The New Woman and the Empire examines the intersections of gender, race, and colonial issues in the work of four culturally, socially, and nationally disparate New Women: Sarah Grand, George Egerton, ...Elizabeth Robins, and Amy Levy. Iveta Jusová underscores essential differences in these women’s negotiations of the Victorian colonial narrative and ascertains how these authors located the fin-de-siècle New Woman project in relation to the late-Victorian colonial contest and the racially biased narratives of evolution. Seeking to contribute to our understanding of the discursive strategies available to late-Victorian women’s efforts to create space for their feminist agenda in public discourse, the book urges the reader to confront the fact that the success of these strategies was often predicated on marginalizing others. It underscores the various ways in which the work of all of the examined authors supported British imperialist efforts. Viewing much of Grand’s and Robins’s works’ embracement of the official colonial narrative as a strategically motivated move, The New Woman and the Empire focuses on the limitations such a narrative choice placed on these authors’ feminisms. But the book also highlights various discursive strategies that Egerton and Levy, and to a lesser extent Robins and Grand, forged to express a more resistant position towards both colonial narrative and evolutionary discourse.
Taking into account Rita Felski’s (1995) discussion on stereotypical representations of women in modernity and the New Woman movement, in this paper we analyse George Egerton’s short story “The ...Regeneration of Two” (1894) from the perspective of Donna Haraway’s cyborg imagery and the concept of cyborg writing. We demonstrate that “The Regeneration of Two” dialogues with Haraway’s proposition of a cyborg writing as it opposes an oppressive patriarchal system with the creation of a women’s community. To do so, we explore two main aspects of cyborg imagery present in the short story: the fractured identities and the community of political kinship, resulting in a subversive “cyborgian epiphany.” This epiphany informs Egerton’s progressive and intersectional representation of gender relations and of women’s writing part and parcel of the late 19th-century radical feminist New Woman movement.
...able to mother her child, she is found in the mourning room, singing and speaking to the corpse before they rend the body from her to be buried. ...in a letter to Ernst Foerster, Egerton wrote on ...this very subject: "I would do away with all absurdities such as disgrace attending the birth of a child out of wedlock-the absurd illogical laws to illegitimacy-allowing every woman to mother a child if she wishes, a child in honour bearing her name... Without the factor of mutual love the proper conditions for procreation cannot exist; without the factor of procreation the sexual union, however beautiful and sacred a relationship it may in itself be, remains, in essence, a private relationship, incomplete as a marriage and without public significance.55 The public contribution of breeding is still stressed; however, Ellis's appeal to concepts of "mutual love" as important and requiring "cultivation" is a sentiment tacitly incorporated in the writings of several feminists at the turn of the century, with ideological roots dating back to both John Stuart Mill and Mary Wollstonecraft. ...while the late-nineteenth-century eugenic movement was at its core a response to social anxieties concerning the future health and wealth of the British Empire, it was also entangled with ongoing societal conversations about the nature of gendered relationships, marriage, and reproduction. According to Iveta Jusová, New Woman opponents viewed "emancipated women as dangerous to the integrity of the English 'imperial race' and to the institution of the British Empire."
Once Egerton’s upper middle-class women are no longer required to police their sexual desires and find the proper “home” for their sexuality in marriage, they can begin to relate to these other women ...in terms of cooperation and mutuality, rather than competing for the limited amount power granted to them under Victorian patriarchy. Egerton reconstitutes this difference between women, so often figured in conventional literature as moral difference between the good middle-class woman and all other “bad” women, as a positive and necessary part of women’s relationships rather than an impetus for reform of wayward sisters by way of middle-class morality. 5 When Egerton’s female characters have the most agency to choose what sort of life they want to lead and what role their sexual desires will play in that life, they remain always inside the system that they seek to challenge. In structuring Keynotes and Discords, Egerton destabilizes the genre boundaries that divide the short story and the novel so that her books become hybrids of both, blending the intense focus of the short story and the larger breadth of the novel in order to explore possible narrative structures outside of the conventional novel’s courtship plot.
Up to the last third of the 19th century, economic theory bore all too lightly the burden of primitive man. Rarely did economists venture beyond the style of conjectural history prominent in the 17th ...and 18th centuries.
George Egerton's collections of short stories made the author notorious for her explicit references to sexual desires previously excluded from the mainstream of Victorian fiction. Jusova examines ...Egerton's early writings from a British colonial context.
Notes that augment an earlier essay on R. S. Williams' botanical activities and the distribution of his collections from Bolivia and Peru are presented. Twelve species based on Williams' vascular ...plant collections are added to a catalog that was previously published. Synonymies of an additional 22 taxa are corrected or updated. Notes also are provided concerning the typification or orthography of two species.
Pálmay Ilka; Petráss Ilona színésznő. 1875-76-ban Kassán kezdte pályáját. 1876-77-ben Eperjesen és Szatmáron, 1877-78-ban Kecskeméten, 1878-79-ben a Népszínházban. 1879-80-ban Kolozsvárott, 1880-ban ...Bécsben, 1881-től 1889-ig a Népszínházban játszott. Gyakran vendégszerepelt külföldön: 1890-91-ben, 1893-ban, 1895-ben Bécsben, 1891-ben Prágában, 1892-93-ban Berlinben, 1896-97-ben Londonban, 1905-06-ban New Yorkban turnézott. 1900-05 között a Nép, 1901-ben a Víg, 1902-03-ban, 1908-ban a Magyar, 1906-ban, 1908-09-ben és 1924-ben a Király, 1919-20-ban a Városi, 1925-ben a Belvárosi, 1928-ban a Nemzeti Színházban lépett színpadra. 1928-ban visszavonult. 1910-ben Kolozsvárott örökös, 1911-ben a Nemzeti Színházban tiszteletbeli tag lett. Pálmay Ilka a század végének legünnepeltebb m. primadonnája volt. Művészetének fénykora egybeesett a klasszikus operett virágkorával. A műfajt ő vitte Magyarországon diadalra. Szépsége, tisztán csengő hangja, megjelenésének természetes bája, finom ízlésű játéka lenyűgözte a nézőket. Drámákban és népszínművekben is sikere volt. Verseket írt, s kiadta emlékiratait. (Forrás: Magyar Színházművészeti Lexikon)
