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Nick Underwood

On 24 March 1935, Naye prese, the Yiddish-language daily newspaper of the Jewish section of the French Communist Party (PCF), ran a small ad for a women’s tailor on 10, rue des Filles du Calvaire in Paris’ tenth arrondissement that reads, “Working women, do you want inexpensive clothing with the latest fashion and the best production and measurements?”*1 An image of a woman accompanies the ad. She is tall and slender with short hair, and she wears a cloche hat—a fitted, bell-shaped hat, typically made of felt, that was popular during the 1920s and 30s.2 Her jacket and skirt are tailored slimly. The position of her feet suggests that she is wearing heels. According to the Modern Girl Around the World Research Group, “Modern Girls [were portrayed in print media] with carefully made up faces, bobbed hair, exposed arms and backs, and bodies clad in the latest fashions.”3 These modern girls were the same “working women” featured in the tailor’s advertisement in Naye prese. Given the newspaper’s political and ethnic affiliation, we can read this interwar Modern Girl as more than just a workingwoman. She is a conscious worker aware of her class stature and trying to do something about it by engaging in contemporary bourgeois Parisian culture and lifestyle. More precisely, she dressed to subvert traditional Eastern European Jewish gender constructs that eschewed women’s economic contributions to the family. Her outfits—as promoted by the ad—embodied tensions that marked her community. Why, for example, did Naye prese—a Communist newspaper—present such bourgeois imagery within their ad copy? Even more, what role, if any, did these images play in helping immigrant Jews understand Paris and France’s interwar cultural and social context?

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'No so Komo las de Agora' (Im Not Like Those Modern Girls)

Judeo-Spanish Songs Meet the Twenty-First Century

Judith R. Cohen

The Judeo-Spanish song tradition has experienced many changes in recent years as it enters the 'world music' scene. Change, however, can be seen as a constant feature of the many aspects of Judeo-Spanish song and performance practice. Here, various genres are examined, together with some of the changes they have undergone in repertoire, style and context, and a selection of reactions to changes on the part of Sephardi Jews interviewed over several years. To a large extent, the repertoire has moved from the home to public representation, and is performed more by professional artists with no Sephardi background than by people from Sephardi communities, raising questions of appropriation and representation.

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The Spectacular Traveling Woman

Australian and Canadian Visions of Women, Modernity, and Mobility between the Wars

Sarah Galletly

This article applies recent scholarship concerned with transatlantic mobility and print cultures to a comparative study of images of transpacific travel for women during the interwar period. During the 1920s and 1930s female travelers splashed spectacularly across the pages of mainstream, popular magazines produced in America, Britain, and the wider Anglophone world. Focusing on two magazines that launched in this era, The Australian Woman’s Mirror (1924– 1961) and Chatelaine (1928–), this article explores Australian and Canadian fi ctional portrayals of the traveling woman of the interwar years to examine the ways in which the mobility of the modern girl became a screen for anxieties and fantasies of these two national print imaginaries. By paying attention to the different portrayals of female mobility through the Pacific from both sides of the ocean, this article also considers the intersection between actual travel, ideas about travel, and notions of gendered social mobility.