A female war correspondent on the Italian front, 1915–17: the Austrian travel journalist and photographer Alice Schalek

In July 1915, Alice Schalek was accredited to the Austro-Hungarian Kriegspressequartier (War Press Office) as one of a small number of female war correspondents, publishing her war reports and photographs in the prestigious Viennese newspaper Neue Freie Presse and in the illustrated German magazine Berliner Illustrirte Zeitung. Schalek’s writings and photographs were very popular, but also sharply criticized in some quarters for their alleged lack of objectivity and a tendency to glorify the war. Her most prominent critic was the Austrian writer and journalist Karl Kraus, whose negative judgment dominated Schalek’s historical reputation for many decades. Focusing on Schalek’s assignments to the Italian front during 1915–17, this article looks at the working conditions faced by Schalek as a female war reporter and reconstructs the war images she transmitted to the public through her writings, photographs, and lectures. Moreover, it asks in what ways Schalek’s work reflects a female perspective on the war.     

Juvenile Travellers: Priscilla Wakefield's Excursions in Empire

While most discussions of juvenile imperial literature relate to the mid-nineteenth century onwards, this article draws attention to an earlier period by examining the children's books of Priscilla Wakefield. Between 1794 and 1817 Priscilla Wakefield wrote sixteen children's books that included moral tales, natural history books and a popular travel series. Her experience of the British Empire's territories was, in the main, derived from the work of others but her use of interesting characters, exciting travel scenarios, the epistolary form to enhance the narrative and fold-out maps added interest to the information she presented. Her strong personal beliefs are evident throughout her writing and an abhorrence of slavery is a recurring theme. She was also the grandmother and main caregiver of the young Edward Gibbon Wakefield and his immediate siblings. In contrast to his grandmother, Edward Gibbon Wakefield's experience of the empire was both theoretical and practical. He drew on, and departed from, the work of political economists to develop his theory of systematic colonisation and was active in both Canadian and New Zealand affairs. He began writing about colonisation in the late 1820s and his grandmother's influence can be seen in his wide use of existing sources and attractive writing style to communicate with his audience.     

Ardent Service: Female Eroticism and New Life Ethics in Gertrude Dix's The Image Breakers (1900)

Gertrude Dix's socialist-feminist novel, The Image Breakers (1895) has perplexed twentieth-century critics by its brief, short-circuited representation of homoerotic affection between the two female protagonists. In answer, this essay roots the women's relationship in the wider social, historical context of New Life politics and ethics in the 1890s. Members of the Fellowship of the New Life heralded not merely a variety of alternative lifestyles including vegetarianism and co-education, but also extensive discussion about sexual mindfulness and generosity. The charismatic seer and inspiration for the FNL, James Hinton, preached that utopia could be achieved by practicing an erotically-charged altruism. If, as Sharon Marcus has claimed, such female mutual devotion was common and perceived as normative, it was particularly affirmed by ethical-socialist culture. In the novel, Leslie Ardent's loving service to Rosalind is fuelled by her political mission and desire for self-realization. Through this female intimacy, Dix evokes the initial phase of New Life socialism as Hinton and his followers had espoused it. By contrast, the women's heterosexual relationships are more troubling, as male comrades pressure them respectively into heterosexual marriage and free love. In order to discredit heterosexual free love, Dix paints its proponent as a disturbed anarchist, rather than admit that historically some in ethical-socialist circles had advocated polyamoury. Nor does she acknowledge the philosophical convergences between collective anarchism and ethical socialism at the fin de siècle, though she herself was engaged in radical communities. Through her indictment of free love, Dix punctures the utopian vision of a pure, selfless, erotic affection flowing between individuals; figuratively, the novel re-enacts the collapse of Hinton's own reputation from seer to seducer. Echoing scenarios by other female ethical-socialist writers, the early intimacy between Rosalind and Leslie then serves the function of nostalgia, symbolizing a now-lost stage of New Life optimism and association.     

Samuel Butler's Sheep

Alice Stopford Green, widow of proto-social and Teutonic nationalist historian J.R. Green, who went on to become an Irish nationalist historian and campaigner, complicates our view of fin-de-siècle women writers. Surprisingly for an amateur historian in an age of professionalization, she took a consciously separatist position, privileging the particular over the general, and defining her writing as both female and Irish.

This article focuses on Stopford Green's 1915 epilogue to her husband's Short History of the English People (1874), and her startlingly anguished periodical article of 1897 from Nineteenth Century, to demonstrate a separatism both bold and self-aware.‘Woman's Place in the World of Letters’ (1897) prefigures Cixous in its call for an écriture feminine. It views women as utterly alien to the established order of this world. Stopford Green at once acquiesces with female essentialisation – ‘woman’ comes in the singular – and undermines it by insisting that woman's true nature is almost never seen. In the ‘Epilogue’ (1915), which updates her husband's narrative to her war-torn present, Stopford Green voices jingoistic rhetoric, but employs unobtrusive asides to distance herself from these calls to imperialism. Through such surreptitious means, she uses her late-husband's popular textbook as the conduit of subversive ideas, both voicing and subverting his English nationalism.     

The Feasibility of Teaching Scientific and Technical Russian without the Prerequisite of a General Russian Language Course

The plot of the short novel La mano en la trampa (Beatriz Guido, 1961) is about a young woman who becomes a heroine while trying to find out the truth about a family secret known as “El Opa.” Her work as a spy needs to be done in complete secrecy. Her family is behind her and she needs to escape from censorship. Her family story is similar to Argentina's context at that time when many people had to avoid the control and excessive power of Peron's government. Everything seems to be double in this novel: spaces, characters, life stories, ghosts, vampires, haunting and repressive atmospheres. All of these elements contribute to the gothic spirit in La mano en la trampa that I explore in this article.     

Compassionate Protector of America: The Symbolism of Old Hickory in a Jackson Woman's Mind

Serving as America's only female newspaper editor during the election of 1832, Anne Royall became possibly the first public “Jackson Woman” by supporting the chief executive's bid for re-election in her sheet titled Paul Pry. A closer look at Royall's recollections from her travels in Alabama from 1818 to 1822 shows her to be a blooming “Jackson Woman” developing before the Jackson party was even conceived. In 1828, Royall's Black Books produced a scathing indictment of American society. Both the Adams and Jackson campaigns actively recruited her for their mud-slinging contest but she declined. Three years later Royall started printing Paul Pry. The Black Books and Paul Pry gave Royall a public voice, and she was not afraid to use it. Between 1818 and 1832, Anne Royall went from being a Jackson admirer to being a public Jackson woman.     

Poison and romance: Oscar Wilde and the strange case of Edith Thompson

Oscar Wilde considered crime and sin no impediment to art or culture, as the case of the poisoner-artist-critic Thomas Wainewright (1794–1847) allowed him to demonstrate. English society of the time, as George Orwell famously declared, was as fascinated by poisoning as was Wilde. One of Orwell's cases was that of Edith Thompson who, along with her young lover, was convicted in 1922 in London of conspiracy to murder her husband whom it was alleged she had tried to poison. She and her lover were hanged in early 1923. Thompson's preoccupation with poison was entangled with her preoccupation with popular romance fiction of the day which she read copiously and discussed perceptively with her lover in the letters that helped to convict her. Her favourite novelist was Robert Hichens, the acquaintance, imitator and caricaturist of Wilde. She quoted Hichens's novel Bella Donna (1909) in letters to her lover, including on the practical matter of poison, which helped convince the jury of her guilt. Her trial, like Wilde's trials – all involving sexual transgression – raised the difficult question of whether literature could poison and influence for the worse its readers or whether it lay outside both morality and the world of action. Moreover, were Thompson's own letters literature and fantasy or were they oblique discussions of practical intent, including the intent to murder? As in the case of Wilde, a larger question supervened. In part through her reading, in part through her own experience, Edith came to believe, even before the murder, that freedom is an illusion, fate an inescapable reality.     

George Egerton,James Joyce and the Irish Künstlerroman

George Egerton (Mary Chavelita Dunne, 1859–1945), from Co. Laois, was the New Woman author most closely associated with the Decadent movement. As such, she was also the New Woman writer most profoundly affected by the downfall of Oscar Wilde. After the Wilde trials of 1895, Egerton's connection to Decadence and New Womanhood would make her work anathema to much of the British public. This essay will argue that ongoing tendencies to situate her texts solely within the New Woman categorisation and an English cultural location have had the detrimental effect of obscuring their importance to a specifically Irish literary tradition. By examining Egerton's 1898 novel The Wheel of God, focusing on its status as an Irish Künstlerroman written from a position of exile, and drawing comparisons between it and the works of James Joyce, this essay will seek to redress this imbalance.     

‘Her Cause Against Herself’: Margaret Fuller,Emersonian Democracy,and the Nineteenth‐Century Public Intellectual

Recent interpretations of Margaret Fuller's ideological significance have embedded her biography in an older understanding of Transcendentalism's history that imagines a post‐Brook Farm cleavage between ‘Emersonian individualists’ and more socially conscious communitarians. In late 1844, Margaret Fuller left New England for employment at Horace Greeley's New‐York Tribune, a moment that a number of biographers and critics have imagined as Fuller's own personal Brook Farm, her resignation from the ‘party of Emerson.’ Recent work in the history of Transcendentalism and romantic liberalism more generally, however, has been more careful about confusing romantic individuality with modern bourgeois individualism. This essay furthers the discussion of Transcendentalist ideology by arguing that Fuller's New York journalism was representative of the broad intellectual unity of the movement's democratic experiments – experiments that experientially, socially, and intellectually aimed to overcome the boundaries between the body and the mind, manual and mental labor, and the manual and mental classes.     

Man,Woman and God in Judg 4

This paper attempts to explain the peculiarities of the Deborah narrative. In contrast to other savior- judges, Deborah is a prophetess, a judiciary, and a woman. Her role as a savior differs from other judges in that she is a high commander, but Barak carries out the actual task of battle. Deborah's rule conveys the lesson that God is responsible for victory. This is why she is presented as a prophet and a messenger of God and her personality is not portrayed in the story at all; rather, she is shown as a well-established judge and therefore an anti-charismatic figure. The emphasis on her status as a woman is meant to prevent her from becoming involved in an actual battle; this is left for Barak to carry out. When Barak demands the presence of Deborah on the battlefield, it might be thought that her presence is necessary to gain victory; then, as in the Ehud narrative, an unhealthy dependency between the people and Deborah might have been produced. Deborah responds with a prophecy that a woman will kill Sisera; in this way she reinforces her prophetic role rather than her personality, rectifying the damage caused by Barak's request.     

“(S)he Conquers Who Endures”: Theodora DeWolf Colt and the Birth of a New Cultural Elite

This essay explores the intersection of gender and class in the making of the new “high brow” culture of the late nineteenth century, represented by the matriarch of Bristol, Rhode Island, Theodora Goujaud DeWolf Colt. Through her poetry and salons, Theodora, like other wealthy women of the time, helped fashion a new bourgeois culture, which, though centered in New York and Boston, radiated outward to the smaller cities of the U.S., such as Bristol. Although the gendered norms and practices of the time excluded her from participation in much of public life, Theodora represented a new model of autonomy for upper-class women, for she was unmarried, not dependent on a man, and an independent intellectual. Her work also demonstrated the gendered tensions inherent in the formation of this new culture, as she developed a distinctive literary perspective that subtly criticized the paternalism and bourgeois values of that era.     

Alice Munro,Charles McGrath,and the Shaping of “The Turkey Season”

Using archival evidence of the editorial process behind the publication of the story “The Turkey Season,” this article explores the collaborative literary relationship between Alice Munro and one of her long-time editors at The New Yorker magazine, Charles McGrath. It reveals McGrath’s exceptional contribution to the story—restructuring it by combining the two versions Munro submitted into a composite—and theorizes the composite version’s effects on the epistemological grounding of the story and the narrator’s certainty about her own memory of the events she recounts, both of which are features that are often considered characteristic of Munro’s style in her mature writing.     

Kitchen Window Feminism: Sarah Macnaughtan,Wartime Care and the Authority of Experience in the South African and First World Wars

Sarah Macnaughtan, a wealthy novelist, used volunteer care work to claim the legitimacy of her wartime experience in the South African and First World Wars and to assert women's rights in the early twentieth-century British empire. Macnaughtan framed her caregiving experiences in both inherently domestic terms – ‘from a kitchen window’ – and as a justification for women's suffrage and participation in public life. Her example loosens a persistent binary between trained nurses and untrained wartime volunteers and highlights the importance of precedents set in the British empire to the feminist politics and caring practices of the First World War.     

María Zambrano amongst the philosophers. An introduction

ABSTRACT

As the Spanish Civil War (1936-1939) came to an end, hundreds of thousands of Spaniards who had opposed the military rebellion which initiated the war and remained loyal to the democratically elected government were forced into exile. Amongst them was the philosopher María Zambrano (1904-1991). While little known to an English-speaking readership, she represents a unique voice engaging with some of the fundamental problems of our times. Her life was marked, like that of her contemporaries Benjamin, Husserl, Arendt, Pato?ka, Adorno, Lacan, Derrida and Blumenberg by the crisis of modernity culminating in the two World Wars. Her work is part of the same philosophical debates, currents and problems facing the Europe of her time. The aim of the volume María Zambrano amongst the philosophers, introduced in this article, is to focus on the links between Zambrano’s thought and a wide range of themes and ideas associated with these other European thinkers. A summary of Zambrano’s main philosophical concepts and preoccupations is also offered to help the reader situate the translated anthology of texts by the philosopher included in the volume.     

The Queen and the City: Royal Female Intervention and Patronage in Hellenistic Civic Communities

In 196 bce , Queen Laodike III issued a decree (I.Iasos 4, I) to Iasos in Caria, Asia Minor, announcing that she was giving the Iasians a ten‐year supply of grain to alleviate their penury after her husband's conquest of their city, and she specified that the grain ought to be sold and the income used to provide dowries for the daughters of poor citizens. This and other donations were part of rebuilding efforts in the wake of military violence by Laodike's husband Antiochos III. For her beneficence, Laodike was honoured by cities with foundations of festivals, priestesses and sacred areas dedicated to preserving her cult. This reciprocity of goodwill was gendered, not only in the establishment of priestesses, but in the nature of the honours given; for example Iasos celebrated Laodike III's birthday with a procession of a maiden priestess and couples who were about to wed (I.Iasos 4, II), and the people of Teos dedicated a fountain in their city centre to Laodike and required that all brides should draw from it the water for their baths (SEG 41, 1003). Laodike's patronage and the cities’ responses to her bring to light the role of female citizens within the structures, perpetuation and ceremonial of the civic body. At the heart of honours given Laodike and her own self‐promotion was the identity of sister and mother, roles shaping her own queenship and the civic participation and power of the women she assisted.     

A thirteenth-century Anglo-Jewish woman crossing boundaries: visible and invisible

In 1242, the private life of an Anglo-Jewish couple, Muriel and David of Oxford, became very public when David asked the royal curia to intervene in the Jewish court (bet din) which had either refused or stalled his divorce from the childless Muriel. The curia not only agreed to force the divorce, but used it as an excuse to ban all betai din, catching the whole Anglo-Jewish community in the growing anti-Judaism of the time. Though David married a fertile widow who bore him a son shortly before his death in 1244, Muriel lived on in growing poverty. David was the most prominent financier of his time but examining the story from Muriel's usually silent point of view allows us insights into the life of a woman in a growing academic town. Her story especially highlights how she might have interacted with both male and female Christians in her daily life as well as in seeking help with her especially feminine problem of infertility.     

Art as research: an interview with Liliane Lijn by Barry Miles

ABSTRACT

In conversation with the biographer and author Barry Miles, the artist and poet Liliane Lijn talks about her early influences as a young American artist living and working in Paris, Athens and New York and the development of her practice between 1959 and 1970. She recalls her encounters with prominent surrealists, poets and artists of the Beat generation: André Breton, William Burroughs, Gregory Corso, and her enduring friendship with Greek sculptor Takis. Inspired by the experimental nature of their works, Lijn explains how her own work focused on research and invention. She describes her Poem Machines as ‘seeing sound’ and explains her growing interest in science and, in particular, light. Lijn details the long and complex gestation of Liquid Reflections, her most well-known cosmic work of the late 1960s, and how working with industry and technology allowed her to increase both the scale and complexity of her oeuvre.     

“Let Me Come to Tell You”: Loide Shikongo,the King,and Poetic License in Colonial Ovamboland

In this paper, I explore cultural discourse, gender and the subjectivities of local people on the frontier of empire in mid‐20th century southern Africa. Using the example of Nekwaya Loide Shikongo, a prominent woman from Ondonga in northern Namibia (the colonial “Ovamboland”), and an epic poem on the deposed King Iipumbu yaShilongo that she performed in 1953, I discuss how gender was constituted and mediated. The narrative of a remarkable woman’s life and her poetry is told to understand how gender in relation to other forms of identity was constructed in different cultural discourses. I argue that both the Christian mission’s cultural discourse and the South African colonial administration’s efforts to masculinise the “native” political authority gendered Owambo elite women whose identities had previously included “gender” only as a rather contingent component. The example of Loide Shikongo, however, also shows that many Owambo continued to pursue heterogeneous, and sometimes ambiguous, strategies in their claims to Christian models of modernity.