Abstracts Category : Other

Graphic design, media, and gender politics: the paratext in the late 19th century feminist periodical (Britain, c. 1888 - 1899). A transdisciplinary holistic approach

by Artemis Alexiou

In recent years, we have seen an increase in feminist media studies, yet the vast majority ofcommunication, media, and design historical studies seem to focus on the canon of mediaecology, following a heroic approach analysis, whilst appearing disjointed, anddepartmentalized. This thesis argues against the personality cult, pointing to the collectiveand cumulative dimension present in most, if not all, design, and by adopting an inclusiveapproach to the study of the periodical demonstrates that a transdisciplinary holistic approachis plausible, though certainly more challenging.1 This thesis applies an original modifiedversion of Grard Genettes theory of the paratext, and offers an interdisciplinary discussionof gender representation by interpreting late nineteenth century periodical paratexts. Morespecifically, it examines: to what extent the gendered conventions of late nineteenth centuryBritain influenced the editorial design identity of the general feminist weekly periodical; andwhether emerging hybrid paradigms of late nineteenth century New Womanhood in any waychallenged the established patriarchal ideals, through the editorial design identity of thegeneral feminist weekly periodical.Herein lies a set of carefully considered and thoroughly detailed case studies that follow anewly modified Genettean model of analysis that: a. considers the designed as well as thevisual and textual elements of the periodical; b. respects all the specificities of the periodicalsunder investigation; c. acknowledges the different people taking part in the design productionand consumption of the late nineteenth century feminist periodical, as well as the role andinput of the men and especially women involved. In general, the thesis demonstrates thatgeneral feminist periodicals projected a voice that was critical of any established genderednorms, which manifested not only through the textual, and visual content, but also the designidentity of these periodicals. In particular, the findings reveal that the Womens Penny Paper,Womans Herald, and Womans Signal centered their editorial design identity on specific hybrid paradigms of New Womanhood, such as: the non-partisan New Woman with auniversal outlook; the Liberal New Woman; the New Woman Gospel temperance supporter;and the New Woman that espoused bourgeois propriety, whilst supporting womens suffrage.This thesis positions the periodical, its designed, visual and textual features, its producers andconsumers, and its conditions of production and consumption at the very centre of theinvestigation, hoping to encourage the conception of further new (trans)methodologicalmodels for use in periodical studies, or other areas of research enquiry.