Violence has long been assumed to be an intrinsic trait of female prostitution. However, it has been mostly associated with the locale in which the activity is exercised, i.e. with working time and space. In this article, based on data gathered by direct observations, in-depth interviews and the compilation of so-called time-budgets, the authors demonstrate that violence is as pervasive and omnipresent a feature of prostitutes’ ostensibly private ‘off-duty’ time and space, though it takes on varied and distinct forms and (...) configurations, compared to violence in the workplace. (shrink)

There was one kind of equality, one sort of liberation about which nineteenth-century feminists found it embarassing to speak. Higher education for women, better employment opportunities for women, protection at law for women—those were all good, clean, decent issues. Nobody was afraid to voice opinions upon them, nobody ashamed to sign their name on a petition. But the attack on that infamous 'double-standard', which so bedevilled relationships between the sexes in Victorian times did not attract such eager support. Even the (...) bravest of the self-confessed feminists trembled at the implications of involving themselves in that particular fight. (shrink)

This article examines popular discourses of women's sexuality in 1920s England and argues that sex manuals like Marie Stopes's Married Life and sex novels like E.M. Hull's The Sheik, despite their adherence to status quo values, were liberating for women through their affirmation of women's sexual subjectivity. Stopes's enormously popular book contributed strongly to a new understanding of women's sexual drives as natural and autonomous. The changing attitudes were reflected in the numbers of postwar women who actively participated in the (...) creation and consumption of popular sex-novels and films, exercising both economic and sexual freedoms at once. This article focusses on the film version of The Sheik, which experienced great success as part of this growing leisure market catering specifically to women's desire, and in particular on the figure of Rudolph Valentino as a “woman-made” man. The film's “crossed” representations of sexuality (the emancipated “flapper” and the effeminate yet virile “sheik”) challenged traditional notions of femininity and masculinity, and in doing so, were liberating for women consumers at the same time that they threatened the sexual identities of men. (shrink)

This paper is an attempt to historicize Frank Plumpton Ramsey’s Apostle talks delivered from 1923 to 1925 within the social and political context of the time. In his talks, Ramsey discusses socialism, psychoanalysis, and feminism. Ramsey’s views on these three intellectual movements were interconnected, and they all contributed to his take on the policy debates occurring then on the role of women in economy. Drawing on archival materials, biographical facts, and the historiographical literature on the early interwar politics of motherhood, (...) I show that Ramsey held a positive view of the feminist campaign for family endowment. He demanded government financial support for motherhood in recognition of the economic significance of women’s domestic works, which, as such, could bring economic independence to them. In addition, he found such an economic scheme compatible with the kind of maternalism endorsed by Freudian psychoanalysis—his favorite theory of psychology. (shrink)