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• W2012201093 abstract "Reviewed by: Modern Women, Modern Work: Domesticity, Professionalism, and American Writing, 1890-1950 Anne E. Boyd Modern Women, Modern Work: Domesticity, Professionalism, and American Writing, 1890-1950. By Francesca Sawaya. Philadelphia: University of Pennsylvania Press, 2004. 198 pp. $42.50. Francesca Sawaya's Modern Women, Modern Work is a thought-provoking contribution to recent discussions of women and professionalization. Covering a broad range of professions, including literature, journalism, social work, political activism, and anthropology, Sawaya reinserts women into the history of modern professionalism by exposing its linkages to and quarrels with Victorian domestic ideology. Most important, she challenges the basic assumption that [m]odernity is ... implicitly linked to masculinity and whiteness and premodernity to femininity and racial or ethic otherness (2). Dismantling the modernists' opposition of domesticity and professionalism (4), Sawaya shows how modern professionals used the suppressed domestic ideology of separate spheres as both the antithesis against which they defined themselves and a model for their own transcendence of market capitalism. Throughout, she argues that by defining themselves against domesticity, sentimentalism, interestedness, subjectivity, or consumerism, male and female modern professionals paradoxically were unable to transcend these degraded feminine concepts. Unfortunately, however, Sawaya's rather one-dimensional consideration of such loaded ideas as domesticity, regionalism, and sentimentalism lacks the nuance and texture of many recent studies and perpetuates their pejorative associations. For instance, sentimentalism is linked to the 'feminine fifties' and domesticity to confinement in the body or the home (60). As a result, her analysis often rests on the same binaries she seeks to expose and leads to a somewhat simplified privileging of some figures over others, depending on who did or did not supercede such gender-laden oppositions. In her analysis of the connections between Victorian domesticity and modern professionalism, Sawaya covers an impressive array of authors and literary movements, from 1890s regionalism through mid-twentieth-century modernism, and analyzes a variety of approaches to professionalism, some of which she clearly values over others. Each chapter focuses on two figures, one literary and one extra-literary, allowing for compelling analyses of how the rhetoric of modern professionalization in a variety of fields crossed over into fictional texts. Sarah Orne Jewett is paired with Jane Addams, Pauline Hopkins with Josephine St. Pierre Ruffin, Frank Norris with George Santayana, Willa Cather with Ida Tarbell, and Zora Neale Hurston with Ruth Benedict. One particularly compelling section focuses on how the development of an ethics of objectivity in Progressive journalism informed a modernist aesthetic of objectivity. Here Sawaya argues that Tarbell and Cather participated in a central paradox of women's modern professionalism: as they attempt[ed] to assume disinterestedness through appeals to a normative white masculinity, they became even more associated with feminine otherness (107). In a less lucid chapter, Sawaya shows how Hopkins and Ruffin used regionalism to argue for a situated expertise and to envision a black women's club movement (55). In contrast, Sawaya argues, Jewett and Addams walled off expertise, limiting it to women like themselves who were upper class and white (144). Here Sawaya misses an opportunity to examine how Jewett and Addams redefined Victorian domesticity, excising marriage and motherhood. Clearly Sawaya prefers the professionalization strategies of Hopkins, Ruffin, Benedict, and Hurston over those of Jewett, Addams, Norris, Santanaya, Tarbell, and Cather. Her [End Page 88] ultimate point seems to be that some participated in the structural inequality of modern professionalism, claiming the authority of privileged experts, while others, particularly marginalized women, successfully challenged that inequality and sought to expand the borders of authority (144). Benedict and Hurston, for example, avoided the trap of defining themselves against a racialized or feminized other by highlight[ing] a historical connection between the modernist professional work they were engaging in and the supposedly feminine forms of subjective analysis of the past (115). Sawaya's reading of Norris and Santayana, in which she forces an argument about the submerged links between sentimentalism and naturalism, provides the most negative instance of how gender politics could be used to exclude women and the feminine from professional discourse. In the end, Sawaya attempts to achieve some larger relevance for her study by concluding with a moral lesson for today's feminist scholars, whose..." @default.
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• W2012201093 title "Modern Women, Modern Work: Domesticity, Professionalism, and American Writing, 1890-1950 (review)" @default.
• W2012201093 doi "https://doi.org/10.1353/leg.2005.0002" @default.
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