New Woman
The New Woman was a feminist ideal that emerged in the late 19th century and had a profound influence well into the 20th century. In 1894, writer Sarah Grand used the term "new woman" in an influential article to refer to independent women seeking radical change. In response the English writer Ouida used the term as the title of a follow-up article. The term was further popularized by British-American writer Henry James, who used it to describe the growth in the number of feminist, educated, independent career women in Europe and the United States. The New Woman pushed the limits set by a male-dominated society. Independence was not simply a matter of the mind; it also involved physical changes in activity and dress, as activities such as bicycling expanded women's ability to engage with a broader, more active world.
Changing social roles
Writer Henry James was among the authors who popularized the term "New Woman," a figure who was represented in the heroines of his novels—among them the title character of the novella Daisy Miller and Isabel Archer in Portrait of a Lady. According to historian Ruth Bordin, the term New Woman was:Peggy Meyer Sherry notes in her article: "Telling Her Story: British Women of Letters of the Victorian Era": " Sarah Grand who invented the "New Woman," saw society as her laboratory and her novels as case studies."
The "New Woman" was also a nickname given to Ella Hepworth Dixon, the English author of the novel The Story of a Modern Woman.
Postsecondary and professional education
Although the New Woman was becoming a more active participant in life as a member of society and the workforce, she was most often depicted exerting her autonomy in the domestic and private spheres in literature, theatre, and other artistic representations. The 19th-century suffragette movement to gain women's democratic rights was the most significant influence on the New Woman. Education and employment opportunities for women were increasing as western countries became more urban and industrialized. The "pink-collar" workforce gave women a foothold in the business and institutional sphere. In 1870, women in the professions comprised only 6.4 percent of the United States' non-agricultural workforce; by 1910, that figure had risen to 10 percent, then to 13.3 percent in 1920.More women were winning the right to attend university or college. Some were obtaining a professional education and becoming lawyers, doctors, journalists, and professors, often at prestigious all-female colleges such as the Seven Sisters schools: Barnard, Bryn Mawr, Mount Holyoke, Radcliffe, Smith, Vassar, and Wellesley. The New Woman in the United States was participating in post-secondary education in larger numbers by the turn of the 20th century.
Sexuality and social expectations
Autonomy was a radical goal for women at the end of the 19th century. It was historically a truism that women were always legally and economically dependent on their husbands, male relatives, or social and charitable institutions. The emergence of education and career opportunities for women in the late 19th century, as well as new legal rights to property, meant that they stepped into a new position of freedom and choice when it came to marital and sexual partners. The New Woman placed great importance on her sexual autonomy, but that was difficult to put into practice as society still voiced loud disapproval of any sign of female licentiousness. For women in the Victorian era, any sexual activity outside of marriage was judged to be immoral. Divorce law changes during the late 19th century gave rise to a New Woman who could survive a divorce with her economic independence intact, and an increasing number of divorced women remarried. Maintaining social respectability while exercising legal rights still judged to be immoral by many was a challenge for the New Woman:It was clear in the novels of Henry James that however free his heroines felt to exercise their intellectual and sexual autonomy, they ultimately paid a price for their choices.
Some admirers of the New Woman trend found freedom to engage in lesbian relationships through their networking in women's groups. It has been said that for some of them, "loving other women became a way to escape what they saw as the probabilities of male domination inherent in a heterosexual relationship". For others, it may have been the case that economic independence meant that they were not answerable to a guardian for their sexual or other relationship choices, and they exercised that new freedom.
Class differences
The New Woman was a result of the growing respectability of postsecondary education and employment for women who belonged to the privileged upper classes of society. University education itself was still a badge of affluence for men at the turn of the 20th century, and fewer than 10 percent of people in the United States had a post-secondary education during the era.The women entering universities generally belonged to the white middle class. Consequentially, the working class, people of color, and immigrants were often left behind in the race to achieve this new feminist model. Woman writers belonging to these marginalized communities often critiqued the way in which their newfound freedom regarding their gender came at the expense of their race, ethnicity, or class. Although they acknowledged and respected the independence of the New Woman, they could not ignore the issue that the standards for a New Woman of the Progressive Era could, for the most part, only be attained by white middle-class women.
Cycling
The bicycle had a significant impact on the lives of women in a variety of areas, not least in the area of Victorian dress reform, also known as the "rational dress movement". The greatest impact it had on the societal role of women occurred in the 1890s during the bicycle craze that swept American and European society. The bicycle gave women a greater amount of social mobility. The feminist Annie Londonderry accomplished her around-the-globe bicycle trip during this decade, becoming the first woman to do so. Elizabeth Robins Pennell, who started her writing career with a biography of Mary Wollstonecraft, pioneered bicycle touring with her travelogues around England and Europe in the late nineteenth century.Due to the price and the various payment plans offered by American bicycle companies, the bicycle was affordable to the majority of people. However, the bicycle impacted upper and middle class white women the most. This transformed their role in society from remaining in the private or domestic sphere as caregivers, wives, and mothers to one of greater public appearance and involvement in the community.
Literature
Literary discussions of the expanding potential for women in English society date back at least to Maria Edgeworth's Belinda and Elizabeth Barrett's Aurora Leigh, which explored a woman's plight between conventional marriage and the radical possibility that a woman could become an independent artist. In drama, the late nineteenth century saw such "New Woman" plays as Henrik Ibsen's A Doll's House and Hedda Gabler, Henry Arthur Jones's play The Case of Rebellious Susan and George Bernard Shaw's controversial Mrs. Warren's Profession and Candida.According to a joke by Max Beerbohm, "The New Woman sprang fully armed from Ibsen's brain".
Bram Stoker's Dracula makes prominent mention of the New Woman in its pages, with its two main female characters discussing the changing roles of women and the New Woman in particular. Lucy Westenra laments she can not marry several men at once, after she has been proposed to by three different men. Her friend, Mina, later writes in her diary that the New Woman would do the proposing herself. Feminist analyses of Dracula regard male anxiety about the Woman Question and female sexuality as central to the book.
The term was used by writer Charles Reade in his novel A Woman Hater, originally published serially in Blackwood's Magazine and in three volumes in 1877. Of particular interest in the context are Chapters XIV and XV in volume two, which made the case for the equal treatment of women.
In fiction, New Woman writers included Olive Schreiner, Annie Sophie Cory, Sarah Grand, Mona Caird, George Egerton, Ella D'Arcy and Ella Hepworth Dixon. Some examples of New Woman literature are Victoria Cross's Anna Lombard, Dixon's The Story of a Modern Woman and H. G. Wells's Ann Veronica. Kate Chopin's The Awakening also deserves mention, especially within the context of narratives derived from Flaubert's Madame Bovary, both of which chronicle a woman's doomed search for independence and self-realization through sexual experimentation.
The emergence of the fashion-oriented and party-going flapper in the 1920s marked the end of the New Woman era.
Art
By the late 19th century, art schools and academies had begun to offer more opportunities for artistic instruction to women. The Union of Women Painters & Sculptors, founded in 1881, supported women artists and offered exhibition opportunities. Women artists became "increasingly vocal and confident" in promoting women's work, and thus became part of the emerging image of the educated, modern and freer "New Woman".In the late 19th century, Charles Dana Gibson depicted the "New Woman" in his piece, The Reason Dinner was Late, which shows a woman painting a policeman.
Artists "played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives". In the late 19th and early 20th centuries about 88% of the subscribers of 11,000 magazines and periodicals were women. As women entered the artist community, publishers hired women to create illustrations that depicted the world through a woman's perspective. Successful illustrators included Jennie Augusta Brownscombe, Jessie Wilcox Smith, Rose O'Neill, Elizabeth Shippen Green, and Violet Oakley.