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- W2071719650 abstract "The appearance of the New Woman, typically characterized as riding a bicycle, smoking a cigarette and wearing bangs and bloomers, was nothing if not a performance, but this was more a matter of necessity than choice.1 In the 1880s and 1890s, working- and middle-class women demanded a more independent public role in the spheres of work, politics and culture; but the pervasive image of the public woman was the actress, and the actress was herself closely tied in the public mind with the prostitute.2 The New Woman’s quest for a public role was hindered by the image of woman as spectacle rather than spectator and as commodity rather than agent. Feminists’ aestheticiza-tion of the political was therefore part of an inevitable battle over representation. To paraphrase Walter Benjamin, while the reactionary press rendered suffragist politics aesthetic through cartoons, parody and public ridicule, feminists responded by politicizing art.3 In poetry, plays, novels, short stories and allegories, in processions, fashion, placards, slogans and flags, the woman movement (as it then proclaimed itself) fought over the sign of woman as it attempted to transform women’s public role.4 Questions of performativity were central to these struggles." @default.
- W2071719650 created "2016-06-24" @default.
- W2071719650 creator A5059831283 @default.
- W2071719650 date "2000-01-01" @default.
- W2071719650 modified "2023-10-17" @default.
- W2071719650 title "Stages of Sand and Blood: the Performance of Gendered Subjectivity in Olive Schreiner’s Colonial Allegories" @default.
- W2071719650 cites W1536409610 @default.
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- W2071719650 doi "https://doi.org/10.1057/9780230371149_10" @default.
- W2071719650 hasPublicationYear "2000" @default.
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