Montalbán is educated and spends a lot of time away from home and from her daughter. This relationship illustrates the role of women in the Spain of the 1920s and the uncertain role that motherhood had in the life of the new modern woman. Celia’s mother
Rethinking the Influence of Elena Fortún’s Celia
Ana Puchau de Lecea
The Politics of Female Identity in Maternité (1929) and La Maternelle (1933)
Cheryl A. Koos
This essay explores Jean Benoît-Lévy and Marie Epstein's box-office success La Maternelle and their lesser-known Maternité in the context of interwar debates over women's roles in society. Reflecting natalist-familialist conceptions of motherhood and femininity, the films magnified three pervasive cultural icons in French social and political discourse: the monstrous, childless "modern woman," the exalted mother, and the "single woman" who fell somewhere in the middle. As both products and vehicles of these tropes, La Maternelle and Maternité not only illustrate how popular cinema disseminated and justified certain value-laden assumptions about female identity in the late 1920s and early 1930s; they also reveal the limitations of French feminism and socially-engaged, progressive art of the period.
Commentators in the popular media of Weimar Germany paid great attention to questions of women's sport, athleticism, and physicality. Their concerns were not restricted to women's reproductive capacities—rather, women's physical emancipation was increasingly interpreted within the framework of larger cultural discourses surrounding the "masculinization" and political emancipation of the modern woman. This article examines such representations of the "masculinized" female athlete, arguing that female athleticism provided an important focus for broader concerns about changing gender relations, female sexuality, and acceptable female life trajectories at this period. Although the perceived threat to traditional male dominance symbolized by the female athlete prompted some commentators to denounce women's physical activity and emphasize traditional gender roles, the article also examines less conventional contemporary responses to women's athleticism, in particular, how a female body "steeled by sport" was reclaimed as an aesthetic ideal within the female homosexual subculture of interwar Berlin.
world of volitional mobility for the aspirational globe-trotter, tourist, or traveler. This had a particular gendered power. While recent collaborative scholarship has charted the appearance of the “modern girl” or “modern woman” across the world, a
Australian and Canadian Visions of Women, Modernity, and Mobility between the Wars
upon through their depiction of the glamor and luxury associated with steamship travel. In The Spectacular Modern Woman , Liz Conor argues that technologies of image production in the early twentieth century led to the circulation of pictures of the
, https://belphegor.revues.org . 23 Rachel Mesch, Having It All in the Belle Epoque : How French Women’s Magazines Invented the Modern Woman (Stanford : Stanford CA University Press, 2013).
-World War I demographic changes. Perhaps most importantly, this socially, culturally, and politically charged public debate gave rise to discourse about the modern woman, where “the compressed structural lines and highly ornamental fashions of the previous
Public Discourse in Interwar Yugoslavia on the Status of Women in Turkey (1923–1939)
modernity on the model of Western countries, including the shaping of a “modern woman,” resulted in Turkey becoming a pivotal part of the Western modernization discourse. 13 The Yugoslav public discourse too formed part of this phenomenon and exhibited some
Pınar Melis Yelsalı Parmaksız
–47, here 41. 8 Ayşe Durakbaşa, “Cumhuriyet Döneminde Modern Kadın ve Erkek Kimliklerinin Oluşumu: Kemalist Kadın Kimliği ve ‘Münevver Erkekler’” [Formation of the identities of modern woman and man in the Republican period: Kemalist women’s identity and
Austro-German Filmmaker, Bestselling Author, and Journalist Colin Ross Discovers Australia
femininity and the modern women of the screen, the more Riley found to applaud. By casting aspersions on the modern woman, Riley, like Warner, also helped bolster the conservative gender roles of postwar Australia, informing her readership that, even in the