Über die Autorin bzw. den Autor

Bonnie Kime Scott is a professor of  English and women’s studies at San Diego State University. She is the author or editor of nine books, including Selected Letters of Rebecca West,Virginia Woolf: Turning the Centuries, and The Gender of Modernism.

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GENDER IN MODERNISM

UNIVERSITY OF ILLINOIS PRESS

Contents

Acknowledgments.....................................................................................................................................vIntroduction: A Retro-prospective on Gender in Modernism Bonnie Kime Scott.........................................................................1Part I. Modernist/Feminist Activism1. SUFFRAGE AND SPECTACLE Introduced and Selected by Mary Chapman and Barbara Green................................................................252. MANIFESTOES FROM THE SEX WAR Introduced and Selected by Janet Lyon..............................................................................673. RADICAL MODERNS: AMERICAN WOMEN POETS ON THE LEFT Introduced and Selected by Nancy Berke........................................................94Part II. Issues of Production and Reception4. SENTIMENTAL MODERNISM Introduced and Selected by Suzanne Clark..................................................................................1255. DEBATING FEMINISM, MODERNISM, AND SOCIALISM: BEATRICE HASTINGS'S VOICES IN THE NEW AGE Introduced and Selected by Ann Ardis.....................1606. JOURNALISM MEETS MODERNISM Introduced and Selected by Patrick Collier...........................................................................1867. WOMEN EDITORS AND MODERNIST SENSIBILITIES Introduced and Selected by Jayne E. Marek.............................................................2258. HOPE MIRRLEES AND CONTINENTAL MODERNISM Introduced and Selected by Julia Briggs.................................................................261Part III. Diverse Identities and Geographies9. LESBIAN POLITICAL HISTORY Introduced and Selected by Gay Wachman................................................................................30710. QUEER CONJUNCTIONS IN MODERNISM Introduced and Selected by Colleen Lamos.......................................................................33611. MODERNISM, GENDER, AND PASSING Introduced and Selected by Pamela L. Caughie....................................................................37212. MODERNISM, GENDER, AND AFRICA Introduced and Selected by Tuzyline Jita Allan...................................................................42713. RACE, NATION, AND MODERNITY: THE ANTI-COLONIAL CONSCIOUSNESS OF MODERNISM Introduced and Selected by Sonita Sarker.............................472Part IV. War, Technology, and Traumas of Modernity14. WAR, MODERNISMS, AND THE FEMINIZED "OTHER" Introduced and Selected by Claire M. Tylee..........................................................51915. MODERNISM, TRAUMA, AND NARRATIVE REFORMULATION Introduced and Selected by Suzette A. Henke.....................................................55516. MODERNISM AND MEDICINE Introduced and Selected by Susan Squier.................................................................................58817. MEDIUMSHIP, AUTOMATISM, AND MODERNIST AUTHORSHIP Introduced and Selected by Bette London.......................................................623Part V: Arts and Performances18. GENDER AND COLLABORATION IN MODERN DRAMA Introduced and Selected by Katherine E. Kelly.........................................................67719. MODERNISM, GENDER, AND DANCE Introduced and Selected by Carol Shloss...........................................................................73820. THE GENDER OF MODERN/1ST PAINTING Introduced and Selected by Diane F. Gillespie................................................................76521. CINASTES AND MODERNISTS: WRITING ON FILM IN 1920S LONDON Introduced and Selected by Leslie Kathleen Hankins...................................809General Bibliography................................................................................................................................859Contributors........................................................................................................................................861Index...............................................................................................................................................865

Introduction

BONNIE KIME SCOTT

IN THE YEARS SINCE 1990, when with a team of collaborators I published The Gender of Modernism, both gender and modernism have remained lively categories-frequently featured in scholarly discussions, and surviving a variety of constructive challenges. "Gender" was introduced in the 1990 volume as

a category constructed through cultural and social systems. Unlike sex, it is not a biological fact determined at conception. [...] Gender is more fluid, flexible, and multiple in its options than the (so far) unchanging biological binary of male and female. In history, across cultures, and in the lifetime development of the individual, there are variations in what it means to be masculine, or feminine, in the availability of identifications such as asexual and androgynous, and in the social implications of lesbian, homosexual, and heterosexual orientations. (2)

Perhaps the most quoted statement in that introduction said that, by the middle of the twentieth century, canonical modernism had been "unconsciously gendered masculine" (2) in its selection of privileged authors, and in its style and concerns. Starting in the late 1970s, thanks largely to critiques organized by women of color, we began to acknowledge additional unspoken norms that have favored work that is heterosexual, white, representative of "high" culture and an academic middle class, or produced in the Northwestern quarter of the globe. Today, sex (down to various arrangements of X and Y chromosomes) is less regularly discussed as a simple binary. The transsexual and the intersex condition now routinely enter considerations of sexuality and the body. In the first decade of the twenty-first century, gender is most interesting as a system connected with and negotiated among various cultural identifiers. Understood within such complex intersections, gender has both greater and subtler implications. It is less often seen as a division between oppositional feminine and masculine traits or traditions. Gender studies now lead to a variety of activities, only one of which is the recuperative work so central to the gynocritics (so named by Elaine Showalter in the 1980s). The movement from author-centered chapters in The Gender of Modernism to chapters based primarily on themes and group identities in this book is one manifestation of this shift. The importance of gender as a modernist issue has only become more obvious over time. Ever more complex questions of gender must be tested in relation to modernist studies, if that area of study is to remain vital and relevant to our lives.

Scholars continue to recover works consciously or unconsciously neglected on the basis of female authorship. A keyword search of the Library of Congress website for "women writers" recently produced ten thousand English language books published between 1990 and mid-2006-the maximum number that can be displayed on the site. Over a thousand of these were in the highest category of relevance. Even Harold Bloom got into the women writers act, however warily, by editing a series of books, "Women Writers of English and Their Works." Among the exciting archival recoveries of texts offered in this volume are Julia Briggs's painstakingly annotated version...