7 Churchill, women and the politics of gender Richard Toye In 1953, Lady Violet Bonham Carter was approached to contribute a chapter to a book that was to be published as a tribute to Prime Minister Winston Churchill on his eightieth birthday. Bonham Carter, the daughter of H. H. Asquith, was a formidable Liberal politician in her own right, and was also one of Churchill’s few close female friends. She was happy to be included in the volume but she vigorously rejected the suggestion of the editor, Sir James Marchant, and the publisher, Desmond Flower of Cassell
Humanitarian Narrative ’, Humanity: An International Journal of Human Rights, Humanitarianism, and Development , 2 : 2 , 161 – 70 . Medie , P. A. and Kang , A. J. ( 2018 ), ‘ Power, Knowledge and the Politics of Gender in the Global South ’, European Journal of Politics and Gender , 1
. (eds), The Discursive Politics of Gender Equality – Stretching, Bending and Policymaking ( Abingdon : Routledge ), pp. 19 – 35 . Bacchi , C. L. ( 2012 ), ‘ Why Study Problematizations? Making Politics Visible ’, Open Journal of Political Science , 2 : 1 , 1 – 8
, D. (ed.) ( 2011 ), Adventures in Aidland: The Anthropology of Professionals in International Development ( New York and Oxford : Berghahn Books ). Mostafanezhad , M. ( 2013 ), ‘ “Getting in Touch with Your Inner Angelina”: Celebrity Humanitarianism and the Cultural Politics of Gendered Generosity in Volunteer
Historians and political scientists have deemed the twentieth century 'the Conservative Century', owing to the electoral and cultural dominance of the Conservative Party in Britain. This book traces the relationship among women, gender and the Conservative Party from the 1880s to the present, and thereby seeks to fill that gap. A gender inclusive approach allows for a more nuanced understanding of political machinations, power and the unprecedented popularity of both conservatism and unionism in the late nineteenth and early twentieth centuries. The suffragette Christabel Pankhurst, was regarded as a charismatic, radical figure, who was the co-leader of the Women's Social and Political Union (WSPU), a notorious suffrage organization campaigning for the parliamentary vote for women in Edwardian Britain. In 1928 Lady Iveagh, Vice-Chairman of the National Union of Conservative Associations (NUCA), claimed that one million women were members of the Conservative Party. The book focuses on how the Primrose League re-made itself for its female members between 1914 and 1932. It shows that the Conservative Party leadership and male candidates were keen to present themselves as the champions of home interests, playing up their family-man credentials against their rowdy electoral culture of Labour. The book also examines inquires how the deliberate choice of middlebrow rhetoric as well as the language of citizenship enabled Conservative women to construct a cross-class language of democracy. It explores British conservatism, highlighting the history of the Tory Party as part of the study of women and their sectional interest in 'the politics of gender'.
1990 and was abolished by 1994. The ECC’s politics of gender was apparent in its internal organisational dynamics, public repertoires of action and the multiple discourses it deployed against conscription. These performative acts and gendered discourses contested and reconfigured hitherto profoundly militarised white masculinities and femininities. The assessment of social movements has progressed from defining and analysing the ‘outcomes’ of such movements to focusing on the interpersonal dynamics, political debates and, in particular, gender relations between
The introduction to the volume sets Richard Marsh in his historical context and argues that our understanding of late-Victorian and Edwardian professional authorship remains incomplete without a consideration of Marsh’s oeuvre. The introduction discusses Marsh as an exemplary professional writer producing topical popular fiction for an expanding middlebrow market. The seeming ephemerality of his literary production meant that its value was not appreciated by twentieth-century critics who were constructing the English literary canon. Marsh’s writing, however, deserves to be reread, as its negotiation of mainstream and counter-hegemonic discourses challenges our assumptions about fin-de-siècle literary culture. His novels and short stories engaged with and contributed to contemporary debates about aesthetic and economic value and interrogated the politics of gender, sexuality, empire and criminality.
differences as with sex difference. 3 Hence even an expanded politics of gender – one that recognises the imbrication of gender in a variety of different axes of power – may still fall short as the starting-point for a feminist critique of colonial masculinity. Indeed, the politics of colonial masculinity points out the need for the kind of materialist-feminist analysis that
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.
psychological constructs which limit the female, and explores the images of the divided self that can result. In Rewriting the Victorians: Theory, History and the Politics of Gender, Linda M. Shires comments, ‘symbolic associations of women with disease were strengthened by the received wisdom that not only were women more prone to insanity than men, they were also more responsible for hereditary transmission’.10 Although Brontë rejects the notion that the passionate female is diseased in body (and mind), owing to her ‘unfeminine’ sexual desires, she also conﬁrms the taint of