Despite growing calls to develop data science students’ ethical awareness and expand human-center... more Despite growing calls to develop data science students’ ethical awareness and expand human-centered approaches to data science education, introductory courses in the field remain largely technical. A new interdisciplinary data science program aims to merge STEM and humanities perspectives starting at the very beginning of the data science curriculum. Existing literature suggests that humanities integration can make STEM courses more appealing to a wider range of students, including women and students of color, and enhance student learning of essential concepts and foundational reasoning skills, such as those collectively known as data acumen. Cultivating students’ data acumen requires a more inclusive vision of how the knowledge and insights generated through computational methods and statistical analysis relates to other ways of knowing.
This essay focuses on the photographs of Patti Smith that were shown at the Dulwich Picture Galle... more This essay focuses on the photographs of Patti Smith that were shown at the Dulwich Picture Gallery's exhibition titled ‘Legacy: Photographs by Vanessa Bell and Patti Smith’ (London, February 8 to June 4, 2017). It tracks the parallel resonances between Smith and Bloomsbury with respect to ideas concerning the inseparability of materiality, emotion, and the body. The essay argues that Smith's photographs of ‘Bloomsbury objects’ convey that the immaterial can only be expressed through the material, a paradox that is key to understanding how such objects function as spiritualized relics that both highlight and supersede the dominion of the everyday.
This chapter argues that earlier assessments of Mary Hutchinson’s writing have tended to conflate... more This chapter argues that earlier assessments of Mary Hutchinson’s writing have tended to conflate her status as a feminine arbiter of taste with her work, seeing the two as similarly irrational and slight. Such assessments have contributed to the pervasive assumption that Hutchinson is not a writer of substance and they have been instrumental in facilitating her obscurity and associating her work with a conservative concept of femininity. Instead, this chapter situates Hutchinson’s writing in relation to the Bloomsbury group’s interest in art and argues that her complex articulation of early twentieth-century femininity in Fugitive Pieces (1927) has been unjustly trivialized because of its association with the realm of fashion. Drawing from extensive archival research, this chapter shows how Hutchinson repeatedly puts femininity and modernity into conversation as she interrogates what it would mean if feminine phenomena were given a central place in our cultural analysis of modernity.
Mary Butts’s first novel, Unborn Gods, was drafted during the first two years of WWI, seemingly c... more Mary Butts’s first novel, Unborn Gods, was drafted during the first two years of WWI, seemingly completed in 1916, and then extensively revised in 1925 but was never published during her lifetime. Confusedly referred to as “Dangerous” at times by Butts’s biographer, Natalie Blondel, the drafting of Unborn Gods coincided with Butts’s physical and emotional involvement with several women, and the novel’s frank engagement with extramarital sex, homosexuality, contraception, venereal disease, incest, and abortion would have destined it to be outlawed under the Obscene Publications Act. These elements no doubt explain its failure to reach a public audience. Now, more than eighty years (Mary Butts with Duff Twysden, Paris, ca. 1925)
... for the woman who loved women:"tribade, fricatrice, sapphist, roaring girl, amazon, ... more ... for the woman who loved women:"tribade, fricatrice, sapphist, roaring girl, amazon, freak, romp, dyke, bull dagger, tommy"10 Castle ... Annamarie Jagose's observations of an upper-class Englishwoman, Anne Lister (1791-1840), speak directly to this concern even though Lister ...
Writing in the Voice Literary Supplement in 1994, Bruce Hainley refers to the remarkable English ... more Writing in the Voice Literary Supplement in 1994, Bruce Hainley refers to the remarkable English modernist Mary Butts (1890–1937) as a “fag-hag,” characterizing her posthumously published 1937 autobiography, The Crystal Cabinet, as “the tale of how a little fag-hag grows up.”1 Although readers may object to Hainley’s phrasing, or his occasional lack of evidence (e.g., his account of “Mary Butts going down on …Jane Heap” is provocative, but this imagined moment of modernist cunnilingus between Butts and the lesbian coeditor of The Little Review has never been documented), his evocative observations nonetheless speak to a central and ongoing pre-occupation in Mary Butts’s life and work: the relationship between women—whether straight, bisexual, or lesbian—and gay men. Hainley refers to the bisexual Butts as “an ecologist of the queer,” maintaining that her writing is an “elegant proof that the disappearance—in memory or body or word—of the queer is an environmental crisis” (11–22). The constellation that Hainley posits between the individual, the environment, and homosexuality, reminds us of Butts’s portrayal of a World War I gay veteran suffering from shell shock in her 1928 novel, Armed with Madness, but here in this highly experimental text “the disappearance …of the queer” is far from being “an environmental crisis” (12).
... Work on women modernists and empire has been productively explored by: Howard J. Booth and Ni... more ... Work on women modernists and empire has been productively explored by: Howard J. Booth and Nigel Rigby, eds ... 15. Faye Hammill, Esme Miskimmin, and Ashlie Sponenberg, eds., Encyclopedia of British Women's Writing, 1900–1950 (Basingstoke: Palgrave Macmillan, 2006 ...
Jane Garrity’s essay argues that Olive Moore’s neglected masterpiece, Spleen, uses the idea of re... more Jane Garrity’s essay argues that Olive Moore’s neglected masterpiece, Spleen, uses the idea of reproduction—both formally and thematically—as a metaphor and foundation for a completely new model of creative practice. Drawing from recent feminist theory on experimental literary form and from conceptual frameworks within disability studies, Garrity situates Spleen’s preoccupation with pregnancy within the larger context of modernist cultural representations of disability, nonnormative sexuality, and racial science. The essay tracks the various ways that the novel is in effect an anatomy of the entrenched obstacles to women’s creative agency in early-twentieth-century England.
Despite growing calls to develop data science students’ ethical awareness and expand human-center... more Despite growing calls to develop data science students’ ethical awareness and expand human-centered approaches to data science education, introductory courses in the field remain largely technical. A new interdisciplinary data science program aims to merge STEM and humanities perspectives starting at the very beginning of the data science curriculum. Existing literature suggests that humanities integration can make STEM courses more appealing to a wider range of students, including women and students of color, and enhance student learning of essential concepts and foundational reasoning skills, such as those collectively known as data acumen. Cultivating students’ data acumen requires a more inclusive vision of how the knowledge and insights generated through computational methods and statistical analysis relates to other ways of knowing.
This essay focuses on the photographs of Patti Smith that were shown at the Dulwich Picture Galle... more This essay focuses on the photographs of Patti Smith that were shown at the Dulwich Picture Gallery's exhibition titled ‘Legacy: Photographs by Vanessa Bell and Patti Smith’ (London, February 8 to June 4, 2017). It tracks the parallel resonances between Smith and Bloomsbury with respect to ideas concerning the inseparability of materiality, emotion, and the body. The essay argues that Smith's photographs of ‘Bloomsbury objects’ convey that the immaterial can only be expressed through the material, a paradox that is key to understanding how such objects function as spiritualized relics that both highlight and supersede the dominion of the everyday.
This chapter argues that earlier assessments of Mary Hutchinson’s writing have tended to conflate... more This chapter argues that earlier assessments of Mary Hutchinson’s writing have tended to conflate her status as a feminine arbiter of taste with her work, seeing the two as similarly irrational and slight. Such assessments have contributed to the pervasive assumption that Hutchinson is not a writer of substance and they have been instrumental in facilitating her obscurity and associating her work with a conservative concept of femininity. Instead, this chapter situates Hutchinson’s writing in relation to the Bloomsbury group’s interest in art and argues that her complex articulation of early twentieth-century femininity in Fugitive Pieces (1927) has been unjustly trivialized because of its association with the realm of fashion. Drawing from extensive archival research, this chapter shows how Hutchinson repeatedly puts femininity and modernity into conversation as she interrogates what it would mean if feminine phenomena were given a central place in our cultural analysis of modernity.
Mary Butts’s first novel, Unborn Gods, was drafted during the first two years of WWI, seemingly c... more Mary Butts’s first novel, Unborn Gods, was drafted during the first two years of WWI, seemingly completed in 1916, and then extensively revised in 1925 but was never published during her lifetime. Confusedly referred to as “Dangerous” at times by Butts’s biographer, Natalie Blondel, the drafting of Unborn Gods coincided with Butts’s physical and emotional involvement with several women, and the novel’s frank engagement with extramarital sex, homosexuality, contraception, venereal disease, incest, and abortion would have destined it to be outlawed under the Obscene Publications Act. These elements no doubt explain its failure to reach a public audience. Now, more than eighty years (Mary Butts with Duff Twysden, Paris, ca. 1925)
... for the woman who loved women:"tribade, fricatrice, sapphist, roaring girl, amazon, ... more ... for the woman who loved women:"tribade, fricatrice, sapphist, roaring girl, amazon, freak, romp, dyke, bull dagger, tommy"10 Castle ... Annamarie Jagose's observations of an upper-class Englishwoman, Anne Lister (1791-1840), speak directly to this concern even though Lister ...
Writing in the Voice Literary Supplement in 1994, Bruce Hainley refers to the remarkable English ... more Writing in the Voice Literary Supplement in 1994, Bruce Hainley refers to the remarkable English modernist Mary Butts (1890–1937) as a “fag-hag,” characterizing her posthumously published 1937 autobiography, The Crystal Cabinet, as “the tale of how a little fag-hag grows up.”1 Although readers may object to Hainley’s phrasing, or his occasional lack of evidence (e.g., his account of “Mary Butts going down on …Jane Heap” is provocative, but this imagined moment of modernist cunnilingus between Butts and the lesbian coeditor of The Little Review has never been documented), his evocative observations nonetheless speak to a central and ongoing pre-occupation in Mary Butts’s life and work: the relationship between women—whether straight, bisexual, or lesbian—and gay men. Hainley refers to the bisexual Butts as “an ecologist of the queer,” maintaining that her writing is an “elegant proof that the disappearance—in memory or body or word—of the queer is an environmental crisis” (11–22). The constellation that Hainley posits between the individual, the environment, and homosexuality, reminds us of Butts’s portrayal of a World War I gay veteran suffering from shell shock in her 1928 novel, Armed with Madness, but here in this highly experimental text “the disappearance …of the queer” is far from being “an environmental crisis” (12).
... Work on women modernists and empire has been productively explored by: Howard J. Booth and Ni... more ... Work on women modernists and empire has been productively explored by: Howard J. Booth and Nigel Rigby, eds ... 15. Faye Hammill, Esme Miskimmin, and Ashlie Sponenberg, eds., Encyclopedia of British Women's Writing, 1900–1950 (Basingstoke: Palgrave Macmillan, 2006 ...
Jane Garrity’s essay argues that Olive Moore’s neglected masterpiece, Spleen, uses the idea of re... more Jane Garrity’s essay argues that Olive Moore’s neglected masterpiece, Spleen, uses the idea of reproduction—both formally and thematically—as a metaphor and foundation for a completely new model of creative practice. Drawing from recent feminist theory on experimental literary form and from conceptual frameworks within disability studies, Garrity situates Spleen’s preoccupation with pregnancy within the larger context of modernist cultural representations of disability, nonnormative sexuality, and racial science. The essay tracks the various ways that the novel is in effect an anatomy of the entrenched obstacles to women’s creative agency in early-twentieth-century England.
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