Gender and Space in Rural Britain, 1840-1920
50 Gender and Space in Rural Britain, 1840–1920 that the plants or ‘actors’ were merely ‘dumb, rooted things’ whereas the reader ...
At Work and at Play 51 argued previously, on the beach the two groups are ‘most notably contrasted’.^53 Th at contrast is eff ec ...
52 Gender and Space in Rural Britain, 1840–1920 as a ‘fl inging, roaring sea [which] seemed to be crying thieves and murder at t ...
At Work and at Play 53 above, they should be read as a new kind of invader. First, the painters break the boundaries of the emin ...
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55 – 4 ‘GOING OUT, GOING ALONE’: MODERN SUBJECTIVITIES IN RURAL SCOTLAND, 1900–21 Samantha Walton Th e Findlater sisters, Mary ...
56 Gender and Space in Rural Britain, 1840–1920 focus on female mobility and social transformation, a more precise understand- i ...
‘Going Out, Going Alone’ 57 ject of modernity’.^4 In contrast to the emphasis placed on the city street, the locomotive or the c ...
58 Gender and Space in Rural Britain, 1840–1920 the time, strength and independence to access it away from working and fam- ily ...
‘Going Out, Going Alone’ 59 the heroine’s desire for mobility as both a symbol of and a means to liberation is bound up with amb ...
60 Gender and Space in Rural Britain, 1840–1920 I hope to synthesize the critical insights into mobility, privacy and transcende ...
‘Going Out, Going Alone’ 61 Th e walk, then, is fi rst undertaken by a woman seeking greater independ- ence and self-suffi cienc ...
62 Gender and Space in Rural Britain, 1840–1920 nervous excitement. Metaphors of extraordinary mobility convey her new sense of ...
‘Going Out, Going Alone’ 63 and socially desirable Van. By allowing Van to walk with her she has delayed, but not avoided, comin ...
64 Gender and Space in Rural Britain, 1840–1920 unfolds Alex fi nds herself admiring Van’s beauty, and he hers. She is content t ...
‘Going Out, Going Alone’ 65 and fashion and codes around women’s appearance continue to limit her in the public spaces of the ci ...
66 Gender and Space in Rural Britain, 1840–1920 is, as I suggest, only superfi cially subversive, because there are no meaningfu ...
‘Going Out, Going Alone’ 67 In Crossriggs the rural does not entirely satisfy Alex’s demands for freedom, and neither does the u ...
68 Gender and Space in Rural Britain, 1840–1920 In her depiction of Katie’s pitiful rural pastiches of urban activities, Jane Fi ...
‘Going Out, Going Alone’ 69 Wee Katie does not make it to the pictures, yet the poignancy of the story lies not in her anguish a ...
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