the vehicles for debates about the arts, modern life, politics, economics and women’s roles in all these spheres, this collection makes a major contribution to revisionist scholarship on the interwar period.
Brooke Erin Duffy
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037962
- eISBN:
- 9780252095221
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037962.003.0001
- Subject:
- Society and Culture, Media Studies
This book explores the notions of remaking and remodeling the magazine by focusing on how women's magazines are evolving from objects into brands in the digital age, along with its implications for ...
More
This book explores the notions of remaking and remodeling the magazine by focusing on how women's magazines are evolving from objects into brands in the digital age, along with its implications for both producers and consumers of content. It considers how “traditional” media industries are transforming in a digital era of media, and more specifically, how producers are confronting vexing questions about the identity of the women's magazine. The book highlights three identity constructions: organizational identity, professional identity, and gender identity. It also discusses the implications for how, when, and where media producers work; how the cross-platform and interactive logics of production challenge the traditional categories of readers and audiences; and what is at stake for the content that gets distributed in various media forms. It shows that, in light of the boundary shifts associated with media convergence, magazine producers are ostensibly compelled to (re)define their industries, their roles, their audiences, and their products. The goal of this book is to initiate debates about the shape-shifting nature of creative labor.Less
This book explores the notions of remaking and remodeling the magazine by focusing on how women's magazines are evolving from objects into brands in the digital age, along with its implications for both producers and consumers of content. It considers how “traditional” media industries are transforming in a digital era of media, and more specifically, how producers are confronting vexing questions about the identity of the women's magazine. The book highlights three identity constructions: organizational identity, professional identity, and gender identity. It also discusses the implications for how, when, and where media producers work; how the cross-platform and interactive logics of production challenge the traditional categories of readers and audiences; and what is at stake for the content that gets distributed in various media forms. It shows that, in light of the boundary shifts associated with media convergence, magazine producers are ostensibly compelled to (re)define their industries, their roles, their audiences, and their products. The goal of this book is to initiate debates about the shape-shifting nature of creative labor.
Brooke Erin Duffy
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037962
- eISBN:
- 9780252095221
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037962.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter examines the shifting dynamics of the magazine producer–consumer relationship within two different industrial contexts. First, it considers how media producers are making their offerings ...
More
This chapter examines the shifting dynamics of the magazine producer–consumer relationship within two different industrial contexts. First, it considers how media producers are making their offerings for audiences more interactive by integrating commentary, advice, photos, and more. It situates this trend in historical perspective by recalling women's magazines' tradition of “inviting readers in.” Second, it looks at an external force encroaching on magazine production: the rise of fashion blogging. It also describes the labor politics of user-generated content and goes on to discuss how various industry insiders conceptualize fashion blogging, along with industrial and organizational trends that seem to respond to this cultural movement. The chapter shows that media producers are “inviting audiences in” to numerous spaces that they have carved out within magazine-branded properties. Community chat rooms, virtual programs, and user-generated contests engage interactive consumers while supplanting the work of professional content producers. Although editors of women's magazines maintain control over these initiatives, they have unequivocally less power over fashion bloggers.Less
This chapter examines the shifting dynamics of the magazine producer–consumer relationship within two different industrial contexts. First, it considers how media producers are making their offerings for audiences more interactive by integrating commentary, advice, photos, and more. It situates this trend in historical perspective by recalling women's magazines' tradition of “inviting readers in.” Second, it looks at an external force encroaching on magazine production: the rise of fashion blogging. It also describes the labor politics of user-generated content and goes on to discuss how various industry insiders conceptualize fashion blogging, along with industrial and organizational trends that seem to respond to this cultural movement. The chapter shows that media producers are “inviting audiences in” to numerous spaces that they have carved out within magazine-branded properties. Community chat rooms, virtual programs, and user-generated contests engage interactive consumers while supplanting the work of professional content producers. Although editors of women's magazines maintain control over these initiatives, they have unequivocally less power over fashion bloggers.
Catherine Clay
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781474418188
- eISBN:
- 9781474449700
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474418188.003.0002
- Subject:
- Literature, Women's Literature
This chapter discusses Time and Tide’s early feminist identity through an exploration of its close interdependence, and competition, within the feminist and women’s press. The magazine drew ...
More
This chapter discusses Time and Tide’s early feminist identity through an exploration of its close interdependence, and competition, within the feminist and women’s press. The magazine drew extensively on the networks associated with suffrage media and professional women’s magazines to build its early reader and contributor base, but from the beginning was also working to establish itself as a paper with a much broader reach. Through an analysis of Time and Tide’s editorial and self-marketing strategies, its relationship with male readers, and the staging in and outside its columns of a public debate about the ‘modern woman’, the chapter grapples with the paradoxical idea that the ‘new’ thing Time and Tide was doing was to disavow identification with the ‘feminist’ or ‘women’s periodical’ category at the same time as it remained both of these things.Less
This chapter discusses Time and Tide’s early feminist identity through an exploration of its close interdependence, and competition, within the feminist and women’s press. The magazine drew extensively on the networks associated with suffrage media and professional women’s magazines to build its early reader and contributor base, but from the beginning was also working to establish itself as a paper with a much broader reach. Through an analysis of Time and Tide’s editorial and self-marketing strategies, its relationship with male readers, and the staging in and outside its columns of a public debate about the ‘modern woman’, the chapter grapples with the paradoxical idea that the ‘new’ thing Time and Tide was doing was to disavow identification with the ‘feminist’ or ‘women’s periodical’ category at the same time as it remained both of these things.
Brooke Erin Duffy
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037962
- eISBN:
- 9780252095221
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037962.001.0001
- Subject:
- Society and Culture, Media Studies
What is a magazine? For decades, women's magazines were regularly published, print-bound guidebooks aimed at neatly defined segments of the female audience. Yet in an era of convergent media ...
More
What is a magazine? For decades, women's magazines were regularly published, print-bound guidebooks aimed at neatly defined segments of the female audience. Yet in an era of convergent media technologies, participatory culture, and new economic demands, producers are confronting vexing questions about the identity of the women's magazine. This book offers a unique glimpse inside the industry and reveals how executives and content creators are working tirelessly to remake their processes and products. Through in-depth interviews with women's magazine producers, an examination of hundreds of trade press reports, and in-person observations at industry summits, the book chronicles a fascinating transformation in print culture and technology from the magazine as object to the magazine as brand. The book draws on these findings to contribute to critical debates about media labor conditions, workplace cultures and hierarchies, and creative processes.Less
What is a magazine? For decades, women's magazines were regularly published, print-bound guidebooks aimed at neatly defined segments of the female audience. Yet in an era of convergent media technologies, participatory culture, and new economic demands, producers are confronting vexing questions about the identity of the women's magazine. This book offers a unique glimpse inside the industry and reveals how executives and content creators are working tirelessly to remake their processes and products. Through in-depth interviews with women's magazine producers, an examination of hundreds of trade press reports, and in-person observations at industry summits, the book chronicles a fascinating transformation in print culture and technology from the magazine as object to the magazine as brand. The book draws on these findings to contribute to critical debates about media labor conditions, workplace cultures and hierarchies, and creative processes.
Caitríona Beaumont
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474412537
- eISBN:
- 9781474445054
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474412537.003.0032
- Subject:
- Literature, Women's Literature
When considering the print media of popular housewives’ associations during the interwar years it might well be assumed that articles and features on housework would dominate. This assumption appears ...
More
When considering the print media of popular housewives’ associations during the interwar years it might well be assumed that articles and features on housework would dominate. This assumption appears even more plausible in view of the popular but now mistaken belief that the interwar years were characterised by a prevailing ideology of domesticity limiting the interests of wives and mothers to home and family (Beddoe 1989; Kent 1993). In the 1920s and 1930s the majority of women in Britain did marry and have children. Being a housewife remained the typical experience of married women in the fi rst half of the twentieth century (Zweiniger-Bargielowska 2001: 158). However, recent historical research has revealed that the everyday lives of women in the interwar years were far more complex than previously acknowledged. Consequently, there is now a better understanding of the differing experiences of women – as wives and mothers, but also as single women, widows, workers, consumers, activists, and citizens – in the interwar years.Less
When considering the print media of popular housewives’ associations during the interwar years it might well be assumed that articles and features on housework would dominate. This assumption appears even more plausible in view of the popular but now mistaken belief that the interwar years were characterised by a prevailing ideology of domesticity limiting the interests of wives and mothers to home and family (Beddoe 1989; Kent 1993). In the 1920s and 1930s the majority of women in Britain did marry and have children. Being a housewife remained the typical experience of married women in the fi rst half of the twentieth century (Zweiniger-Bargielowska 2001: 158). However, recent historical research has revealed that the everyday lives of women in the interwar years were far more complex than previously acknowledged. Consequently, there is now a better understanding of the differing experiences of women – as wives and mothers, but also as single women, widows, workers, consumers, activists, and citizens – in the interwar years.
Brooke Erin Duffy
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037962
- eISBN:
- 9780252095221
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037962.003.0003
- Subject:
- Society and Culture, Media Studies
This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé ...
More
This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé Nast, and Time, Inc. Although each of these companies produces several women's fashion, beauty, and/or service titles, their organizational structures are becoming quite varied as they reorient departments, positions, and routines to address contemporary industry challenges. The chapter considers the extent to which changes in the magazine industry can be ascribed exclusively to digital innovations, whether such changes are being felt evenly across the industry, and how they have created a perfect storm that has opened up the question of “what is a magazine?” It also discusses the ways that Condé Nast, Time, and Hearst are addressing the challenges of digitization. The chapter shows that women's magazine companies venture into online and digital spaces as part of their concentrated efforts to resuscitate their magazine titles.Less
This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé Nast, and Time, Inc. Although each of these companies produces several women's fashion, beauty, and/or service titles, their organizational structures are becoming quite varied as they reorient departments, positions, and routines to address contemporary industry challenges. The chapter considers the extent to which changes in the magazine industry can be ascribed exclusively to digital innovations, whether such changes are being felt evenly across the industry, and how they have created a perfect storm that has opened up the question of “what is a magazine?” It also discusses the ways that Condé Nast, Time, and Hearst are addressing the challenges of digitization. The chapter shows that women's magazine companies venture into online and digital spaces as part of their concentrated efforts to resuscitate their magazine titles.
