Women and Belief is a six-volume collection of primary materials covering a wide range of opinions about women, their self-identity, and the combination of their spiritual and political beliefs.
This AHRC-funded Contemporary Women’s Writing Skills Development Programme (CWWSkills) was a series of six workshops held between August 2013 and July 2014. The programme is designed to enable UK-based postgraduate research students and early-career researchers who work in the field of contemporary women’s writing to develop an entrepreneurial approach to their research.
24-26 July 2013, Liverpool John Moores University
This book chapter discusses the relationship between pornography and feminist politics in two neb-victorian novels: Sarah Waters’s *Fingersmith* (2002) and Belinda Starling’s *The Journal of Dora Damage* (2006).
The plot of Sarah Waters’ third novel, Fingersmith (2002), is based on a complex web of matrilineal narratives, which eventually are uncovered as fictions. This essay will analyse these matrilineal fictions in terms of their influences on the novel’s protagonists Sue and Maud, as well as considering the novel’s matrilinealism first as a feminist metaphor for third-wave feminism and secondly as a metafictional device commenting on neo-Victorian fiction’s relationship to the past. Finally, it will highlight the genre’s similarities to third- wave feminism in terms of their shared concern for and treatment of the relationship between past and present.
Over the past decade, the detective widow has become a well-established character in the little-explored subgenre of neo–Victorian crime fiction. In Tasha Alexander’s Lady Emily series, the author argues, the detective widow investigates the gendered characteristics and complexities of Victorian widowhood while detecting the artistic crimes associated with historical fiction’s imitations and adaptations of the past.
Joel Gwynne and Nadine Muller (eds.), Postfeminism and Hollywood Cinema (Palgrave Macmillan, 2013)
This article investigates the possible reasons for and significance of British twenty-first century fiction’s return to periods in which the field of mental health came into being and developed into a splintered discipline, contested by neurologists, alienists, pathologists, psychiatrists and psychoanalysts. Through an analysis of Sebastian Faulks’ Human Traces (2005), Michel Faber’s The Crimson Petal and the White (2002) and Maggie O’Farrell’s The Vanishing Act of Esme Lennox (2006), this article aims to situate twenty-first century fiction within an interdisciplinary critical framework of questions: if, as Freud feared in his Studies on Hysteria (1895), psychoanalytic case histories can “read like short stories” (231), can novels in turn read like case histories of the societies and cultures of which they are products? If texts such as Charlotte Brontë’s Jane Eyre (1848), Wilkie Collins’ The Woman in White (1860), or Mary Elizabeth Braddon’s Lady Audley’s Secret (1862) were able to “put the many concerns Victorians had about insanity into dramatic perspective” (Appignanesi 87), then do their twenty-first century counterparts perform the same role with regards to issues surrounding women as practitioners and patients within the field of mental health in Britain at the turn of the new millennium?
From Mary Wollstonecraft’s call for chastity as a universal rather than a female virtue in A vindication of the rights of woman (1792), through nineteenth and early-twentieth century writings on the commodification of women in marriage and prostitution and campaigns for rational dress, to fights for women’s reproductive rights and sexual liberation in the 1960s and 1970s, the female body and female sexuality as sites of oppression and empowerment have long occupied a central place of concern in feminist theory and practice. In the new millennium, as in previous decades, this interest continues to engender productively diverse and conflicting, as well as often conflicted, responses by feminist scholars across disciplines whose work reflects upon and attempts to conceptualise women’s sexual bodies within the cultural and political landscapes of the twenty-first century.
23 October 2010, University of Leicester
I’m Senior Lecturer in English Literature & Cultural History at Liverpool John Moores University and a BBC New Generation Thinker. I specialise in literary and cultural histories of women, gender, and feminism in Britain from the nineteenth century to the present day, women’s writing, and widowhood. I also provide support, training, and development for postgraduate and early-career researchers.
3 Things You Should Do Before Your Academic Job Interview
Researching your prospective employer is key to any good job application and interview. I’ve collated three key tips that will give you the edge over those who simply stick to departmental websites.
This post is a brief reflection on how to deal with the fact that you might not be the only one working on “your” topic.
Some of the most common questions with which PhD researchers are concerned focus on how they should set their priorities during their doctoral studies. What else, and how much of it, should you do next to researching and writing your thesis? As so often, I can’t answer this for all PhD students in all disciplines, but I wanted to try and give you an overview of some useful starting points if you’re hoping to prepare yourself for the academic job market during your doctoral studies rather than after, particularly in the humanities and social sciences. So some of...
We Regret to Inform You: On Interview Feedback
Interview feedback is difficult to approach, both giving and receiving. As someone who has more often been on the receiving end, I’ve found directly helpful feedback to be the exception rather than the rule. So, this post is about how to interpret feedback which might not tell you as much as you want. For me, there are three phases to thinking about the interview after the event. 1. Be honest with yourself When you come out of the interview, after you’ve taken a few deep breaths / had a shower / got home and had a stiff...
The Twilight Zone: After the PhD, Before the Academic Job
You’re close to submitting your PhD, to passing your viva voce examination with flying colours, and to be awarded your doctorate. At various stages in these final months of your existence as a PhD student certain scary thoughts – of the practical kind – enter your mind repeatedly and persistently. When will my university email account be closed? Should I be emailing academic colleagues from my embarrassingly named non-institutional email account? How will I keep researching and writing without physical or online access to my university library and its resources? How will I stand a chance on the...
I Went On Woman’s Hour, But Where Did My She-Hulk Go?!
On 11 November 2016, Mary Moreland and I launched the Heritage Lottery Funded project War Widows’ Stories live on Woman’s Hour. We were given eight star-struck minutes with BBC Radio 4’s Jenni Murray, and you can listen to the result on BBC iPlayer. It’s needless to say I was so excited about being able to do this. It meant our project was given national coverage on Armistice Day, a time when the nation is focused on remembrance of the dead, but often forgets about our duty to take care of those who survive conflict, including veterans and families. From...
[Commentary] Thoughts, Fears, & Brexit
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How Do I Look? When Fear Interferes
This week I got to be in my first ever film: a four-minute epic about Victorian widows, made for BBC Arts as part of the AHRC/ BBC Radio 3 New Generation Thinkers scheme …
AHRC/ BBC Radio 3 New Generation Thinkers
I had been meaning to apply for the AHRC/ BBC Radio 3 New Generation Thinkers initiative for a couple of years now, and last December I finally decided to take the time and fill in the application form. I proposed a programme on the history of widows in Britain, and explained the wider relevance of my research on this topic. The final section required applicants to write a review of a recent play, film, or book unrelated to their research that could be read on air. I offered a discussion of Maxine Peake’s play “Beryl” (2014), something which relates to...
Keep Calm & Take Time Off: Being Ill at Work
When you’re ill, do you keep calm and carry on, or do you keep calm and take time off? I’ve just come to the end of two weeks sick leave. Shingles seriously knocked me out, even though I noticed it and got anti-viral medication on the very first day the rash appeared. It was the first time in my life that I’ve had to take sick leave for more than a day, and this, alongside my line manager’s kind encouragement to not come back until I was definitely better and pain-free, got me thinking. How many days had I spent...
