Martin A. Danahay's lucidly argued and accessibly written volume offers a solid introduction to important issues surrounding the definition and division of labor in British society and culture. 'Work,' Danahay argues, was a term rife with ideological contradictions for Victorian males during a period when it was considered synonymous with masculinity. Male writers and artists in particular found their labors troubled by class and gender ideologies that idealized 'man's work' as sweaty, muscled labor and tended to feminize intellectual and artistic pursuits. Though many romanticized working-class labor, the fissured representation of the masculine body occasioned by the distinction between manual labor and 'brain work' made it impossible for them to overcome the Victorian class hierarchy of labor. Through cultural studies analyses of the novels of Dickens and Gissing; the nonfiction prose of Carlyle, Ruskin and Morris; the poetry of Thomas Hood; paintings by Richard Redgrave, William Bell Scott, and Ford Madox Brown; and contemporary photographs, including many from the Munby Collection, Danahay examines the ideological contradictions in Victorian representations of men at work. His book will be a valuable resource for scholars and students of English literature, history, and gender studies.

`What a pleasure to see this pathbreaking research in print! Karl Ittmann's analysis of Bradford pushes forward our knowledge of the quiet revolution in social habits which took place in the late nineteenth century. In particular, his ability to link the decline of marital fertility with the reorganisation of work and gender roles is exemplary. This book should be of interest to all specialists in Victorian social history.' - David Levine, The Ontario Institute for Studies in Education, Toronto Work, Gender and Family in Victorian England examines the impact of the Industrial Revolution upon the family and questions the extent to which ordinary working men and women shared the 'Victorian values' and prosperity of their middle-class countrymen. The book focuses on the industrial town of Bradford, West Yorkshire, in the second half of the nineteenth century and traces how men and women and their families adapted to the new life brought by the rise of the mill and the city.

Publisher's description: Telling Tales offers new and original readings of novels by Charlotte Brontë, Anne Brontë, Thomas Hardy, Margaret Oliphant, and Mary Elizabeth Braddon. It also presents new archival material on the lives and stories of working-class women in Victorian Britain. Finally, it sets forth innovative interpretations of the complex ways in which gender informs the abstract cultural narratives--like space, aesthetic value, and nationality--through which a populace comes to know and position itself. Focusing on the interrelations of form, gender, and culture in narratives of the Victorian period, Telling Tales explores the close interplay between gender as manifest in specific literary works and gender as manifest in Victorian culture. The latter does not reflect a shift away from form toward culture, but rather a steady concern of form-in-culture. Reading and analyzing Victorian novels provides an education for reading and interpreting the broader culture. The book's several chapters explore and pose answers to important questions about the impact of gender on narrative in Victorian culture: How do women writers respond to themes and narrative structures of precursor male writers? What are the very real differences that shape a newly emerging tradition of female authorship? How does gender enter into the determination of aesthetic value? How does gender enter into the national imaginary 3/4the idea of Englishness? In exploring these key concerns, Telling Tales establishes a broad terrain for future inquiries that take gender as an organizing term and principle for analysis of narratives in all periods.

The late Victorian period brought a radical change in cultural attitudes toward middle-class women and work. Anxiety over the growing disproportion between women and men in the population, combined with an awakening desire among young women for personal and financial freedom, led progressive thinkers to advocate for increased employment opportunities. The major stumbling block was the persistent conviction that middle-class women - "ladies" - could not work without relinquishing their social status. Through media reports, public lectures, and fictional portrayals of working women, From Spinster to Career Woman traces advocates' efforts to alter cultural perceptions of women, work, class, and the ideals of womanhood. Focusing on the archetypal figures of the hospital nurse and the typewriter, Arlene Young analyzes the strategies used to transform a job perceived as menial into a respected profession and to represent office work as progressive employment for educated women. This book goes beyond a standard examination of historical, social, and political realities, delving into the intense human elements of a cultural shift and the hopes and fears of young women seeking independence. Providing new insights into the Victorian period, From Spinster to Career Woman captures the voices of ordinary women caught up in the frustrations and excitements of a new era.

In Victorian England, virtually all women were taught to sew, but this essentially domestic virtue took on a different aspect for the professional seamstress of the day. This study considers the way this powerful image of working-class suffering was used by social reformers in art and literature.

Using historical evidence as well as personal accounts, Tracy C. Davis examines the reality of conditions for `ordinary' actresses, their working environments, employment patterns and the reasons why acting continued to be such a popular, though insecure, profession. Firmly grounded in Marxist and feminist theory she looks at representations of women on stage, and the meanings associated with and generated by them.

By focusing on the experiences of British women between c.1850 and 1950, this collection highlights the ways in which the concept of gender operated as an organising principle in the construction and negotiation of identities and practices in British society.

Women in Victorian England wore jewelry made from each other's hair and wrote poems celebrating decades of friendship. They pored over magazines that described the dangerous pleasures of corporal punishment. A few had sexual relationships with each other, exchanged rings and vows, willed each other property, and lived together in long-term partnerships described as marriages. But, as Sharon Marcus shows, these women were not seen as gender outlaws. Their desires were fanned by consumer culture, and their friendships and unions were accepted and even encouraged by family, society, and church. Far from being sexless angels defined only by male desires, Victorian women openly enjoyed looking at and even dominating other women. Their friendships helped realize the ideal of companionate love between men and women celebrated by novels, and their unions influenced politicians and social thinkers to reform marriage law. Through a close examination of literature, memoirs, letters, domestic magazines, and political debates, Marcus reveals how relationships between women were a crucial component of femininity. Deeply researched, powerfully argued, and filled with original readings of familiar and surprising sources, Between Women overturns everything we thought we knew about Victorian women and the history of marriage and family life. It offers a new paradigm for theorizing gender and sexuality--not just in the Victorian period, but in our own.

Much attention has recently been given by scholars to the widening of the gender gap in the nineteenth century and the concept of separate spheres. Testing such constructions, and questioning the stereotypes associated with Victorian domesticity, Monica F. Cohen offers new readings of narratives by Austen, Charlotte Brontë, Dickens, Eliot, Eden, Gaskell, Oliphant and Reade to show how domestic work, the most feminine of all activities, gained much of its social credibility by positioning itself in relation to the emergent professions. By exploring how novels cast the Victorian conception of female morality into the vocabulary of nineteenth-century professionalism, Cohen traces the ways in which women sought identity and privilege within a professionalised culture, and revises our understanding of Victorian domestic ideology.

Covering a wide range of magazine work, including editing, illustration, poetry, needlework instruction and typesetting, this book provides fresh insights into the participation of women in the nineteenth-century magazine industry.