Transatlantic Print Culture, 1880–1940: Emerging Media, Emerging Modernisms

264 Pages·2008·2.53 MB·English

by  Ann Ardis, Patrick Collier (eds.)

Transatlantic Print Culture, 1880–1940
Also by Ann Ardis
MODERNISM AND CULTURAL CONFLICT, 1880–1922
WOMEN’S EXPERIENCE OF MODERNITY, 1875–1945 (co-editor)
VIRGINIA WOOLF TURNING THE CENTURIES (co-editor)
NEW WOMEN, NEW NOVELS: Feminism and Early Modernism
Also by Patrick Collier
MODERNISM ON FLEET STREET
Transatlantic Print
Culture, 1880–1940
Emerging Media, Emerging
Modernisms
Edited by
Ann Ardis and Patrick Collier
Editorial matter and selection © Ann Ardis and Patrick Collier 2008
Individual chapters © contributors 2008
Softcover reprint of the hardcover 1st edition 2008 978-0-230-55426-9
All rights reserved. No reproduction, copy or transmission of this
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in accordance with the Copyright, Designs and Patents Act 1988.
First published 2008 by
PALGRAVE MACMILLAN
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ISBN 978-1-349-36387-2 ISBN 978-0-230-22845-0 (eBook)
DOI 10.1057/9780230228450
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A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Transatlantic print culture, 1880–1940 : emerging media, emerging
modernisms / edited by Ann L. Ardis and Patrick Collier.
p. cm.
1. Journalism – United States – History – 20th century. 2. Journalism –
United States – History – 19th century. 3. Journalism – Great Britain –
History – 20th century. 4. Journalism – Great Britain – History – 19th century.
5. Press – United States – History – 20th century. 6. Press – United States –
History – 19th century. 7. Press – Great Britain – History – 20th century.
8. Press – Great Britain – History – 19th century. I. Ardis, Ann L., 1957– II.
Collier, Patrick.
PN4867.T73 2008
071(cid:2).30904—dc22 2008020659
10 9 8 7 6 5 4 3 2 1
17 16 15 14 13 12 11 10 09 08
Contents
List of Figures vii
Acknowledgements viii
Notes on Contributors ix
Introduction 1
Ann Ardis and Patrick Collier
Part I History, Culture, and the Public Sphere:
Discipline, Theory, Methodology
1. R epresenting the Public Sphere: The New Journalism
and Its Historians 15
Mark Hampton
2. S taging the Public Sphere: Magazine Dialogism and the
Prosthetics of Authorship at the Turn of the
Twentieth Century 30
Ann Ardis
3. T ransatlantic Print Culture: The Anglo-American Feminist
Press and Emerging “Modernities” 48
Lucy Delap and Maria DiCenzo
4. Feminist Things 66
Barbara Green
Part II The Cultural Work of Print Media: Markets,
Institutions, and Audiences
5. Philanthropy and Transatlantic Print Culture 83
Francesca Sawaya
6. John O’London’s Weekly and the Modern Author 98
Patrick Collier
7. “Women are News”: British Women’s Magazines 1919–1939 114
Fiona Hackney
v
vi Contents
8. Christopher Morley’s Kitty Foyle: (Em)Bedded in Print 134
Margaret D. Stetz
Part III Modernism on/in Print Media, Print
Media in/on Modernism
9. J ournalism and Modernism, Continued: The Case of
W.T. Stead 149
Laurel Brake
10. Journalism, Modernity, and the Globe-Trotting Girl Reporter 167
Jean Marie Lutes
11. The Fine Art of Cheap Print: Turn-of-the-Century
American Little Magazines 182
Kirsten MacLeod
12. T he Newspaper Response to Tender Buttons, and
What It Might Mean 199
Leonard Diepeveen
Part IV An Experiment in Pedagogy
13. Modernist Periodicals and Pedagogy: An Experiment in
Collaboration 217
Suzanne W. Churchill
Index 237
List of Figures
6.1 A Corona typewriter advertisement from 1922 107
7.1 “Girls Who Just Miss Marriage: the Lipstick Girl!” 122
7.2 Front Cover Woman 125
7.3 “That Vote of Ann’s” 130
9.1 Cover, “2+2=4,” Review of Reviews Annual 1893 160
11.1 A selection of turn-of-the-century American
little magazines 183
11.2 The aesthetic appearance of the turn-of-the-century
little magazine 188
11.3 Ad for Ayer’s Vigour, Bradley, His Book 1.2 (1896) 194
vii
Acknowledgements
We take this opportunity to thank the following for their generous
sponsorship of the symposium in April 2006 at the University of
Delaware that first brought our contributors into orbit: the Center for
Material Culture Studies, the Departments of English and History, the
Women’s Studies Program, the Winterthur Program in American
Material Culture, and the University of Delaware Library. Special thanks
go to both the Center for International Studies, for the grant that ena-
bled us to cover the hotel costs of our nine international speakers, and
the College of Arts and Sciences, for allowing Julie Demgen, Cindy
Bendler, Nancy Koller, and Laura Pawlowski to aid us in various ways in
planning this event. The support for this symposium provided by the
Delaware Art Museum, the Winterthur Museum, Garden, and Library,
and the Mark Samuels Lasner Collection, which is associated with the
Special Collections Department of the University of Delaware Library, is
gratefully acknowledged as well.
Since the symposium, it has truly been a pleasure to work with all of
our contributors on drafts and revisions of their essays. Their respon-
siveness to constructive criticism, and their willingness not simply
to read each other’s work but to re-imagine their own projects in rela-
tion to those of other contributors, makes this anthology a far more
collective intellectual enterprise than is often the case with edited
collections. For assistance with the details of publishing the volume,
our thanks go out to Murray Montague, Nicole Williams, the Publishing
and Intellectual Properties Committee at Ball State University, and to
Palgrave-Macmillan’s reader as well as to Paula Kennedy, Christabel
Scaife, and Steven Hall. Permission to quote in Chapter 3 from the
clipping service file on Gertrude Stein’s Tender Buttons granted by the
Beinecke Library, Yale University. Permission to quote in Chapter 7
from the Mary Ware Dennett Papers and the Charlotte Perkins Gilman
Papers granted by the Schlesinger Library, Radcliffe Institute, Harvard
University. Permission to reprint images in Chapter 12 from Home
Chat and Woman granted by IPC.
viii
Notes on Contributors
Ann Ardis is Associate Dean of Arts and Humanities and Professor of
English at the University of Delaware and the author of New Women,
New Novels: Feminism and Early Modernism (Rutgers, 1990) and Modernism
and Cultural Conflict, 1880–1922 (Cambridge, 2002). With Leslie W.
Lewis, she edited Women’s Experience of Modernity, 1875–1945 (Johns
Hopkins, 2002); with Bonnie Kime Scott, she edited Virginia Woolf
Turning the Centuries (Pace, 2000). She is currently working on a book,
tentatively entitled, “Before the Great Divides,” about British and
American magazines at the turn of the twentieth century that sought to
engage an increasingly diverse public in discussions of “modern”
literature, art, and politics.
Laurel Brake is Professor and Senior Research Fellow at Birkbeck,
University of London. Her books include Subjugated Knowledges, Walter
Pater, and Print in Transition, as well as co-edited volumes on the
nineteenth-century press and Pater. Her recent work includes articles on
Blackwood’s, Chambers’s Journal and other Scottish weeklies, and Vernon
Lee and the Pater circle. She is director of NCSE, an electronic edition of
six nineteenth-century journals in partnership with King’s College and
the British Library, and funded by the AHRC (www.ncse.org.uk); and
co-editor, with Marysa Demoor, of the Dictionary of Nineteenth-Century
Journalism (Academic Press and British Library, 2008; ProQuest, 2008).
Suzanne W. Churchill is Associate Professor of English at Davidson
College, where she teaches courses in modernism and twentieth century
poetry and works with undergraduates to expand the website, Little
Magazines & Modernism: a select bibliography. She is the author of The
Little Magazine Others and the Renovation of Modern American Poetry
(Ashgate, 2006) and co-editor, with Adam McKible, of Little Magazines &
Modernism: New Approaches (Ashgate, 2007). She has published articles in
American Periodicals, Criticism, Journal of Modern Literature, and Sagetrieb.
Patrick Collier is Associate Professor and Assistant Chair of the
Department of English at Ball State University, where he teaches
nineteenth- and twentieth-century British literature. He is the author of
Modernism on Fleet Street (Ashgate, 2006) and is currently working on a
study of British poetry and print culture, 1900–1940.
ix