By Michelle J. Smith
Whereas the gender and age of the woman could seem to take away her from any major contribution to empire, this booklet offers either a brand new point of view on customary women' literature, and the 1st distinct exam of lesser-known fiction pertaining to the emergence of fictional woman adventurers, castaways and 'ripping' schoolgirls to the British Empire.
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Extra resources for Empire in British Girls' Literature and Culture: Imperial Girls, 1880-1915 (Critical Approaches to Children's Literature)
Sample text
Chapter 5, ‘Be(ing) Prepared: Girl Guides, Colonial Life, and National Strength’, seeks to bridge a gap in the feminist critique of gender and empire with regard to the founding of the Girl Guides organisation in 1909. Unlike the representations in previous chapters that reflect and construct the British ideal of girlhood through periodical and fictional forms, this chapter focuses on the popular Girl Guides organisation to examine how girls were explicitly directed toward assisting the nation through maternity and nursing.
Meade’s Atalanta (1887–93), the Girl’s Realm (1898–1915), and The Young Woman (1892–1915), the GOP participated in the ‘re-working of the concept of the “girl” ’ in the periodical press in the 1880s and 1890s (Beetham, 1996, p. 137). In addition to providing insight into the shifting formulation of the ‘girl’ in late Victorian print culture, a girls’ magazine is a vital element in this study of girlhood and empire because as Hilary Fraser, Stephanie Green, and Judith Johnston show, the question of empire, like the woman question, ‘was contested, formulated, and framed within the pages of the periodical press’ (2003, p.
Indd 19 4/27/2011 5:19:08 PM 20 Empire in British Girls’ Literature and Culture native peoples) and within their family or city (improving the working classes at home). It focuses first upon E. Nesbit’s trilogy of fantasy novels Five Children and It (1902), The Phoenix and the Carpet (1904), and The Story of the Amulet (1906). Nesbit is frequently associated with a diminution in the level of didacticism inherent in children’s fiction. She is also credited with injecting feminism into her novels through her active heroines.