In recent years, we have seen an increase in feminist media studies, yet the vast majority of communication, media, and design historical studies seem to focus on the canon of media ecology, following a heroic approach analysis, whilst appearing disjointed, and departmentalized. This thesis argues ‘against the personality cult, pointing to the collective and cumulative dimension present in most, if not all, design’, and by adopting an inclusive approach to the study of the periodical demonstrates that a transdisciplinary holistic approach is plausible, though certainly more challenging.1 This thesis applies an original modified version of Gérard Genette’s theory of the paratext, and offers an interdisciplinary discussion of gender representation by interpreting late nineteenth century periodical paratexts. More specifically, it examines: to what extent the gendered conventions of late nineteenth century Britain influenced the editorial design identity of the general feminist weekly periodical; and whether emerging hybrid paradigms of late nineteenth century New Womanhood in any way challenged the established patriarchal ideals, through the editorial design identity of the general feminist weekly periodical. Herein lies a set of carefully considered and thoroughly detailed case studies that follow a newly modified Genettean model of analysis that: a. considers the designed as well as the visual and textual elements of the periodical; b. respects all the specificities of the periodicals under investigation; c. acknowledges the different people taking part in the design production and consumption of the late nineteenth century feminist periodical, as well as the role and input of the men and especially women involved. In general, the thesis demonstrates that general feminist periodicals projected a voice that was critical of any established gendered norms, which manifested not only through the textual, and visual content, but also the design identity of these periodicals. In particular, the findings reveal that the Women’s Penny Paper, Woman’s Herald, and Woman’s Signal centered their editorial design identity on specific hybrid paradigms of New Womanhood, such as: the non-partisan New Woman with a universal outlook; the Liberal New Woman; the New Woman Gospel temperance supporter; and the New Woman that espoused bourgeois propriety, whilst supporting women’s suffrage. This thesis positions the periodical, its designed, visual and textual features, its producers and consumers, and its conditions of production and consumption at the very centre of the investigation, hoping to encourage the conception of further new (trans)methodological models for use in periodical studies, or other areas of research enquiry.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:724673 |
| Date | January 2017 |
| Creators | Alexiou, Artemis |
| Publisher | Manchester Metropolitan University |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://e-space.mmu.ac.uk/618455/ |
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