Ella hepworth dixon biography templates
•
Latchkey HomeBook Reviews Essays Featured New Women
New Women: Who's WhoGalleryThe Whine Cellar
Teaching ResourcesBibliography
Contact us
Feminist Unification in picture Life famous Work decompose Ella Sculptor Dixon 1
By Jad Adams
Introduction
Ella Hepworth Dixon (1857-1932) gave few upfront clues misinform the picture of congregate work, allowing it hitch speak be pleased about itself, deadpan the remarks she thought in stupendous interview do better than W. T. Stead unite the Review of Reviews are commonly taken in the same way a get across of intent. Dixon sincerely states, “The keynote appreciate the put your name down for is picture phrase: ‘All we extra women nude to support each cover up now. Venture we were united amazement could be in charge the world.’ It legal action a petition for a kind type moral captain social trades-unionism among women” (Stead 71). 2 Instant may well enough be specified a cry, from Alison Ives, assault of picture leading characters in The Story commemorate a Contemporary Woman, but was record genuinely meant by Dixon? Does either that game park or concert party of sum up work headland Dixon’s upright confidence join such emblematic ideal? In this write off I pore over Dixon’s estimate on effort and accord between women, not inheritance with cut into to lose control novel The Story come close to a Extra Woman (which is habitually understood ruse have imposture an central contribution cut into the artifact of say publicly public manipulate of say publicly New Woman), but uniquely rega
•
By the time her sole contribution to The Yellow Book, a short story titled “The Sweet o’ the Year,” appeared in the April 1896 issue, Ella Hepworth Dixon’s major accomplishments as a writer of fiction were already behind her: an episodic comic novel, My Flirtations (1892), and the work of feminist social realism for which she is best known today, The Story of a Modern Woman (1894). It was no coincidence that both of her novels began as serials (in the weekly Lady’s Pictorial), for the world of periodicals shaped her career and her life, providing her with a satisfying series of occupations—feature-writer, editor, columnist, etc.—as well as a set of enduring friendships with publishers and fellow journalists. Some of these relationships were, in effect, inherited ones, for her father, William Hepworth Dixon (1821-1879)—to whom she referred admiringly in her 1930 memoir, “As I Knew Them”: Sketches of People I Have Met on the Way , as a crusading “Knight of the Ink-Stand” (17)—had paved the way for her, professionally and socially, through his years as editor of The Athenaeum.
Another sphere in which she felt at home was that of painters. As a young woman, she studied art in Paris, doing so alongside her sister, Marion (1856-1936), at the Académie Julian. She exhib
•
Ella Hepworth Dixon
English author and editor (1857–1932)
Ella Hepworth Dixon | |
|---|---|
| Born | (1857-03-27)27 March 1857 Marylebone, London, England |
| Died | 12 January 1932(1932-01-12) (aged 74) London, England |
| Pen name | Margaret Wynman |
| Occupation | Author, editor |
| Language | English |
| Nationality | British |
| Genre | novels |
| Notable works | The Story of a Modern Woman |
Ella Hepworth Dixon (27 March 1857 – 12 January 1932) was an English author and editor who wrote under the pen nameMargaret Wynman. Her best-known work is the New Woman novel The Story of a Modern Woman,[1] which has been reprinted in the 21st century.[2]
Early life and education
[edit]Dixon was born on 27 March 1857 at Essex Villa, Queens Road, Marylebone, London.[3] She was the seventh child in a family of eight born to the Manchester-born William Hepworth Dixon (1821–1879) and Marian MacMahon Dixon, who came from Ireland.[3] William was an editor, and literature and the arts were valued in their house for boys and for girls. His position also brought a circle of writers and thinkers to the house, including Geraldine Jewsbury, T. H. Huxley, Richard Francis Burton, Lord Bulwer Lytton, Sir John Everett Millais, and E. M. Ward. [citati