Table of Contents

Part 1 Who was the new woman?: the naming of the new woman; the dominant discourse on the new woman; the reverse discourse on the new woman; feminism, revolution and evolution in "The Daughters of Danaus" by Mona Caird (1894). Part 2 The new woman and socialism: the class identity of the new woman; feminism and socialism at the "fin de siecle"; political tracts - Eleanor Marx and Edward Aveling, "The Woman Question" (1886), Olive Schreiner, "Woman and Labour" (1911); socialism, feminism and literary realism - Margaret Harkness, "A City Girl" (1887); the uses of Utopia - Jane Hume Clapperton, "Margaret Dummore, or, A Socialist Home" (1888), Isabella Ford, "On the Threshold" (1895), Gertrude Dix, "The Image Breakers" (1900). Part 3 Unlikely bedfellows? feminism and imperalism at the "fin de siecle": white women and imperalism; the case of Olive Schreiner; "The Woman Question" (1899); "The Story of an African Farm" (1883) and "The Child's Day" (1887); "Trooper Peter Halket of Mashonaland" (1897). Part 4 The daughters of decadence?: the new woman, the decadent and the dandy; the new woman as sexual decadent - "Dracula" by Bram Stoker (1897); Oscar Wilde and the new woman; feminism, social purity and "The Heavenly Twins" (1893). Part 5 The new woman and emergent lesbian identity: feminism and same-sex love; from romantic friendship to lesbian pathology; George Meredith's "Diana of the Crossways" (1885) - the limits of romantic friendship; lesbian pathology in "A Drama in Muslin" by George Moore (1886); the 20th century inheritance - lesbian sexuality in "The Well of Loneliness" (1928) by Radclyffe Hall. Part 6 The new woman in the modern city: women, the "flaneuse" and public space; the "modern woman" in the city - Ella Hepworth Dixon, "The Story of a Modern Woman" (1894); shopgirls and new woman in the city - George Gissing, "The Odd Woman" (1893); women in public - Henry James, "The Bostonians" (1886). Part 7 The new woman, modernism and mass culture: the feminization of culture at the "fin de siecle"; the new woman, modernism and "feminine" writing; finding an aesthetic for the new woman - Sue Bridehead and "Jude the Obscure"; George Egerton, modernism and feminist aesthetics.