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Milo Sage M 2017 Phd.Pdf (2.016Mb) “IF IT IS SINCERE, IT WILL ROUSE HOSTILITY”: THE FREEWOMAN, FEMINISMS, AND PRINT CULTURE IN EARLY TWENTIETH-CENTURY ENGLAND SAGE M. MILO A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN GENDER, FEMINIST & WOMEN’S STUDIES YORK UNIVERSITY TORONTO, ONTARIO AUGUST 2017 © SAGE M. MILO, 2017 ABSTRACT This dissertation is an examination of The Freewoman (1911-12) as a feminist publication, and its editor Dora Marsden’s (1882-1960) particular role in the journal. It examines periodical culture and feminisms, and the possibilities that periodicals open up for feminist thought and politics through the characteristics of this publishing genre. These include a focus on the emotional community created in and through The Freewoman, as well as its self-reflexive grappling with its role as a periodical. Using The Freewoman and archival collections and life- writing related to it, this dissertation asks: how did periodicals function as sites for articulating feminist thought in ways that reached beyond the limitations of formal politics like suffrage? How did they foster the diversification and expansion of feminism in progressive directions? How might attention to the emotional aspects of periodicals and the communities created in and through them enrich the historical narratives of first-wave feminism, and feminisms more broadly? And what possibilities does a reflexive and intentional use of the capacities of a medium and genre (in this case the independent periodical) open for feminist politics? This dissertation highlights the importance of dissent and conflict to feminism, through The Freewoman. I argue that the periodical contributed to the diversification of early-twentieth century feminism not only through its subject matter but importantly through insisting on dissent, conflict, and difference as essential to the progress, if not the very existence, of feminism. Using the characteristics of the periodical as a publishing genre, The Freewoman created a space and a community that were intensely political, while allowing for the expression of opinions and emotions that were perceived as ‘destructive’. It is in the alternative space that The Freewoman ii created, I offer, that its uniqueness and importance lie. Through its resistance of ‘artificial unity’ and its emphasis on dialogue and conflict as a constant state, rather than a troubled moment that should be resolved, I see The Freewoman also as creating a ‘queer’ space or counterpublic, in the sense of challenging normativity in a range of areas. iii ACKNOWLEDGEMENTS It is trite perhaps to say that no academic work is entirely individual, but that makes it no less true. This project would not have been what it is, perhaps would never have been completed, without the support of friends and mentors, and I am grateful to them for that support. I have been extremely fortunate along this long journey that is graduate school, to have supervisors who are truly committed to mentorship in its broadest sense. Stephen Brooke, Barbara Crow, and Rusty Shteir have been immensely generous with their time, thoughts, energy, and encouragement at all stages of this project, and I cannot thank them enough for that. Special thanks to Stephen for the balance he struck between allowing space for the project to evolve, and close involvement and guidance throughout, as well as his patience, sensitivity, and sense of humour. Two past supervisors, Marlene Kadar and Marc Stein, were not directly involved in this dissertation, but their guidance was felt through their questions and their advice, their voices in my head always reminding me to think from another angle, ask another question (and then another), and make a good outline. Many thanks to my family, who followed and supported from afar, especially to my father Hillel, who’s shown loving interest in the project. I have been especially lucky for the friends, older and newer, who read and commented on parts of this dissertation, shared food, ideas, space, tears, laughs and rants, and gave generously of their time and love in many forms. A giant thank-you (in alphabetical order) to Sabina Chatterjee, Heather Evans, Dana Gill, Jolin Joseph, Preity Kumar, Tamar Margalit Lesselrot, Gary Lee Pelletier, Tiffany Pollock, Amy Verhaeghe, and Harshita Yalamarty. Special thanks to Noa Yaari also for the countless Freewoman and Dora Marsden hours, and for the expert eye on the images. iv Last but by no means least, my love and gratitude to Ela Przybylo, the best queer-platonic partner one could ask for, for sharing advice, roads, tents, car-singing, and many talky-talky feminist dinners. v TABLE OF CONTENTS Abstract ii Acknowledgements iv List of Figures viii Introduction 1 Chapter 1 The Freewoman and Feminisms, 1911-12 41 1.1 The Freewoman – Background and Context 41 1.2 Feminism in the Mid-Nineteenth and Early Twentieth century 54 1.3 “A douche of cold criticism will do no harm”: The Freewoman and contemporary feminisms 73 Chapter 2 ‘Intellectual Acid’: Cultural Resistance, Cultural Citizenship, and Emotional (Counter)Community in The Freewoman 99 2.1 Cultural Resistance and Counter-Culture 105 2.2 Cultural Citizenship 117 2.3 Emotional (Counter)Community 132 2.4 Conclusion 144 Chapter 3 Creating a Queer Space: The Freewoman and Sexuality 146 vi 3.1 Suffrage and Purity 148 3.2 Uranianism 158 3.3 Spinsterhood 179 Chapter 4 ‘A Blessing All Round’: The Periodical Genre and Feminism in The Freewoman 191 4.1 The Periodical as a Publishing Genre 192 4.2 The Freewoman and the Periodical as a Genre 201 4.3 Conclusion: Periodicals as Archives 218 Conclusion 221 Bibliography 236 vii LIST OF FIGURES Fig. 1 Table of Contents (detail of first page), The Freewoman, November 30, 1911, 20 p. 46 Fig. 2 “W.F.L. Hat,” The Vote, November 4, 1911, 21. Women’s Library, London School of Economics p. 52 Fig. 3 “A Book for Married Women,” The Freewoman, November 23, 1911, 19 p. 128 Fig. 4 “International Suffrage Shop,” The Freewoman, January 25, 1912, 196 p. 128 Fig. 5 Mrs. Edith Garrud’s invitation to Ju-Jutsu demonstration, The Freewoman, January 25, 1912, 189 p. 129 Fig. 6 “’Lady’ Combined Knife and Scissors Sharpener,” The Freewoman, November 30, 1911, 34 p. 129 Fig. 7 “Libraco Portable Shelving,” The Freewoman, November 23, 1911, 19 p. 129 Fig. 8 “Neck-Wear Novelties for Easter,” The Freewoman, March 28, 1912, 365 p. 130 Fig. 9 The Freewoman calendar, by Mary Gawthorpe (u.d.). Box 2, folder 1, Dora Marsden Collection p. 133 viii Introduction On 23 November 1911, the first issue of The Freewoman: A Weekly Feminist Review was published. Already at this early stage, its editor, Dora Marsden (1882-1960), distinguished it from other journals dedicated to “the freedom of women.” As she put it: “They deal with something which women may acquire. We find our chief concern in what they may become. Our interest is in the Freewoman herself, her psychology, philosophy, morality, and achievements, and only in a secondary degree with her politics and economics.”1 This statement captures one of the features that made The Freewoman a unique presence in the landscape of the women’s movement in early twentieth-century Britain. Rather than advocate for women’s rights related to formal politics, The Freewoman emphasized the changes in consciousness that could transform women’s lives and notions of gender in more radical ways. The Freewoman ceased publication after less than a year, its last issue published on 10 October 1912. It was the first British or American periodical to call itself ‘feminist’, indicating, much like the statement quoted above, interests that went beyond the predominant concerns of women’s political organizations of the period, chief amongst them the vote.2 Through its content and style, as well as its editorial philosophy and practices, The Freewoman became a site for theorizing and debating feminism as an emergent politics and identity in the early twentieth century. The Freewoman affords researchers a unique lens into the process of constructing feminist identities and politics in this period. This dissertation is an examination of The 1 “Notes of the Week,” The Freewoman, November 23, 1911, 3. 2 Delap, “Individualism and Introspection,” 165. 1 Freewoman as a feminist publication and Dora Marsden’s particular role in the journal. Such an examination affords a view of the connection between periodical culture and feminism, and the possibilities that periodicals open up for feminist thought and politics through the characteristics of this publishing genre. These include a focus on the emotional community created in and through The Freewoman, as well as its self-reflexive grappling with its role as a periodical. Looking at Dora Marsden opens up questions of biography and life-writing, and the complexities of a messy creation like The Freewoman that is both collective and individual. As the story of The Freewoman cannot be separated from the life of Dora Marsden, I will begin with a short historical description of Marsden and the periodical as a way of framing this analysis. I Dora Marsden came from an impoverished working-class family in Marsden, West Yorkshire, and was raised by her mother, Hannah, after her father Fred left the family for the United States around 1890. She was trained as a teacher through the pupil-teacher scheme, which allowed students to complete their studies and train as teacher simultaneously. Marsden received a Queen’s Scholarship which covered her tuition and a maintenance allowance at Owen’s College, Manchester, where she was enrolled in the teacher training course and studied for a BA, still an uncommon feat for women in 1900, and even more so for working-class women.3 It was in Manchester that Marsden first encountered a group of suffrage activists and became interested in the fight for enfranchisement.
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